INDIAN CULTURAL

STUDIES
FST - 802
UNIT – 3

NORTHERN PLAINS-2 & CENTRAL INDIA

UTTAR PRADESH AND MADHYA PRADESH
UTTAR PRADESH
CRAFTS FROM UTTAR PRADESH

• An Overview of the crafts

• Chikankari
• Zardozi
• Carpet weaving
• Pacchikari- inlay work of TajMahal
• Appliqué work
• Black Pottery from Nizamabad
• Meenakari
OVERVIEW OF THE CRAFTS
• Arts and Crafts of Uttar Pradesh- By sheer virtue of its vastness Uttar Pradesh (UP) is a state with a historical past
that saw the inter-mingling of different cultures and traditions each one blending it and creating its own unique identity
while allowing many others to flourish as well. It was the land of artisans and noblemen, kings and musicians, Nawabs
and cuisines where skills were fine-tuned and passed on from generation to generations almost like an act of worship.
It is no wonder, therefore, that almost every town or city in Uttar Pradesh is aligned with an art or craft from that is
unique to the region.

Notable among UP’s various arts and crafts are the world-renowned artefacts, carpets, clothing and textiles, crafts,
embroidery, glassware, leather products, jewellery, metal ware, stonework etc. The prominent cities and towns like
Agra, Firozabad, Kanpur, Lucknow and Moradabad have singular identities because of their association with various
arts and crafts.

Artefacts (Brass & Metal ware) Large quantities of brass artefacts like art engravings and metal ware are produced in
Moradabad. Intricate engravings of two predominant types, the ‘nakashi’ and the ‘khudai’ and colour enamel work are
manufactured here. Traditional figurines in metal ware of the Buddha, Ganesha and Nataraja are commonly seen along
with beautiful bowls and trays made of brass.
• Banarasi Silk Sarees
• The silk sari is a part of every Indian woman’s wardrobe.
Banarasi silk sarees are greatly prized possessions for their
fine, soft material and rich designs and motifs in silver and
gold that highlight the saree. Golden zari fabrics and hand-
woven as well as machine finished brocades are popularly
available in Banaras (Varanasi), Azamgarh and
Mubarakpur. The intricate brocade embroidery with silver
and gold is known as ‘kimkab’. The best-known weavers
are from the Muslim community as referred to as ‘karigars’
meaning artisan; the brocade workshops are known as
‘karkhanas’.
• Carpets
• The carpet industry here dates back to the 15th century when Persian master weavers visited Madhosingh village in Bhadohi district. They
subsequently set up carpet looms and trained locals who flourished in the business of carpet making. Bhadohi is one of the highest revenue
earners for Uttar Pradesh, exporting carpets to other countries and received the GI Tag in 2010.

Ceramic and Black Pottery

• Khurja is world-renowned for its pottery. Artisans and potters make magic turning dull clay into beautiful shapes for bowls, mugs and pots which
are then baked and painted with smooth, intricate designs for a ceramic finish. Paintings and glass inlays are also done to embellish ceramic
pottery.

Black Pottery is the name given to potter’s clay mixed with mustard oil seed cake to give it the black colour. The clay is shaped into cups, flower
pots, jars, jugs, plates, saucers and many more. This is then fired twice in heat and beautiful designs and floral etchings are carved on to it. The
silvery finish to black pottery is obtained when the etched surfaces are rubbed with an amalgam of tin and mercury. Nizamabad in Azamgarh
district of UP is famous for Black Pottery.

Chikan Work Embroidery

• This unique and one-of-a-kind embroidery work can be found only in Lucknow with generations of tailors and embroidering units involved in
making cotton and silk textiles with chikan work embroidery. The term ‘chikan’ is believed to have come from ‘chakin’ or ‘chikeen’ of Persian
origin which means a piece of cloth filled with embroidery. During the Mughal days when muslin cloth was prevalently in use, these delicate
hand work with needle and thread. It began originally as typical white embroidery on white muslin but now the patterns are more intricate and
the white embroidery is used on colored clothing as well.
• Glass Work and Bangles
•
Firozabad in UP is the hub for the glass industry. The richly crafted artefacts in glass like chandeliers, lamps, mirrors, lanterns etc. are of the
highest quality and mass export orders keep the glass foundries busy throughout the year. Firozabad is also famous for glass bangles of many
colours, shapes and designs which are loved by womenfolk all over the country.

Jewellery- Glass, metal and stone jewellery like the popular ‘jhumka’, an intricately carved and designed earring famous for the hanging
pendant, are made in Aligarh in UP. Kohl and Surma, which are cosmetics for the eyes, and renowned for use from the days of the Mughals,
are popular here. Aligarh is also famous for its locks which cannot be easily be broken open.
• Oriental Scents – Perfumes and Rosewater
• The use of scented waters and perfumes was highly prevalent during the reign of the Nawabs and nobility. Attar and Gulabari were made
famous; today rose water essence is used for almost all Indian functions and in beauty cosmetics.

Wood Carvings
• Saharanpur in UP is famous for its delicate wood-carvings and handicrafts featuring items that can adorn walls and shelves. Besides, wooden
trays and furniture pieces with intricate designs are very famous here. Pilibhit is well known for the manufacture of flutes and wooden
sandals. The flutes produced here are often exported to many European and south-east Asian countries.
• Stone crafts
• There is no better example than the historical monuments of Uttar Pradesh in places like Agra, Lucknow, etc. The art of carving marble
slabs to produce latticed windows of the finest quality is the high-point of every craftsmen in UP. Marble is also fashioned into products
like adornments, balustrades, bowls, divider-screens, furniture, figurines etc. The ‘Pietra Dura’ designs originally of Italy were made
famous here by the Mughal emperors who had highly-polished colored stones of marble, sometimes semi-precious stones also, inlaid into
the doors, facades and walls of architectural monuments and structures. This highly intricate form of craftsmanship is still practiced in
Agra not only as designs to embellish larger space but also smaller ones like wall hangings, jugs, vases etc.

Terracotta- The naturally alluvial soil of Gorakhpur facilitates the making of red terracotta handicrafts and decoration pieces which are
immensely popular all over the country. Many Indian homes have terracotta life-like statues of horses, elephants and other animals and
birds besides figurines of popular Hindu deities like Ganesh, Shiva (Nataraj) and Buddha. The art of ‘terracotta’, meaning baked earth, has
been followed for centuries and it is not only a means of livelihood for the artisans, some of whom have received awards and citations at
the national level, but also an art passed on from one generation to the next. The range of terracotta has now expanded to include
ornamentation and jewellery which are equally popular.

Zari work
• Besides the rich textiles like chikanwork, brocades and silk, Uttar Pradesh is well-known for its zari work and embroidery threads known
as ‘kalabuttum’ that is wound using finely drawn silver, gold or base metal threads into fine rounds. The silk used to makes these originally
came from Central Asia but now the sources are mainly Bengal, Kashmir and Japan. The Uttar Pradesh Textile Technology Institute in
Kanpur is one of the premier textile institutes offering courses in textile manufacturing and designing.
CHIKANKARI
 CHIKANKARI
• Overview- The word Chikankari is coined from Persian word Chakeen that means elegant patterns on the fabric. This
type of embroidery is famous in the state of Uttar Pradesh especially the city of Lucknow known as a hub of
Chikankari embroidery. Chikankari embroidery is also known as a Shadow Work by using herringbone stitch from the
wrong side of the fabric to create the shadow on the right side, imparting an outline for Motif. Chikankari embroidery
is also popularized as White embroidery. Traditionally the Chikankari embroidery was exclusively done on white
muslin fabric using white thread. Nowadays it has been done on various types of fabrics like linen, nylon, georgette,
cotton, chiffon, and also synthetic fabrics. This type of embroidery is also done on various household things like
curtains, bedsheets, pillow covers, cushion covers, table cloths. Contradicting to ancient times Chikankari embroidery
is done on various pastel color fabrics but using white color thread. The motifs are stimulated from natural flora
including jasmine, rose, peacock, parrot, and lace patterns. The patterns of printed from the woodblocks in washable
colors. The designs are stamped on the cloth and passed on to the embroiderers. Chikankari uses stitches like Satin
Stitch, Stem Stitch, Back-Stitch, Herring Bone Stitch, Button-Hole Stitch. The Chikankari work is of two types- flat
style and knotted embossed. Chikankari work is done on a sari, blouse, kurta, sari borders, and above-mentioned
household linens.
• Chikankari: Lucknow, Uttar Pradesh's state capital, is known worldwide for its distinctive Chikankari embroidery. Although
Chikankari work is done worldwide, traditional Lucknow Chikankari is distinct because it uses floral patterns and creepers throughout
the fabric. Chikankari is also known as Lucknow Chikan, Lucknow Chikankari, or Chikan Embroidery. Lucknow has been the
center of manufacturing exquisite Chikan craftsmanship for over 200 years. The collapse of the Mughal court resulted in a significant
loss of artisans and industry. Thus, it was afterwards patronized by Nawabs. Most clothing is stitched first and then embroidered,
although things such as suit material, skirts, Chikankari saris, and table linen, among others, are embroidered first and then finished.
More than 5000 families are involved in the Chikankari embroidery industry, living in and around Lucknow's remote villages.
Chikankari is one-of-a-kind hand embroidery that cannot be reproduced, with its uniqueness going far beyond other embroidery
techniques and a vast range of stitching methods.

• Origin: Chikankari's origins are mysterious and mythical. References to Indian Chikan work may be found as early as the third
century BC. There are many stories about India's origination of the Chikankari embroidery technique. A traveller going through a
rural community near Lucknow claimed to have stopped and asked a poor farmer for water. Delighted with the peasant's kindness, the
traveller taught him the skill of Chikankari, ensuring that he'd never go hungry in life.

• Another story concerning Chikankari and the growth of Chikan goes back to Jahangir's Mughal court, whereby his beautiful and
skilled queen Nur Jahan was a fan of Chikan embroidery. She charmed the king with its dreamy white needlework, which quickly
garnered prominence and imperial patronage.
• Types of Chikankari Embroidery

• Rahet: A stemmed stitch that is hardly used in its basic form but is frequently utilised in the double version of Dora bakhiya.
• Banarasi: A knotted stitch made on the right-hand side of the cloth using six threads. Banarasi Chikankari Sarees are very
famous for the same.
• Khatau: a type of appliqué that is similar to Bakhia but finer. The design is created on calico, then embroidered into the surface
of the finished cloth with paisley and flower designs.
• Taipchi: A long-running or darning pattern to highlight a particular theme.
• Bahia: or shadow labour, is classified into two types: multi and sidhi.
• Phanda: Millet-shaped stitches that create flowers and motifs such as grape vines.
• Murri: rice-shaped micro stitching
• Jali: Traditionally worked by ripping the threads of the material and forming minute buttonhole stitches.
• Keel Kangan: This material is used to embellish floral designs and butties.
• Hool: a little detachable eyelet stitch. It is made with six strands and resembles the heart of a flower.
• Zanzibar: After one or more outlines have been done, the Zanzeera stitch is used to delineate the leaf/petal forms finally.
• The traditional way of manufacturing Lucknawi Chikankari Garments: Chikankari was initially done on fabrics such as Muslin and
Mulmul, commonly known as "Tanzeb." Still, due to the expanding fashion industry, it is usually done on silk, nets, georgette,
cotton, chiffon etc.
• Chikankari is a method and procedure that includes delicate and artistic hand stitching on various textile fibres. Highly detailed work
uses basic instruments to adorn stunning motifs on plain or light-coloured fabrics.

• The first stage is fabric cutting and styling, which involves the tailor cutting the cloth into the desired form. After cutting, the tailor
sews the garment using a running stitch. Depending on the garment's design, several patterns of wood planks are constructed, such as
floral, but is, or borders. The material is immersed in a colour solution that combines glue and indigo. This process is also
called“Chhapayi”.

• The images are embossed on semi-stitched cloth with dye-dipped pattern blocks. The designer colours the tile and places it on the
fabric spread out on the tabletop. Artisans embroider over the printed fabric using a needle, thread, and the frame where the cloth is
set. Various chikan stitches, such as Bakhiya, Phanda, Keel Kangan, Pechni, and others, are used to construct multiple designs, such
as motifs or butis.
• Following the completion of the embroidery, the cloth is soaked in water and washed to eliminate the block imprinted blue colour.
The rigidity in chikan products is achieved by starching and pressing the material.
• The fabric used for Chikankari Work- What fabric is used to make the evergreen Chikankari saree? Coloured fabric and threads
are utilised in addition to the white foundation cloth. Silk and cotton threads are used for embroidered work on drapes, dupattas,
table linen, and kurtas. Chikankari is mainly done on cotton, although it may also be done on mulls/malmal, maslins, organzas, and
polyester. Chiffon, viscose, georgette, polyester georgette, cotton crepe, and net are a few more. The patterns vary monthly to reflect
market trends, with colours that complement the season.
•
• The classic muslin material on which the craft was founded has since given way to lighter textiles like cotton, silk, chiffon, organza,
and net. The goal is to choose a lightweight fabric that not only facilitates the embroidery process much more accessible (the needle
can glide through without much resistance) but also helps the work stand out on its own.

• The art may be found in various men's and women's clothing. Everything from a long kurta to a saree, Anarkali, palazzos, and even a
variety of accessories and home décor goods such as mood lighting, cushion and table coverings, and bed wraps is available.

• How to distinguish between actual needlework and machine work & Chikankari- The sewing cycle is the primary distinction
between hand and machine Chikankari embroidery. Hand embroidery takes into account various lines, threads, and textures. Each
creation is intriguing to the weaver who created it. Machine weaving is relatively consistent, and each piece is typically
indistinguishable if various objects are stitched together.
• Work samples are put into PC software that regulates the weaving machine's stitching for the device. All designs have similar lines, and each
Lucknow Chikankari product looks identical. The stitcher's adore for exquisite art remains constant.

• The distinctiveness of hand embroidery stems from the kind of threads used. Cotton or silk threads are commonly used. These threads have
excellent precision and gloss, contributing to the excellent concealment possible with particular Hand Embroidery lines. Because of the varying
thicknesses of the strings, more detail may be achieved. Hand Embroidery is also a token. It has "genuine worth" since it is time-consuming
and takes craftsmanship and imagination.

• Hand weaving and machine weaving are two distinct stitching processes, each with its reason. It depends on your final goal of producing
amazing Lucknow chikan work outfits.

• A hand-woven Lucknow Chikankari work is more distinctive, making it an excellent way to create a one-of-a-kind treasure or a source of
pride for the embroiderer. The cycle necessitates time and heart contemplation to add the intricacies that will allow the weaving to stand out.
On the other hand, machine weaving produces more clever glancing work in a fraction of the time it takes to achieve something comparable by
hand.

• Conclusion- Lucknowi Chikankari has acquired a position in men's Kurtas, particularly bridal gowns and women's materials. Lucknowi
Chikankari fabric stands out from the crowd of textiles on the market, capturing everyone's attention. Though Chikankari embroidery is
available in various fabrics, don't overlook the classic piece on cotton since cotton is excellent and elegant, and this embroidered cotton is
wealthy as well.
ZARDOZI
 ZARDOZI
• Zardozi, or zar-douzi or zarduzi is an Iranian, Indian-subcontinent and Central Asian embroidery type. Zardozi comes
from two Persian words: zar or zarin meaning 'gold', and dozi meaning 'sewing'. Zardozi is a type of heavy and elaborate
metal embroidery on a silk, satin, or velvet fabric base. Designs are often created using gold and silver threads and can
incorporate pearls, beads, and precious stones. It is used as decoration for a wide range of applications, including clothes,
household textiles, and animal trappings. Historically, it was used to adorn the walls of royal tents, scabbards, wall hangings
and the paraphernalia of regal elephants and horses.
• Initially, the embroidery was done with pure silver wires and real gold leaves. However, today, craftsmen make use of a
combination of copper wire, with a golden or silver polish, and silk thread.
• Iran- Zardozi is an important handicraft in Persian culture. It is known around the country by names such as zardouzi,
nowadays zardozi is more popular.
• Persian zardozi is of three kinds:
• Some people completely sew the basic fabric with Bakhie in order to produce novel patterns and colors.
• Some sew with less density of work on the original fabric. They cross the strings throughout the woof of the fabric and sew
them to each other to form a colorfully patterned lattice.
• A third way is to sew a variety of patterns on the original fabric with gold and silver strings.
• Indian subcontinent- Gold embroidery has existed in the subcontinent since the time of the Rigveda, between 1500 and 1200 BC. It
prospered during the 17th century during the reign of the Mughal emperor Akbar, but later a loss of royal patronage and industrilization
led to its decline. The craft began to experience a rebirth in popularity following India's independence in 1947.
• Today, zardozi is popular in the Indian cities of Lucknow, Hyderabad, Farrukhabad, Chennai and Bhopal. In 2013, the Geographical
Indication Registry (GIR) accorded Geographical Indication (GI) registration to the Lucknow zardozi. With GI status, zardozi artisans,
distributors, and retailers in Lucknow and the six surrounding districts of Barabanki, Unnao, Sitapur, Rae Bareli, Hardoi and Amethi can
become authorized users of the "Lucknow Zardozi" brand and carry a unique mark of authenticity.
• Zardozi is a popular embroidery choice across Pakistan especially for wedding or formal wear, with artisans and couture houses alike
producing clothing with zardozi work.
• Procedure- The zardozi embroidery is a timeless yet tedious work done by craftsmen. The required design is traced on a fabric. Usually,
silk, organza, velvet, or satin is used for this process. The entire design is poked with a needle and then outlined. It is followed by fixing
the fabric on the adda so that the fabric does not move. This requires the artists to keep the tools, needles, curved hooks, wires, threads,
sequins, gems, beads at hand’s reach.
• The zari for zardozi is made by flattening the gold and silver into wires called ‘badla’. It is then wrapped around silk threads. The
resulting gold thread is also called sunehri, while the silver thread is called rupehri.
• Themes- The motifs are majorly based on nature, such as leaves, flowers, fruits, animals, and birds. One of the most common motifs is
the mango, or kairi. Also common are geometrical patterns, jalis, paisleys inspired from the Persian designs.
• Themes- The motifs are majorly based on nature, such as leaves, flowers, fruits, animals, and birds. One of the most common motifs is
the mango, or kairi. Also common are geometrical patterns, jalis, paisleys inspired from the Persian designs.
 carpet weaving

• Carpets of Uttar Pradesh are particularly known all across

the globe for its unique colours and designs. Employment in
Uttar Pradesh constitutes almost 90 % of the carpet weavers.
Bhadohi, Mirzapur and Agra are the major carpet hubs in
Uttar Pradesh. Among these places, Bhadohi enjoys worth
special mention as the economy of this district and its 500
odd villages are completely dependent upon the carpet
business.
 carpet weaving
• The specialty of Bhadohi carpets of Uttar Pradesh is their individual designs. These designs have been developed by the native
weavers and also include various tints of Taj Mahal in natural color or Sirdar in subdued colors. The carpets of Uttar Pradesh come
with hand imprinted or hand carved borders in rose-beige, honey, ivory and Iraq green. Another popular design of the carpets made in
Uttar Pradesh is called 'sculpture design' that uses clippings of the thread around the helm and gives it a 3-dimensional texture. Mostly
bright colored pastel shades are used in this 18 th century design pattern.

• Agra in Uttar Pradesh was the first carpet center in the Mughal India. A very interesting system is followed here that has been oddly
named 'Calling Out' system. In this system the master weaver of carpets of Uttar Pradesh follows the design and keeps calling out to
the weavers the colors to be used for each knot. The Iranian weavers took the real initiative of carpet weaving in Uttar Pradesh. Their
designs besides the high quality of Cashmere wool resulted in the prosperity of Indian carpet. Presently, Uttar Pradesh is one of the
most important centers in silk carpet exports and the general design of carpets in Uttar Pradesh is a combination of Iranian, Moroccan,
French and Turkmen designs that are drawn by local designers and woven by weavers. Some of the famous designs are named after
cities and provinces of Iran such as Sarough, Tabriz, Hamadan, Kashan, Isfahan and Khorasan. Mirzapur, Bhadohi, and Khamaria are
the main towns boasting trained carpet weavers who produce the unique carpets of Uttar Pradesh.
Twisted cotton thread is used along with the Jute twine thus giving rougher qualities of carpet with about 60 knots per square inch.
Cotton and woolen carpets are mainly manufactured in Shahjahanpur and Agra where weavers produce long-established and also new
motifs, keeping the market demand in mind.
PACCHIKARI- INLAY WORK OF TAJ
MAHAL
 PACCHIKARI- INLAY WORK OF TAJ MAHAL
The marble tomb of Shaikh Chisti in Fathehpur Sikri was bilt in 1572 by
Emperor Akbar. It is the precursor (ancestor) to an age known as the
‘Region of Marble’ for, with the accession of Emperor Jahangir, sand
stone gave way to marble, the crafting of which peaked during the regin
of Emperor Shah Jahan with the building of the Taj Mahal in Agra.

Marble was used not only in building but also in other ways. Crafts
persons used it in mosaic patterns combined 1 sand stone and other colors
of marble and embedded it in cement. They used marble to make intricate
jaallis (perforated relief) that filtered light and they used it most
exquisitely for inlay work or pietra dura. Here pracious and semi precious
stones, Jasper, Cornelian, Topaz, Mother of Pearl, Turquoise, Lapis
Lazulli, Coral, Jade, Agate & Porphyry were shaped and set in shallow
chases carved in the marble. The most frequently used decorative motif
was the arabesque, the ornamentation being in a stylized floral from the
geometric interlocking.
Since the time of Shah Jahan, Agra in Uttar Pradesh has reminded a thriving
centre for marble work, including inlay. The marble is obtained from Makrana
and semi Precious stones from all over the world. The artisans of today fashion
vases, coasters, table tops, boxes, plates, trays, model of the Taj Mahal, Lamp
Bases, Flooring, Fountains, Chairs and water basins, Chess sets and Hookah
Stands.

The process followed in pietra dura is complex. Here the semi precious stones
are first sliced finely with a bow of tensed steel wire- the process in slow is
then washed and cut into smaller pieces to facilitate the intricate and minute
shaping required. The shaping of the stone is done against a rotating disc. The
artisians works the disc with right hand and holds the stone in his left hand.
When each minutely shaped piece in ready it is placed in its designated position
on the marble surface. The outline of the pattern is then defined with a sharply
pointed instrument. The stone is then pressed into place and fixed with a
burning charcoal. If the while process has been executed finely there should be
no line of cement visible between the inlaid stone and the marble. The final
Polishing is done with zinc powder.
APPLIQUÉ WORK
• INTRODUCTION- Applique work employees the women folk in the
villages of Aligarh of Uttar Pradesh to make the work easier and helps
in stabilizing some of the urgent requirements of their family. It is
generally known as smaller ornament or method applied on another
surface with one piece. The word is said to be borrowed from the
French which means applied or thing that has been applied. It is referred
to as the surface pattern, which is used to decorate a garment or product.
Applique with the needlework method in which patterns with figurative
scenes are made by the attachment of smaller pieces of fabric to the
backing cloth with distinct color and texture. These works are widely
used for quilting that is made with both applique and patchworks.
Applique generally refers to fabric used with different designs of shapes
on the trim of a garment that can be either sewn or glued.
• Making Process- First the fabric is cut to required length and width, folded to the required shapes and then inserted
with sequins (chamki’s) wherever required and with the fusible technique or by hemming with the needle fixed to the
base fabric. After the fabric is fixed to the base fabric the edges are given with straight stitches and satin stitches to
overlap the edges.

• Piece works of tissue fabric cut are referred to as chotti patti and badi patti as per the size of the fabric, also other
design known as chota phul and bada phul referring to the flower pattern made with the cut fabric. Stem stitch is done
wherever the stem pattern of design is on the fabric. Some of the famous applique works shamiana, canopies,
chandowa which in some cases are also done with waste cloth. Some of the applique shamiana are used for religious
and social gatherings.

• Fabrics are cut with evenly spaced intervals in a strip of fabric, which is tucked under to leave a row of triangular
points. Saw tooth edges are one of the common appliques that are widely used for border patterns. The strips are then
neatly sewn on to the backing cloth, repetitive parts of the pattern are created by folding the fabric before cutting out
the shapes.
 TOOLS AND RAW MATERIALS

• 01. Scissors:- It is used for cutting the fabric to the required pattern sizes.
• 02. Needles:- It is generally used for hand sewing with sharp point and medium length of size varying about 70-80 millimeter.
• 03. Pins:- It is used to fasten materials together with a long form and sharp tip.
• 04. Safety Pins: --They are used to tack layers together for machine that makes it easier to clip than straight pins.
• 05. Thread: --In case of Applique work generally sewing thread of cotton for cotton fabric and silk for silk fabric are preferred.
• 06. Thimbles:-- It is used as a shield on finger that drives the needles in sewing.
• 07. Iron:- It is used to press cloths to take away the creases formed on the fabric.
• 08. Good Light:- For accurate color matching put a blue daylight bulb into a desk or ceiling lamp.
• 09. Sewing Machine:- It is used to sew basic stitches desirable for patchwork.
• 10. Rotary Cutting:- It is used with a set of cutter, mat and acrylic ruler.
• 11. Fabric Markers:- It is used to transfer the design patterns on to the patchwork, fabric.
• 12. Plastic Template:- It is used for making refillable applique, quilt templates.
• 13. Masking Tape:- It is used in portions that have to be masked off as it is easily removed without residue.
 PRODUCTS

• Applique, patchwork is found to be done on georgette, rubiya (riya), crochet etc., also tissue cloth locally called:
• 1. Applique Shamiana or tents, size is about 12 feet x 12 feet.
2. Chandowa.
3. Canopies.
4. Daraz - a remarkable seam used in hand stitched garments generally worn by Nawab’s.
5. Patti ka kaam the fabric cut into motifs and stitched onto base fabric.
6. Dupatta/ stoles.
7. Different sizes of Handkerchiefs, Scarves.
8. Cushion covers, Curtains, Bed covers.
9. Tea cosy.
10.Sari- draped cloth.
11. Salwar kameez, T-shirts.
• Applique work is generally done by women to their own garments, which depict the stylized motifs. Motifs are cut and stitched to the
fabric such that pattern appears in two colors. Vitality and desire seem to find through the oranges, yellow and vibrant scarlet’s to
provide the mood and pace.
• It is based on patchwork in which pieces of colored and patterned fabric is precisely cut in different sizes, shapes and colors and
stitched together on a simple upbringing to form a composite piece. Aligarh is known for its tents or shamiana applique as the same
technique is more used for beautifying dress materials. Applique shamiana are found to be normally used for religious and social get
together. It is a technique in which pieces of material are stitched onto the ground fabric for embellishing purpose, which is believed
to be developed by the possibilities by sewing patches onto the damaged cloth. Range of materials can be employed in applique such
as notably cloth, felt and leather.
• Applique work employees the women folk in the villages of Aligarh of Uttar Pradesh to make the work easier and helps in stabilizing
some of the urgent requirements of their family. It is generally known as smaller ornament or method applied on another surface with
one piece. The word is said to be borrowed from the French which means applied or thing that has been applied. It is referred to as
the surface pattern, which is used to decorate a garment or product. Applique with the needlework method in which patterns with
figurative scenes are made by the attachment of smaller pieces of fabric to the backing clot with distinct color and texture.
•
These works are widely used for quilting that is made with both applique and patchworks. Applique generally refers to fabric used
with different designs of shapes on the trim of a garment that can be either sewn or glued
BLACK POTTERY FROM NIZAMABAD
• Nizamabad black clay pottery- The pottery are made with locally available fine textured clay. The clay moulds are prepared in
different shapes and are baked in kiln. Later these clay wares are washed with powdered vegetable matter and are rubbed
with mustard oil. They are decorated with floral and geometric patterned grooves using sharp twigs. They are smoke fired with
rice husks in enclosed kilns which gives its unique shiny black surface. They are again rubbed with oil and baked in kiln. The
grooves on clay wares are then filled with silvery powder of Zinc and Mercury, washed with water and polished
again. Lead or Tin Amalgams are also used. The silver powder gives shiny hue against black background of pottery. The variety
of household and decorative items are made including vases, plates, pots, lamps, tea-pots, bowls, vessels, incense stick holders
and statues of Hindu religious figures. Surahi, a long-necked water pot, is a popular item.

• History- The black pottery is studied by historians due to its resemble with the Northern Black Polished Ware pottery of
urban Iron Age culture of Indian Subcontinent. The silver patterns are inspired from medieval Bidriware of Hyderabad which
decorates pots using silver wires. Powdered mix of lead, mercury and zinc in equal proportion is filled into the carved design a
technique which was introduced from Gujarat during the Mughal rule of Aurangzeb. Around 200 families are involved in the
craft in Nizamabad and majority of their works are exported. Still their condition remains abysmal. The black clay pottery was
applied for Geographical Indication (GI) tag in October 2013 with support of NABARD of Lucknow and Human Welfare
Association of Varanasi. It was registered for GI tag in December 2015 which gives the right to name the product to specific
geographic region of origin only.
MEENAKARI
• Meenakari is a crystal form of glass fused with metal oxides like silver, gold, copper and zinc. The meenakari of Varanasi is known by its
pink colour and is known as gulabi meenakari. The Pink painted enamel style was brought in Varanasi by the Persian enamel-lists around
early 17th century during the Mughal era. This enameling style reached its peak of perfection at the Persian Court at Isfahan during the Qajar
dynasty. The art of Meenakari was prosperous till about hundred year ago. Today there are only a handful of craft persons. They work on gold
enamel, and silver enamel jewelry and other objects.

• The meenakari, enameling, in Varanasi is characterized by pink brush strokes on white enamel. Unlike the vibrant enameling in reds, greens
and blues of Jaipur and Delhi, where the white enamel is left stark, the Varanasi craftsmen delicately add pink to the predominant white
enamel. The artisans are called meenakari. It is a unique craft in which meenakari make items like religious figures of gods and goddesses on
silver and gold sheet, various types of traditional ornaments and decorative items, motifs, including flowers and birds and animals on gold
and silver metal.

• Chased and engraved areas are filled in with enamel, which is composed of chemicals similar to those contained in glass and its base is
vitreous with a small percentage of metallic oxide that is used as a colourant. Hollow silver forms are filled in with lac to give them weight.
For enameling, the meena, enamel, is finely ground and mixed with water. A little itra, rose oil, is added to help fuse the enamel. The water is
soaked up by a cotton wick and the piece fired in a small electric kiln. The enamels fuse at different temperatures so they are fired in order of
hardness. The craftsmen have extended their repertoire from jewellery to silver trinket boxes, decorative elephants, birds, and stationery. The
pieces are enameled in deep greens and blues, characteristic of silver enameling; and parts like the underside of the elephant’s trunk, its ears
and lotus blooms are done in gulabi or pink meenakari. The colours used in the Banaras Gulabi Meenakari are predominately natural and
leadless dyes.
• The motifs most often seen in the work are phool-patti (flowers and foliage), peacocks, parrots and elephants. The art was learnt from
Persian craftsmen who visited the court of Avadh at Lucknow in the 17 th century. The business is controlled by a middleman who gets
the work done and supplies the finished product to buyers and sale outlets.

• A flourishing and prosperous industry till a century ago, meenakari is confined to a few artisans today who are struggling to keep alive
this art of colouring or decorating a metal surface by attaching or fusing pieces of different mineral substances over it. It is considered
as the most alluring and technical of all metal decorations. Earlier, Banarasi Gulabi Meenakari was done on gold but now the
craftsmen use other metals like silver and copper. Escalating cost of gold and silver has diminished its demand. Earlier, the craftsmen
were in this field for generations. In the past, the city had over 250 artisans of this craft but today only 50–60 people are engaged in it.

• Direct Create is dedicated to connecting India’s artisanal traditions with the global marketplace to create a new design paradigm — one
that drives innovation, spurs creativity and empowers communities. If you are excited to connect with the crafts community, Direct
Create has made it very simple to get your craft at a click of a button and to engage and create with the skilled Craftsmen from across
India. The DC platform has an active database of craftsmen and designers from across India and Europe and more are getting added
every day.
MADHYA PRADESH
 MADHYA PRADESH

• Overview of the crafts

• Special Crafts:
• Terracotta
• Stone Carving
• Hand Block Printing
• Chanderi
• Maheshwari
• Dhokra
OVERVIEW OF CRAFTS
• Handicrafts of Madhya Pradesh- Handloom, Toys, Printing, Woodcraft, Metal craft- Madhya Pradesh has a rich culture
of Language & Dialect, Literature, Folk Dance, Folk Songs, Folk Painting, Folk Drama, Fairs, festivals, and Handicrafts.
Handicrafts of Madhya Pradesh themselves have a great variety. It covers Handloom and Sarees, Toys, Block painting, wood
and stone carving, floor, Dhokra, Carpet, Dhurries weaving, Pottery, and terracotta, etc.

• Handloom Sarees- Handloom Sarees are one of the famous handicrafts of Madhya Pradesh. The major hubs of Handloom
sarees are-

1. Chanderi Sari (Ashok nagar)

• It is famous for its Sarees made of Silk and Cotton (A major commercial crop of Agriculture in Madhya Pradesh).
• It has been a popular place for Sarees for centuries. It is a preferred textile of ladies from the royal houses of Baroda, Indore,
Gwalior, and Nagpur during the royal era.
• It is decorated with beautiful motifs of Ginis (coins), Butis (buds), and an intricate gold zari border.
• Initially, these sarees were only weaved in natural white color, later certain weavers began to dye the yarns in pastel colors.
• Light and dark Shades, Broad borders, large size, and Zari work are important features.
Maheshwari (Maheshwar) Sarees

• Maheshwar (Khargone) is known for its elegant Maheshwari Saris which has been existing since the 5th century.
• The weaving industry of Maheshwar also has a mention in Kautilya's Arthashastra.
• During Holkar Reign, the Maheshwar sari became the personal favorite of Holkar queen Ahilyabai Holkar. She promoted the handloom weavers from
Gujarat to weave exclusive nine-yard Nauvari sarees and turban pieces.
• It is a blend of Coimbatore cotton & Bangalore silk yarn decorated with graceful motifs of cotton flowers, chameli (jasmine), swan, etc.
• The reversible zari border and pallu with five stripes (Three colored and 2 white alternates) are the unique features of the authentic Maheshwari saree.
• 3. Hand Block Painting (Cheepa Shilp)- It is one of the famous handicrafts of Madhya Pradesh. Different types of designs and figures are carved on the
cloth. They use colors from natural dyes and vegetable colors. Some of the famous Block paintings of Madhya Pradesh are,
• Bagh Print (Dhar) - According to locals, the Traditional Block Printers of the Khatri community are migrants from Larkana in Sindh to this town about
400 years ago. In the preparation, Silk & Cotton clothes are treated in a traditional mixture of Corrosion (rust) of Iron, Alum, and Alizarin. Then a skilled
craftsman does the block painting by hand. The Final product is washed in flowing river water and sun-dried for a perfect finish. Mr. Mohammed Yusuf
Khatri and Mr. Ismile Khan are famous artists of Bagh print. Bagh Block Prints have geometrical and floral compositions in predominantly red and black
colors. Bagh Print received the Geographical Indication (GI) tag in 2008.
• BAGH HAND BLOCK PRINT- Batik Print (Bherogarh Ujjain) Batik Print is an ancient craft of wax-resist dyeing and printing. It is believed to have
been practiced in the countries like Japan, Egypt, and India for over 2000 years. Batik, the art of antiquity, became popular during the Mughal times. The
batik printing method is tough but fascinating. An area is selected on the fabric and covered with hot wax followed by dying the cloth. Another method of
Batik Print is the crushed effect. It used hot wax on the large areas of the textile. the wax is crushed after drying and then dyed using beautiful colours
which give the cloth a delicate cracked effect.
• BATIK PRINT- Nandana Print Nandna block print is practised in Tarapur village of Neemuch district. It is Popular among the Bhil tribe, the art
includes graceful aligned arrangements of motifs on the fabric in dark colours like blue and green. Most popular motifs are- Mirch (chilli),
Champakali (magnolia bud) worn by unmarried women, Amba (mango) worn during marriage and pregnancy & Jalam Buta (creeper web) used in
the printing of Nandana. Indigo is the most prominent and highly honoured natural dye and considers lucky among the Nandna craftsmen.

• NANDANA PRINT- Dolls and Toys Gwalior, Jhabua, and Bhopal are hubs of cute little dolls made out of small cloth pieces. The dolls made in MP
are interesting pieces of work. They are influenced by the different cultures and traditions of India mirroring the diversity and uniqueness of the
country.

• Batto Bai Dolls of Gwalior:

• The heritage city of Gwalior is famous for its unique Batto Bai Dolls.
• This folk craft is named after Batto Bai, an enterprising craftswoman from Gwalior.
• Size of dolls ranges from a few inches to almost 2 ft. in height.
• Materials used are rags, paper, clay, cotton, wires, silver paint, bamboo, and bright traditional fabrics,
• They use organic colours that are permanent.
• The expressions and costumes of these traditional dolls are inspired by traditional, and real-life instances.
• Batto Bai dolls are always made and sold in pairs.
• Stuffed Leather Toy Delightful looking, various types, skillfully crafted & painted, the stuffed leather toys of MP are very attractive.
• Craftspersons in Gwalior, Indore, and Dewas specialize in making leather items.
• nowadays, Indore and Dewas specialize in leather garments & Gwalior specializes in shoe manufacturing.

• Leather Toy of Indore These toys are lifelike animal sculptures molded and covered with leather skin and painted to give a realistic
look. The leather toys of Indore, Madhya Pradesh have earned the GI - tag and have huge demand in international as well as local markets.
The art of making Leather toys in Indore is inspired by Taxidermy, the art of preserving animals in their original shape, after being hunted.
• Wood Craft The art of wood carving has prospered in many parts of Madhya Pradesh and manifested in the beautiful wooden ceilings,
doors, and lintels with finely carved designs. Woodcraft is famous in Gwalior, Sheopur-Kalan (Morena), Rewa, and Budhni (Raisen).
Other woodcraft items created are toys, boxes, bedposts, cradle posts, and flower vases. Musical instruments like Mandals, dhols, Dhanks,
and dhangs are notable handicrafts of Madhya Pradesh. Many tribes in Madhya Pradesh also have expertise in wood crafts such as the
Mando of the Korku tribe, Divyana of the Bhil Tribe, and Baiga and Gond tribes of Mandla.
• Stone Carving It is an art where pieces of natural stone are shaped and given desired forms. It is used by an artist to create a sculpture or
architecture. Madhya Pradesh has a rich tradition of stone carving such as the sculptured stone temples of Khajuraho, rock-cut temples of
Vidisha, the monuments of Orchha and Gwalior, etc. Major quality of stone used are sandstone, granite to marble, to give artistic forms of
Buddha, Nayikas and deities by the artisans. since the 7th century B.C. many guilds of masons and stone carvers have existed along with the
system of apprenticeship. Different regions of MP have their unique style such as Gwalior specializing in jali (lattice) work, whereas
Tikamgarh and Jabalpur are experts in decorative items such as statues of animals and human figures.
• Marble Art of Bhedaghat The sculptors shape the white marble into intricate deities and other attractive artifacts.

• Gwalior The Gwalior region is another major center of stone carving. The main source of their raw material is pink and white stones
which are collected from the Vindhyan ranges have been. "Gende Waali Sadak", in Gwalior has a cluster of shops that forms the hub of
stone carving in the area. The stone carving in Gwalior had been promoted by Scindhiya Rulers since the 18th century.
• Floor Covering The floor coverings of Madhya Pradesh consists mainly of durries and carpets in a rich variety of designs.
• Durrie Weaving A durrie, is made of thick cotton-woven fabric and it is meant for spreading on the floor, Major areas of Durrie
manufacturing are Sironj, Jhabua, Jabalpur and Shahdol. The durrie weaving uses 'Punja' technique which is a primitive method,
Durries are in bold patterns and bright colors with folk designs. Durrie uses both Cotton and woolen in Punja durries, which are
handwoven to suit traditional as well as modern home decor. Designs on the durries are inspired by kiln designs, geometric traditional
motifs & animal and human figures.

• Carpet Weaving Gwalior has carved a niche for itself in the weaving of carpets since the Mughal times. Later on, others weaving hubs
developed in the Shahdol & Mandla belt. The coloring of carpet used to be done using natural dyes, but lately, it is being done with
synthetic dyes as well. Woollen carpets are weaved in diverse colors consisting of many floral and geometric designs. The weavers have
drawn from the treasury of ancestral motifs of trees and flowers in carefully blended colours.
• Zari-Zardozi Work Zardozi is derived from the Persian term which refers to 'embroidering with gold threads'. It originated 300 years back.
The art of Zari survives in the old town of Bhopal. In this embroidery, beads and gold coils are tucked onto fabric using a needle and
thread. Metals such as gold and silver are transformed into a Zarir and used to adorn motifs onto fabrics like silk, velvet, organza, chiffon, etc.
Begums of Bhopal encouraged and patronized this ancient craft by educating and motivating employees about the intricate art. another center of
Zari work developed in Gwalior, Indore, and Chanderi.
• Jute is used extensively as packaging material for agricultural and industrial products. Its coarse nature, heavy texture, natural color, and twilly
kind of body typify its earthiness. Famous centers of Jute handicrafts in Madhya Pradesh are Bhopal, Indore, and Gwalior. The demanding jute
items in the market are hanging lamps, flower vases, swings, baskets, purses, table mats and footwear, etc.
• Bamboo & Cane articles producing handicrafts in Madhya Pradesh are Shahdol, Balaghat, Mandla, and Seoni regions. Climate of Madhya
Pradesh is suitable for Bamboo cultivation. The bamboo products are made by a community called Basor or Basod. Along with them Baiga,
Gond, Turi (Betul), and Korku tribal communities are also highly skilled. The bamboo art has been modified into furniture items like chairs,
tables, and stools crafted out of bamboo in wicker style have found new places in home decor.
• Basketry Bamboo is used to create many products from hunting tools to a wide variety of baskets. It requires materials like grasses, palms,
bamboo, and canes and intertwined them in intricate and beautiful patterns in the product. The most common basketry techniques are the wicker
and coiled style. Major centers are Bhopal's timber market, Betul's souk, and craft bazaar.
• Bamboo Lath (Stick) Nanakheda in the Ujjain district of Madhya Pradesh is a famous place for Bamboo laths.
• Terracotta (Pottery) Pottery has been called the “lyric of handicrafts”. It represents humans' first try at the craftsmanship.
• Major centers of clay handicrafts of Madhya Pradesh are located in Bastar region, Jhabua, Mandla, and Betul district, and Bundelkhand region.
• Bundelkhand Region The life size images of human forms are famous in Bundelkhand Region.
• Jhabua Terracotta Craft Jhabua is known for votive horse figures. These items can be hollow or solid and painted with ochre
and white.
• Bhils, Bhilalas, Barelas, Patalias, Nayaks, and Mankas tribes are associated with this. Clay horses are offered to ward off evil
spirits & to seek blessings for a bumper crop. The statue of the goddess Lakshmi is in high demand during the Diwali festival.
Jhabua’s Bhils and Bhilalas tribes make clay temples called dhabas and paint them with white chalk and ochre.
• Mandla & Betul Terracottas The Mandla craft is influenced by tantrism. Whereas Betul terracottas have forms and
varieties. During Diwali, terracotta idols of the goddess Mahalakshmi, elephants, and horses with riders are molded as solid
figures, washed with lime, and painted brightly. Terracotta heads of Gangaur, a local form of Goddess Parvati are also
famous. Adla Pakshi (love birds) is a popular terracotta in the region.
• Toys are made manually. Toys can be solid or hollow. Animal figures like horses, dogs, elephants, birds, lions, bulls, and deer
fixed on wheels are very popular with children. Artisans also make hollow bird whistles.
• Metalwork Madhya Pradesh is rich in various Metal and Mineral Resources. The famous metal craft article is metal ornaments
boxes, rice measure bowls, lamps, animal figurines, etc. These metal images have peculiar indigenous socio-religious history and
are considered auspicious.
• Other Utility Products
• Kuldi– pot for water,
• Chhalki– a vessel for making curd,
• Bhutia- for storing toddy,
• Warya- for tapping male toddy tree,
• Faalna- for tapping female toddy tree
• Wahaadi-small ritual vessel with a spout
• Papier Mache is an art that involves the use of paper pulp mixed with the adhesive to create an artifact or decorative article. It
is a popular craft in Ujjain city of Madhya Pradesh. Material Used- Scarp paper, glue, and chalk powder constitute the main
ingredients in the mixture. Method- Papers are socked in the water for a few days and when they turn soft, mashed into a pulp
which is later dried. Today, crafts persons in Bhopal, Gwalior, and Ratlam make statues, birds, animals, and decorative panels.
The Nagvanshi community is actively engaged in making of papier mache articles.
• Bell Metal Craft (Tikamgarh & Datiya) Bell metal casting in Tikamgarh has been practiced for over three centuries. The
artist makes exceptional items of brass and copper. The process of metal casting used here is very similar to the Dhokra craft
in Betul, as both the crafts take shape with lost wax casting, Raw materials used are a mixture of industrial wax, groundnut
oil, and a binding resin to create mold.
• Dhokra Metal Craft (Betul) Dhokra is widely practiced in the Betul district by the local Bharewas tribal community. It's a non-ferrous
metal molding craft, created by using the lost-wax casting method. Intertwined with their culture, the artists made ceremonial items like
the dagger worn by the groom, oil lamps gifted to the bride by her parents, and accessories for the tribal gods. It starts by mixing beeswax
(natural wax) and saras (gum), which are boiled to a thick paste and pressed through a strainer, to get fine threads. It is followed by making
a shape with Mud and cow dung and then wrap thread is coiled around it. After that, another layer of mud coating is done and left to dry
down completely & placed in the furnace to bake for a while. Lastly, the outer clay is removed.
• Iron Crafting begins with obtaining iron ore from local mines which the ironsmiths mold into various shapes and forms. Gond, Muria,
Bhatra, and Dhruva tribals, practice the tradition of offering horses, swings, Trishuls, etc. made from iron to the deities on fulfillment of
their wishes. There is also a custom of gifting daughters exquisitely carved "Deeyas" on their wedding. Today crafts persons produce
various objects: birds, carved deeyas, candle stands, lattices, furniture, lamps, and decorative items.
• Ornaments and Jewellery The folk jewellry of Madhya Pradesh is mainly distinctive, highly artistic, elaborate, and varied. Major centers
for folk ornaments are Tikamgarh, Jhabua, and Sheopur-Kalan. Ornaments made of beads, cowries, and feathers are part of tribal
costumes. The women folk of Malwa, Nimar, and Bastar regions are very fond of ornaments, and both men and women wear ornaments.
Silver articles of particular value are only displayed at weddings and, to a lesser extent, when visiting fairs and festivals.
• Thewa Jewellery is a 400-year-old art of making gold filigree on molten glass with patterns inspired by nature and mythology. This
inherited art is practiced by a few Soni families in the Mandsaur district of Madhya Pradesh. In the early days, art was used to decorate
the boxes and chests gifted to royalty. Today, the expertise has extended to jewelry - earrings, necklaces, and rings. Thewa has not only
been the favorite of Indian royalty but there are a few of 250 pieces said to be part of Queen Elizabeth's collection. Some graceful pieces
are also displayed at the Metropolitan Museum of Art in New York and the Victoria & Albert Museum in London. In 2002, the
Government of India issued a stamp featuring this beautiful art on a plate.
TERRACOTTA POTTERY OF MADHYA PRADESH-
• The terracotta pottery of Madhya Pradesh is simply remarkable, especially
that practiced by the tribals of Bastar. Traditional statues of elephants,
serpents, birds and horses from Bastar are incomparable in their simplicity
and are offered to the local deity as an offering in lieu of sacrifice. The
Bhils of Jhabua and adjacent Chhota Udaipur in Gujarat also trust in
animal offerings made from clay. Their potters mould distinctive clay
horses, camels, elephants, tigers and bullocks that are then offered to a
village deity or to a revered animal itself such as the tiger. Set down in the
sacred grove that always lies in a secluded spot near the settlement, the
terracotta animals are clustered together in a jumble of new and old, all
eventually disintegrating and returning to the earth in their turn. Sarguja,
Raipur and Raigarh have a charming tradition of decorative roof top tiles,
made partly by hand moulding and partly on the wheel. These tiles, shaped
like half tubes, have perched on top of them figures of elephants, monkeys,
bears, reptiles, gods and goddesses and are considered a status symbol
among the rural people.
 STONE CARVING
• The Stone Craft of Madhya Pradesh is one of the best handicrafts in the
world. The artists have been practicing this art form since the ancient times.
This art form is transferred from one generation to another and runs in the
entire family. Stone carving is evident from many historical monuments and
temples in Madhya Pradesh. Gwalior, Jabalpur and Tikamgarh are famous
for this art form. The most extravagant example of stone carving are
temples of Khajuraho, monuments of Orchha and Gwalior.
• These places are famous for the gigantic statues of human and animals etc.
This is one of the oldest art forms of Madhya Pradesh. The historical
monuments are the living examples of great stone carvings. Gwalior is
famous for jaal work. Tikamgarh and Jabalpur are famous for huge figures
of animals and birds. Bastar area is famous for figurines of gods and
goddesses. In Bastar, the tribal communities follow this art form. However,
it is also practiced in other parts of the state with distinct features and
carving. Bhedaghat of Madhya Pradesh is famous for soft marble rock
handicrafts like carved panels, figures of animals, birds and humans, décor
items and boxes etc. Similarly, Balaghat is famous for green stone
handicrafts. These handicrafts are amongst the most loved handicrafts in
Delhi.
• This stone is useful for making utilitarian objects like utensils, keys etc. These handicrafts have light stone carving with subtle designs.
One of the famous green stone handicrafts is Chakkis. Madhya Pradesh is the land of greenery which offers a great variety of stones.
Bamaur is one of the places in Madhya Pradesh which is blessed with five different kinds of stones out of which Rajauri is the most
famous stone. Singi, Mandsaur, Ratlam and Narsinghagarh are also widely known for the stone carving. Gwalior has the best set of
sculptor and carvers. Ghosipura of Gwalior is known for stone-sculptors. Gwalior fort also depicts the great stone carving. This fort has
beautiful figures of gods and goddesses and unique creatures. These handicrafts are amongst the most loved handicrafts in Delhi.

• Stone Carvers are also known as murtikars. The Gainda waali Sadak is very famous and is only known for stone carving stores.
Soapstone, granite and marble are also stones used for making different kinds of stone handicrafts. You can find these Stone handicrafts
at various emporiums like MP State Emporium in Bhopal, GTB nagar and New Market in Bhopal, Tribal Craft Marts, and Handicrafts
emporium in Indore.

• You can also buy handicrafts in local markets of Narsinghagarh, Ratlam, Singi, Mandsaur, Bastar, Datia, Tikamgarh, Betul, Rajgarh,
Bundelkhand, and Sarguja etc. These handicrafts are priced as per the level of craftsmanship and the prices range from thousands upto
lakhs. These handicrafts are exported all across the world and are frequently exhibited in Japan, France, Australia, USA and other
countries.
 HAND BLOCK PRINTING
• Bagh print is a traditional Indian handicraft originating in Bagh, Dhar
district of Madhya Pradesh, India. The process is characterized by hand
printed wood block relief prints with naturally sourced pigments and dyes.
Bagh print motifs are typically geometric, paisley, or floral compositions
design, dyed with vegetable colours of red and black over a white
background, and is a popular textile printing product. Its name is derived from
the village Bagh located on the banks of the Bagh River.
• The origins of the Bagh print are uncertain, but it is believed that the practice
is over 1,000 years old, with the techniques having been handed down through
family practice from generation to generation. It is possible that the craft
traveled with settlers from Jawad in the Madhya Pradesh state in India or from
printers of Rajasthan state. Another possibility is that the Chhipas, or
traditional cloth printers, of the Muslim Khatri community which currently
practice the craft of Bagh print, traveled to the area around 400 years ago from
Larkana in Sindh province, Pakistan, which is known for the Ajrak tradition of
block printing.
• The initial reasons for the migration is unclear, but the area's proximity to the Bagh river, which provided the water necessary for
washing of fabric and processing of vegetable dyes, could be the primary reason for settling in Bagh. In addition, the chemical
composition of the water from the Bagh river enhances the texture of the vegetable, natural, and black dyes, giving them a luminous
quality that distinguishes Bagh prints from other prints in Madhya Pradesh and Rajasthan regions.
• In the 1960s, many craftsman abandoned (discarded) the traditional process of Bagh prints in favour of using synthetic fabrics.
However, a number of artisans, including Ismail Sulemanji Khatri, continued to practice and innovate within the traditional
framework of the craft and brought Bagh prints to international prominence. In 2011, a Bagh print design was adopted in a picture
theme of the Madhya Pradesh state at the Republic Day parade in New Delhi on 26 January 2011. Featured in the parade was
a Shalbhanjika, the celestial apsara of the 11th century, draped in Bagh printed clothing.

• Process- Artist at work on the Bhatti process. The process of creating Bagh prints includes pre printing (the washing and pre-dying
of the fabric), printing (application of the design) and post printing (fixing the dyes and applying a fabric finish).
• Pre-printing- Pre-printing starts with Khara Karna, the initial washing of the fabric for printing. Cotton is the commonly used
fabric; however, other fabrics include the Maheshwari suit material, kosa silk, bamboo chicks, chiffon, crepe, georgette tissue,
and mulberry silk. The Khara Karna washing consists of washing in running water for two hours and beating the fabric on river
stones to remove any starch in the fabric to assist with the dyeing process. Next, the fabric is soaked in a water solution of rock
salt, mengni (goat dung), and castor oil, pressed, rinsed and dried three times, which is known as Mengni Karna. Then, the cloth is
pre-dyed with Harara to provide an off-white base color, which also adds a richness to the black and red dyes that will be applied
later.
• Printing- Bagh prints are made by hand applying natural and vegetable based dyes using carved wood relief blocks. Red and black
dyes are most common, but indigo, mustard, and khaki dyes are also used. New blocks for printing are hand carved
from teak or sheesham wood, but some blocks have been in use for 200 – 300 years. Motifs for the prints are geometric or floral,
sometimes inspired by the 1,500 year old paintings at Bagh Caves.
• Dyes- Dyes for printing are derived from plant sources (plants, fruits, and flowers), and minerals. To make the dyes, pigments
like ferrous sulfate and alum are boiled in water and mixed with tamarind seed powder to make a paste, which acts as black and red
dyes respectively. Other colors like indigo, mustard, and khaki can be made using indigo leaves, dhavdi leaves, or pomegranate rinds.
• Printing blocks- The blocks, known as bilals and bibas are made of intricate and deeply carved teak or sheesham wood and are
frequently sourced from Pethapur, Gandhinagar, and Jaipur. The relief blocks can be reused and collected over generations, with some
family libraries holding thousands of individual designs. Some blocks are aged up to 300 years old and have been in use for so long
that they are known by particular names. New blocks are made approximately every six months to keep up with market demands, but
care is taken to ensure that the new design is a variation of a traditionally accepted design. Common motifs include geometric shapes
as well as natural forms like jasmine, mushroom, mango, or small dots on a field.
• Printing process- In order to apply the correct amount of dye to the printing block, a wooden pool, called a palea, is filled with dye.
A bamboo mesh (kartali) wrapped in wool is set up to float in the pool, soaking up the dye and transferring the color when the
printing block is rested on top. The cloth to be printed is laid over a red sandstone table, called a farsi, which is padded with extra
cloth or old clothes to ensure smooth printing. The printing blocks are applied by hand, with an expert craftsman producing five yards
of fabric in two to three hours, depending on the complexity of the design. Once the design is fully printed, the cloth rests for 8 to 14
days to allow the dye to fully absorb into the fabric.
• Post-printing- Once the fabric has rested, it is brought to the river
and rigorously washed for 20 minutes and beaten against river
stones to remove excess dye. This process, known as the Bichalna,
requires both strength and care, as any smudges or stains that occur
from improper washing are permanent. The fabric is then fixed and
finished in the Bhatti process, where the fabric is boiled in a mixture
of water, Alizarin, and Dhavda flowers. The fabric is constantly
shifted and turned with long sticks as the temperature of solution is
slowly increased, which aids in the proper development of the
colors. The whole process takes from four to six hours. Finally, the
fabric is bleached and washed three more times before the fabric is
complete.
• Prominent master crafts persons
• Mohammed Yusuf Khatri
• Ismail Sulemanji Khatri
• Abdul Kadar Khatri (1961-201)
• Quality control- The Development Commissioner (Handicrafts), Government of India's branch office in Madhya Pradesh exercises control on quality. The
artisans themselves follow an internal quality control mechanism through various stages of its production through master artisans. The Textiles Committee of
the Ministry of Textiles, Government of India, exercises quality control through the Development Commissioner of Handicrafts in cooperation with the
stakeholders.
• New experiments- Initially, Mohammed Yusuf Khatri, Mohammed Bilal Khatri, Mohammed Kazeem Khatri and their family made traditional dresses to meet
the needs of various caste groups residing in the tribal region of Bagh. People of different castes and families had different dresses with specific identification
tags of the tribal Bhil and Bhilala community. Some of the Kahtris developed designs to meet contemporary urban taste in the later part of 1980s; these designs
covered sarees, shalwar kameez, covers for cushion and tables, block printed silk saree, tusser silk, silk stoll, scarf and so forth. Some the family members
created innovative wooden blocks and colours which were accepted in the national and international market due to their long life. These included craft such as
block printing on bamboo chik or mats, leather, jute, and other materials besides cloth.
• One such practice he pursued was the old technique of reusing the traditional blocks of 200 to 300 years old, which were patterns or designs of paintings in the
1,500 year old cave paintings in the region. Some of the block designs covered Nariyal Zaal and Ghevar Zaal based on the Taj Mahal paintings, Saj, Dakmandwa,
chameli or jasmine, maithir or mushroom, leheriya and jurvaria or small dots on the field. Other innovations introduced by the Khatri family are block designs of
the jaali pattern from the Taj Mahal and forts in the region, standardizing the use of primary colours of alum based red, and corroded filings of iron for black, and
developing vegetable based yellow and green dyes. His primary innovation was creating the Bagh print on different types of cloth by printing on them. His
innovative design of a bed cover, consisted of a bed cover which had 1,200 different blocks and won him the National Award in 1984.
• Location- The Bagh river, which flows near the village, is a major factor in the adoption of the art form. The Narmada river, about 30 kilometres (19 mi) from
Bagh, being a perennial (permanent) source, is an important source for this art work, particularly during the season when the Bagh river goes dry. Bagh prints are
listed as geographically tagged handicraft and are protected under the Geographical Indications of Goods (Registration & Protection) Act (GI Act) 1999 of
the Government of India. They were registered by the Controller General of Patents Designs and Trademarks under the title "Bagh Prints of Madhya Pradesh"
and recorded with (GI) tag under Application number 98 in 2008. Its logo, with the title Bagh Prints of Madhya Pradesh (logo) was approved under application
number 505 dated 1 August 2015 under Class 24 Textiles and Textile goods not included under other classes.
 CHANDERI
• Chanderi sari is a traditional sari made in Chanderi, Madhya
Pradesh, India.

• History- The weaving culture of Chanderi emerged between the 2nd and
7th centuries. It is situated on the boundary of two cultural regions of the
state, Malwa and Bundelkhand. The people of the Vindhyachal
Ranges have a wide range of traditions. In the 11th century the trade
locations Malwa, Medwa, central India and south Gujarat increased the
region's importance.
• The Chanderi sari tradition began in the 13th century. Around
1350, Koshti weavers from Jhansi migrated to Chanderi and settled there.
 CHANDERI

• Themes and motifs- Chanderi saris are produced from three

kinds of fabric: pure silk, Chanderi cotton and silk
cotton. Traditional coin, floral art, peacocks and modern
geometric designs are woven into different Chanderi
patterns. The saris are among the finest in India and are
known for their gold and silver brocade or zari, fine silk, and
opulent embroidery.
 MAHESHWARI
• On the banks of sacred Narmada river, lies the regal town of Maheshwar.
Endowed with a historical fort where Holkar clan ruled, pilgrimage which is
crowded all year round and lastly, the settlement of traditional weavers of
Maheshwari fabric are some of the eclectic fusions which make Maheshwar
more multi-dimensional and admired place to visit in Madhya Pradesh.
Maheshwari - one of the oldest handlooms!
• Maheshwar is best known for being the hub of handloom weaving since the
5th century, but it gained fame during the rule of the powerful Maratha queen
Rani Ahilyabai Holkar (1767-1795). The delicate Maheshwari fabric is woven
with silk and cotton yarns, which gives it a soft texture and makes it a perfect
summer textile. It is believed that the age-old weaving setup has a mention in
Kautilya's Arthshastra.
• There was a tradition of gifting Maheshwari saris
• It is assumed that the very first Maheshwari sari was designed by Ahilya Bai. Being a designer herself, in
1760, the queen outsourced talented handloom weavers from Surat and Mandu to work for her empire. They
were appointed in order to prepare turban fabric and exclusive nine-yard nauvari saris which would be worn
by the females of Malwa court and used for the gifting purpose to the royal guests. Well-known for being
subtle and rich in quality, Maheshwari saris have always exuded dignity and elegance!
• The revival of Maheshwari with the establishment of Rehwa Society
• Due to the advent of factories, new and inexpensive clothes in the market, gradually the weaving tradition
dropped! The revival of Maheshwari saris is credited to the members of royal including Richard Holkar and
Sally Holkar, son and daughter-in-law of Maharaja Yeshwant Rao Holkar II. In 1979, the couple formed a
non-profit organization called Rehwa Society to provide employment to women and revive the centuries-old
institution of hand woven Maheshwari saris, dupattas and dress material. The society today comprises
approximately 250 weavers and over 1500 looms.
• The unique designs and patterns of Maheshwari saris
• Earlier, the Maheshwari saris were made of finest cotton yarns with motifs inspired
from the intricacies engraved on the Maheshwar fort and temples. Today, the fabric
used in the sari is weaved using a blend of Coimbatore cotton and Bangalore silk yarns
with some new-fangled and more graceful motifs such as rui phool (cotton flower),
chameli (jasmine), hans (swan) and heera (diamond) embossed on it. The sari comes
with a reversible border and the unique five stripes on pallu or aanchal. Nevertheless,
the border is usually made with zari thread which is sourced from Surat. Some of the
colours used in weaving are tapkeer (deep brown), aamras (golden yellow) and angoori
(grape green).

• A sari takes 3-10 days to complete, depending on the design. The most time-
consuming part of weaving is the making of pallu or aanchal which can take 3-4 days
because it entails more detailed designs.
•
Regardless of its simple style, today, many popular designers and fashion houses are
incorporating Maheshwari fabric and sari to their collection.
DHOKRA
DHOKRA
• The state speaks volume about its cultural diversity through its rich art & craft. From delicate weaves to a good
range of exquisite artefacts, the heart of Incredible India is blessed with many distinguished crafts and talented
craftsmen who give their soul and heart to create countless masterpieces. Dhokra is one such attractive art form
which is quite popular in the state. It is widely practiced in the Betul district by the local tribal community. It's a
non- ferrous (other than iron or steel) metal moulding craft, created using the lost-wax casting technique.
•
The tribal influence in Dhokra- The Bharewas community of Betul, a sub-tribe of Gonds is still putting all their
efforts to improve and enrich this craft in nearby villages namely Amla, Tigaria, Barkhed, Chunahazuri and
Kamleshara. Intertwined with their culture, the artists traditionally made ceremonial items like the dagger worn by
the groom, oil lamps gifted to the bride by her parents and accessories for the tribal gods. The most popular ritual
associated with craft among the tribal community is enshrining of the deity in the house of newly married to give
blessings for their new journey. With simple to intricate, today artisans have found many new ways to make the craft
look more eye-catching with innovative designs and motifs. Each piece tells a story, usually inspired by nature and
tribal beliefs. Hence, every piece of Dhokra is precious, graceful and unique!
• The process
• Dhokra work involves a mixture of beeswax (natural wax) and saras (gum), which is boiled to a thick paste and pressed through
a strainer, to get fine threads. The unique property of natural beeswax allows flexibility and helps to twist the treads in tiny
shapes easily.

• To start the final process, artists take a mixture of mud and cow dung to make a shape out of it, then in the next step, the wax
thread is coiled around it. Now, another layer of mud coating is done and the piece is left to dry down completely. It is then
placed in the furnace to bake for a while. Lastly, the outer clay is removed, and unveiled the masterpiece of Dhokra.

• Attracting many art lovers...

• The craftsmanship has been driving many art & craft lovers from all over the world and making a mark not only in local markets
but also in the global market. It has found places in many exhibitions and gracing many high street store in abroad countries.

• So, as we say, when in Madhya Pradesh, you cannot leave the state without picking-up some pretty souvenirs. The brass metal
figurines such as a lamp, bell, photo frames, animal figures, and bullock carts can make for ideal souvenirs and sit beautifully on
tables as a showpiece to keep a reminder of this beautiful state.
THANK YOU