#India folk art

[kaalbela]

Dabka or Dapka is a detailed type of needlework from Rajasthan in India. It is usually done at the final stage of the production process to add finishing touch embellishments.

At least three to four worker workers are required for a detailed and fine work at the same time on the same piece. First a thick cotton cord is stitched on the pattern to be embroidered. Then on this cord prefabricated metal thread is looped on with an ordinary stitching needle. The patterns mostly made are of flowers, leaves, or birds. Skilled embroiders can even do french knots with the smallest size.

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[engelart]

“woman leaning against a wall”, 2003 by Norman Engel

[folkhorrorrevival]

Book Review: Ghosts, Monsters and Demons of India by Rakesh Khanna & J. Furcifer Bharaiv

Having written and/or illustrating several myself it is fair to say that I have a soft spot for encyclopedias / guides to folkloric entities and beasts, especially the darker beings. Folklore is such a vast and diverse field and unless you are multilingual so much of it still remains hidden from many readers. Therefore it is a welcome treasure for me when English language tomes covering creatures…

[emmaklee]

[rumforall]

Jamini Roy

[jaimin]

Jaimin and The Journeymen

[penkraft123]

Traditional Indian Art forms – Why are they disappearing?

TRADITIONAL INDIAN ART FORMS - WHY ARE THEY DISAPPEARING?

India has an amazing culture and history of different art forms and handicrafts. India is the hometown for more than 50 tribal and traditional folk arts. These folk arts of India have passed from generation to generation from over 3000 years. But lots of these traditions are about to disappear.

Folk art of India is a very respected and very important element of India’s Culture. It has been practiced and perfected by artisans' generations. The reason for disappearing these traditional Indian art forms is complex. There are lots of factors that have resulted in the disappearance of the traditional Indian Art forms.

Two major reasons for the disappearance of Traditional Indian form are westernization and Industrialization. The cultural identity of traditional art form, buyers, artists and beliefs have had a negative effect of westernization. This has changed in what was made for them, what they made, and how it was made. The lack of attention and interest about traditional art forms in current generation art collectors, in India as well as outside has led to disappointing situations where these arts are slowly disappearing.

Now talking about industrialization resulting in creating goods, longer lasting, cheaper and faster to the customers. Government is spending a lot to sustain and motivate the traditional art industry. They even require training in design, processes, products, material expertise and much needed awareness of international trends to come up with creative solutions.

Government’s organizational set up itself has very little scope for satisfactory profit margin for artists and craftsmen. This is discouraging the upcoming generations from ancestral to choose a traditional art form as a profession. New generation is not preferring this profession because of its low earning potential.

Telangana’s Cheriyal scrolls, Karnataka's the chittara, West Bengal’s the Dhokra, Rajasthan’s the Kavad , Andra’s Leather puppet and other art forms all are disappearing. Traditional art forms are all endangered because most of them aren’t making money and customers don’t want to do them. When considering the traditional art forms it includes carving, nirmal painting, wicker woven baskets. Nowadays design trends leaning towards modernism, the demand for traditional items is reducing. China and other Asian markets are now mass producing and supplying trendy natural materials everywhere that is disrupting the market size for artisan and craftsmen.

Traditional art needs to be saved for its original value and not just as an option to earn money. We need new ways to keep traditional arts alive by encouraging those who have passion for art but can’t afford it. The western art is replacing traditional art forms in our living rooms. While the traditional art form has maintained significant identity, It is eventually losing its relevance in the global and domestic art sphere.

By making sure that artisans get the major share of profit, not middle agents will encourage artisans. Consumers' interest in traditional art forms lives when the updated designs, quality, and skill of the craftsman are preferred over quantity and bad workmanship.

India with its diverse and very very rich traditional arts, must focus on the strength of artisans and getting best deals for their craftsmen in the international market by implementing better strategies.

Penkraft conducts classes, course, online courses, live courses, workshops, teachers' training & online teachers' training in Handwriting Improvement, Calligraphy, Abacus Maths, Vedic Maths, Phonics and various Craft & Artforms - Madhubani, Mandala, Warli, Gond, Lippan Art, Kalighat, Kalamkari, Pichwai, Cheriyal, Kerala Mural, Pattachitra, Tanjore Painting, One Stroke Painting, Decoupage, Image Transfer, Resin Art, Fluid Art, Alcohol Ink Art, Pop Art, Knife Painting, Scandinavian Art, Water Colors, Coffee Painting, Pencil Shading, Resin Art Advanced etc. at pan-India locations. With our mission to inspire, educate, empower & uplift people through our endeavours, we have trained & operationally supported (and continue to support) 1500+ home-makers to become Penkraft Certified Teachers? in various disciplines.

[zigguratssblog]

Explore a collection of original artwork at Zigguratss. Browse our selected paintings, sculptures, Drawings and more of art in the world. All renowned and emerging artists at one place i.e, Zigguratss

[mysterioushimachal]

Padma Shri 2022 Honorees: Lalita Vakil and Vidyanand Sarek from Himachal Pradesh

[clearholidaysindia]

Urusvati Himalayan Folk & Art Museum (Uruswati) Tourist Spot in Naggar, Himachal Pradesh

The Urusvati Himalayan Folk & Art Museum (Uruswati) in Naggar, Himachal Pradesh, is a treasure trove of cultural and artistic heritage. This unique museum offers a glimpse into the vibrant traditions and art of the Himalayas, showcasing everything from traditional costumes to exquisite paintings. The museum, nestled in the scenic landscape of Naggar, provides a perfect blend of art and nature, making it a must-visit for anyone interested in the rich cultural tapestry of the region. For those exploring this area, there are several offbeat places near Urusvati Himalayan Folk & Art Museum (Uruswati) that add an extra layer of charm to the visit.

Just a short distance from the museum, you can find several interesting places to visit near Urusvati Himalayan Folk & Art Museum (Uruswati). The Nicholas Roerich Art Gallery is one such spot, where visitors can admire the works of the famous Russian artist Nicholas Roerich. Additionally, Rumsu Village and Nishala Village offer a glimpse into traditional village life and beautiful Himalayan landscapes. These destinations provide a wonderful complement to your visit to the museum, enriching your experience of the local culture and scenery.

Exploring the area around the Urusvati Himalayan Folk & Art Museum (Uruswati) reveals even more attractions. Places to visit near Urusvati Himalayan Folk & Art Museum (Uruswati) include the charming village of Patlikuhal, known for its serene environment and scenic beauty. Each of these locations offers a unique perspective on the local way of life and the natural beauty of Himachal Pradesh. Whether you're interested in cultural experiences or simply enjoying the picturesque surroundings, these nearby spots enhance your visit to the museum.

[kaalbela]

Sujani is a form of embroidery from Bihar in India. It is usually a quilt or bed spread, which was earlier made of old clothes, but is now generally made of easily available fabric with embroidery done with the most simple stitches with motifs narrating stories.

The word Sujani is a compound word of su meaning 'easy and facilitating' and jan meaning 'birth'. The earliest known traditional practice of making the embroidered Sujani quilt is traced to the 18th century. Its basic purpose was to give a soft cover to the newly born babies immediately after birth. It was then made with pieces of cloth in different colors derived from used saris and dhotis by sewing them together, adopting a simple running stitch. This process involved use of three or four patches of old saris or dhotis, fitted one over the other and then quilting them together using the thread that was also drawn from the discarded garments. Motifs expressing the mother's for her newborn child were sewn on the quilt, generally done with a chain stitch in dark color. The motifs sewn on the quilt represented sun and cloud, indicative of life-giving forces, fertility symbols, sacred animals, and mythical animals to protect against evil forces, and to attract blessings from the gods. Use of different shades of threads symbolized life's forces such as red, symbolic of blood and yellow denoting the sun. Sujani clothes and quilts are usually meant for winter wear. 

1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 | textile series

[engelart]

“on the sofa”, 1990 by Norman Engel

[mahgnib]

Cheriyal scroll painting, a South Indian folk art centered in Hyderabad.

[gatlay]

[emmaklee]

painted truck, India