Persona of Indian Crafts

The bird's eye view of Indian crafts is a rag quilt of many shades and shades of visual meaning, a reflection of interaction with social, economic, cultural, and religious forces. The craft world is full of contrasts, a universe of utility products and sacred objects, articles for ritual use, and almanac festive crafts, representing multiple levels of refinement from the simplest to the most technologically advanced. Similarly, there are many notions of the word 'craftsman', ranging from a manual laborer to a worker of high artistic excellence. The craft, then, is situated in a complex milestone, a dense matrix of many varieties and elements.

The stories come to fruition with the skillful manufacture of tools and skills and the product is a mirror of the society that produces it. It is unnatural how we can see the traces and signs of a culture frozen in stone or clay and metal and wood, all of which echo the roots of a particular cultural system that produces or uses a craft item. The belief system that determines that form may be from a religious source or somebody of ancient folk knowledge.

As someone has rightly said, a craft is a creativity, proximity to nature, command over thought patterns, clarity of the right mix to bend a piece of wood or a piece of brass or a true reflection of another work.

Thus, giant terracotta Iyengar horses have been erected as observable village protectors in Tamil Nadu. Temples, mosques, churches, and tribal deities are all part of the rite of shaping the artifacts of worship and passage in so many communities in India. Birth and death, marriage, and adolescence are all occasions for community enjoyment or grief, and these create the demand for the highest degree of context and skill for the release of creative energy that the craft person can bring to the occasion.

There are a variety of expressions: some elaborate with decorative motifs and surface embellishments, some others have an ancient sense of serenity with material and lofty proportions that provoke softer feelings even when made of metal, such as large scales Ship from Kerala at Casta Chakku. The simplicity of the Jains reflects the ethos of each community and the purpose of this work, in contrast to wood travel, utensils, and elaborate and ornate meenakari, enamel metal utensils from the Islamic North Stand. In Nagaland hills, the wearer's baskets, headbands, and other items tell us about his worldview and identity.

India has been at the crossroads of civilization for 5,000 years. Various waves of interaction from the North West and micro-business interactions from the South and East have brought in new ideas and practices, skills, and applications. Internal migration and business transactions took skills from one place and planted them in new and foreign settings. For example, Gujarati bandhani garments find new expression in the sunglasses of distant Madurai. The arrival of the Mughals revealed fine Iranian artistry of metal, silk, and carpet weaving. The arrival of British and Portuguese in South India started the tradition of carved wood from the West. Also, the hot humid climate invoked a sensible design of the shaded verandas of Pondicherry, coastal Kerala, and Tamil Nadu.

Indian handicrafts are a repository of classical motifs and paradigms that have evolved over the centuries, many of which have been passed on to the era of interaction with business cultures. The motifs and patterns once absorbed by culture are transmitted in a wide variety of media, from stone to wood, from metal to fabric; From weaving to printing and painting to inlay; Each technique brings its unique signature, a mix of materials and equipment range to the pattern. Material and references can also be as many expressions as floral motifs and creeper, vine, Carey or AAM, stylish mango.

The human form is also depicted in great variety. The rough and finished shape of the Naga warrior contrasts strongly with the elegant Chola bronze statues, while the iron-iron tribes of Chhattisgarh differ from expressive commercial toys from Kondapalli in Andhra Pradesh.

Many crafts are a form of pure service and the craftsman plays the role of the architect of some important work of giving or repairing. Mochi or Mochi and Potter, tile maker and carpenter fall under the category of people who work to serve the community with their skills and knowledge. In the era of mass consumption, it might be a good idea to bring back some of the value of this service to ensure that our products are used rather than used and repaired and that their active lives end long ago. The use of crafts and craftsmanship can bring new values ​​to a sustainable future and a new approach to the proper use and misuse of materials in years to come.

Traditional and modern settings exist to showcase the craft heritage throughout India. The market is closest to the producer, while new forms of exhibitions and trade fairs promoted by government and non-governmental bodies represent new forms of contemporary action. Craft heritage is evolving in modern times and objects are also finding new and contemporary expression, while the old and traditional are still valuable for the refinement they represent. The craft understands and reacts to the variety demanded by its customers. Kolhapuri chappals, leather shoes, is a product that comes to mind. Warli and Madhubani paintings are two prime examples of everyday art that are part of the living culture of the land.

In the changing context of a global market-driven economy and ideology, traditional crafts offer sustainable practices that need to be rethought and emulated. Crafts development needs a change from artisan, traditional craftsman, to promoting the quality of artisanry, craftsmanship, as anyone who applies this quality becomes a craftsman forever.