India is a fantastic land that upholds the traditional musical spirit. Many maestros of music have decorated the Indian subcontinent with their unique talents and abilities. In the people living in the country, they inculcated a feeling of pride and grandeur. Yet their achievements and their popularity depend to a significant extent on their musical journey’s harmony and rhythms of the Indian musical instruments.
The traditional musical instruments of India have been classified into four sects, according to the Natya Shastra (by Bharat Muni): Avanaddha Vadya (membranophones and percussion instruments), Ghana Vadya (idiophones and solid instruments), Sushir Vadya (aerophones or wind instruments) and Tat Vadya(chordophones or stringed instruments). Later in Europe in the 12th century, Bharat Muni’s former ranking of Indian musical instruments was modified and used for the European Musical Instruments Classification. The use of musical instruments, such as those that we can see now, is demonstrated by ancient monuments and art. As many diverse materials, including leather, wood, metal, and ceramics, are utilised in the production process, the manufacture of musical instruments demands tremendous knowledge and skill of music and acoustic principles.
There are two main traditions of the Indian Classical Music system: Hindustani and Carnatic. There are more traditions like folk, tribal, etc. Moreover. Indian musicians from these traditions have produced and played with traditional and indigenous instruments that suit their style from ancient times.
Sitar is one of Northern India’s most popular musical instruments. It is easily the best-known musical Indian instrument with George Harrison of the Beatles popularising it in the west after studying with one of the greatest sitarists in the country, Pandit Ravi Shankar. The sitar has twenty metal frets and six to seven major strings on its long neck. Below the Sitar, frets are thirteen sympathetic cords, tuned to the Raga notes. At the bottom end of the Sitar’s neck lies a gourd, which works as a resonator for the strings. To alter the notes, the frets are pushed up and down. Some of the outstanding players of the sitar are Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan, Ustad Vilayat Khan and Pandit Debu Chowdhury.
The Sarod, which has been present for less than 200 years, is a relatively recent instrument for South Asia. It is mainly employed in Hindustani music, like the sitar, and the tabla accompanies it. Sarod has a tiny wooden skin-covered body and a steel-covered fingerboard. Sarod has twenty-five strings with fifteen of them being sympathetic strings. It also has no frets. A metal gourd operates as the resonator. The strings have to be plucked with a triangular plectrum. Some noteworthy exponents of the sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan and Pt. Buddhadev Das Gupta.
Sarangi is one of India’s oldest, most popular bowed musical instruments. The Sarangi has a hollow body and is constructed of ivory-decorated teak wood with inlays of the former. Sarangi contains forty strings, thirty-seven of which are sympathetic. The standard sarangi is handmade, often built of 66-69 centimetres long of a single tun block. The three playing strings are fashioned from goat gut and sympathetic ones are made of brass or steel. The sarangi is held upright vertically and played with a bow. One has to push the left-hand fingernails against the strings to play the Sarangi. Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan are renowned Sarangi masters.
The flute is a simple uniform tube that is cylindrical in shape and has always been associated with Indian music since the beginning of time. Flutes are diverse in size. The flute is held horizontally, and when it is played, it is slanted downward. The finger holes have to be covered with the left and right fingers for a specific sound or melody. Pitch changes are generated by changing the effective air column length. Pt Pannalal Ghosh and Pt Hari Prashad Chaurasia are important exponents of the flute.
Shehnai is a traditional instrument of music that is associated with important and auspicious events such as weddings and temple processions. Shehnai is a double reed with a tapering bore that gradually expands to the lower side. The Shehnai has seven equidistant fingerholes to generate semi, quarter and microtones. The flared open end of the instrument is often built from metal while the body of the instrument is composed of wood or bamboo, but this is not exclusive. The unrivalled Shehnai maestro is Ustad Bismillah Khan.
6. Tabla
Image – Unsplash
The Tabla is North India’s most popular musical instrument. The Tabla includes two drums – the Tabla and the Bayan. It is fashioned from wood and has a stretched animal hide over its head. Tabla is finer tuned by knocking a little hammer on the rims of the Tabla. The Bayan is a bass drum and is normally made of metal with an extended head of the skin. The two drums have a black spot made of manganese or iron polish in the centre.
The Tabla has been supposed to have come from the Pakhawaj. The Dhrupad singing technique is frequently accompanied by Pakhawaj. Pakhawaj is a drum composed of two layers of skin, fashioned into a barrel. Leather straps on the sides of the body pass through small cylindrical wooden blocks used for tuning and are used to enlarge the heads of Pakhawaj.
Harmonium is an Indian musical instrument that is traditional and popular. The harmonium features a two and a one-half octave keyboard and functions on a bellow system. On the right hand, the keyboard is played while the left hand is utilised to control the bellows. In North India, the harmonium is more popular than in the Southern regions.
A series of eighteen cups of porcelain of various sizes comprises Jaltarangam. The cups are positioned in a semi-circle, in order of size, before the performer. The largest cup is on the left, while the smallest is on the right. Water is split into the cups and the pitch is modified when the cup water is adjusted. Two slender bamboo sticks are struck on the cups.
The Mridangam is one of South India’s most popular classical musical instruments. Mridangam supports performances of vocal, instrumental and dancing. Today’s mridangam consists of only one single wooden block. It is a barrel-like, double-headed drum with the right head being smaller than the left. Both heads consist of layers of skin. The mridangam is played with hands, palms and fingers while performing.
The Ghatam is one of South India’s oldest surviving percussion instruments. The Ghatam is a narrow-mouthed mud pan. It slopes outward from its mouth into a ridge. Ghatam is usually made of clay with a little amount of iron filing, baked with brass or copper filings. The Ghatam produces quick patterns of rhythms. Ghatam is usually a secondary percussion device often accompanied by a mridangam.
India’s music is as varied as its various cultures. India has more than several hundred dialects and languages are distributed all throughout the country. Thus Indian music has a unique and distinctive sound. These musical instruments mentioned above increase the melody and sweetness of the songs sung by the singers. The instruments are created for rhythmic patterns that determine the composition of the song and its beats. The musical instruments of India, therefore, convey a rich legacy and are part of this country’s cultural customs.
Odissi or Orissi is an Indian classical dance that evolved in the Hindu temples of Odisha, India’s eastern coastal state. Initially known as ‘Odra-Nritya,’ it is a dance form that is not only popular in India but is also well-known throughout the world. It is a good illustration of remarkable motions, expressions and gestures of the body.
Odissi’s theoretical background traces back to the old Sanskrit Hindu text of the performing arts, the ‘Natya Shastra.’ From the Odisha Hindu temples to diverse sites of architectural significance associated with Hinduism, Jainism and Buddhism, the age-old traditions of the Odissi are expressed, which are ornamented in sculptures of dancing poses. It is a form of illustrated anecdote of legendary and religious history, of pious poems and spiritual thoughts emoted by dancers with great body movements, expressions, impressive gestures and sign languages. The repertoire of performance comprises the invocation of nrita, nritya, natya and moksha. This dance genre contains themes from Vaishnavism and other gods and goddesses of Hindu mythology such as Shiva, Surya and Shakti.
In the caves of Udayagiri and Khandagiri in Bhubaneshwar, there exist archaeological proofs of Odissi tracing back from the 2nd century. The tantric images of the dancing yogini, Nataraja and the celestial musicians and dancers of early Shaivit temples along with many examples of Buddhist sculptures offer testament later to the tradition dating from the 2nd century B.C.E. to 10th century C.E. The Dharma or faith of Jagannath were inspirations that were combined in a unique philosophy. Many imposing temples were created with Hinduism gaining a place in Odisha in the 7th century A.D. The splendid Sun Temple at Konarak was established in the 13th century and marks the conclusion in the building work at Odisha with its Natya mandap or hall of dance. Till today, Odissi dancers are inspired by the dancing motions, frozen in stone.
Maharis have been the main repositories of this dance for ages. The maharis, originally temple dancers, were employed on royal courts and the art form declined. A class of youths called gotipuas had been trained in art around this period, they performed in temples and for general pleasure as well. Many of the gurus today belong to the gotipua tradition.
The Odissi performance repertoire contains an invocation which is followed by nritta, nritya, natya, and moksha successively. Mangalacharana is an incantation followed by the offer of Pushpanjali flowers and greetings to the mother earth known as Bhumi Pranam. Next in order comes the performance of the pure dance or Nritta devoted to Lord Shiva by Batu, Batuka Bhairava, Battu Nrutya or Sthayee Nrutya. It takes place only with rhythmical music without any reciting or singing. The second element is expressive dance or Abhinaya to convey a story, chant or poetry by means of the hands, the mudras, emotions or bhavas, and movements of the eye and the body. A dance drama based on Hindu mystical texts and epics is part of the next section of natya. The dance routine, called Moksha, concludes with an Odissi performance that is designed to portray a sense of spiritual freedom.
The female dancers wear brightly coloured sarees usually made of local silk such as the Bomkai and the Sambalpuri saree with traditional motifs. The front section of the sari is worn with pleats or with a separate pleated fabric sewed to allow flexibility of the dancer’s movements while exhibiting exquisite footwork. Her head, ear, neck, arms and wrist adorned silver jewellery. Ghunghru, or music anklets constructed from leather slabs with little metallic bells, are wrapped around the ankles, and her waist is adorned with an embellished belt. Their palms and feet are illuminated with red coloured dyes called Alta. The dancers’ eyes are prominently outlined with Kajal to make her eye movements noticeable. She also wears a tikka on her forehead. Her hair is tied in a bun and embellished with a Seenthi. The hairdo can be decorated with a moon-like crest of white flowers or a Mukoot which is a reed crown with peacock feathers symbolising Lord Krishna.
A male dancer usually wears a dhoti nicely folded in the front and clasped between his lower body from the waist, while the upper body stays naked. His waist is decorated by a beautiful belt.
The unique characteristic of this dance form is that it contains Indian ragas from both the south and north that represent the interchange between the two regions of India. The principal ragas of Odissi are the ‘shokabaradi,” ‘Karnata,’ ‘Bhairavee’,’ ‘Dhanashri,’ ‘Panchama’, ‘Shree Gowda’, ‘Nata’, ‘Baradi’ and ‘Kalyana’. Tabla, pakhawaj, harmonium, cymbal, violin, flute, sitar and the swarmandal are the musical instruments employed.
Sonal Mansingh, a prominent traditional Indian dancer, is the maestro for the form of Odissi. Born in Mumbai in the year 1944, her dance is really astonishing, bringing her much fame as a result. Her creations were always highly commended. In fact, multiple awards were honoured to her efforts in recognition. In 1992, she won the Padma Bhushan, India’s most important civilian award. Not only has she committed herself to the dance industry, but she has also contributed immensely to the grind of millions of people. Padma Vibhushan, the second-highest civilian award, was awarded to Sonal Mansingh in 2003, which made her the first Indian dancer to receive it. Sometimes, she’s also labelled a philosopher because of her amazing thoughts and opinions.
Mera Bharat, Devi Durga, Indradhanush, Sabras, Manavatta, Aatmayan and Draupadi, are her best-choreographed works. In her traditional dance shows, she has travelled over the world and entertained people. She thinks the question of society and humanity at large should be discussed by dance. Some of her choreographic pieces have raised women’s and environmental issues. She has always been enthusiastic about social topics at seminars.
For Jhelum Paranjape dance has been a way of life since childhood. She participated for a number of years in the dance ballet performed under the guidance of renowned poet Vasant Bapat, directed by Shri Ramesh Purav, staged by Rashtra Seva Del Kalapathak. Several memorable shows took place in the group. Particularly notable productions are Maharashtra Darshan, Bharat Darshan, Shiv Darshan and Azadi Ki Jung. She has been pursuing Odissi dancing since 1977.
From 1980, Jhelum Paranjape began her training under Guru Shankar Behera. She trained with Padma Vibhushan Guru Kelucharan Mohapatra, the doyen of Odissi dance. Since 1983, she has performed actively. Smita Patil was her active partner when she began her studies with Shankar Behera in Odissi. Although Smita Patil eventually changed her attention to movies, she always thought about dancing.
Jhelum’s friend and mentor was Smita Patil. It was via her that Jhelum and Guru Kelucharan Mohapatra were introduced. She died in 1986 and by this time Jhelum Paranjape taught a little. Her memories was embedded very much in Jhelum and she wanted to give it a tangible shape. So was formed ‘Smitalay.’
Growing up with Odissi from early childhood in Guru-Shishya tradition, Mayadhar Raut also had the advantage of learning for many years at Kalakshetra under the supervision of Rukmini Devi Arundale. A legend in Odissi Dance, Guru Mayadhar Raut is known to be a difficult taskmaster, as he gently unravels his thinking over the years, giving his philosophy one time to absorb, grasp and imbue. A deep spiritual and intellectual rationale lies behind every deed; something he has considered and lived on long before composing.
Guruji has played a vital role in giving Odissi its classical status, as the founding member of Jayantika, an association founded in the 1950s. Guru Mayadhar Raut was the first Odissi guru in the Odissi study in 1955 to bring Mudra Vinyoga and Odissi dance items to Sancharibhava. He’s the first one to show Geeta Govinda, portraying Shringara Rasa, on stage too. He is highly regarded for his compositions ‘Pashyati Dishi Dishi’ and ‘Priya Charu Shile’ in 1961.
Guru Mayadhar Raut has received the Padma Shri (2009), the Sangeet Natak Academy Award and the Sahitya Kala Parishad Award, Utkal Pratibha Puraskar and Odissi Sangeet Natak Academy Award among many more.
Gangadhar Pradhan was a great exponent of Odissi and a marvellous teacher . He was also an actor, choreographer and mardal artist. As a teacher, Pradhan contributed much to Odissi dance. In Konark Puri in 1986, he established the Konark Natya Mandap. He had several notable dancers-disciples distributed around the country. He staged a number of dancing festivals in the temple city throughout his entire life. He was the first individual to receive the renowned assignment of teaching at Cornell University in the field of art and culture. He won various prizes, including the Padma Shri and the Sangeet Natak Akademi Award.
Ileana Citaristi is a dancer and dance instructor from Bhubaneswar, India who was born in Italy. She won ‘Best Choreography’ in the 43rd Yugant National Film Awards and in 2006 was given the Padma Sri, being the first dancer of foreign origins, for her contributions to Odissi .
Under Guru Kelucharan, Citaristi trained in Odissi and began her own dance school in 1994. Citaristi also is a Mayurbhanj Chhau representative, which she learnt under the supervision of Guru Hari Nayak and possesses a Chhau Acharya title from Bhubaneswar’s Sangeet Mahavidyalya. In 1996, she founded the Art Vision Academy, which provides a venue to share ideas between different types of art, such as theatre, music, dance and painting.
In all the main festivals in India, she has performed her solo dance recitals and her original group choreographies, along with travelling in many other countries, such as Italy, Argentina, Poland, France and Germany Spain, Poland, Canada, Peru and Portuguese and many more.
To India’s third-largest state by land and second-most populous state, diversity comes naturally. Maharashtra is also known as the “Land of Scholars, Saints, and Actors,” as numerous Maharashtrians have achieved success in the professions indicated above. Maharashtra’s purogami tradition is well-known (forward culture). The term ‘Maha’ denotes a big area, but the word ‘Rashtra’ denotes a country. In terms of population, size, and culture, Maharashtra is a ‘Maha’ state. Maharashtra is recognised for its distinctive customs and traditions.
The state is home to a numerous range of cultural treasures and fascinating cultural variety. The communities have managed to preserve their distinct customs and colourful art, enhancing Maharashtra’s cultural fabric with their captivating traditions. However, with the development of contemporary marketplaces and the quick changing of lives, historical customs are rapidly fading. The following are some of the traditional art and crafts of Maharashtra:
Warli Paintings
Image – Jignesh/Pixahive
Warli paintings are mural paintings with a distinct visual language, and they are a kind of tribal art. These paintings are from the Warli tribe, who live in the Maharashtra-Gujarat borderlands’ hilly and coastal locations. The painting’s fundamental forms – circles, triangles, and squares – are used to create holes that portray ordinary human existence. The squares signify a portion of enclosed land, while the triangles and circles are thought to be taken from the mountains and the Sun. The square is the major element in most ceremonial paintings, and within it is a representation of Palaghata, the goddess of fertility. Scenes of fishing, hunting, farming, festivals, dancing, and other activities are arranged around it.
These paintings, which are ascribed to a 2000 BCE society, are similar to the oldest artwork discovered in the Rock Shelters in Bhimbetka near Bhopal, Madhya Pradesh.
Today, designers and artists are using Warli paintings on clothing, purses, and book covers, among other things.
Ganjifa Cards
They are circular playing cards constructed of paper that has been coated with a tamarind seed powder and oil combination, then painted and lacquered. Darbari cards feature ornamental borders, while Bazaar cards do not. It was formerly a favourite hobby among Indian courtiers. The traditional Mughal ganjifa, with its 96 cards and 8 suits, found its way into the social milieu of India and the Deccan, where it eventually achieved universal appeal thanks to its themes and figures from Hindu mythology. The Dashavatar, which depicts Vishnu’s 10 incarnations, was the most popular. In Sawantwadi, Ganjifa cards were first presented. These cards were taught to the Chitari people in Sawantwadi, who are noted for their glassware and woodworking skills. Today, greeting cards are given as gifts. The cards are now used as gifts and teaching tools.
Fabric Art of Maharashtra
Maharashtra is a major producer of cotton in India. With such abundant materials, it’s only natural that the majority of Maharashtra’s traditional fabric-based arts and crafts make great use of it. Paithani sarees are mostly silk saris with rich, embellished borders, while Narayan Peth was initially a cotton and silk weave. The rich materials mashru and himroo are manufactured by weaving cotton and silk together on a special loom.
Narayan Peth sarees are made in Maharashtra’s Solapur district. The body of the sari features little patterns in the shape of rudrakshas and is characterized by large borders and brilliant colors. These saris, made of cotton and silk, have been a part of Maharashtra’s culture since 200 BCE. The most attractive feature of a Narayan Peth sari is the contrast between the color of the borders and the remainder of the sari.
Paithani saris are made in the Paithan region in Aurangabad District. The profuse gold zari embroidery on this pure silk woven sari, especially on the pallav, makes it stand out. The saris contain deep, rich colours, a thick gold pallav with designs like flowers, fruits, and birds like peacocks, and little gold bootis (motifs) dispersed throughout the length of the fabric.
Paithani saris are unique in that they do not employ mechanical ways to create their designs, such as jacquard. The patterns are all made by hand. Paithanis are quite costly and are only worn during rare occasions like weddings and festivals.
Mashru and Himroo
Mashru and Himroo are textiles that originated in the Aurangabad District in Maharashtra’s Marathwada area and were historically used to produce clothing for aristocrats. A specific loom is used to weave cotton and silk together, resulting in a sumptuous, distinct feel.
The employment of gold and silver threads in the weaving gives these textiles their luxury. As a result, the finished fabric has a gold hue to it. Weaving by hand has become less popular over time as machines have progressively taken control. The strong patterns and vibrant colors, on the other hand, have helped these textiles maintain their popularity. Although Mashru and Himroo are sometimes used interchangeably, the weaving method is distinct. Himroo is regarded as more exclusive than Mashru since it needs more talent and is significantly finer.
Satrangi, sataranji, and other striped flat weave dhurries are woven on frame looms in Maharashtra, one of the country’s main cotton-growing states. Plain flat weave shatranji, jai namaz, prayer mats with single or many prayer niches, and chindi or rag dhurries are the three forms of dhurries woven by the Maniyar people. They come in a variety of sizes. Displaced mill workers from the Vidarbha region weave Chindi durries with the help and training of non-governmental organisations. Cotton dhurries are used as floor spreads for sitting or sleeping, as well as prayer mats with the prayer niche facing Mecca.
Beautiful decorations on fabric are created by the nomadic banjara people, who have their origins in Rajasthan. The Lamani women of Banjara create symmetrical needlework by raising the fabric’s wrap thread with a small needle and creating triangles, diamonds, and lozenges parallel to the weft thread, giving the appearance of an additional weft weave. They are experts in creating borders for long skirts, which are an important feature of their traditional attire. Embroidery in yellow, green, red, off-white, and black is usually done over a base cloth of handwoven madder (red-colored cloth). The needlework also includes cowrie shells and tassels. Because this stitching is arduous and time-consuming, it is normally done while the ladies are not working as sugarcane harvesters.
Jewellery of Kolhapur
The majority of Maharashtra’s traditional jewellery is inspired by the styles worn by the Maratha and Peshwa kingdoms’ royals. Kolhapur is home to the most well-known of them. The Kolhapuri saaj is a necklace with 21 leaf-shaped pendants and golden beads. For married Maharashtrian women, this necklace is considered auspicious, and the majority of them wear it. The nath, a nose ring made of a gold string braided with pearls, precious and semi-precious stones, is another well-known adornment.
Sawantwadi is well-known for its mango-tree-made wooden toys. Despite the fact that the Chitari are the primary practitioners, other cultures have acquired the skill due to its commercial success. The toys are manufactured using a variety of techniques, including wood and lac turnery, flat-shaped component assembly, and solid wood sculpting. With chisels, seasoned mango wood is shaped into cylindrical forms and the surface is polished.Sawantwadi is famous for its mango-wood toys. Despite the fact that the Chitari are the original practitioners, other cultures have taken up the trade as a result of its commercial success. The toys are manufactured using a variety of methods, including wood and lac turnery, flat-shaped component assembly, and solid-wood sculpting. Mango wood is seasoned and chiselled into cylindrical forms, then finished on the outside.
Silver objects, which were formerly an important element of Maharashtrian religious events, have now become a thriving industry. Untreated silver is first melted, then shaped and sized in rectangular moulds before embossing tools are used to produce elaborate motifs. The goods’ components are built separately and then soldered together. With a brush and soapnut powder solution, apply the final matt or gloss polishing. Hubris’ old craft is silver jewellery. Hupri silversmiths who specialise in popular oxidised jewellery add meenakari and motifs based on the delicate shape of the pope tree, champak, babul, and aonla flowers, as well as the ambi (mango).
Bidri is a sophisticated and polished method that uses intricate inlay and enamelling sequences and is only found in India. It is based on the Persian technique of inlaying gold and silver on steel or copper. Casting, engraving, inlaying, and finishing are the four separate operations involved. Sand Casting is an important part of the bidriware production process. A kalam is used to chisel the desired pattern once the object has been produced and smoothed with sandpaper and blackened, and then strands of silver wire are hammered into these grooves. Small bits of silver and brass cut from sheets are jammed in if the design is carved into bigger patterns. The surface is given a black colour and made permanent by rubbing it with a combination of earth and ammonium chloride after it has been gently heated. The inlay is exposed when the surface is polished with oil. Bidri makes use of a rust-proof, non-corrosive metal alloy that is thought to have been invented in Bidar. His style of ornamentation, which includes wonderful combinations of delicate lattice work intermingled with floral clusters, leaves, and flowers, is typically used on circular containers like bowls, as well as caskets, jewellery boxes, and other tiny boxes. Tarkashi (wire inlay) and tehnishan (wire inlay) are the two main methods (inlay of metal sheets).
Kolhapuri chappal production is a prominent handicraft sector in the area, employing about 20,000 people. Kolhapuri chappals are flat, beautifully patterned, handmade leather footwear created by a society whose hereditary vocation is tanning and leather work. Originally intended for farmers and field laborers, the footwear’s basic yet innovative design has appealed to a larger range of individuals all over the world. Leather cords are used to stitch the sandals together. Surprisingly, they are not made from nails. The plaited strips that embellish their top section are made of buffalo skin and beautiful goat leather. They are embellished with leather braids and golden zari (tinsel) threads and dyed in natural tan, deep maroon, mustard yellow, and dark brown colors. Traditional patterns use thong-like straps with a toe strap for added strength, but artisans today make simple variations such as kachkadi, bakkalnali, and pukari. Various designs, as well as the addition of new colors, have changed throughout time to meet current demands.
The Thakur community’s bamboo artisans create baskets, fans, containers, and ghaghada (rain shield) that are treated to repel moths and assure longevity, making them popular among the people. Basket weaving is comparable to textile weaving in terms of technique. Shapes are created using a number of processes. Bamboo work is practised by tribal people in Raigad and Thane districts such as Thakur, Mahadev Koli, Kokna, and Warli.
The craftsmen’ ability in Maharashtra is easily seen in the excellent art and craft finishes. Whether it’s the insanely unique warli paintings or the stunning Kolhapur jewellery, the states’ handicrafts truly represent its rich history. Thus it is no surprise that the Marathis take immense pride in their diverse culture and heritage!
Spirituality and philosophy are subjects close to one’s heart. These are concepts that are understood with both the mind and soul. Unlike many other genres, spirituality and philosophy are marked with the hallmark of emotion and application. Reading books on philosophy and spirituality not only calms the inner self, but also shows direction and clears the way for an elevation of spirit, soul and mind.
Also, when one reads, there is always an instant connection with the characters and the tale. But books on spirituality and philosophy are also life lessons that go beyond a plot line or story. Perhaps, which is why, you should not only read, but also keep close at hand, some amazing books on spirituality and philosophy. They are wonderful to re-read, especially when one seeks a sense of acceptance, tranquility or when there are questions and concerns that need clarity and answers.
What are some of the books on philosophy and spirituality that you must read? We bring to you a list of the top 12 books that must be a part of your personal home library.
1. Siddhartha: An Indian Novel – Hermann Hesse
Written in 1922 this book takes you along the self-discovery of a person called Siddhartha. Based during the lifetime of Guatam Buddha, whose first name also happens to be Siddhartha, this novel by German writer Hermann Hesse inspires and influences generations of readers, thinkers and writers. The book unfolds the true meaning and realization of purpose and self through the search of a single man.
2. Raja Yoga – Swami Vivekananda
Raja Yoga is an interpretation of the Yoga Sutras by Patanjali. Written by Swami Vivekananda, the book elucidates his understanding of the sutras and is adapted especially for the western audience. This book was published in 1896 and also has ideas on Hinduism, Idealism, Western occultism and more. It gives an insight on controlling the mind, meditation and a scientific understanding of yoga as well. There is no doubt that Swami Vivekananda was one of the most influential thinkers of our time and this book is a testimony to his great knowledge, philosophy and empathy towards life.
3. The Alchemist – Paulo Coelho
One of the most inspiring and popular works of this generation; Paulo Coelho’s The Alchemist is an all time favorite amongst readers across the world. The book is a reflection of the life story of Santiago who travels in search of treasures. But it is the discovery of self combined with mysticism and magic that makes The Alchemist one of the most loved books of our time.
4. The Power of Now – Eckhart Tolle
A New Earth: Awakening To Your Life’s Purpose – Eckhart Tolle
Eckhart Tolle has written two gems and both make it to our list of books on spirituality and philosophy that are a must read. The Power of Now sold 2 million copies and has been translated into 30 languages. The book is all about discovery of the ultimate truth that is achieved with spirituality and growth. A New Earth: Awakening To Your Life’s Purpose further expands on these same concepts and ideas and charts ways to ignore the ego to attain happiness and success for the development of a new way of life.
5. The Art of Happiness – 14th Dalai Lama and Howard Cutler
The Art of Happiness is essentially in a question answer format, where Howard Cutler, a psychiatrist questions the Dalai Lama on different perceptions of life. Dalai Lama’s answers, as well as observations made by Howard Cutler form the crux of the book that seeks to find answers to true happiness. What is happiness based on? Do external factors really play a role? And how can one attain happiness through continuous training of the mind and heart? To know this and more, you must read the book!
6. The Four Agreements: A Practical Guide To Personal Freedom – Don Miguel Ruiz
This book dwells on beliefs that limit the self and how by following the four agreements one can transform life into something that is meaningful and beautiful. Doubting the self can lead to unnecessary suffering and this book lays out the four fundamental agreements that can change life. The four agreements on which the book further expands are – ‘Be impeccable with your word, Don’t take anything personally, Don’t make assumptions, Always do your best.’
7. Tao Te Ching – Lao Tzu
Written as earlier as in 400 BC, Tao Te Ching is a classical Chinese text and one of the basic books that lay the foundations for the philosophy of Taoism. Tao Te Ching has inspired generations of writers, thinkers, spiritualists, artists etc. and it is also translated in multiple languages. Though the time and origin of the text is debatable, there is no doubt that written by the ‘Old Master’, Lao Tzu, this text highlights the qualities that a leader and hence any man should perfect.
8. Autobiography Of A Yogi – Paramahansa Yogananda
Published first in 1946, the Autobiography of a Yogi, is the autobiography of Paramahansa Yogananda. The book talks about his experiences with spiritual and philosophical figures in both the eastern and western worlds. Kriya Yoga Meditation are his teachings that are highlighted in the book and methods on to realize the being of God through wisdom and action. The book has been translated into many languages and has been in print for over seventy years now.
9. The Celestine Prophecy: An Adventure– James Redfield
A recent publication, The Celestine Prophecy: An Adventure was published in 1993. This novel revolves around the protagonist who embarks on a journey to understand the nine spiritual insights that are found in the ancient scripts in Peru. The psychological and spiritual ideas of the east are featured in this novel. And life lessons on philosophy, religion and spirituality are discovered through first person encounters by the main character as he journeys to find the true meaning and insights of spiritual realms.
10. The Five People You Meet In Heaven – Mitch Albom
Mitch Albom’s main protagonist, Eddie, is inspired by his very own uncle. Killed in an amusement park, he is sent to heaven where he meets five people who impacted his life while he was alive. As Eddie walks through heaven meeting his five important people, he realizes how there is nothing random or coincidental about life. There is a connection and meaning to all thoughts and actions that shape life into what it seems. Written in 2003 this novel has also been adapted on screen as a television show.
11. Be Here Now – Ram Dass
Also known as Remember, Be Here Now was published in 1971 and written by the American spiritual teacher and yogi Ram Dass. Originally called Dr. Richard Alpert, the first section of the book showcases the transformation of Dr. Richard into Ram Dass. The second part of the book expands on religion, metaphysical aspects, spirituality and more. The third section of ‘Be Here Now’, is a ready reckoner for starting out on a spiritual or yogic path.
12. Eat, Pray, Love – Elizabeth Gilbert
Made popular with the Hollywood movie based on the book, Eat, Pray, Love is the story of Elizabeth in her pursuit of happiness, worldly pleasures, as well as spiritual awakening. Elizabeth had everything going for her, however, she felt void and devoid of any happiness. She went through her divorce, depression, failed love and more and bounce back she decided to take on a year long journey with only herself. The book unfolds her journey as she discovers the world outside and more importantly herself within through travel, culture and interactions.
Philosophy and spirituality are heavy loaded subjects. They usually are not light, breezy reads that one can devour in a matter of hours. On the contrary, there is serious realization and a self confidence that comes with reading books on spirituality and philosophy.
The annual fee is an important parameter when reviewing different credit cards. Obviously, you would want to choose the card that provides the best credit card reward points and benefits at minimal charges. You may even review some of the best lifetime free credit card options as they do not require you to pay any annual fee or joining fee and endow you with the best benefits.
Owning a zero annual charge credit card may provide good prospects in terms of welcome bonuses, special privileges, and additional benefits. Thus, such credit cards not only assist you to save considerable money by avoiding annual charges but also permit you to save on online and offline spending by rewarding you with cash back, discounts and reward points on every expense. Discussed here are the top 3-lifetime free credit cards in India, which you may consider opting for as per your preference and expenditure pattern.
IDFC FIRST Millennia
IDFC FIRST Millennia credit card is one of the best reward credit cards, designed to meet the lifestyle of millennials. Joining benefits of this card include a welcome voucher of Rs 500 on spending Rs 15,000 or above within 3 months of credit card generation and a 5 percent cashback of up to Rs 1,000 on transaction amount on your first EMI conversion. Privileges include a 25 per cent discount on movie tickets of up to Rs 100 on booking through the Paytm mobile app once every month, 4 complimentary access to the railway lounge per quarter, a fuel surcharge waiver of 1 per cent at all fuel stations across India, etc.
Besides the above benefits, this card even offers 10X reward points on incremental spending of over Rs 20,000 per month and expenditures conducted on your birthday. Also, you can earn 3X and 6X reward points on every offline and online spend, respectively for transactions of up to Rs 20,000 per month. Note that, the reward points you earn from this credit card come with no expiry date and can be used to instantly make in-store or online purchases.
Like the IDFC FIRST Millennia credit card, IDFC FIRST Bank provides other lifetime free credit cards too with premium features. These credit cards include IDFC FIRST Classic, IDFC FIRST Select, IDFC FIRST Wealth and IDFC FIRST Wow.
HSBC VISA Platinum
HSBC VISA Platinum credit card offers you unsurpassed rewards and benefits. It is a nil annual and joining fee credit card with an issuance benefit of 10 percent cashback of up to Rs 2,000 on a minimum expenditure of Rs 10,000 within the first 60 days. By using this card, you can get 2 reward points on every Rs 150 spent and 5X rewards on purchases made post-crossing expenditure amount of Rs 4 lakh in an anniversary year. On such spending, you may get an accelerated credit card reward points benefit of up to 15,000 points.
Like HSBC VISA Platinum, HSBC Bank offers other lifetime free credit cards that come with different features and benefits. These credit cards include HSBC Smart Value and HSBC Premier Mastercard.
One Card
One Card is India’s first metal card with full stack tech and is backed by principles of transparency, simplicity, and full control to its users. This card does not charge any joining fee, annual fee, or reward points redemption fees. Just through its app, you can control all the features and aspects of your card, be it setting transaction limits, international or domestic usage, offline or online usage and making a contactless payment. The reward points credited to you on this card never expire.
Ending note
A zero annual charge credit card is a great financial instrument, which not just allows you to gain the benefit from features that it provides but helps you form a good credit score seamlessly without the need to pay an annual fee. Many credit card issuers offer this type of credit card, so ensure to compare all the options and choose the prudent one as per your lifestyle, and preference.
If you’re craving highly spiced treats, indulge your flavor buds in some Maharashtrian dishes. It features a range of moderate to strongly spiced foods. Each cuisine from the Maharashtra represents the region it hails from. Maharashtrian cuisine can be recognized by two different styles – Konkan and Varadi. Konkan has influences from the coastal regions of Goan, Saraswat, Gaud, and Malvani. On the other hand, Varadi cooking belongs to the area of Vidarbha. The state’s fundamental ingredients consist of wheat, rice, jowar, peanuts, plenty of spices and herbs.
In a Maharashtrian kitchen, there are certain spices like the Goda Masala, the Kokum, the Tamarind, and the essential Coconut. Since Maharashtra is a large state, people’s cooking preferences vary from region to region. You must visit this state if you’re a foodie and try out their most quintessential foods.
Pudachi Vadi is the most popular traditional recipe of Vidarbha.
The filling uses delicious fresh onion, poppy seed coriander, and copra. The pocket, also known as Pudi, is filled with this stuffing, hence the name. It is then packed in an outer layer of gram flour and is deep-fried. The Pudachi Vadi should be carefully fried to perfection. This is a good choice when you need delicious and healthy snacks – although it is deep-fried, the stuffing is healthy as it is packed with coriander and coconut. These lightly-flavored fried Vadis are delicious when paired with hot masala tea. This snack is mostly made during the winter when there is plenty of coriander available.
Although popularly savored during festivals like Gudi Padwa, Holi, Ganesh Chaturthi, and Diwali this delicious flatbread can be eaten at all times. The Marathi name of the dish comes from ‘Puran’ which is a sweet lentil mixture and ‘Poli’ the bread. You will be surprised to find that Puran Poli can be compared to Obbatta or Holige prepared for Ugadi celebrations in southern India.
The filling consists of peeled and chopped black chickpeas, also known as Bengal chickpeas. Raw sugar made from sugar cane juice is the sweetness component of this dish. The poli is made of various kinds of wheat flour (atta) and flour (maida). To get a golden color, some ground turmeric powder is added to the dough. To make the mouthwatering dish at home, you need some fennel, nutmeg powder, cardamom powder, and turmeric for the spices.
Pandhra rassa, prepared with coconut, is a chicken or mutton stew. It is a well-known dish taken from Kolhapur cuisine and is usually served with the spicy tambda rassa. The Marathi term, Pandhra Rassa, literally translates to white curry. Rassa is a soup made from coconut milk, cashew paste, sliced onions, chilies, and other spices, paired with the broth acquired from the bones of the meat. Typically when the mutton is cooked in Maharashtra, it is made to be hot and spicy. Therefore to reduce the heat of the mutton curry, this rather mild and creamy soup is created. This balances the meal overall and facilitates easy digestion. It has a unique type of flavor that stays on your taste buds and hearts for a long time.
It is a magnificent stew in which every flavor on the dish is savored without overwhelming the other and yet it all shines in a beautiful and wholesome way.
Pav Bhaji is probably considered to be Mumbai’s most popular street meal. This combination is an enjoyable treat for all ages: spicy, soupy, crunchy vegetable blend, tawa fried in a unique mix of spices, served with two or three slices of the city’s famous laadi pavs, drenched in butter, chaat masala, and onions. ‘Bhaji’ means a thick vegetable curry in Marathi and Hindi, while ‘Pav’ is a soft roll of bread. Potatoes, onions, carrots, chilies, peas, bell peppers, and tomatoes may usually be included in the curry. Street vendors normally make their curry on a flat griddle (tava) and serve it hot. Pav Bhaji is a delicious weekend dinner option and a pleasurable favorite for parties.
The humble Pav Bhaji has now gained national and even global recognition, and is served with mozzarella cheese as a side dish and grated paneer, and mushrooms are usually served at stalls or small vendors in remote corners of the city. You name it and Pav Bhaji has a version ready to match your personality!
Thalipeeth is a traditional Maharashtrian flatbread, called so for the form of dough pressed into the palm. It may be prepared with several ingredients and flour mixtures, but they all require the dough to be pushed into a flat disc using an open palm. This is because the dish does not contain gluten and hence cannot be rolled up or extended in form.
Thalipeeth is also known in certain areas as dhapata since it means to pat(into shape). A multigrain meal mix called bhajani is used to make the most famous version of Thalipeeth. The dough is combined with the chopped onions, herbs, and other ingredients, and then patted flat on a tava, flaky fried in a little oil, and served with fresh butter and spicy thecha. This flour involves first roasting rice, milles, and lentils, then ground to mix in the dough. Bhajani means roasted flour. It is the best recipe to clean up leftover lentils before storing the fresh harvest of the year.
Bombil Fry is a fried bomb or Bombay duck that has gained fanatical status over time. This curiosity is not a duck, but an extremely fleshy fish. When shallow fried, it reaches a crisp exterior in a coating of semolina and rice flour with a soft buttery texture inside. This Bombil fry is perfect for days when you’re looking for fried, crunchy, and decadent. For more zing, top off it with a dab of lemon juice. This classic delicacy will definitely appeal to seafood lovers because Bombil’s bones are very soft.
Another reason people like it so much is that it does not take long, all you have to do is to cover the fish in a mixture of rice flour, red chili, lemon juice, and turmeric powder and fry until it’s crispy and golden brown. The delicious Bombil Fry is a favorite on the menu of any seafood restaurant. It’s certainly one of Mumbaikars’ most popular fish. Mumbaikars prefer to buy dried forms of this lizardfish, especially during the monsoon seasons when fishing halts off the west coast of seawater. In the summer, when you are in Mumbai, this fish is very common, see if it can be dried on a rope running through the branches.
The most prominent festival in Maharashtra is Ganesh Chaturthi. To promote culture and nationalism, the great Maratha leader Chhatrapati Shivaji Maharaj started these celebrations. In the worship of the Hindu god Ganesha, Modaks have always had special importance. In Hindu mythology, Modak is considered Ganesha’s favorite dish, which is why it is also called Modakapriya (people who like Modaki) in Sanskrit.
Modak, a sweet dumpling, can be either fried or steamed. The soft shell is made of rice or wheat flour, but it is also made of khava flour or maida flour. It consists of freshly shredded coconut. The steamed variation, known as the ukadiche modak is consumed warm with ghee. Other versions such as ragi modak, motichoor modak, and chocolate modak have grown rather famous with extensive creativity in the kitchen by professionals and home cooks alike.
As per religious traditions, Ganesh Chaturthi ends with an offering of twenty-one modaks to the deity and is ultimately served as prasadam to all the devotees.
If you are wondering what to do with excess coriander leaves in your fridge – think no more!
Use them for this wonderful Maharashtrian snack named Kothimbir Vadi consisting of gram flour and coriander leaves. Kothimbir in Marathi refers to coriander leaves, while Vadi stands for steamed cakes, which are deep/pan-fried. The steamed cakes are made of chickpea flour and finely chopped coriander leaves. It also includes essential spices and peanuts (Shengdana kut). A medium-soft dough is steamed, sliced into thick pieces, and fried. These vadis can be prepared with a range of leaves – Methi, spinach, etc. Alternatively, a steamed version of it can be tempered with some oil, mustard seeds, hing (asafoetida), and curry leaves. This delicious coriander cake, which is fully gluten-free, vegan, and can be frozen for later use, is great as an appetite, a snack, a breakfast, or an aside.
Misal is Maharashtra’s popular delicacy. It is an aromatic and spicy curry made from moth beans. A lot of exotic spices, onions, garlic, ginger, and chilies are used in the curry. The masaledaar preparation is garnished with cooked potatoes, chiwda, sev, chopped onions, coriander, green chilies, and a dash of lemon. In families of Maharashtra, Misal Pav is a regular breakfast or evening snack.
Misal comprises two elements – Ussal, which is a thick, spicy mixture, while Rassa is the watery gravy. There are several local versions on the preparation of Misal. Some are spicy, some low on the chilly scale, and some relatively plainer than their loaded counterparts. Kalya Masalyachi Misal, Shev-misal, and Dahi Misal are a few of the various preparations of this dish. Misal Pav is an integral component of the menu of almost every local restaurant, big or small. Traditionally it should be spicy enough to sweat your brows off! With a smooth butter-toasted pav, the spice is wonderfully balanced.
Keri Aamti or Kairichi Aamti is one of the most popular Maharashtrian cuisines to battle the scorching summer heat. It is a Raw Mango Curry with scrumptious gravy, stewed raw mango, tempered with mustard seeds, and dry red chili. It tastes close to perfection as a meal with bhakri or steamed rice. Kairichi amti is the most delicious seasonal cuisine in west Maharashtra in the Konkan region. Raw mangoes are one of India’s favorites. It may be utilized in different foods to make a nice and delectable feast. This fantastic and easy recipe will become one of your favorites once you try it. The freshly grated coconut provides kairichi amti its rich texture and flavor. Every bit of this curry is reminiscent of the summer when you stole mangoes from your neighbor’s backyard and transports you to childhood. Kairichi amti is like your personal sunshine in a bowl during the summer!
Local cuisine is a cornerstone of the cultural legacy of Maharashtra. The people of the state consider their food to be ‘Anna he poornabrahma’ which translates to food is equal to God. Their meals rely on Ayurvedic principles. Your daily meal should be perfectly balanced. Traditional Maharashtrian cuisine will have all nutrients that are needed for the well-being of your body. This list tries to capture all the greatness of the cuisine, so make sure to save it for future use.
With almost 5,000 years of history, the Indian saree is regarded to be one of the world’s oldest forms of clothing still in use. The Vedas, which is one of the world’s oldest written texts, mentions it, and documents from the Indus Valley Civilization (3300-1300 B.C.E.) also show its use at the period. Despite this, its age has had no effect on its appeal. The saree is still as prevalent in our society as it ever was, appearing on the runways of major fashion shows, in Bollywood, on the streets of rural and urban India, and on young college kids and their traditional grandmothers.
What is a Saree?
In Sanskrit, the term “sari” means “strip of fabric.” These expanses of cloth, however, are more than simply garments for the Indian ladies who have wrapped themselves in silk, cotton, or linen for millennia. They are emblems of national pride, ambassadors for traditional design and workmanship, and a perfect representation of India’s diversity.
The unstitched single piece of cloth emerged as a result of the traditional Hindu belief that stitching fabric rendered it dirty. As a result, the four-and-a-half to eight meters of material – wrapped across the lower body and then folded across the upper body with skillful pleating – became the go-to attire. The saree evolved to be the most appropriate apparel for South Asian women due to its capacity to be warm in winter and cool in summer, it is professional, is aesthetically appealing, and is adaptable (for example, it may be folded and tucked to be shorter). This is precisely why it is worn by both office workers and physical laborers alike.
Almost every state in India has its own individual saree weaving process, giving them a distinct look and feel. Each regional saree is the result of great craftsmanship, specialized fabric, unique designs, and unusual procedures. Each area in India has its unique variation of the saree, totaling almost 30 varieties, all of which ooze beauty.
Woven in silk Gujarat, Ashavali sarees showcase intricate brocade work known as kinkhwab, which is made using metallic gold and silver threads known as zari. The Ashavali is named after Ahmedabad, which was originally known as Ashaval and has been a brocade and silk weaving center since at least the fourteenth century. It is also known as the Amdavadi or Amdavadi zari saree. The Mughals, local royalty, and the wealthy merchant elites heavily patronized the weavers of this material in Gujarat.
Ashavali sarees and brocades have traditionally been woven on pit looms using the twill weave, giving the designs a raised or embossed appearance. Because of their background, Ashavali brocades frequently incorporate Mughal-inspired designs of animals, bel, birds, flowers, paisleys, and stylized human figures. The motifs are delineated in contrasting colors to give an enamel-like minakari look, and they are grouped in patterns such as the jaal and the jangla. While brocade work can be found throughout the entire body of the saree, it is more usually seen on the border and pallu.
The Baluchari sari is worn by ladies in India and Bangladesh. This kind of saree developed in Bengal and is distinguished by representations of mythical motifs on the pallu. It is mostly created in Murshidabad, and one sari might take up to a week to make. In India, the Baluchari sari has been designated as a geographical designation. The term Baluchari came about since the weaving of these saris began roughly 500 years ago in a little village called Baluchar in West Bengal’s Murshidabad district. Due to natural disasters, the weaving establishment was relocated from Baluchar to Bishnupur, where the business flourished under British administration.
The creative designs representing episodes from the Ramayana or sculptures created on ancient temples weaved on the sari borders characterize Baluchari sarees. Others may contain animals, greenery, miniature human representations, wedding processions, brides in palanquins, horse riders, and ethnic musicians. The white outline of the motifs is an essential detail to note. Baluchari sarees are now made with highly mercerized cotton thread and silk thread work embellishment in bright colors. The mythical themes make a Baluchari saree ideal for religiously themed ceremonies and festive occasions.
Banarasi saree from Uttar Pradesh
Benarasi Sarees are important to Indian heritage, and are a non-negotiable element of the wedding trousseau in most regions of India. During the wedding rituals, the bride wears at least one Banarasi sari, which is considered extravagant and auspicious. While this is the bridal saree for many North Indian and Bengali women, for others, it may be a reception sari or the one unique drape they get as a gift from their in-laws – as shagun (the auspicious wedding gift).
Aside from cultural importance, the lavish but sophisticated Benarasis is connected with several social and economic symbolisms. Banarasi brocades are highly treasured and are said to be descended from royalty. They have traveled many regions and ages. Katan silk is a pure silk Banarasi fabric; sarees in Katan silk are normally created without zari borders but with the softest and thickest silk. They are appreciated for their exquisite purity and tenacity. This lovely cloth may be brocaded or designed in a variety of ways. Butis, or dispersed leaf/ flower patterns, are quite popular and may be created in resham or zari, or in Meenakari designs. Expensive Banarasi Katan brocades are created utilizing a time-consuming and labor-intensive procedure.
Bandhani/Bandhani is derived from the Hindi/Sanskrit terms ‘Bandhna’ and ‘Bandha,’ which imply ‘tying’ or ‘to knot’. Bandhani art is a highly skilled practice. The technique includes dyeing a fabric that is securely knotted with a thread at various spots, generating a variety of designs such as Chandrakala, Bavan Baug, Shikari, and so on, depending on how the cloth is tied. Yellow, red, blue, green, and black are the primary colors used in Bandhana. Bandana’s primary colors are all natural. Because Bandhani is a tie and dye procedure, dyeing is done by hand, allowing for the greatest colors and combinations.
While Bandhani fabric is commonly used to make jackets, dupattas, chaniya cholis, turbans, purses, and other garments, the saree remains the most famous Bandhani outfit. It is considered lucky for mothers to give bandhani sarees to their daughters when they marry. In fact, the bride’s mother frequently wears the traditional Bandhej saree to the wedding ceremony. Bandhani sarees were traditionally produced solely of cotton and muslin cloth, but with changing times and the need for creativity, producers began producing Bandhani patterns on georgette, silk, cotton-silk, viscose, and other cotton variations as well. Because each fabric has a distinct character, the effect of this art varies depending on the nature of the fabric used.
Batik saree from West Bengal
The skill of producing Batik Saree, which originated in India, has progressed well beyond a simple handcraft. Batik was once thought to be a suitable employment for aristocratic females, whose delicately painted designs based on bird and flower themes were seen as a show of cultivation and refinement in the same way that excellent needlework was.
Batik sarees are made in three stages: waxing, dyeing, and dewaxing (removing the wax). The term “batik” literally means “wax writing.” It is a method of embellishing cloth that involves coating a portion of it with wax and then dying the cloth. The waxed portions retain their natural color, and the contrast between the coloured and undyed sections creates the pattern after the wax is removed.
Bomkai Silk, also known as Sonepuri Silk, is a specially woven saree from the western portion of Orissa. It is one of the oldest textiles of Odisha. Locally, bomkai is referred to as ‘Bandha.’ Since 600 B.CIt has been a part of Orissa’s culture.The original and traditional weaving of this fabric used a low-count cotton yarn that was coarse, thick, and coloured in bright colors. It is best described as an additional weft method on a pit loom. The borders, which are generally in contrasting colors, and the pallus, which are defined by complex threadwork, are two of the most intriguing aspects of fabric. On bomkai sarees, mythical scenes and historical stories are woven. Some will have myths recognised around the world, while others will just have legends within Orissa culture. Nature inspires the motifs of Bomkai. The lotus, peacock, carp-fish, and fly are some of the prominent themes.
Chanderi is a tiny town along the Betwa River in the Vindhyachal mountain ranges. Chanderi, located in Madhya Pradesh’s Ashoknagar district, is noted for its ancient history and flourishes with intensive commercial activity due to its strategic position in central India. Chanderi is known as the city of looms. Chanderi silk sarees appear to be tied to the history of Chanderi. They are claimed to have been referenced in the Vedic period’s Mahabharata. It is debatable if the pearl-embroidered sarees mention the Mahabharata, which implies Chanderi sarees, but the history of the Chanderi Saree may be traced back to the 13th or 14th century AD. Chanderi’s weaving industry flourished throughout the Mughal era.
Chanderi sarees are created using three types of fabrics: pure silk, Chanderi cotton and silk cotton. Coins, floral art, peacock, and geometric motifs are the most prevalent patterns seen on traditional sarees. A saree might take 10 days or more to make, depending on the complexity of the pattern. The price of sarees and materials is also determined by the design. The Chanderi silk sarees themselves demonstrate the weavers’ experience and hard work in the manufacturing of gorgeous silk textiles.
Chikankari is an 18th century weaving technique that originated in Lucknow. The designs on the chikan saree are inspired by Awadhi culture and are created by hand utilizing the block printing method. The term was derived from the Chikan, or embroidery stitch, with which it was first created. It is now also produced with zardozi work on the borders, pallu, and so on. It features beautiful detailing that adds an attractive touch to every ensemble. It is used for ceremonial events like weddings and holidays such as Diwali, Holi, and Eid. It is also known as the Lakhnavi saree since it originated in Lucknow, Uttar Pradesh, India. However, they are now available across India and worldwide.
Chikankari is intricate and generally done in gold or silver threads; it takes a lot of patience and time, but it’s worth every stitch. Khat-khati chikan is another kind that is commonly seen on sarees. Khata-khati work is a hybrid of zardozi, Kasab, and gili techniques. Typically, thick thread is used. The primary distinction between khata-khati and other types of chikan work is that khata-khati does not use a foundation cloth like most other types of needlework. It appears to be a monolithic chunk with no beginning or end. Traditional chikan work was done by men who sat on charpoys (rope beds) and stitched these gorgeous motifs onto sarees with their bare hands.
Dharmavaram, an old town in Andhra Pradesh’s Anantapur region, was destined to become a pivotal element of India’s silk splendor. Silk manufacturing was an easy choice for many due to the abundance of mulberry plants in the area, which naturally developed to silk weaving. Due to the sheer brightness and beauty of the weaving, Dharmavaram silks gained worldwide renown by the 19th century. Today, magnificent Dharmavaram sarees are also known as ‘wedding sarees’ and are one of the top three candidates for the most spectacular drapes, along with Banarasi and Kanjivaram sarees.
Dharmavaram sarees are traditionally woven using the interlaced weft method, however jacquard weaving is now quite popular. It takes 4 to 8 days for two weavers working simultaneously, using both their hands and legs, to weave a full saree by hand with mulberry silk and zari. Before it reaches this stage, a variety of processes take place. After the cocoons have been collected, they are cooked to produce yarn. The yarn is degummed to eliminate the natural gums and resins present before being plied to provide a balanced texture. The yarn is then dyed in the correct hues, dried, and used to produce the famed weaves.
Dharmavaram sarees are well-known for their gold-plated borders and intricate artwork. The fabric also features gold brocade designs and motifs reminiscent of those found on temple walls. The elephant, peacock, and lotus were the most prominent temple style motifs – all globally and culturally acceptable emblems.
Eri silk saree from Assam
Image – Pxhere
Eri is derived from Era, the Assamese word for castor, and is manufactured from worms that feed on the castor oil plant’s leaves.
Silk cocoons are commonly boiled with the worm inside to retain one continuous strand, resulting in a smooth and lustrous fabric. In the case of Eri, however, the silkworm spins small segments of a filament and produces a cocoon with one end open, allowing the moth to emerge. As a result, the wooly white silk is known as Ahimsa silk, or the fabric of peace. As a result, peace silk is a favorite fiber among vegetarians and Buddhists.
Eri silk is skin-friendly, iso-thermal, anti-fungal, biodegradable, and has a minimal environmental effect. It is also a sturdy and long-lasting fabric. The more it is used, the softer it becomes, and it is a terrific cloth to wear all year.
The Eri threads are delicate; the cloth is warm, and the material is sturdy, yet softer, like wool. Eri silk’s natural hue ranges from white to extremely light cream, with little variation amongst strands. Color and shade are determined by a variety of elements such as worm quality, nutrition, temperature, and environment. Men’s shawls have a more distinct tone difference since they are rarely coloured into different colors. However, in women’s clothing, the hues are concealed since they may be dyed in a variety of colors and designs.
Guntur Sarees, woven by Guntur craftspeople, are noted for their tightly-angled drapes with folds of 60-80 counts. The name is derived from Guntur, a charming city in Andhra Pradesh located southeast of Hyderabad, the state capital.
Andhra Pradesh is well-known for its magnificent array of sarees, both cotton and silk, among which Guntur is the home of the well-known Mangalagiri and Guntur. The gorgeous design and quality cotton of the Guntur sari are what distinguishes it. Guntur is well-known for its dexterous craftsmen who are great at generating good designs through weaving and dyeing.
Guntur saris are mainly single colors and designs all over, but tribal patterns that compose a distinct Ikat-style of weaving, such as checks and stripes, bring the attractiveness of the modern attire into the comfort of the cloth and its wearability element. The Guntur sari’s border is relatively thin, and the Pallu is similarly less complicated, with scant Bhuttis or flower adornments and basic stripes, however these saris are also available in intricate weft Ikats.
Garad silk is a famous saree type that originated in West Bengal. Garad, sometimes known as Gorod, means ‘white.’ The crimson border and tiny paisley designs define Garad silk sarees. The silk fabric used to weave Garad sarees is not coloured, which preserves the fabric’s purity, and so these sarees hold holy significance for women in Bengal. The Murshidabad area of West Bengal excels in weaving these Sarees, with the silk threads weaved tightly together to give the sarees a beautiful texture.
Garad saree borders are distinctive in color, generally crimson and maroon, giving it a rich appearance. Korial saree (also known as laal paar sari) is similar to Garad saree except for the border, which is more vivid in pattern and rich red in color. The difference between a Garad saree and a Korial saree is that the former has little flower and paisley designs running down the length of the saree, whilst the latter is plain white with a red border. During Durga Puja, these sarees are commonly worn with sindoor khela.
Ilkal saree weaving is prevalent in and around the villages of Kolhar, Ilkal, Kamatgi, and Nidagundi in Karnataka’s Bijapur district. The pallu region of the saree is uniquely weaved in red and white. These sarees are often a dark indigo, purple, crimson, or green with classic pallu designs. Kondi is a method that joins the pallu with the body. It also contains classic designs with centipede, dot, and triangle motifs. Pallu features a white cross border pattern that spans the breadth between the two borders.
The pit loom is known as kuni manga, and it is used to weave classic gomi or chikiparas saree borders. One of the saree’s distinguishing qualities is the fine, in some cases exquisite kasuti embroidery, which is normally done as an ornament. Pallu is given great importance since it is worn on the head, whereas sarees used on important occasions are often woven with silk and created using the interlocking method known as tope-teni.
Kalamkari sarees are world-renowned for their beauty and rich tradition dating back to the Middle Ages. Kalamkari is a Persian word that combines two words. ‘Kalam’ denotes a pen, and ‘kari’ signifies artwork or workmanship. This directly translates to “pen sketch.” So Kalamkari is hand painted or block printed work on cotton cloth that is done in Andhra Pradesh and Telangana but originated in Mughal India. The Kalamkari art form was developed in Iran during the Sasani dynasty around 3000 B.C.
Kalamkari is an art form that uses natural colors. Vegetables, plants, roots, cow dung seeds, crushed flowers, seeds, and mineral salts of tin, copper, iron, and alum are used to make the colors. Green, maroon, red, black, mustard, and indigo are the most common Kalamkari fabric colors. Kalamkari sarees are decorated with a variety of motifs. Kalamkari sarees include prominent themes from Hindu epics such as Ramayana, as well as Buddhist art styles, Lord Krishna, and Lord Ganesha. Karuppur Kalamkari sarees are styled sarees woven in gold brocade works used by royal households during the Raja Shivaji era. During British administration, the Srikalahasti sarees were inspired by religious narrative and temple themes, whilst the Machilipatnam sarees were inspired by Dutch and Persian designs.
Kanjeevaram, considered one of the most beautiful sarees in the world, takes its name from the place where it originated, Kanchipuram. Kanchipuram is another name for this lovely cloth. These captivating sarees are constructed of a lovely color combination and thick fabric. Kanjeevaram sarees with a gold accent are ideal for any event or celebration.
Kanjeevaram silk sarees are works of art in and of themselves, made in pure mulberry silk. It is an exquisite combination of lovely silk from the south and pure gold and silver Zari from Gujarat.The Pallu and borders of Kanjeevaram silk sarees are weaved separately and then stitched together, which is one of its most distinguishing features. The pitni is another name for the zigzag pattern that connects both sections. The Pallu of a Kanjeevaram saree is often designed and coloured differently from the body. Kanjeevaram is regarded as one of the most durable and robust textiles available. The saree is more durable since it is composed of three Silk threads woven together with silver wire. A Kanjeevaram saree may weigh up to 2 kg.
Kanjeevaram silk sarees have always included beautiful mythological legends in their designs, as well as lovely Temple sculptures. The border of the saree also has themes from various temples and general art. The bodies of these stunning ladies have Temple motifs, stripes, and flowery buttas.
Kasavu saree from Kerala
The name kasavu refers to the zari used in the border of a Kerala sari, not the sari itself. It refers to a substance utilized in the production process. As a result, when kasavu is incorporated into a mundu (dhoti), it is referred to as a kasavu mundu.
Traditional apparel of Kerala, such as saris, mundus (sarongs worn by males), and settu mundus (a two-piece sarong sari), is referred to as kaithari, which translates to handloom. The identification of the sari is often determined by the cluster with which it is linked. The Indian government has designated three clusters in Kerala as Geographical Indication (GI), and all of them produce what are commonly known as kasavu saree, as well as white Kerala saris that replace the kasavu border with a coloured version (called kara).
This saree’s main body is either simple or handmade with traditional patterns like flowers, peacocks, mangoes, and Swans, among others. The pallu, which is the saree’s greatest attraction. The price of the saree is determined by the craftsmanship done on the pallu. In the pallu area, the intricacy displays Hindu mythology such as the Mahabharata and Ramayana, as well as floral motifs. Designers have created these sarees based on current trends by adding decorations like thread work, stones or sequins, fabric painting, and contrasting hues. A well-designed border adds a regal and one-of-a-kind touch.
Kota Doria (sometimes written Kota Dori) is a one-of-a-kind cotton and silk mix with a square check pattern. The silk adds luster to the cloth, while the cotton adds strength. Kota Doria gets its name from its birthplace in Rajasthan, India. The checkered pattern, known as ‘khat,’ is a defining element of the Kota Doria cloth. Kota Doria has a delicate weave and weighs very little. Popular applications for the cloth include sarees, salwar kameez, lehengas, and home furnishings.
The Rajasthani royal family preferred this cloth because it exuded easy elegance and charm. The majority of the sarees were white or beige in hue. However, with modern alterations and tweaks to the cloth, an infinite quantity of color and adornments of all types are added. Initially, the fabric was solely made of cotton, but silk was eventually woven with it, making it more stylish and polished.
Leheriya, often known as lehariya, is a traditional Indian tie dye technique. It depicts the state of Rajasthan’s rich heritage brilliantly. Furthermore, the dyeing procedure is named after the Rajasthani term meaning wave. This method produces vibrantly coloured leheriya sarees with unique wave patterns. Furthermore, what makes this ancient art so intriguing is the way the ripple effect appears in vibrant colors. If you see a leheriya saree, you will notice diagonal stripes as well as captivating color combinations. The vibrant colors and lightness of the fabric make leheriya an excellent choice on the international stage. It is also a popular fabric in the export market and has been seen in fashion shows all over the world.
Mangalgiri sarees and suit fabrics are a prominent Andhra Pradesh handloom product. Mangalgiri derives its name from the town of Mangalagiri, which is 12 kilometers from Vijayawada. Mangalgiri is not only well-known for its exquisite sarees, but it is also a major pilgrimage destination.
This unique saree features exquisite tribal motifs woven in cotton, as well as zari or golden coloured patterns in tiny checks. This saree’s pallu (edge) is embellished with a striped motif, which is a traditional tribal ornament composed of golden embroidery. Mangalgiri sarees come in a variety of bright hues that make them seem very attractive and beautiful.
Because these sarees just feature a zari border and pallu with no woven patterns on the main body of the saree, the cloth is woven exclusively on pit looms, allowing the weaver to apply significantly greater energy throughout the weaving process without any gaps. This is what sets Mangalgiri textiles apart from other weaves.
Narayanpet is a typical peaceful small hamlet in southern India. It is located in Telangana, around 165 kilometers from Hyderabad. According to one school of thinking, during Shivaji Maharaj’s conquest in the Deccan in 1630 AD, the vividly coloured saris of the ladies captivated his eye, and so the Narayanpet saree received Royal Maratha patronage. Other versions of the story claim that weavers who were in Shivaji’s camp during a campaign were the ones who stayed behind and fashioned the shape we know today.
The saree is constructed of high-quality cotton or silk. This foundation material is often sourced from Vijayawada. This is especially important given that Telangana has highly hot temperatures all year. The saree is often made using strands in the 60s and 80s in both the warp and weft. Zari/art silk is used to weave little additional warp geometrical motifs in the border. These sarees are made on fly shuttle pit looms with lattice dobby.
Narayanpet weaves a variety of colorful silk saris with elaborate brocade work in silk and zari. The saris are lightweight and festive due to the low thread count of the silk strands.
These sarees are distinguished by their checkered body, patterned border, and plain pallu. The interlock weft method is used to weave two distinct wefts side by side. Temple pattern borders are woven in most sarees as a result of the blessings of the goddess who lives in the local temple. These sarees were given a geographical identification marking in 2012.
The Paithani sari has ancient origins, stemming from the royal dynasty of Paithan, a medieval town near Aurangabad. The sari, named for the town, is thought to have been produced using the finest silk strands from China and pure zari woven locally. This sari represents years of excess and the elegance of Indian handloom, and each piece is distinguished by the lavish and generous use of gold, as well as floral and bird-inspired designs. Paithan and Yeol’s contemporary saris are made using domestic silk strands from Bangalore, while the zari is imported from Surat.
The shiny weave provides a delightful intermingling of hues, giving the subtle appearance of shifting colors. Traditional themes include parrots, peacocks, and lotuses; nevertheless, the Hans motif, the Ashrafi motif, and the Asawalli were equally popular throughout the Peshwa time. Muniya, a kind of parrot, is commonly weaved in the borders in green, with a playful touch of scarlet at the mouth. The Panja, a geometrical flower-like motif most typically highlighted in red, the Barwa, which consists of twelve strands of a ladder and three strands on each side, and the classic Mor are some of the other motifs seen on the pallus (peacock).
Paithani sarees are an important component of Maharashtrian culture. It is regarded as the queen of saris, comparable to the Kanchipuram sari in the south. Needless to say, it is a must-have for any Maharashtrian on significant events, festive occasions, or weddings.
Patola is a double ikat woven sari produced in Patan, Gujarat, India. They are extremely expensive and were formerly only worn by members of royal and aristocratic families. These saris are popular among people with the means to pay the hefty costs. Surat also produces velvet patola designs. Patola weaving is a well guarded family tradition. In Patan, three families weave these highly treasured double ikat sarees. A sari can take anywhere from six months to a year to finish because of the time-consuming procedure of coloring each strand separately before weaving them together. Patola was manufactured in Surat, Ahmedabad, and Patan. Highly prized in Indonesia, where it formed a part of the native weaving culture.
Patolas are used in particular rituals because they are said to have mystical properties to fend against evil. Chabardi bhat (basket design), a popular pattern that includes a circle of lotus flowers, buds, and leaves, is connected with fertility and is worn for wedding rituals in several cultures. Patolas are presented to brides as part of their trousseau in Gujarat.
A Sambalpuri sari is a handwoven sari in which the warp and weft are tie-dyed before weaving. It is made in the Indian districts of Sambalpur, Balangir, Bargarh, Boudh, and Sonepur.
Sambalpuri sarees are made in a distinctive style called Baandha. Traditionally, Baandhas were made with representations of flora and wildlife or with geometrical designs. Recent crafts by current generation Baandha weavers feature newer motifs including portraits, landscapes, and flower pods. The yarns of sambalpuri sarees are knotted according to the desired designs to prevent dye absorption, and then coloured, using a tie & dye procedure. The motifs on both sides of the saree are practically the same, which distinguishes this kind of design. A craftsman may use this adaptable method to weave colorful motifs, patterns, and pictures into a saree capable of stimulating thought or expressing a message.
Sambalpuri sarees, in particular, are noted for their use of traditional themes associated with this seashore state, for example, Sankha or shell, phula or flower, chakra or wheel, swans, and fish.
Tant refers to the handlooms used to weave saris and textiles in West Bengal. Sari weaving was first documented in Bengal in the 15th century in the Shantipur area. During Mughal reign, from the 16th through the 18th century, the craft flourished alongside muslin and jamdani, receiving substantial empirical support.
A traditional six-yard tant saree has a thick two-to-four-inch border with a beautiful pallu. Each sari takes 7-10 days to weave using fine cotton yarn in a range of floral, paisley, and creative designs. Some of the most popular time-honored motifs include bhomra (bumblebee), tabij (amulet), rajmahal (a royal castle), ardha chandra (half-moon), chandmala (garland of moons), ansh (fish scales), hathi (elephant), nilambari (blue sky), ratan chokh (gem-eyed), benki (flowers).
Uppada is a coastal town in the East Godavari district of Andhra Pradesh known for its beautifully made silk sarees. The traditional Jamdani / Uppada Handlooms are highly recognised in Uppada. Uppada handlooms are highly renowned for their distinctive patterns. Uppada handlooms are typically created with cotton/silk warp and weft.
The count of the cloth determines its softness and toughness. The count in a handloom cloth refers to the number of threads woven lengthwise and breadthwise in a square inch, known as warp and weft. The count employed in Uppada is 100 (length) – 120. (breadth). The count determines the fabric’s quality. Uppada saree weavers weave the ancient Jamdani weaving technique without the use of mechanical assistance to produce beautiful designs using gold and silver zari, for which Uppada saree weavers acquired Geographical Indication (GI) recognition in 2009. Jamdani is a hand loom woven cotton fabric that was previously known as muslin. The Jamdani weaving tradition originated in Bengal.
Venkatagiri Sarees are zari cotton handwoven sarees known for its Jamdani style weaving design. Venkatagiri Sarees are one of the softest and most durable south sarees in India, hailing from the ancient town of Venkatagiri in the state of Andhra Pradesh. They are typically six yards long and good for all climates. A large Jamdani design of a peacock, parrot, swan, mango, or leaf in the pallu distinguishes a Venkatagiri saree. The sarees’ excellent weaving and distinctive zari motifs made them the favored choice of royalty in Andhra Pradesh.
These sarees are typically created using the Jamdani weaving technique, which has been passed down through 14 generations. Approximately 70,000 Venkatagiri residents are now employed in the production of the iconic Venkatagiri saree. Previously, persons from the Padmashali caste were largely involved in this activity; however, other people are now involved as well. Venkatagiri sarees are made by artisans who have worked for five generations.
Key Takeaways
As an item of traditional clothing for women of all ages, sarees are profoundly embedded in the cultural (and literal) fabric of India. This piece of garment brings together women of different socioeconomic classes from all around India. An enchanting saree is a living, breathing, and long-lasting work of art. It contains the history of a whole subcontinent, the craftsmanship of its artisans, and the memory of the women who carefully cared for it for the next generation.
Artisans and cancer survivors come together for a unique initiative, headed by the Apollo Cancer Centre (ACC), New Delhi. ArtCan recently launched by ACC is a medium that uses art to spread awareness about breast cancer. With the help of Kerala Mural arts, this initiative brings forth 8 steps of SBE or self breast examination ways that encourage women in the early detection and prevention of breast cancer.
About ArtCan
Art transcends all languages, borders and barriers and is an excellent platform to convey a message. ArtCan uses art created on a ‘can’vas for awareness about ‘can’cer. The ArtCan project has 8 murals that portray women performing self breast examination. The visual artistic SBE explanation is accompanied by stories of breast cancer survivors in the book – Chitrasutra.
Chitrasutra is thus, ArtCan’s most interesting and earnest attempt at making women aware of the SBE methods, along with the poetic prose and stories of real women who survived this disease due to early examination, detection and treatment.
Some facts
Breast cancer is globally the most diagnosed cancer. 25% of cancer cases across the world are breast cancer cases, however, early detection can lead to 90% survival rate or more. Every 1 in 8 women are affected by breast cancer and thus it is important to raise awareness about the warning signs and self examination methods to prevent women from losing lives. Early steps are the key in survival for breast cancer and ArtCan through Chitrasutra hopes to encourage, guide and inspire women to face cancer and beat it.
Also, breast cancer is caused due to several factors, including lifestyle and environmental changes, anomalies in aging, as well as, it is genetically inherited too.
Chitrasutra
Chitrasutra is a wonderful collection of 8 murals that visually and artistically depict the 8 self examination ways to detect breast cancer symptoms. With an attached prose and the story of a breast cancer survivor, each mural is a succinct, yet passionately honest endeavor to touch the lives of the people, especially women reading it. In simple steps it explains to women the basic self examining steps to undertake on a regular basis. Besides, the stories of women cancer survivors help identify and acknowledge these real heroes who fought the disease with courage and strength.
Life imitates art and ArtCan hopes to use the power of art to spread awareness about breast cancer. SBE and mammography at regular intervals is the best way to detect and protect oneself against this disease. Finally, as a line from Chitrasutra sums it all up – “From care to cure, we need to progress in this direction, then only you can win over cancer.”
Handicraft is described as the human or mechanical manipulation of raw materials to create useful or decorative objects from clay, rock, paper, stone, and other materials by skilled artisans.The amount of talent, care, and skill that goes into creating these stunning sculptures is admirable. India’s crafts are diverse, with a rich history, culture, and religion. Each state’s craft reflects the impact of different empires. These crafts have been ingrained as a culture and custom in rural areas for ages.
Since time immemorial, Indian handicrafts have been admired and revered over the world, leaving everyone in amazement. India is a true blue shopper’s paradise, thanks to its abundant cultural legacy, which is represented in the intricateness of its handicrafts.
The Indian handicrafts sector includes over 7 million craftsmen and 67000 exporters that promote regional art and craftsmanship in both local and global markets. Women and other individuals from India’s rural areas make up the majority of these craftspeople. In other words, this sector employs a number of individuals from the poorer sections of society who earn a living from their creative works of art, and India is directing the preservation of its craftsmen, art, and handicrafts in this way.
Here is a list of ten websites to buy Indian Handicrafts Online that are bridging the maker-consumer divide:
1. ExclusiveLane
ExclusiveLane was founded on a passion for handcrafted goods. The company handpicks handicraft items from rural craftsmen from various regions of India and allows them to uncover their abilities via their exquisite handicraft products. They are known for displaying diversity, heritage, and authentic items to urban customers at an accessible price while maintaining traditional art. The company was founded with the express purpose of providing economic upliftment to craftsmen concerned with conserving the history of India’s handicrafts sector. Their mission is to maximise the use of handicrafts in urban India as well as in other nations and to make ancient traditional artisans aware of their international significance via their broad skill in the simplest way possible.
This online store for handicrafts, handlooms, fabrics, jewellery, paintings, and other artworks is India’s only crafts and loom retailer with a complete inventory of handmade artisanal products ranging from phulkari dupattas in Punjab and bandhani sarees in Gujarat to ikkat handloom fabrics in Andhra Pradesh and pattachitra paintings in Odisha. With over 100,000 entries, it is the largest curated marketplace for art and handicraft products, sourcing things such as jewellery, garment materials, and home items from around 10,000 craftsmen across India. Every day, the portal adds 500 or more new goods. Every order from Gwalior-based iTokri includes a handwritten note on recycled paper and a handmade trinket neatly wrapped in eco-friendly packaging, making it one of the most popular e-commerce portals among a discerning domestic and global audience interested in Indian handicraft and handloom products.
The India Craft House is a web portal that showcases some of the world’s most ancient and exquisite craft styles. This social company was founded about ten years ago with the goal of preserving, showcasing, and sharing the talent of India’s craftsmen with the rest of the world. They want to be able to enhance the dignity of the Indian artisan in our own manner, as well as spark interest and support for an unrivalled history of the craft that spans millennia and extends across the whole country. It is their goal to develop an undoubtedly distinct collection of traditional art and craft that has been turned into a range of stunning, contemporary items. They have built partnerships with over 2000 artists directly and via colleagues throughout the years. The major goal is to empower Indian artisans and build up a group of people who are often overlooked.
Akkaara was formed from traditional stories, dusty workshops, and the fragrance of the ground. Each piece in the Akkaara line is handcrafted to magnificent imperfection and tells the narrative of its unique personality. Akkaara creates high-end lifestyle goods influenced by folklore and traditional crafts. Their items are produced by artists who have polished their expertise over years of experience. Each item in the collection has been meticulously created. Concern for the material, concern for the artists, and concern for the tradition, Akkaara seeks to resurrect what has been lost via each product: the exquisite beauty of ancient arts, the cultural legacy of generations of crafters, and the recollection of age-old stories steeped in traditional knowledge and folklore.
The development and support of the handicraft community is both vital and urgent. It is critical for the grassroots growth of local communities as well as the preservation of fading crafts and traditions passed down through generations. Kopái – Paar was inspired by this notion and is driven by passion for the handcrafted. They think that every donation, no matter how small, is beneficial, and that supporting crafts, craftsmen, and artists must be a deliberate decision. In the heart of India, in its villages, men and women produce one-of-a-kind artisan creations using the naturally accessible resources. They collaborate closely with the craftspeople to learn their processes and develop one-of-a-kind, long-lasting objects with an emphasis on inventive, eye-catching patterns and exceptional quality.
Goddess Durga is the sacred manifestation of Shakti, the feminine force that pervades the cosmos. As Shiva’s spouse, she morphed into Ekaa, the world’s most powerful God and the sole source of all energy. Their new collection of high-quality items is a representation of this very Ekaa. Each piece is created by expert local craftsmen and is unrivalled in quality and value. Each product is characterised by its intricate decorations and careful craftsmanship. This collection embodies the cosmic spirit of the incomparable Maa Durga, making each piece a trip in and of itself. Ekaa accomplishes our ambition of providing a handcrafted selection of quality handicrafts that may bring a touch of elegance and culture to your décor, from wood and marble to brass and semi-precious stone.
The ‘Gaatha’ initiative was created to fill that critical function of storytelling, delivering social and financial advantages to the artisan colonies. They want to be the tool through which craftsmen may directly engage with a worldwide audience, as well as the resource that helps craft sell stories and ideals rather than goods. Gaatha aims to facilitate ‘dialogues’ between artisans and their customers, enabling ‘co-creation’ opportunities and collective progress. They are devoted to preserving all good practises and all procedures that are compassionate, just, and environmentally balanced.
Kadam is a non-profit organisation that collaborates with around 600 artisans from West Bengal, Uttar Pradesh, Odisha, and Kashmir. Their aim is to eliminate poverty by guaranteeing that no one in India is compelled to live below the poverty line and to create opportunities that empower women and youth in rural India with a life of choice and dignity. To address this at the grassroots level, Kadam creates small and medium-sized firms that harness local resources to provide education and meaningful work prospects for young people in remote areas. Kadam enables self-reliance throughout distant rural areas by empowering semi-skilled women in communities, expanding their mobility, cultivating independence, and engaging local youth.
Chanderiyaan is an e-Commerce platform that aims to exhibit to the world the wonder and beauty of Chanderi weaving in its many colours. It is a forum for sharing the skill of the Chanderi weavers of Madhya Pradesh’s District Ashok Nagar in Central India. It is a one-stop shop for Chanderi items online. They have a diverse assortment of items ranging from Chanderi ethnic to pure designer handwork. It is a platform for sharing the wealth of weaving and design patterns that have evolved over many centuries in this weaving town, each with its own historical dynamics and stories to tell. They are a social entrepreneurship effort aimed at increasing the community’s sustainability and livelihood. Weavers may use Chanderiyaan to skip the large network of master weavers and sell their products straight into the worldwide market.
Okhai sells handcrafted clothing and lifestyle items made by rural artisans from around India. These artists have the creativity and traditional abilities to create magnificent patterns in styles distinct to their culture and background. The goods have modern designs and are competitively priced. Proceeds from sales assist these artisans in helping themselves – Okhai’s mission is to encourage women from less privileged backgrounds to learn new skills; to provide them with the self-confidence and self-esteem necessary to earn a living through their own hard work and initiative; and to enable them to carry this newly discovered skill and confidence into the wider world. Okhai recognises the rich history and customs of these rural areas and turns them into goods by combining traditional art with current designs and technological methods.
Handicrafts are a means of preserving the rich traditional art forms and legacy, as well as the abilities linked with the people’s history and way of life. The country is endowed with a plethora of highly trained craftspeople. They have raised the profile of Indian handicrafts over the world and are extremely crucial for the country’s economic prosperity.
This week Karnataka celebrates its 67th formation day – Kannada Rajyothsava. On 1 November 1956, the Kannada speaking regions spread across various other states came together to form the state of Karnataka. Today, the vibrant southern Indian state’s cosmopolitan capital Bangalore has officially become Bengaluru.
Karnataka is a land of culture, after gaining immensely popularity around the world as being the IT hub of India, the state has become a treasure trove for investors and a lucrative land for corrupt politicians.
However, there are some things about this state that hasn’t changed at all… like the culture, the hospitality, the processions, the cuisine and the language.
Ah! Kannada language!! Before the ‘IT boom’, Karnataka was primarily conversing in Kannada, and little bit of Telugu, Tamil and Marathi. The diction of North Karnataka people is slightly different in Kannada, which borrows a lot of words from Hindi and Marathi. And as you move up near the border towards Maharashtra, the language gradually changes to Marathi.
Back in the 1990s when I visited my granny’s place in Belgaum, I remember her saying something like “Priya, Kannadi madhe bolun dakho” (Priya, Speak some Kannada for me!) It really took me some time to realize that ‘Kannadi’ meant Kannada. I corrected her, but you know how it is with grannies!
However, after that incident, I kept my ears open for anyone saying Kannadi instead of Kannada. I was in for a major shock! Apparently Kannadi had a new synonym, and it was best friends with ‘Kannad’. Imagine my frustration when I had to deal with Kannad and amaze at a person’s inability to get the name of language right. We never say Marath, or Malyal or Hind, right?, so why does the world find it so difficult to say KannadA??? It’s a humble ‘A’…
It also reminds me of the infamous pronunciation of Hindi news readers calling the then prime minister, ‘Devegoda’, while it was ‘Devegowda’, as in ‘Gaul’! Forget pronunciation, most non-Kannadigas residing in Namma Bengaluru feel they can get by knowing little or no Kannada at all. How come learning a local language is not a necessity even after residing in that city for years? Can you live in Ludhiana for a few years and say I don’t know Punjabi?
I feel the primary reason for the locals’ resentment against North Indians is their utter disregard to local language. I have seen many North Indians arguing with an autorickshaw driver or the milkman in Hindi. Why don’t they have the cultural sensitivity that it is difficult for we south Indians to learn Hindi?! Obviously this kind of animosity leads to mindless violence against some innocent victim like the Manipuri student who got injured recently.
Anyway, I think it is high time we Kannadigas talk to everyone in Kannada; only then outsiders will be forced to learn Kannada. Thankfully, there are some great initiatives like Kannadagottilla.com that promote Kannada as the primary spoken language!
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