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Delhi
prides itself in its rich crafts tradition that
sturck root during the reign of Emperor Shahjahan.
It was in his new city of Shahjahanabad that arts
and crafts proliferated. Artisans and craftspersons
were invited, bought, won in battles or gifted by
other sovereigns. They settled within the estates,
in the karkhanas (workshops) of the noblemen and
princes, and nurtured their special styles and
sensibilities with a finesse developed over years of
learning. The evolving Shahjahanabad was a maze of
avenues and alleys, dictated by trade'and commerce.
Specific streets derived their names and character
from different crafts and occupations.
Their inheritors, painstakingly, and often against
all odds, carried on the secret code of these
special knowledge systems, with their fingers, their
eyes, mind and soul. Today what we see as
meticulously beautiful in craft, design and
conception is a real testimony to this inheritance.
Despite modernity and its aggressive onslaught,
despite urban sharks and middlemen, many traditional
crafts have survived and have evolved new parameters
of aesthetic and commercial value. Craft, unlike
so-called 'fine' art, is an expression of functional
necessity, directly affecting peoples' daily lives.
Design intervention and adaptations have rejuvenated
some crafts which are alive and pulsating in the
labyrinthine lanes of Delhi.
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Zardozi
Kinari Bazaar, a narrow lane off Chandni
Chowk, displays a dazzling array of gold embroidered
garments. Available in the numerous small shops here
are multiple applications of zardozi or intricate
hand embroidery done with gold and silver threads.
However, its sophisticated application is to be seen
in the boutiques of New Delhi.
A talk with Gul Mohammed, a national award winner
for the best craftsperson of zardozi work, reveals
the inner architecture of work and space. He
negotiates the narrow lanes of Shahjahanabad into
courtyards, through verandahs and secret passages,
up staircases into room-lined landings and further
up to tiny rooftop penthouses and then down again
into adjacent streets, tracing zardozi workers,
mostly women their bodies crouched next to wooden
frames with fabric stretched across, fabric ranging
from the most diaphanous silks to the heaviest
velvets and damasks.
Nimble fmgers pluck away with fme needles at gold,
silver and coloured threads, beads and spangles. The
patterns are phool-patti (flower and leaf). Today,
contemporary patterns have been assimilated into the
vocabulary. Gotas, or woven tapes of gold and
silver, are stitched in geometric patterns on
lehngas (ankle-length skirts), saris and veils. The
embroidered fabric could finally end up as wedding
garments, temple hangings, bags, shoe- uppers, caps
or even decorative cloth for draping a bridegroon's
horse.
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DELHI BLUE POTTERY
Behind Asaf Ali Poad, as you go in from Turkman Gate
into Hauz Suiwalan, one of the little alleys leads
to Hazarilal's house. He is the only practitioner of
the Delhi Blue Pottery tradition. A special mix of
powdered quartz is used to make the stoneware base
which is then glazed blue, with ingredients which
werer used for the blue tiles of pre-Mughal and
Mughal domes, a style inherited from Persia.
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MINIATURE PAINTING
The tradition of the Delhi school of miniature
painting has continued from the time of Emperor
Jehangir, father of Shahjahan.
The Delhi school is an offshoot of the Mughal
painting tradition. Mansoor, a painter in Jehangir
's court, was apprenticed to the Iranian miniature
painters, Mir Ali and Abdul Samer during the 16th
century. The Delhi school was distinguished for its
dynamism and naturalism in treatment, contrast of
colours and strong urban influence. The preferred
base for the painting was ivory, but today special
handmade paper is used.
In the Zakir Nagar house of Firozbhai, Faridbhai and
Akhtarbhai, direct descendants of Mansoor, the
ambience is that of a medieval studio. They prepare
their own brushes with squirrel hair inserted into
quills with specifications for fine single hair
lines or thicker strokes. Only herbal and mineral
colours are used. The gold-leaf work is the last to
be applied before burnishing with agate stones.
IVORY CARVING
Ivory was in Mughat India a symbol of aristocracy.
African ivory was coveted as a material for its
close grain, though Indian ivory was extensively
used. Furniture, screens, lamps, platters and
decorative items were inlaid with gold, silver,
precious stones and miniature paintings. The carving
was delicate, as can be seen in the screens in the
Red Fort Archaeological Museum.
Delhi Ivory Palace, a 300-year-old shop at the
northern gate of Jama Masjid, attracted the best
craftsmen who lived in Shahjahanabad. It has, in its
collection an old set of furniture carved by three
generations of craftsmen which was intended as a
gift for Queen Victoria. Because of the ban on
ivory, craftsmen now work on bone for small items
such as pendants and earrings, and on sandalwood.
JEWELLERY
Dariba Kalan near Chandni Chowk, known as the
jeweller's street, is famous for Meenakari or the
art of enamelling on silver and gold. Setting in
gold of navaratan (nine precious stones), is a
traditional skill of Muslim craftsmen called
Saadegars who settled in Delhi during Shahjahan's
time. Dariba also has Hindu craftsmen from Punjab
and Bengal who specialise in gold and silver work.
The sarafs, sellers of jewellery, are mostly Hindus
and have been around for more than two centuries.
Over the years, a lot of work has sifted from gold
to silver and gold-plated silver ornaments.
Exquisite handcrafted silver ornaments are also
available in Dariba Kalan.
TERRACOTTA POTTERY
Uttam Nagar and Bindapur in west Delhi are where
most potters in the city live. Most of them are
originally from Rajasthan and Haryana. A neatly
laid-out settlement in Uttam Nagar called Kumhar
Colony (kumhar meaning potter) was built in the
1970s to suit their specific needs. This is a unique
case of group migration and solidarity. Most kumhars
fan out to various parts of the city and establish
pavement stalls from where they sell their wares.
The crafting of objects of everyday use like clay
pitchers, cooking pots ar small oil lamps continues.
Modern adaptations include flower pots and exotic
display pots and planters. Quality earthenware is
available at the Crafts Museum in Pragati Maidan,
Dilli Haat, Lajpat Nagar and along major roads and
at the annual Surajkuna Crafts Mela.
PUPPETRY
Opposite the Shadipur Bus Depot in west Delhi, one
dips under the flyover and turns left into a
deceptively innocuous street marked by a small stall
of dholak (drum) sellers. This is settlement of
Rajasthani puppeteers, street performers and
craftspeople who migrated to Delhi decades ago.
Puppets, large and small are made here as well as
big, dramatic sculptures.
Families of the Bhopa community who live here are
traditionally storytellers. Their women sing out the
stories which are, in turn painted horizontal
scrolls. The paintings are folk versions of the
Rajasthani school of miniature painting. The
painting are adapted to surfaces such as wood and
clay, on furniture and decorative pots. The densely
packed images are lyrical tales of local heroes. |
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OTHER CRAFTS
There are a few old shops dealing in musical
instruments, most of which brought to Delhi from
various parts of India. Here, assemblage work is
done, such as fitting of hide membranes of tablas,
dholaks and other drums.Harmoniums are set. String
instruments such as dilruba, israj and sarod are
fitted, and the single-stringed ektara is made. One
of the oldest shops dealing in musical instruments
is Bina Musical Stores in Nai Sarak. Rishi Ram at
Connaught Circus is known for its sitars.
The same tazia-makers also make huge Ravana effigies
during the Hindu festival of Dussehra which are
packed with fire crackers and burnt with flaming
arrows. Their work place is known as teer ghar
meaning house of arrows. They are also involved in
making tazias with flowers for the festival of
Phoolwalon ki Sair at Mehrauli.
The making of paper kites caters to the famous
kite-flying mania of Dilliwalas which reaches its
height during the monsoons, especially on 15 August,
India's Independence Day, and during the spring
festival of Basant Panchami. The patang or kite
market in Lal Kuan Bazaar in Shahjahanabad is then a
riot of colours. Kites come in all sizes, ranging
from 36 inches to their miniature versions, which
are available at the Crafts Museum, Dilli Haat and
Central Cottage Industries Emporium. However, the
two standard sizes are 12 inches and 15 inches.
Kites made of plastic sheets are also available. |
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