NAVIGATION
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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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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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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. |
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. |
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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.
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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. |
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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.
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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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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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