HANDICRAFTS OF ODISHA-
The whole stretch of Odisha has an exquisite line of handicrafts and each piece of that meticulously designed art has a story to tell. Starting from North Odisha to the Southern part, from the easternmost region to the westernmost region , Odisha flaunts of being the native to many handicrafts .The rich handicrafts of Odisha is not limited to Pattachitras, pipili or Silver filigree. These are the most celebrated ones and are best identified with Odisha.
Handicrafts are a part of India’s rich cultural heritage. These are mainly works of art and beauty, designed and shaped by hand with creative imagination of craft-persons from time immemorial. Our country is best known for its handicraft, which flourished with Royal Patronage in ancient days. Sweeping wave of industrialization and consequential flooding of market with machine-made goods could not put this craft sector to oblivion. Immediately after independence the planners felt that co-existence of craft industries with modern factories would go a long way in mitigating the problems of employment and poverty in a labour abundant and capital scarce country like ours. The All India Handicrafts Board was established in the year 1952 to look after promotion and development of handicraft in India.
Orissa is endowed with varieties of crafts mainly linked to a number of festivities and rituals observed in our state. The superb art and skill displayed by our artisan in temples, mathas and sculptures of the past have been enthrilling the visitors over the centuries. Orissa handicrafts, due to their unique, original, creative characteristics and unsurpassed sense of colour are offered a place of pride in Indian Handicraft Map. There are over a lakh of handicraft artisans in the state practising as many as 49 crafts. There are a number of craft pockets dispersed throughout the state. These artisans produce handicraft goods valued over Rs.7, 000.00 in lakhs annually. Around 22,000 artisans have been brought into Co-operative fold by organising 290 Co-operative Societies at grass-root level. Steps are also being taken to form Self Help Groups of the handicraft artisans to ensure community participation. At the State Level Orissa State Co-operative Handicrafts Corporation has been formed as an Apex body to look after marketing of handicraft goods. That apart, they also under-take other developmental activities for promotion of handicrafts.
110 Master Craft persons of the state have got recognition at the National level by winning National Award and National Merit Certificates. One of them has been conferred with Padma Bhusan while other two have been awarded Padma-shree. Besides, 117 Master-craft persons have received State Award and State Award Merit Certificate. The awards no doubt are recognition excellence achieved by our craftsmen in the field of handicrafts. Even some of the craft-persons have successfully conducted craft demonstration in foreign countries and got wide applauds.
The awards are not only the recognition of the last achievement alone. If that were so, they would serve only the half purposes for which they are intended, so even as we alone with many others salute the best, we would like the awards to serve as an inspiration to other artisans to set the stage higher and higher so that they get to that coveted position themselves, some day, if not to-day, they will not be alone in that endeavour. We pledge to bring them their, of very best the latest the cutting edge in achievement if skill and practise to get them so that years after years we along with our growing family of artisans will be able to raise toast to more and more such titans.
It is seen that some of the Crafts like stone carving, wood carving patta painting, silver filigree, applique, tribal jewellery, papier machie, terracotta, Dhokra casting, wooden painted items, cane & bamboo products. Brass & bell metal products, golden grass products are to name a few only have potential to grow into serious commercial venture. It is also admitted that some crafts are found languishing due to various problems, which necessitate product diversification, design development, technology up-gradation, proper market exploitation etc.
The handicraft sector at present operates with the following strengths weaknesses, opportunities and threats. The points as made out below leads us to make a SWOT analysis and suggest measures to be taken.
· Availability of a major cross-section of craft-persons with desired level of skill and competence.
· Low level of investment with little gestation period.
· Generation of self-employment in rural and urban areas.
· No/less power utilised in production process.
· High ratio of value addition to investment.
· Economic empowerment of women.
· Utilisation of local resources.
· Adoption of appropriate technology.
· Eco-friendly.
· Product with adequate demand in domestic as well as external market.
Weaknesses..
· Highly unorganised and widely dispersed.
· Lack of opportunity/unwillingness for adoption to: -
(a) Market oriented designs.
(b) Production diversification.
(c) Cross-culture innovation.
(d) Advanced technology.
· Lack of exposure to different market segments.
· Lack of enterprising and marketing skill.
· In-adequate market intelligence.
· Non-conducive policies on utilisation of forest and mineral based raw-materials.
· In-adequate institutional credit flow leading to exploitative lending.
· Inability of timely execution of large orders.
· Lack of proper branding of products resulting in duplication.
· Lack of awareness and measures for quality assurance.
a) Availability of Manpower/Labour force.
b) Ample scope of Govt. schematic support for artisans under various schemes
c) High export potential.
d) Least impact of WTO in this sector.
e) Availability of traditional skill. Least impact of WTO in this sector.
a) Imitation by other States due to lack of patenting.
b) Frequent occurrence of natural calamity.
c) Seasonal availability of raw materials like golden grass, needing huge fund for due time procurement.
d) Seasonal employment in Crafts like Terracotta.
e) High illiteracy rate to adjust with the charged scenario,
The strength and opportunity surpasses the weakness and threat. However to over come the threat and weakness both the Central and State Govt. have implemented various schemes with following intervention strategies for development of this sector.
· Development of clusters into S.H.Gs/Co-operatives to encourage community participation and capacity building.
· Induction of new artisans through transfer of skill.
· Appropriate measures for skill up gradation of artisans (Craft-wise).
· Technology upgradation.
· Creation of facility for easy and timely access to raw materials.
· Use of expert service for innovative designs.
· Establishment of marketing linkage with emphasis on export promotion.
· Institutional credit linkage.
· Strengthening/creation of infrastructure:
(Raw-material base/Common Facility, Centre/Design Centre/finished product godown/market outlets/ Work shed.)
· Strengthening & streamlining database and information system.
· Strengthening the existing monitoring and supervision system.
· Networking at artisan level/cluster level/District level/State-level.
· Synergy among development partners to ensure dovetailing of funds /efforts for better result.
· Expansion of P.R. base.
· Development of connectivity of craft clusters.
· I.P.R. benefits.
SAND ART- Sand art in Orissa is one of the famous art forms of the state. Sand Art is a distinctive type of art form of Puri in Orissa, which is usually depicted at the seashore. This form of art, is unique to the state. It is actually a type of sculpture, which is practiced on sand. It can be compared with stone sculpture. pture. To carve a sand sculpture, the raw material is the only clean and fine grained sand mixed with water . With the help of this type of sand and with the blessings of God and by the magic of fingers , an artist can carve a beautiful and attractive sculpture on the beach.
SAND ART IMAGE
SAMBALPURI SAREE-is a traditional handwoven ikat or sari or saree (locally called shadhi) wherein the warp and the weft are tie-dyed before weaving. It is produced in the Bargarh, Sonepur, Sambalpur, Balangir district, Boudh District of Odisha. The saree is a traditional female garment in the Indian Subcontinent consisting of a strip of unstitched cloth ranging from four to nine metres in length that is draped over the body in various styles.
Sambalpuri sarees are known for their incorporation of traditional motifs like shankha (shell), chakra (wheel), phula (flower), all of which have deep symbolism, but the highpoint of these sarees is the traditional craftsmanship of the 'Bandhakala', the Tie-dye art reflected in their intricate weaves, also known as Sambalpuri "Ikkat". In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking many weeks. These sarees first became popular outside the state when the late Prime Minister Indira Gandhi started wearing them. In the 1980s and 1990s they became popular across India. To provide protection to the weavers practicing this art, the handloom silk sarees manufactured in Sambalpur and Berhampur (Berhampur Pattu) in Odisha were included in the Government of India’s Geographical Indications (GI) registry.
Sambalpuri Saree (Oriya: ସମ୍ବଲପୁରୀ ଶାଢ଼ି)) is a traditional handwoven ikat or sari or saree (locally called shadhi) wherein the warp and the weft are tie-dyed before weaving. It is produced in the Bargarh, Sonepur, Sambalpur, Balangir district, Boudh District of Odisha. The saree is a traditional female garment in the Indian Subcontinent consisting of a strip of unstitched cloth ranging from four to nine metres in length that is draped over the body in various styles.
Sambalpuri sarees are known for their incorporation of traditional motifs like shankha (shell), chakra (wheel), phula (flower), all of which have deep symbolism, but the highpoint of these sarees is the traditional craftsmanship of the 'Bandhakala', the Tie-dye art reflected in their intricate weaves, also known as Sambalpuri "Ikkat". In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking many weeks. These sarees first became popular outside the state when the late Prime Minister Indira Gandhi started wearing them. In the 1980s and 1990s they became popular across India. To provide protection to the weavers practicing this art, the handloom silk sarees manufactured in Sambalpur and Berhampur (Berhampur Pattu) in Odisha were included in the Government of India’s Geographical Indications (GI) registry.
The Sambalpuri sari is made from fabric woven on a hand-loom and is popular throughout India.[5] Varieties of the Sambalpuri sari include Sonepuri, Pasapali, Bomkai, Barpali, and Bapta saris, which are in high demand. Most of them have been named after their places of origin and are popularly known as Pata. Paintings on Tussar saris depicting Mathura Vijay, Raslila and Ayodhya Vijay owe their origin to ‘Raghurajpur patta paintings
Fabric and design
Sambalpuri fabrics reflect an original style of craft known as Baandha. Traditionally, craftsmen created Baandhas with images of flora or fauna or with geometrical patterns. More recently, new types of Baandha depicting portrait, landscape and flower pods are being designed. Baandha fabric is created using a tie-dye technique. The yarns are tied according to the desired patterns to prevent absorption of dyes, and then dyed. The yarns or set of yarns so produced is called 'Baandha'. The unique feature of this form of designing is that the designs are reflected almost identically on both side of the fabric.Once the frabic is dyed it can never be belached in to other colour. This versatile technique enables a craftsman to weave colourful designs, patterns and images into a fabric capable of inspiring a thought or conveying a message. Thus Baandha can be defined as "A length of systematically arranged yarn, dyed according to a preconceived design in such a manner so as to enable a weaver to portray the design when the yarn is converted to a fabric through the process of weaving". It is believed that this art migrated to Western Odisha along with the Bhulia community who fled Northern India in the year 1192 AD after the fall of the Chouhan empire at the hands of the Mughals. Since then and up to the year 1925 it flourished in Western Odisha in a limited number of designs and in vegetable colours and consisted mostly of saris used by the womenfolk of the Odisha. These saris were known as 'Bhulia-Kapta'. The demand was limited, distress sale was common and the craftsmen lived in penury.
Development
Today the Baandha fabric is popularly known by its geographical and cultural name Sambalpuri owing to the pioneering efforts of Sri Radhashyam Meher, who brought about a radical improvement in the skills of the craftsmen and the quality of the products. Other master craftsmen who contributed to the development of Sambalpuri textiles were Padmashree Kailash Chandra Meher, Padmashree Kunja Bihari Meher, Padmashree Chatrubhuja Meher and Padmashree Krutharth Acharya. Sambalpuri textiles today include furnishing materials, dress materials and sarees in silk, cotton and mercerised cotton in a variety of colours and many different designs. Baandha craftsmen are also masters of the 'extra warp' and 'extra weft' style of designing which can be seen in almost all forms of Baandha textiles. Radhashyam Meher also produced Khadi textiles using the Baandha art.
In 1926, Radhashyam designed the first handloom to weave textiles of ninety inches width. This achievement made him the 'Parda agent' of the Government of Bihar for the production of furnishing materials. Later, after the formation of the state of Odisha, he became the 'Parda agent' of the government of Odisha. His dexterity in the Baandha art and his ability to motivate the weaving community in the region to improve their skills by providing the necessary training and incentives enabled the creation of new designs that received international fame and recognition.
Radhashyam Meher established his proprietary concern, named 'Utkal Parda Agency', at Sambalpur for the research, production and marketing of Sambalpuri textiles. Acknowledging Radhashyam Meher's unparalleled contribution to the growth and popularity of 'Baandha art', the Ministry of Textiles of the Government of India has sponsored textile exhibitions coinciding with his birth anniversary on November 20 and organised by the Director of Textiles of the Government of Odisha.
He also played an active role in the cooperative movement and organised the Meher Art Fabrics cooperative society Ltd and the Sambalpur Regional Cooperative Marketing Society Ltd. (RCMS) He was a member of the All India Handloom Board in the year 1953. Until his death he was always elected as the member of the Sambalpur Municipality.
Industry
Roughly 16 km from the district headquarters of Sonepur, Sagarpali is a large village hosting around 500 bhulia (weaver) families. This is one of the largest weaving villages in Kosal, a bastion of the Sambalpuri sari. Other areas affluent with handloom weavers are Barpali, Tarbha, Bijepur, Patnagarh and Bargarh.
Important handloom clusters of Odisha
Serial No. Category of cluster Name of district Name of cluster Number of clusters
1 A Bargarh Attabira, Bargarh, Bheden, Barpali, Bijepur, Padampur, Sohela, Bhatli 8
2 A Subarnapur/Sonepur Birmaharajpur, Sonepur, Ulunda, Binika 4
3 A Boudh Boudh 1
4 B Balangir Patnagarh, Agalpur, Bangamunda 3
5 B Nuapada Khariar (Sinapali) 1
6 B Sambalpur Rengali 1
§Important handloom centers of western Odisha and famous products[edit]
Districts Sambalpuri handloom product
Bargarh bed cover, dress materials, cotton tie & dye saree, silk Sambalpuri saree, coarse cotton saree & others
Sonepur & Boudh silk Bomkai saree, tie & dye cotton saree, furnishing & silk tie & dye saree
Kalahandi Habaspuri saree, coarse cotton saree & others
Balangir tie & dye cotton saree & furnishings, silk tie & dye saree, coarse cotton saree & others
Sundergarh & Sambalpur coarse cotton saree & others
[9]
Habaspuri saree, from Kalahandi, Odisha, India
§Sambalpuri Bastralaya[edit]
Sambalpuri Bastralaya Handloom Cooperative Society Ltd., Bargarh. The pioneer handloom institution of the state was established at Bargarh in 1930
SAMBALPURI SAREE
APPLIQUE WORK
APPLIQUE WORK-Product Diversification:
1. Chattri(Traditional Umbrella): Chattri is a traditional umbrella used specially for festivals and religious processions.
2. Alata: It is generally used for the religious purposes for decorating and using as manual fan for the Lord Jagannath and other deities.
3. Troas(Tarasa): It is used during the religious procession of lord Jagannath and other deities.
4. Batua: Batua is a unique Orissa cloth pouch that has usually a semi circular shape with the top being straight.
5. Lamp Shade: The most admired & popular product of the artisans of Pipili is lamp stand.
6. Jhalar: It is another popular item sort of frill, which is used as border to canopies and also independently used as decorative pieces.
JAU KANDHEI OR LAC DOLLS-
SAND ART- Sand art in Orissa is one of the famous art forms of the state. Sand Art is a distinctive type of art form of Puri in Orissa, which is usually depicted at the seashore. This form of art, is unique to the state. It is actually a type of sculpture, which is practiced on sand. It can be compared with stone sculpture. pture. To carve a sand sculpture, the raw material is the only clean and fine grained sand mixed with water . With the help of this type of sand and with the blessings of God and by the magic of fingers , an artist can carve a beautiful and attractive sculpture on the beach.
History-History:
The lineage of this art dates back to a long time back. One can find the mention of this art in the life story of Balaram Das, one of the most well known poets of Orissa. This poet was a prominent literary figure of the 14th century AD. The sand art was, therefore, one of the prevalent art forms of 14th century Orissa. There is an interesting mythical story associated with sand art in Orissa. According to popular belief, Balaram das wanted to climb Lord Jagannath's chariot to pay homage to him, but he was not allowed to do so. He went to the sea beach and started carved the images of Lord Jagannath, Devi Subhadra and Lord Balabhadra out of sand. He then prayed to this image of Lord Jagannath. It is said that his dedication was so strong that the statues of the deities were later seen on the beach where Balaram Das offered his prayers and not on the chariot.
One of the famous artists of Orissa who is involved in this art form is Sudarsan Pattnaik. His works are mostly based on current world issues, ranging from climate change to world peace.
SAND ART IMAGESAMBALPURI SAREE-is a traditional handwoven ikat or sari or saree (locally called shadhi) wherein the warp and the weft are tie-dyed before weaving. It is produced in the Bargarh, Sonepur, Sambalpur, Balangir district, Boudh District of Odisha. The saree is a traditional female garment in the Indian Subcontinent consisting of a strip of unstitched cloth ranging from four to nine metres in length that is draped over the body in various styles.
Sambalpuri sarees are known for their incorporation of traditional motifs like shankha (shell), chakra (wheel), phula (flower), all of which have deep symbolism, but the highpoint of these sarees is the traditional craftsmanship of the 'Bandhakala', the Tie-dye art reflected in their intricate weaves, also known as Sambalpuri "Ikkat". In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking many weeks. These sarees first became popular outside the state when the late Prime Minister Indira Gandhi started wearing them. In the 1980s and 1990s they became popular across India. To provide protection to the weavers practicing this art, the handloom silk sarees manufactured in Sambalpur and Berhampur (Berhampur Pattu) in Odisha were included in the Government of India’s Geographical Indications (GI) registry.
Sambalpuri Saree (Oriya: ସମ୍ବଲପୁରୀ ଶାଢ଼ି)) is a traditional handwoven ikat or sari or saree (locally called shadhi) wherein the warp and the weft are tie-dyed before weaving. It is produced in the Bargarh, Sonepur, Sambalpur, Balangir district, Boudh District of Odisha. The saree is a traditional female garment in the Indian Subcontinent consisting of a strip of unstitched cloth ranging from four to nine metres in length that is draped over the body in various styles.
Sambalpuri sarees are known for their incorporation of traditional motifs like shankha (shell), chakra (wheel), phula (flower), all of which have deep symbolism, but the highpoint of these sarees is the traditional craftsmanship of the 'Bandhakala', the Tie-dye art reflected in their intricate weaves, also known as Sambalpuri "Ikkat". In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking many weeks. These sarees first became popular outside the state when the late Prime Minister Indira Gandhi started wearing them. In the 1980s and 1990s they became popular across India. To provide protection to the weavers practicing this art, the handloom silk sarees manufactured in Sambalpur and Berhampur (Berhampur Pattu) in Odisha were included in the Government of India’s Geographical Indications (GI) registry.
The Sambalpuri sari is made from fabric woven on a hand-loom and is popular throughout India.[5] Varieties of the Sambalpuri sari include Sonepuri, Pasapali, Bomkai, Barpali, and Bapta saris, which are in high demand. Most of them have been named after their places of origin and are popularly known as Pata. Paintings on Tussar saris depicting Mathura Vijay, Raslila and Ayodhya Vijay owe their origin to ‘Raghurajpur patta paintings
Fabric and design
Sambalpuri fabrics reflect an original style of craft known as Baandha. Traditionally, craftsmen created Baandhas with images of flora or fauna or with geometrical patterns. More recently, new types of Baandha depicting portrait, landscape and flower pods are being designed. Baandha fabric is created using a tie-dye technique. The yarns are tied according to the desired patterns to prevent absorption of dyes, and then dyed. The yarns or set of yarns so produced is called 'Baandha'. The unique feature of this form of designing is that the designs are reflected almost identically on both side of the fabric.Once the frabic is dyed it can never be belached in to other colour. This versatile technique enables a craftsman to weave colourful designs, patterns and images into a fabric capable of inspiring a thought or conveying a message. Thus Baandha can be defined as "A length of systematically arranged yarn, dyed according to a preconceived design in such a manner so as to enable a weaver to portray the design when the yarn is converted to a fabric through the process of weaving". It is believed that this art migrated to Western Odisha along with the Bhulia community who fled Northern India in the year 1192 AD after the fall of the Chouhan empire at the hands of the Mughals. Since then and up to the year 1925 it flourished in Western Odisha in a limited number of designs and in vegetable colours and consisted mostly of saris used by the womenfolk of the Odisha. These saris were known as 'Bhulia-Kapta'. The demand was limited, distress sale was common and the craftsmen lived in penury.
Development
Today the Baandha fabric is popularly known by its geographical and cultural name Sambalpuri owing to the pioneering efforts of Sri Radhashyam Meher, who brought about a radical improvement in the skills of the craftsmen and the quality of the products. Other master craftsmen who contributed to the development of Sambalpuri textiles were Padmashree Kailash Chandra Meher, Padmashree Kunja Bihari Meher, Padmashree Chatrubhuja Meher and Padmashree Krutharth Acharya. Sambalpuri textiles today include furnishing materials, dress materials and sarees in silk, cotton and mercerised cotton in a variety of colours and many different designs. Baandha craftsmen are also masters of the 'extra warp' and 'extra weft' style of designing which can be seen in almost all forms of Baandha textiles. Radhashyam Meher also produced Khadi textiles using the Baandha art.
In 1926, Radhashyam designed the first handloom to weave textiles of ninety inches width. This achievement made him the 'Parda agent' of the Government of Bihar for the production of furnishing materials. Later, after the formation of the state of Odisha, he became the 'Parda agent' of the government of Odisha. His dexterity in the Baandha art and his ability to motivate the weaving community in the region to improve their skills by providing the necessary training and incentives enabled the creation of new designs that received international fame and recognition.
Radhashyam Meher established his proprietary concern, named 'Utkal Parda Agency', at Sambalpur for the research, production and marketing of Sambalpuri textiles. Acknowledging Radhashyam Meher's unparalleled contribution to the growth and popularity of 'Baandha art', the Ministry of Textiles of the Government of India has sponsored textile exhibitions coinciding with his birth anniversary on November 20 and organised by the Director of Textiles of the Government of Odisha.
He also played an active role in the cooperative movement and organised the Meher Art Fabrics cooperative society Ltd and the Sambalpur Regional Cooperative Marketing Society Ltd. (RCMS) He was a member of the All India Handloom Board in the year 1953. Until his death he was always elected as the member of the Sambalpur Municipality.
Industry
Roughly 16 km from the district headquarters of Sonepur, Sagarpali is a large village hosting around 500 bhulia (weaver) families. This is one of the largest weaving villages in Kosal, a bastion of the Sambalpuri sari. Other areas affluent with handloom weavers are Barpali, Tarbha, Bijepur, Patnagarh and Bargarh.
Important handloom clusters of Odisha
Serial No. Category of cluster Name of district Name of cluster Number of clusters
1 A Bargarh Attabira, Bargarh, Bheden, Barpali, Bijepur, Padampur, Sohela, Bhatli 8
2 A Subarnapur/Sonepur Birmaharajpur, Sonepur, Ulunda, Binika 4
3 A Boudh Boudh 1
4 B Balangir Patnagarh, Agalpur, Bangamunda 3
5 B Nuapada Khariar (Sinapali) 1
6 B Sambalpur Rengali 1
§Important handloom centers of western Odisha and famous products[edit]
Districts Sambalpuri handloom product
Bargarh bed cover, dress materials, cotton tie & dye saree, silk Sambalpuri saree, coarse cotton saree & others
Sonepur & Boudh silk Bomkai saree, tie & dye cotton saree, furnishing & silk tie & dye saree
Kalahandi Habaspuri saree, coarse cotton saree & others
Balangir tie & dye cotton saree & furnishings, silk tie & dye saree, coarse cotton saree & others
Sundergarh & Sambalpur coarse cotton saree & others
[9]
Habaspuri saree, from Kalahandi, Odisha, India
§Sambalpuri Bastralaya[edit]
Sambalpuri Bastralaya Handloom Cooperative Society Ltd., Bargarh. The pioneer handloom institution of the state was established at Bargarh in 1930
SAMBALPURI SAREEAPPLIQUE WORK
| It is believed that the origin and development of the appliqué work in Orissa dates back to ancient times. The appliqué craft originated in the district of Puri appointed artisans called Darji by caste as sevak- the people appointed by the king of Puri for looking after the day-to-day rituals of Lord Jagannath temple for regular supply of appliqué article required for the day-to-day seba (rites in the temple) of Lord Jagannath. In exchange of the seva, they were provided land ownership for their contribution of appliqué craft for the rituals of Lord Jagannath. During that time, the king also used to determine the quality and price of the appliqué craft to be procured from the suppliers. The available historical evidence on Orissa art and architecture suggest that the appliqué craft of Orissa dates back to the 12th century, when the temple of Lord Jagannath was built at Puri. However, presently the appliqué work is not confined to any particular caste like “Darjee” rather the other caste people have mobilized into the profession along with the traditional castes in the clusters like Pipili and Puri. The main centre ofproduction is Pipili a small town in Khurda around 20 KM of the state capital. However, due to itsorigin from Pipili the craft is known all over as Pipili appliqué craft.Theappliquéproducts are also exported to many foreign countries. • Motifs Used The Pipili is famous for carefully cut shapes/ motifs of birds, flowers, leaves, and other geometric patterns. The different motifs used are basically belong to animals like Hathi(elephant), Singha(lion), and birds like Mayur (Peacock), Sua (Parrot), Gandamayur (doubleheaded peacock),Bataka (Duck), etc and the motifs of Gach (tree), Patra (leaf), Flowers like malli,padma (Lotus) are also used to decorate it. The beautifully shaped decorative motifs in chandua, the canopy make it more attractive. The use of motifs like, Suryamukshi at the centre of the product andgandamayur, which originated from the imaginations of the Pipili artisans make the Chanduaunique.
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APPLIQUE WORK-Product Diversification:
The growing demand of the Pipili appliqué craft and the recent trends has prompted theArtisans of Pipili to go for product diversification. As a result, the artisans and the master artisans are able to include some new products into the appliqué craft. The artisans are producing new products like Bed cover, Cushion cover, Sofa cover, T.V. cover, Refrigerator cover, Door screen, Round gate, & Flat gate (used on festivals like marriage for decorating the Pandals), etc. The consumers from domestic and external market are also appreciating these products.
• Famous Items1. Chattri(Traditional Umbrella): Chattri is a traditional umbrella used specially for festivals and religious processions.
2. Alata: It is generally used for the religious purposes for decorating and using as manual fan for the Lord Jagannath and other deities.
3. Troas(Tarasa): It is used during the religious procession of lord Jagannath and other deities.
4. Batua: Batua is a unique Orissa cloth pouch that has usually a semi circular shape with the top being straight.
5. Lamp Shade: The most admired & popular product of the artisans of Pipili is lamp stand.
6. Jhalar: It is another popular item sort of frill, which is used as border to canopies and also independently used as decorative pieces.
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A languishing folk art of Balasore, Odisha has a rich ethical and ritual value in maintaining peaceful conjugal relationship in the family while bringing health, wealth, prosperity to an individual's home. Celebrating its wedding ceremony by the neighbours develops long term affinity and social harmony. Offering the dolls to Lord Laxminarayan on the auspicious occasion of Maha Sabitri Brata by the married women prospers the conjugal relationship.
SILVER FILGREE Filigree is an attractive type of work used in silver jewellery making. Among the important centres are Cuttack in Orissa and Karim Nagar in Andhra Pradesh. As twisted silver wire is the base material, the articles have a lacy trellis-like appearance. Cuttack has been famous for its spider web work and the filigree work is locally known as Tarkashi. It produces very exquisitely patterned jewellery pieces. The rose flower dominates the design in the Cuttack region and most of the designs are built up around flowers. In Karim Nagar, creepers and leaves predominate. They have a unique method for fixing firmly, the numerous components. The craftsmen, who belong to the Sunar, (goldsmith) community of Orissa, practise the craft which was introduced in the state during Mughal rule. Thick silver wires are used to make the frame into which small design pieces (sikko) made from thinner wires are fitted. The craftsmanship lies in fitting the small parts perfectly in the frame. Decorative and elaborate motifs influenced by the Mughal era have inspired the intricate designs produced by the craftsmen. They make jewellery and decorative figures like idols of gods, animals and replicas of the Konark wheel and the TajMahal. The process includes wire being drawn and then pressed in different shapes. The smaller articles are directly moulded into various designs. For larger ones, smaller components are made and pieced together. Traditional jewellery items made by this art form include arm jewellery, necklaces, nose rings and the anklets. Modern jewellers also make brooches, earrings, pendant, hair pins, and bangles along with other utility items like trays, plates, cups, bowls, ash-trays, candle stands, incense containers, vermilion containers, animals, birds, flowers, peacock, chariots and even ladies bags. Filigree work of Orissa is an example of a great artistic excellence which is rarely found in India. Thin silver wires are carefully shaped and made into intricate designs. Fine strings of silver threads are produced by drawing it through a series of consecutive holes of very small diameter. These wires are then heated and wound around a charkha, and then later fastened together. These threads are then shaped into various designs and patterns. Filigree is thus a combination of different pieces joint together. Cuttack is the hub of silver filigree locally known as Tarkasijewelry attracting people from all over the world. Various products are made out of Filigree such as Plates, bowls, cups, trays, necklaces, bracelets, and many others. The motifs frequently used are peacock, birds, flowers, leaves and many more.
SILVER FILGREE GANESH IMAGE
DHOKRA CRAFT
DHOKRA CRAFT-
If the Mohenjodaro craftsman who famously cast the bronze figurine of a dancing girl some 4500 years ago were to visit central and east India today, he would undoubtedly feel at home. In the Dhokra metal-casting process he will recognize the lost wax technique he himself would have used in his time.
The lost-wax technique, called cire perdue in French, is a metallurgical art form that is at once one of the oldest and the most advanced. Apart from India it was used in ancient Egypt, Mesopotamia, China and Greece. The technique flourished in the hands of the Aztecs in Mexico during 14th-16th centuries AD and in the Benin kingdom in south-central Nigeria during 14th-19th centuries AD.
ed Dhokra. The Dhokra people are settled over a vast tract in the mineral-rich central Indian tribal belt covering the modern regions of Jharkhand, Chhattisgarh, Orissa and parts of Andhra Pradesh. They are also settled in the adjoining alluvial districts of Bankura, Bardhaman, Purulia and Midnapur in the westernmost part of Bengal. Though all Dhokras are ethnically related, they are variously classified as scheduled castes, scheduled tribes, or other backward classes, depending on the prevailing socio economic parameters. In Bastar district of Chattesgarh Dhokra work is done by a metal-working caste, called Kaser (after Kansa, bronze) or Ghadwa (meaning pot-maker). Two caste groups engaged in Dhokra work in Mayurbhanj district of Orissa are the Thetari Ranas and Thetari Naiks. The Bengal Dhokras retain memories of having migrated from Orissa. They believe that they originally came from Bastar. It is not clear weather this is a genuinely preserved tradition or a repletion of what they have been told about themselves. They are now called Karmakars , an obviously successful attempt at sanskritization. Earlier literature lists them as Mals or Malars, or as Dhokra Kamars (as distinct from say Ghatra Kamars, who make kitchen utensils
LOST WAX TECHNIQUE-
Dhokra craftsmen are artists first and metal workers later. It is bees-wax and not metal that permits them to give material shape to the creative images they form in their mind. The actual process can be summed up in six essential steps: Step 1 Using rather coarse clay the shilpi makes a core vaguely resembling the end product. The clay core is hardened either by drying in the sun or by mildly firing in an oven. Step 2 determines the artistic quality of the work. Drawing the bees-wax into stripes and thin wires, the artist wraps them around the clay core to produce a replica that is smooth and expressive. Bees-wax is often mixed with dhuna, that is the resinous gum of the sal tree (Shorea robusta), and boiled in mustard oil. The mixture also is called dhuna. Step 3. The replica is coated with a very thin layer of very fine wet clay. All the fine details of the wax replica are now impressed upon clay. This layer is sun dried and further layers of clay added. The mould is now ready. The artist must now become a metal worker. A clay funnel is added for molten metal to flow inside the mould. Step 4. The mould is carefully heated so that the wax melts and is lost leaving behind a cavityStep 5 involves actual casting in a furnace. The cavity is filled with molten metal, and the mould left to cool..Step 6. The clay mould is broken and the artifact taken out for cleaning and polishing. A new artifact has been created out of metal scrap.
SILVER FILGREE GANESH IMAGEIf the Mohenjodaro craftsman who famously cast the bronze figurine of a dancing girl some 4500 years ago were to visit central and east India today, he would undoubtedly feel at home. In the Dhokra metal-casting process he will recognize the lost wax technique he himself would have used in his time.
The lost-wax technique, called cire perdue in French, is a metallurgical art form that is at once one of the oldest and the most advanced. Apart from India it was used in ancient Egypt, Mesopotamia, China and Greece. The technique flourished in the hands of the Aztecs in Mexico during 14th-16th centuries AD and in the Benin kingdom in south-central Nigeria during 14th-19th centuries AD.
ed Dhokra. The Dhokra people are settled over a vast tract in the mineral-rich central Indian tribal belt covering the modern regions of Jharkhand, Chhattisgarh, Orissa and parts of Andhra Pradesh. They are also settled in the adjoining alluvial districts of Bankura, Bardhaman, Purulia and Midnapur in the westernmost part of Bengal. Though all Dhokras are ethnically related, they are variously classified as scheduled castes, scheduled tribes, or other backward classes, depending on the prevailing socio economic parameters. In Bastar district of Chattesgarh Dhokra work is done by a metal-working caste, called Kaser (after Kansa, bronze) or Ghadwa (meaning pot-maker). Two caste groups engaged in Dhokra work in Mayurbhanj district of Orissa are the Thetari Ranas and Thetari Naiks. The Bengal Dhokras retain memories of having migrated from Orissa. They believe that they originally came from Bastar. It is not clear weather this is a genuinely preserved tradition or a repletion of what they have been told about themselves. They are now called Karmakars , an obviously successful attempt at sanskritization. Earlier literature lists them as Mals or Malars, or as Dhokra Kamars (as distinct from say Ghatra Kamars, who make kitchen utensils
LOST WAX TECHNIQUE-
Dhokra craftsmen are artists first and metal workers later. It is bees-wax and not metal that permits them to give material shape to the creative images they form in their mind. The actual process can be summed up in six essential steps: Step 1 Using rather coarse clay the shilpi makes a core vaguely resembling the end product. The clay core is hardened either by drying in the sun or by mildly firing in an oven. Step 2 determines the artistic quality of the work. Drawing the bees-wax into stripes and thin wires, the artist wraps them around the clay core to produce a replica that is smooth and expressive. Bees-wax is often mixed with dhuna, that is the resinous gum of the sal tree (Shorea robusta), and boiled in mustard oil. The mixture also is called dhuna. Step 3. The replica is coated with a very thin layer of very fine wet clay. All the fine details of the wax replica are now impressed upon clay. This layer is sun dried and further layers of clay added. The mould is now ready. The artist must now become a metal worker. A clay funnel is added for molten metal to flow inside the mould. Step 4. The mould is carefully heated so that the wax melts and is lost leaving behind a cavityStep 5 involves actual casting in a furnace. The cavity is filled with molten metal, and the mould left to cool..Step 6. The clay mould is broken and the artifact taken out for cleaning and polishing. A new artifact has been created out of metal scrap.
Continuity embedded in change
We should be grateful to the Dhokra shilpis for
preserving this priceless civilizational heritage on behalf of the
whole world. If they or their children were to give up their
profession, we shall be the losers, not they.
Continuity can be sustained only if it
is embedded in change. Traditional
technical processes are inherently stable.
Any suggested change or improvement
must not be disruptive. It must take place
in small incremental steps, each step
leading to the establishment of an
intermediary equilibrium stage.
Technology can be a snake or a ladder. If
overwhelming it can inhibit creativity; if
absorbed, it can enhance.Any initiative to
help the rural shilpis must simultaneously
operate at three levels: (i) Benefit of social networking; (ii) help
with marketing; and (iii) technological assistance. Of these 3 factors probably technology is the most important.What hurt the shilpis the most was the
evaporation of metal which pushed up the input costs by as much as 20 percent. Also,because of the non-uniformity of temperature the rejection rate was unacceptably high.
PHASES OF DEVELOPMENT-
Even though the Dhokra shilpis have been operating within the rigid technological framework provided by tradition, their art form has not remained static. Over the years, they have responded to newer and newer forms and motifs. We can identify five major phases of development in their art. Phase I is defined by the original Dhokra repertoire, which is simple and stark in keeping with the maker’s lifestyle and philosophy. Phase II came into being when the Dhokra shilpis took to settled life and started making new items consistent with the requirements of a food-surplus economy. Their work now included rather ornate Hindu gods and goddesses. Interestingly, in their own shrines, the Dhokra shilpis of Bikna have retained worship of their own creations (horses, elephants, etc.) in addition to Bhairon, who is a form of Shiva and a deity consistent with nonvegetarianism. Phase III is characterized by two major developments: patronage extended by the state and the social elites; and interaction with creative sculptors like Meera Mukherjee. She successfully imbibed in her own work techniques and motifs of the Dhokra art and, once accepted as an insider, introduced the Dhokra shilpis to new forms. It is during this phase that the stylized Bankura horse, hitherto a preserve of the Kumbhakars (clay shilpis), was successfully adopted for casting in metal. Votive icon, Bankura, c.1972 Kunke, traditional bowl, Bikna, 2002 Figurative crab, Bikna, 20019 Dhokra: the Traditional Art of Metal Casting Phase IV, a relatively recent phenomenon, has been thrust upon the Dhokra shilpis by the demands of thew cheap souvenir market. This phase is characterized by such “novelty” items as a Ganesh with an umbrella. Much of the work is pure kitsch. Such has been the impact of this phase that shilpis now describe their creations not in their own words but in the vocabulary given to them by the traders. Very often, when the traders descend on the shilpis’ village to make purchases they pay exploitatively low prices. In such cases the shilpis seek to indirectly raise their wages by lowering craftsmanship and compromising on the quality of the inputs. Thus they may use inferior quality of scrap and substitute coaltar for dhuna.Phase V, ushered in at Bikna and Dariapur by NISTADS in 2001, is defined by technological improvements accompanied by an enhanced sense of worthiness and Help in marketing (thanks to support from Cottage Emporium, Tribes and Manjusha). Remarkably, creative levels have risen to match the technology available. Not only are the shilpis making bigger and better artefacts, they have also added new forms and motifs on their own. About the Author Professor Rajesh Kochhar is currently a CSIR Emeritus Scientist at IISER: Indian Institute of Science Education and Research Mohali. He obtained his M.Sc. Honours School in Physics in 1967 and Ph.D. in 1973, both from Panjab University, Chandigarh, where he began his career as a lecturer. He was a Professor at Indian Institute of Astrophysics, Bangalore, in 1999, when he moved over to New Delhi to take charge as Director NISTADS: National Institute of Science, Technology and Development Studies, New Delhi (CSIR). He has been Professor of Pharmaceutical Heritage in NIPER: National Institute of Pharmaceutical Education and Research, Mohali. He has lectured extensively in India and abroad including Harvard, Cornell, University of Texas at Austin, Belfast, Brighton, Royal Dublin Society, Tubingen, Copenhagen University and National Museum Copenhagen. Professor Kochhar has been a Jawaharlal Fellow, a Fulbright Visiting Lecturer, a Visiting Scholar at University of Cambridge Department of History and Philosophy of Science; and honorary professor of History of Science and Technology at National Institute of advanced Studies, Bangalore. Professor Kochhar has published original research in a number of fields: history and sociology of science & technology; science and education policy; ancient Indian history; and modern astronomy and astrophysics. His views have been sought and published by magazines like Science and Nature as also by BBC Radio. Professor Kochhar has been interested in various aspects of Modern Science and the Non-West in historical and contemporary contexts. As a conceptual framework for historical studies Professor Kochhar has enunciated a Principle of Cultural Copernicanism according to which no cultural geographical or ethnic group or area can be deemed to constitute a benchmark for evaluating or judging others. Professor Kochhar has endeavored to develop and popularize a Trans-Cultural Civilizational Perspective whereby modern science is seen not as Western science but as the current phase of a human cultural cumulus to which contributions at different times have come from different parts of the world. Scorpion, Bikna,
permission of the author from the Brochure released on the occasion of the i
Palm Leaf Art-
PATTACHITRA IMAGE OF BUDDHA
PATTACHITRA-
PATTACHITRA-
The base material canvas is prepared by hand with used cotton cloth, tamarind seeds gum and chalk powder.
T he indigenous colors are used in pattachitra which are prepared buys the artisans themselves.
The style of painting mostly has a lyrical sensitiveness.
All figures are drawn to side aces and some extent in proportion to one other and to the back ground.
In Odisha faces the chin is elongated and there is no protuberance of the further eye in to space .The pupils inheres of Odishan faces are also not small as in the case of western India.
There are only limited primary colors are used in patta painting and the linear conception and its workmanship is with fine brushes which are made of smooth hair of rats and squirrels.
TECHNIQUIES
The base materials is called hand made canvas is prepared by pasting layers of old and used cloth with the help of tamarind glue, khadi (chalk powder)coats and after the coats are applied and polished the patis are trimmed on the sides and are cut in to required sizes with the help of scissors.
PREPARES COLOURS/PIGMENTS
All earth, stone and mineral colors are used to paint the patas. Now a days powder colors are being introduced which give a very destructive result .Basically primary colure are used in patta painting like sankha(white), Hingula(yellow), Deepa kala(black), Dhau(brown), Neela(indigo)the other mixed colours are being prepared from the above pigments the gum is used with colours which are obtained from Kapitha tree (wood apple)and mixed with a coconut shell.
STAGES OF PAINTING
The chitrakars of Puri and other areas follow a different procedure which is based and several color applications following one after the other such as:-
1. Tipana 2. Hingula banaka 3. Ranga banaka 4. Alankar lagi 5.Motakala 6. Sarukala 7.Ranga lekha 8.Sankhapatqa 9.Bageiba & Dhadikama 10.Jausala (lacquering)
TOOLS
Brushes are used to apply paint in past brushes of fine quality are prepared out of rat hair and the coarse quality are made out of buffalo hair.
A bamboo tube container is used to keep the brushes
Sadhei (coconut shell), are generally used for mixing colors.
The other tools are ghasa pathar (pebble stone) grinding stone, pestal stone etc.
THEMES
Having originated in the seva of the Jagannath temple as the patta of Odisha can be referred to has naturally always had the triad as its main subject. Besides the veshas later however Jagannath was treated not as Krishna or the Buddha. The another popular subject dasavtar is painted with Sri Krishna leela ,stories from the Bhagabat, Ramayana and Mahabharata are generally included in the vaishnav themes .Patta paintings are absolutely traditional in the thematic content and have essentially religious overtones .The themes may be classified into following categories
Vaishnav Paintings:- A-Bhagabat paintings B- Ramayana paintings C-Jagannath paintings
Saiva paintings:
Shakta paintings
Paintings as legends
Ragachitras
Bandhachitra
Yamapati and yatripatas – (sketches of puri temple) Ganjapa playing card paintings and other socials themes on paintings.
Horn Work-
Hornwork
Tassar Painting-
TASSAR PAINTING
ROCK ART-Odisha has an age old tradition of Painting which stretches from the prehistoric rock shelters to the temples and mathas of this century. Out of these the traditional painters , the tribal painter , the folk and rock painters are of significance.
PHASES OF DEVELOPMENT-
Even though the Dhokra shilpis have been operating within the rigid technological framework provided by tradition, their art form has not remained static. Over the years, they have responded to newer and newer forms and motifs. We can identify five major phases of development in their art. Phase I is defined by the original Dhokra repertoire, which is simple and stark in keeping with the maker’s lifestyle and philosophy. Phase II came into being when the Dhokra shilpis took to settled life and started making new items consistent with the requirements of a food-surplus economy. Their work now included rather ornate Hindu gods and goddesses. Interestingly, in their own shrines, the Dhokra shilpis of Bikna have retained worship of their own creations (horses, elephants, etc.) in addition to Bhairon, who is a form of Shiva and a deity consistent with nonvegetarianism. Phase III is characterized by two major developments: patronage extended by the state and the social elites; and interaction with creative sculptors like Meera Mukherjee. She successfully imbibed in her own work techniques and motifs of the Dhokra art and, once accepted as an insider, introduced the Dhokra shilpis to new forms. It is during this phase that the stylized Bankura horse, hitherto a preserve of the Kumbhakars (clay shilpis), was successfully adopted for casting in metal. Votive icon, Bankura, c.1972 Kunke, traditional bowl, Bikna, 2002 Figurative crab, Bikna, 20019 Dhokra: the Traditional Art of Metal Casting Phase IV, a relatively recent phenomenon, has been thrust upon the Dhokra shilpis by the demands of thew cheap souvenir market. This phase is characterized by such “novelty” items as a Ganesh with an umbrella. Much of the work is pure kitsch. Such has been the impact of this phase that shilpis now describe their creations not in their own words but in the vocabulary given to them by the traders. Very often, when the traders descend on the shilpis’ village to make purchases they pay exploitatively low prices. In such cases the shilpis seek to indirectly raise their wages by lowering craftsmanship and compromising on the quality of the inputs. Thus they may use inferior quality of scrap and substitute coaltar for dhuna.Phase V, ushered in at Bikna and Dariapur by NISTADS in 2001, is defined by technological improvements accompanied by an enhanced sense of worthiness and Help in marketing (thanks to support from Cottage Emporium, Tribes and Manjusha). Remarkably, creative levels have risen to match the technology available. Not only are the shilpis making bigger and better artefacts, they have also added new forms and motifs on their own. About the Author Professor Rajesh Kochhar is currently a CSIR Emeritus Scientist at IISER: Indian Institute of Science Education and Research Mohali. He obtained his M.Sc. Honours School in Physics in 1967 and Ph.D. in 1973, both from Panjab University, Chandigarh, where he began his career as a lecturer. He was a Professor at Indian Institute of Astrophysics, Bangalore, in 1999, when he moved over to New Delhi to take charge as Director NISTADS: National Institute of Science, Technology and Development Studies, New Delhi (CSIR). He has been Professor of Pharmaceutical Heritage in NIPER: National Institute of Pharmaceutical Education and Research, Mohali. He has lectured extensively in India and abroad including Harvard, Cornell, University of Texas at Austin, Belfast, Brighton, Royal Dublin Society, Tubingen, Copenhagen University and National Museum Copenhagen. Professor Kochhar has been a Jawaharlal Fellow, a Fulbright Visiting Lecturer, a Visiting Scholar at University of Cambridge Department of History and Philosophy of Science; and honorary professor of History of Science and Technology at National Institute of advanced Studies, Bangalore. Professor Kochhar has published original research in a number of fields: history and sociology of science & technology; science and education policy; ancient Indian history; and modern astronomy and astrophysics. His views have been sought and published by magazines like Science and Nature as also by BBC Radio. Professor Kochhar has been interested in various aspects of Modern Science and the Non-West in historical and contemporary contexts. As a conceptual framework for historical studies Professor Kochhar has enunciated a Principle of Cultural Copernicanism according to which no cultural geographical or ethnic group or area can be deemed to constitute a benchmark for evaluating or judging others. Professor Kochhar has endeavored to develop and popularize a Trans-Cultural Civilizational Perspective whereby modern science is seen not as Western science but as the current phase of a human cultural cumulus to which contributions at different times have come from different parts of the world. Scorpion, Bikna,
permission of the author from the Brochure released on the occasion of the i
Palm Leaf Art-
Palm leaf paintings are very ancient in Orissa. In Orissa the Palm Leaf illustrations are mainly of two types, simple engravings or illustrations in pure line on palm leaf and engraving with colour fillings. In these engravings, colours are muted and play a very minor part. Where colours are at all applied, they are just painted either to emphasize the inscriptions, or to fill up blank space.
Away from the shops and bazaars, in some friendly Oriyan household or in a temple or at an astrologer’s place, the ancient art of palm leaf writing still survives. Religious texts continue to be read out from palm leaf manuscripts rather than from printed books. Horoscopes, too, are traditionally written on palm leaves by professional horoscope makers known as nahakas. Palm leaf was considered so sacred that even after printing presses began operating in Orissa, important texts continued to be printed on the leaves instead of paper. The printing of New Year cards and wedding ivitations on palm leaf is still popular in Orissa.
Palm Leaf Painting-the technique
Palm leaf painting or etching involves a few intricate steps:
- Rows of same sized palm leaves are first arranged together and sewn.
- These neatly sewn palm leaves are then folded in such a way so as to make a pile.
- These paintings are first etched out, which means that the designs and images are neatly etched on the surface of the palm leaf using a sharp pen like object. .
- Ink (or a concoction of charcoal of burnt coconut shells, turmeric and oil) is then poured along the lines; the lines are now defined.
- Vegetable dyes are also added to give these paintings some color, but these paintings are mostly, dichromatic (black and white).
The panels of the paintings are unfolded like a fan to reveal a beautiful pattachitra.
PATTACHITRA IMAGE OF BUDDHAThe base material canvas is prepared by hand with used cotton cloth, tamarind seeds gum and chalk powder.
T he indigenous colors are used in pattachitra which are prepared buys the artisans themselves.
The style of painting mostly has a lyrical sensitiveness.
All figures are drawn to side aces and some extent in proportion to one other and to the back ground.
In Odisha faces the chin is elongated and there is no protuberance of the further eye in to space .The pupils inheres of Odishan faces are also not small as in the case of western India.
There are only limited primary colors are used in patta painting and the linear conception and its workmanship is with fine brushes which are made of smooth hair of rats and squirrels.
TECHNIQUIES
The base materials is called hand made canvas is prepared by pasting layers of old and used cloth with the help of tamarind glue, khadi (chalk powder)coats and after the coats are applied and polished the patis are trimmed on the sides and are cut in to required sizes with the help of scissors.
PREPARES COLOURS/PIGMENTS
All earth, stone and mineral colors are used to paint the patas. Now a days powder colors are being introduced which give a very destructive result .Basically primary colure are used in patta painting like sankha(white), Hingula(yellow), Deepa kala(black), Dhau(brown), Neela(indigo)the other mixed colours are being prepared from the above pigments the gum is used with colours which are obtained from Kapitha tree (wood apple)and mixed with a coconut shell.
STAGES OF PAINTING
The chitrakars of Puri and other areas follow a different procedure which is based and several color applications following one after the other such as:-
1. Tipana 2. Hingula banaka 3. Ranga banaka 4. Alankar lagi 5.Motakala 6. Sarukala 7.Ranga lekha 8.Sankhapatqa 9.Bageiba & Dhadikama 10.Jausala (lacquering)
TOOLS
Brushes are used to apply paint in past brushes of fine quality are prepared out of rat hair and the coarse quality are made out of buffalo hair.
A bamboo tube container is used to keep the brushes
Sadhei (coconut shell), are generally used for mixing colors.
The other tools are ghasa pathar (pebble stone) grinding stone, pestal stone etc.
THEMES
Having originated in the seva of the Jagannath temple as the patta of Odisha can be referred to has naturally always had the triad as its main subject. Besides the veshas later however Jagannath was treated not as Krishna or the Buddha. The another popular subject dasavtar is painted with Sri Krishna leela ,stories from the Bhagabat, Ramayana and Mahabharata are generally included in the vaishnav themes .Patta paintings are absolutely traditional in the thematic content and have essentially religious overtones .The themes may be classified into following categories
Vaishnav Paintings:- A-Bhagabat paintings B- Ramayana paintings C-Jagannath paintings
Saiva paintings:
Shakta paintings
Paintings as legends
Ragachitras
Bandhachitra
Yamapati and yatripatas – (sketches of puri temple) Ganjapa playing card paintings and other socials themes on paintings.
PATTACHITRA OF LORD BUDDHA
Horn Work-
Horn work was originally well known
among the tribals of Paralakhemundi zamindari.
In Paralakhemundi fifteen families of Maharanas
consisting of about twenty women prepared
different varieties of horn combs, horn fancy
articles, such as models of birds, animals, caskets,
boxes, snuff boxes, tea trays, walking sticks, etc.
Ornamental effect was given on combs with a
mixture of quick silver and tin. The horn work of
Paralakhemundi were one of the important products of the cottage industry
The horn works of Paralakhemundi got a
special place amongst the works of Calcutta,
Punjab, Kakinada and Trivendrum. In the later
part of the 19th century, this horn industry was
given a big boost when the ruler of
Paralakhemundi engaged some skilled craftsmen
of Badhri caste from a village known as Pitala
near Asika.15 During the second world war, horn
ware of Paralakhemundi was exported to the
United States of America and European
Countries.16 The finest horn products were being
exported to the places like Vizzanagaram,
Kakinada and Rajahmundry..
Hornwork
Terracota and pottery-
Potters of Orissa still make earthen pots to be used in various religious and social functions. They are made in various shapes and sizes and are adorned with fish and flower motifs and geometrical designs. Horses and elephants in terracotta are made to meet local demands during religious occasions. These are offered to the village-goddess (grama-devati) to ward off disease and danger. In size they range from six inches to three feet. The potter also makes clay toys and simple and appealing figures of human beings. They catch the essential characteristics of real-life creatures. Terracotta toys are made in every pan of Orissa. The toys are simple in design and bear the traits of the locality in which they are produced.
Golden Grass crafts-
Golden Grass is the stem of a read that groves in swamps and marshes and then seasoned under the sun. The stems are woven into beautiful box boxes, baskets and mats etc. often in combination of other material & vegetable dyes. Jajang & Barua of Kendrapara, Gadamadhupur of Jajpur, Japanga of Sundergarh and Gop in Puri district are famous for golden grass craft.These are golden color grass items locally called ‘kaincha’
grown in swampy areas during rainy season . Mostly women folk are engaged on
this craft. The product range from Table mats, Tea coasters, Boxes of different
sizes, Trays and Hats etc. This craft is a good source of livelihood for the
rural women artisans of Orissa.
PAPIER MACHE INTRODUCTION-
The rich heritage of Orissa is bestowed with the craft of moulding paper into a range of products including patachitra styled masks locally known as Mukha. The skill has been creatively practised by the craftsmen all over Orissa particularly in and around Puri. These masks are not only strikingly beautiful but sturdy and durable as well.
The history of folk theatre also known as Jatra in regional parlance has been a dominant influence on this craft. The characters of these Jatras are made of wood, sholapith and Papier Mache and are vividly painted to appear attractive. The characters are dressed according to the roles played by them and are controlled by strings. Based on the characterizations, masks are used by the artists. This has given rise to the art of making masks from special paper.
A convoluted procedure is followed to make papers for these items. Paper, waste cloth and different kinds of natural fibres are soaked and beaten into pulp. They are then mixed with a variety of seeds and gums for strength and as protection from termites for durability. The entire process results in a medium so malleable that it requires great skill to be moulded into countless forms. Various items like masks, toys and caps generate a lot of interest among the masses and the classes alike.
• Introduction
1. Various parts of a product are sun dried for them to be taken to the next level in the process.
2. A vividly coloured parrot put up for a display made using the same process.
3. An artisan applies clay on the mask to prepare it before taking it to the next stage.
4. Various kinds of exotic masks flaunting their bright colours and the perfect art of mask making.
The history of folk theatre also known as Jatra in regional parlance has been a dominant influence on this craft. The characters of these Jatras are made of wood, sholapith and Papier Mache and are vividly painted to appear attractive. The characters are dressed according to the roles played by them and are controlled by strings. Based on the characterizations, masks are used by the artists. This has given rise to the art of making masks from special paper.
A convoluted procedure is followed to make papers for these items. Paper, waste cloth and different kinds of natural fibres are soaked and beaten into pulp. They are then mixed with a variety of seeds and gums for strength and as protection from termites for durability. The entire process results in a medium so malleable that it requires great skill to be moulded into countless forms. Various items like masks, toys and caps generate a lot of interest among the masses and the classes alike.
• Introduction
1. Various parts of a product are sun dried for them to be taken to the next level in the process.
2. A vividly coloured parrot put up for a display made using the same process.
3. An artisan applies clay on the mask to prepare it before taking it to the next stage.
4. Various kinds of exotic masks flaunting their bright colours and the perfect art of mask making.
Process-
The artists pick up waste paper of all sorts, waste cloth and other items
All the waste products are collected and put together in a very big drum for soaking.
They are mashed together with the process of crushing and beating.The mediums used for longevity and durability are variety of seeds and gums to safeguard the pulp from termites.
The artists use special clays and bio-wastes for strengthening and reinforcement of the articles. They have to be very careful while performing the work as the process involved is very tenuous and requires constant check at every point.The Patachitracraft is the mother source of this tradition. Mukha, masks are made using a mould of clay and newspaper. Paper and cloth rags are soaked and applied in layers with locally made gum on the mould. The finishing stage involves application of sawdust mixed with gum which is left to dry.After drying the figure is polished with sandpaper for a sleek and lustrous finish. The inspiration of Patachitrais evident in the use of natural colours and detailing of the figure’s facial features. The colours are manufactured from natural objects like seashells and rocks. The characteristic features of the patachitra style such as outlines of the figure’s eyes in red and black can be observedin the Papier Mache masks as well. Masks of deities, demons and animals are made for use in the local folk and classical dance and theatre performances. The figures and other products like dolls, pen stands and lampshades are fabricated in many sizes and designs.
Tassar Painting : These are exotic ancient painting on
tassar (silk) which is a natural fabric or on hand made canvas (Patta). As a
religion art form it evolved from the temple rituals, more specifically from
the temple of Jagannath at Puri and else where in Orissa. These paintings
potray a large variety of themes, from religious and mythical stories to exotic
and raga (musical) narratives. Tassar painting a kind of substitute of
pattapainting which is made on tassar silk cloth.Tassar cloth one kind of silk
fabric which is woven by Orissan weaver’s .This type of cloth is available
easily in Orissa. This tassar painting is not a traditional style but the
pattapainting is not a traditional style but the pattapainting themes are
painted on his base which looks a special charm. Now a days this type of
painting also called scroll painting and is light weight to carrying .It is
special fact that the base of patta is require a back ground colour which the
said is not applied as the back ground of tassar cloth .Tassar paining have
taken a wide market as like as Pattachitra and both are painted by the
chitrakars.
The tassar cloth requires base boards for fix with gum-water
.After dried the sketches are drawn with pencil and hand made colours is used
as it except applying the background. After finishing the painting work the
painted cloth is lifted up from board and kept it in a role. It is painted in
various sizes as required. The well known painting of Orissa on Tassar cloth is an unique craft that can be rolled,
folded or laminated and can be used as
wall hanging, greeting cards, etc.
These paintings usually have mythological themes from
the Mahabharat, Ramayan & legends involving Radhakrishna
& Lord Jagannath.Romantic paintings
can be done on specific fields ,
specialy ordered with drawing and
design.
These paintings on tassar cloth are
most commonly used in our modern
living.
TASSAR PAINTING
Golden Grass-These are golden color grass items locally
called ‘kaincha’ grown in swampy areas during rainy season . Mostly women folk
are engaged on this craft. The product range from Table mats, Tea coasters,
Boxes of different sizes, Trays and Hats etc. This craft is a good source of
livelihood for the rural women artisans of Orissa.
Golden GRASS CRAFT
Golden GRASS CRAFTROCK ART-Odisha has an age old tradition of Painting which stretches from the prehistoric rock shelters to the temples and mathas of this century. Out of these the traditional painters , the tribal painter , the folk and rock painters are of significance.
 Coir CRAFT | |
Rock art
Terracota Craft