6 Best Places in Delhi To Buy Perfect Diwali Gifts

October 22, 2022

When the festival of Diwali approaches, you can half of the population strolling in the markets in the quest for the perfect Diwali gifts for their loved ones. Yes, be it gift shops or marketplaces or sweet shops, you can find crowd everywhere. So, if you are looking for some famous gift shops or markets or Diwali fairs in Delhi where you can get the best Deepavali gift for your loved ones, check out the following six best places listed below:

Select City Diwali Bazaar

Places-in-Delhi-To-Buy-Perfect-Diwali-Gifts-01 — Image Courtesy – Select CityWalk

Select city is one of the most popular malls in Delhi and the nearest metro station to reach there is Malviya Nagar. Every year during Diwali, there happens a event called ‘Diwali Bazaar’ at the plaza that offers approx 50+ stalls of different categories. So, whether you are looking for festive wear, gifting items, home decor, footwear, you can find all the Diwali essentials here.

Delhi Haat, INA

Places-in-Delhi-To-Buy-Perfect-Diwali-Gifts-02 — Image – Sabarish Raghupathy via Flickr

Delhi Haat is one of the famous markets in Delhi known for Indian handicrafts and artifacts. There are a number of stores that offers a wide variety of handicraft items, ethnic wears, fashion accessories, and many more things. Also, you can find a number of food stalls from different states there which serve some of the best food items in Delhi.

Janpath And Tibetan Market

Places-in-Delhi-To-Buy-Perfect-Diwali-Gifts-03 — Image Source

Janpath and the Tibetan market are a great place for Diwali shopping in a cost effective way. All you need to have is a good bargaining skills to get all your Diwali essentials at a really decent price. Janpath is famous for antique jewelries and trendy outfits. While at the Tibetan market, you can find Indian artifacts, paintings, brassware etc.

Sundar Nagar Market

Places-in-Delhi-To-Buy-Perfect-Diwali-Gifts-04 — Image Source

Sundar Nagar market offers a number of art and antique shops. It’s a very posh market famous for silver jewelry, art, textiles, carpets, and antiques. Also, the Sunder Nagar Diwali Mela is very famous in Delhi. Just a week before Diwali, the fair takes place wherein stalls are put by owners who sell ethnic wears, jewellery, beauty products and many more things.

Atta Market

Whether you are looking for Indian or western wear or designer diyas or some amazing gift items for your loved ones, you can find the best Diwali items here. During Diwali, this market is decorated with colorful lights and it offers beautiful diyas, candles, idols of Laxmi and Ganesha etc. In short, you can find here all types of decoration items.

Chandni Chowk Market

Places-in-Delhi-To-Buy-Perfect-Diwali-Gifts-06 — Image – Alan Morgan via Flickr

Needless to say that Chandni Chowk is the most famous market in Delhi for all types of things. It has been in existence for hundreds of years and ever since this market is running successfully. So, basically, there are three famous lanes in Chandni Chowk where you can find all your desired stuffs for Diwali. For fabrics, you can go to Katra Neel. For silver jewelries, you can go to Dariba Kalan’s. For ethnic wears, you can go to Kinari bazaar.

So, now that you know where to do your Diwali shopping from, go ahead to explore these places in order to find some of the best Diwali gifts, diyas, lights, jewelry etc for your loved ones.

Family Medical History your Doctor Wants you to be Aware of

Cscope Staff

October 21, 2022

Knowing the family’s medical history is essential for multiple reasons. This will help you and your doctor identify potential health risks. Learning about the medical conditions running in the family can help you proactively think about your health and adopt the necessary steps to minimise the risk of developing certain conditions.

In this regard, you can opt for a comprehensive family health insurance plan.

4 Important Family Medical History You Must Know

Your family’s medical history includes records of all the chronic diseases and disorders family members may have dealt with. Learning about such medical history is essential since genetics play a significant role in disorders and conditions that may develop over time.

Moreover, if one of your family members develops a disease, then you may be genetically vulnerable to developing the same. Therefore, by understanding or learning about the family’s medical history, you can take the necessary steps to reduce the development of any disorder or disease.

Nonetheless, here are some of the conditions that your doctors want you to be aware of:

1. Osteoporosis and bone problem

If osteoporosis or bone problems run in your family medical history, the chances of you suffering from the same in the future increase. For example, if your grandparents have been diagnosed with such a disease, you are more prone to develop such a condition. Moreover, other health problems, such as blood pressure and diabetes, can also impact your bone health.

2. Cancer

This disease can be passed down in families. Some cancers are caused by a genetic mutations that are passed from one generation to another. If you possess a family history of cancer, you are more prone to developing the same medical condition. For instance, if most people in your family smoke cigarettes, you may develop lung cancer. Knowing such medical conditions in the family can help you make healthy lifestyle choices.

3. Gastrointestinal issues

If you have GI issues in the family, you must be aware of them. GI issues can be both mild and severe; caused by multiple factors. Often some people are prone to gastrointestinal problems due to genetic reasons, while others can develop the condition due to years of an unhealthy lifestyle. Therefore, if you are experiencing such problems, it is important to consult a doctor and avail proper treatment.

However, such treatment can lead to severe expenses. In this regard, purchasing a family health insurance plan beforehand can manage all these expenses efficiently. Moreover, you can avail substantial coverage for the entire family by making a single premium payment annually.

4. Diabetes

It is one of the common medical conditions that run in families. Unfortunately, if your parents have diabetes, you are more likely to be affected by the same. In such cases, you must take necessary measures to prevent yourself from developing it.

For instance, you can prevent diabetes by controlling your weight and maintaining a balanced diet. Regular exercise is also important.

Knowing your family’s medical conditions can help you take the required steps to stay away from such diseases and lead a healthy life. Besides, you can protect your finances with a family health insurance plan.

Such health insurance policies are cost-effective and allow your loved ones to get the necessary medical treatment without worrying about expenses. Nevertheless, before choosing such plans, you must check all the policy terms and conditions to avail the best family health insurance plan and avoid hassles in the long run.

A Penchant for Bus Tickets

Anisha Jayadevan

October 21, 2022

Bus tickets from far away places, given as a present.

I cannot seem to remember why I began collecting bus tickets. I have always liked how they looked, with all those numbers printed and stamped on them. They probably had a significant meaning, but to me they spoke of all the happenings in buses I travelled. Two aunties with orange flowers in their hair, gossiping away; the one-beat whistle that the bus conductor uses to tell the driver that everyone is on board; eight, that may have been the number of times the bus conductor had to jolt me out of my reverie to tell me they were waiting for me to get off; five sneaky old ajjis (grannies) who managed to ride in the bus without paying for a ticket. 55 bus conductors who made away with the change they owed me (this may have partially been my fault. And no, I have not kept count!).

When I had just started collecting bus tickets, about six-seven years ago, I used to write a little note about whom I was with or something funny that happened in the bus, but this got tedious after a while. By my second year of college, my wallet was bulging with all the tickets I refused to keep anywhere else. The collection included bus tickets from KSRTC and Tamil Nadu bus tickets from down south to Himachal Path Parivahan Nigam up north. Bus conductors were most amused when I took it out to pay for my journey. One nodded at the wallet and asked, ”hobby, ah?” and another was positively disgusted and went away muttering to himself after expostulating about what would possess someone to hold on to so many bus tickets.

By my third or fourth year of college my wallet had started complaining by bursting at its seams and I had to move out a few other objects of interest to make place for them. It was also getting harder to carry; it would not close and required a fair bit of expertise to induce new tickets to wedge themselves into non-existent crevices. Meanwhile, my dad was covertly removing some tickets and keeping them in an envelope. I think he feared a thief might think it was bursting with money!

One day, I got the idea to make a pop-art-ish collage out of them, which used up quite a few. I had to retire my wallet after a while and I now stash away my bus tickets in the envelope that my dad used for the ones he secretly extricated. Volvo buses and their tickets don’t have the same character or charm as the others and those tickets go straight in to the dustbin!

Incidentally, I am not the only one bitten by desire to collect bus tickets. Disha Pancholi from Mumbai has collected a whopping 75,795 tickets till 2011! Similarly, Aruna Rajagopalan narrates her silly childhood episode of collecting bus tickets with the serial numbers from A-Z so that she could a Camlin pencil box!

Factfile –
http://www.dharwad.com
http://www.indiabookofrecords.in
http://horn-ok.blogspot.in/

Kalamezhuthu Pattu – A Divinely Floor Art of Kerala

Cscope Staff

October 17, 2022

Floor art is largely prevalent in India. Different regions have their own methodology, rituals and purpose when it comes to practicing floor art. Call it Rangoli, Kolam or Alpona each of these floor creations are quite popular in their own geographic and cultural hubs. Similarly, a floor art that is unique to Kerala is the Kalamezhuthu Pattu.

Kalamezhuthu Pattu is known by various names, such as Kalam pattu, Dhulee Chitram and Kalamezhuthu paintings. It is derived from Malayalam words, ‘kalam’, meaning a picture and ‘ezhuthu’, which means to draw. This art form is completely related to temple and religious rituals. The Kalamezhuthu paintings are a part of the ceremony that worships the deities, Bhadrakali, Ayyappan, Vettakkorumakan, Bhagavati and Sarpa (Naga). The entire ritual involves not only drawing of the deities, but also singing songs dedicated to them, ritualistic dancing and finally the removal of the painting itself.

The community

The Kalamezhuthu ritual is conducted by various communities from Kerala. The Puttu Kurups are the main traditional practitioners of the ritual. Besides, the karups, the other communities that follow this ritual include Kaniyan, Theeyadi Nambiar, Kuravar, Pulayar, Vannan, Malayan, Koppaalan, Parayan, Theeyaattunni, Varanattu, Theyyampadi Nambiar and more.

During the Kalamezhuthu ritual a number of Kalamezhuthu artists are involved. The artists belong to the Karups, Theeyadi Nambiars, Theyyampadi Nambiars and Theeyadi Unnis communities. There are slight variations in the kalam or picture drawn by each of the different communities, however, the ritual and practice is similar. Also, the community members’ participation is in the singing, dancing and setting up the stage or temple area, also called paattu mandapam where the prayer or ritual unfolds.

What is the Kalamezhuthu ritual?

The beginnings…

The paattu mandapam or performance space is first prepared. This could be a separate stage set-up or within the temple premises itself. The space is decorated with garlands, flowers and oil lamps. Once the space is ready a long silk cloth runs right across the center. Next a puja is performed, also known as=‘uchapatti’ for the deity. The puja also consists of singing devotional songs. From now onwards, it is believed that the deity is present in the mandap. The Kurup then receives the koora or the silk cloth and places it on the ceiling of the stage. The Marar or the community of drummers play the drums, the Kurup sing the thottams along with the traditional instruments of kuzhi thailam (cymbal) and nanthuni (stringed instrument). The music and beating of drums continues till the end of the ritual. However, there might be slight variation in rituals that are dependent on the deity of worship.

The Kalam

The next step is when the kalam is drawn. It usually occurs during the evening or Sandhya vela, after rituals of deeparadhana, keli and thayambaka are completed. The artist uses only five colors and draws the entire image of the deity on the floor. The kalam begins with a single line drawn from east to west. The face and crown of the deity are drawn first, before filling in the details and adding the body. The image’s outline is done with white rice powder. Also, the picture is a 3D image using natural colors only. The five colors used are, white, black, green, red and yellow. White is prepared from rice powder, black from burnt husk, green from leaves, cassia, henna etc. Yellow is turmeric powder and red is a mix of lime water and turmeric. The colors are representative of the ‘pancha bhoota’ or five natural elements.

The kurupa artist takes anywhere between two to four hours to finish the entire image. He sprinkles the colors on the floor by hand, without using any tools. The size of the kalam is dependent on the deity, scale of the ritual and vastu shastra, though on an average, the picture is around 10 feet. The deity figures have clear expressions, such as they are in deep thought or anger. While the kalam is being made there are ongoing musical performances. The instruments that are used include kuzhal (wind instrument), chenda, ilathalam (cymbal like instrument), madhalam etc.

The end!

Kalamezhuthu-Pattu-Art — Image – Wikimedia

Once the kalam is completed the next step of the ritual follows. Kurup is the one who creates the deities’ pictures and sings too. However, once the figure is completed, the Komaram takes charges. The Komaram usually hails from the Nambudiri community and performs the important closing rituals. These include, kalapradikshinam, where he dances on rhythm of the traditional instruments around the deity’s picture or the kalam. The other ritual is nalikerameru, where coconuts are broken and offered to the deity. The final closing of the ceremony is called kalammakkal.

The Komaram is often regarded as the representative of God himself. Along with the kurup, other musicians and devotees he steps out to look upon them all. Finally, the Komaram steps inside and dances on the tunes of the instruments around the picture. The drums beat in accordance with the steps of the Komaram who takes several rounds around the image. This is followed by a ritual performed by the head priest or thantri.

Next is nalikeram peru where the Komaram starts breaking the coconuts at intervals. The crashing of the coconuts is in sync with the musical crescendo of the chenda or drums and creates an astounding spiritually mesmerizing ambiance. The number of coconuts varies between 3 to more than 12,000 depending on the scale of the ritual. As the coconuts are broken, the image of the deity is simultaneously erased until the entire picture is gone. The colors left behind are taken by devotees as a blessing or prasada.

Koora valikkal is the last rite, where the Komaram removes the silk cloth overhead and returns it. This marks the end of the Kalamezhuthu ritual.

Deity and community specifications

Kalamezhuthu-Pattu-Performance — Image Source

The Kalamezhuthu ritual is common in many temples and also noble and elite households. The ritual is performed on various occasions. There is a 40 day festival that begins from the first of the month of Vrischikam in many Bhagavati temples in Kerala. Also, since it is dedicated to different Gods it is performed in their respective temples. For instance, Bhadrakali Kalamezhuthu is performed in Bhadrakali temples and the song that is played here is the Bhadrakali pattu which is centered on the killing of asura Darikan. The Nagakalam or Kalamezhuthu ritual for the serpent Gods is practiced mostly by the Valluvar community. The Thiyyas of Cheerbakavu from North Kerala perform the ritual at the Thalappoli festival and it lasts for three days. Thus, the rituals vary according to the community, region, deity etc.

Features and characteristics of Kalamezhuthu

Kalamezhuthu Pattu Features — Image – Wikimedia

The floor art of Kalamezhuthu is unlike any other floor arts of India. Though there are several similarities, in terms of concept, there are also a few features that are very specific to this art form. Like all other floor art, Kalamezhuthu is also erased at the end, leaving no trace of the original work. The colors used are natural but the painting is created only on religious and spiritual occasions. Where other floor arts are usually practiced by the women, Kalamezhuthu is primarily a man’s art.

Besides, Kalamezhuthu pattu has well defined rules that the artists have to follow. For example, the hair and ornaments of each deity have to adhere to standard specifications. Only for the deity Bhadrakali a few liberties in ornaments and attire are allowed. Similarly, the color green can be used for the body of Bhadrakali, Vettakkorumakan and Ayyappa. Kalam art is 3 dimensional, mostly for the enhancement of facial features. Also, weapons play an important role and are emphasized in the kalam.

Suggested Read – Exploring the Exhilarating Art Forms of Kerala

Kalamezhuthu pattu is a distinct ritualistic practice carried out specifically in Kerala. Here art forms of music, dance and floor art come together in prayer and ritual to honor and pray to the Gods. A uniquely splendid ritual, it is slowly gaining more recognition in recent times.

Babybookaholic – Journey of A Mother To Children’s Book Writer

Prarthana Asija

October 16, 2022

Babybookaholic’s creator Yashaswini is from Davangere, a city in Karnataka. Youngest among her three siblings, she did her schooling from Davangere, and later moved to Mysore for college. She is a BA graduate in Public Administration, Journalism and Optional English. During her second year, she was part of a student exchange program (SUSI) organized by the US consulate. After her graduation, she worked as a reporter with the Times of India, Mysore Bureau. Now, a mother to a 3 years old daughter, she is a stay-at-home mom, journaling her motherhood reads through her Instagram page Babybookaholic. https://www.instagram.com/babybookaholic/

In conversation with Yashaswini, we learnt more about her journey as a reader-mom to now an author –

Yashaswini – Mom Turned Author

I was always a reader, even before I became a personal reader to my Baby R. That is one reason why I wanted my child to be a bibliophile too. Not just in theory, I knew I would have to imbibe that culture around her. Before her birth, I was only aware of popular childrens’ books like Disney classics. However, after her birth, I rejoined Instagram and began learning about the wonderful books that were hidden from the public eye. Hence started my journey of sharing the same with those who may be living under the rock. As a book-lover myself, introducing books to Baby R came naturally to me. Babybookaholic is my daughter R’s journey with books.

Through this page, I have made friends with other moms who shared a similar routine as mine. This mother tribe is very kind and supportive. In case of doubts, be it about books, about motherhood, or any other regular topic, you can talk to them without any hesitation and they will guide you. In fact, I have not met many of them and the bond is stronger than those I meet regularly. When Baby R joined school, she had separation anxiety. Next, all of a sudden, she started talking about death when school started and I did not know what to do. I contacted a mother friend who conducted a workshop and I learnt how to deal with this. We also inform each other about books. That is how I learnt about Indian children’s books by Indian publishers, in Indian languages.

My Reading Journey

I like to call myself a reader, however I may not be as dedicated of a reader as other dedicated readers. If I go down my memory lane, my father used to bring me Champaks and Balamangala. There was a private library near our house where I got introduced to comics such as Tinkle, Amar Chitra Katha, and even Harry Potter. Coming from a small town in Karnataka, my grasp of English was not great when I was in middle school. I remember reading my first Harry Potter (because I read about it in the newspaper) but I could not understand anything and everything went over my head. Disheartened, I kept it back. In high school, particularly in 10th standard, I restarted my reading journey with Harry Potter, successfully understanding it at this point.

My Amma is an ardent reader as she reads Kannada books. She read, rather narrated, Panchtantra to me. Her narrations inspired me to pass on the storytelling legacy to my child. I recall her bringing Kannada books at home (not children’s books in particular). Since it was my only source of reading, I used to pick them up and read. My motto was to read, unstoppably.

My previous reads include novels such as Kite Runner, but lately I also get to read Baby R’s books. Now that she has started going to school, I get more time to read Indian authors. At present, I started the Ram Chandra series by Amish Tripathi: first being Raavan: Enemy of Aryavarta, then Sita: Warrior of Mithila, then Ram – Scion of Ikshvaku, and now I am reading War of Lanka.

Introducing Baby R to Kannada through books

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Let me tell you the process of reading to her – even when I read English books to her, I simultaneously translate them to Kannada because we hardly speak to her in English. This was the first step of narrating in Kannada. So the first five to ten times, I narrated to her in Kannada, and once she understood the story, I switched back to English. She has learnt English only through books, and for a non-native speaker, I must say she has a very good vocabulary, even better than mine. (chuckles)

The process behind curating posts

When I started this page, I wanted to document her journey, what she thinks when I read to her, what goes in her mind, and how she felt and reacted to that story. For instance, when we read Dr Seuss’ Green Eggs and Ham (confirm), she didn’t want to pick it up again because Sam forces the other person to eat green eggs and ham. Therefore while drafting my posts, I think from my child’s lens, and how another child will perceive and read my captions.

Sources for children’s books

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Books by Indian authors can be purchased directly from their websites. Then there is Tara Books (exorbitant), which I mostly buy from when it’s raining offers. Then there is Blossom Book House in Bangalore. Not to forget, there are Instagram book stores where you get preloved books on a first-come-first-serve basis, at affordable rates.

Do you resell books?

Although we do not resell yet, only recently Baby R started sharing her books with her neighbor Baby T of 2.5 years. Baby R learnt that giving books meant getting to read new books in exchange, and so she liked the idea. Reluctant initially, now she is eager to go to Baby T’s apartment to get new books.

What to read to a baby and when?

I started reading to my daughter when she was just six months old. As a few months old baby, she absolutely loved looking at the pictures and was glued to the pictures of a dog, a cat, and a bird. As a toddler, she started understanding what the sentences meant and enacted sitting on a chair, and eating with a spoon. I look forward to her revisiting the book once she learns to read her alphabet. Through episodes like these, I learnt that Baby R loved animals – be it toys or books. In fact, I believe that she loves animals more than humans. Whenever she sees animals, she can reconnect them to the characters she read about. Instead when people look at her and greet, she looks away.

Every book was unplanned. We never introduced her books to learn anything, books were never an imposition. It was just another book. Even now I haven’t taught her the alphabet. She knows numbers from 1 to 10, and colors she started recognising only after 3 years of age. I wanted her to know that books are fun, just as toys, with no pressure whatsoever.

Daughter R is specific about the stories she wants to listen to. She skips the pages or just says ‘no’ if she doesn’t want to listen or read a story. I have to figure out her criteria for deciding on stories to listen or to read. I ask myself time and again – is it about the pictures or the characters?! I still have answers to find.

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Bookaholic Baby R in the age of smartphones

As parents, we did not want to introduce screen to her. When she was just one year old, we used to carry board books for her so that she doesn’t get impatient when we are eating or while waiting for the food during outdoor dinners. Until 2 years, she did not know about phones at all, except she did video calls but very rarely. She knew phones existed but only for conversations. She has no clue about this page and in fact, she gets screen time very rarely, every two weeks, that too with a timer. She sincerely turns off the TV when asked to. However, at times she won’t and I give in to her demands.

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Life Lessons in a picture book

I started reading about safe touch and unsafe touch to her before school started. I asked her to communicate if she does not feel comfortable with Amma’s touch. Baby R is very vocal about her feelings, in fact the first word she learnt from books was ‘no’. I have always encouraged her to express her emotions. As a kid, when she felt angry, she asked me what she should do. I suggested we go to the balcony and she screamed which served as an outlet for letting out emotions. Even now when she gets angry, she opens the door, screams and comes back. She understands that every emotion is important.

Talking about separation anxiety, I learned about it through her reluctance to go to school as she was too attached to me. Through the story of Alfie and of the owl mother, she learnt that the mother returns after a short journey away from the child. This helped her cope with her anxiety and spiral back stronger.

One more life lesson that she learnt through her book was that not everyday you feel like sharing. While we tell our kids sharing is caring, we often forget that it is okay to not always share. Some days she states she is not in the mood to share and I tell her that it is okay. And that is what we as parents also need to learn, it is okay to not share some days.

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Released today!

Baby R was herself interested to know stories – she would ask me to create imaginary stories for her. This is when I created stories on the spot, just the way my mind worked at that point. Hearing these stories, my husband encouraged me to write children’s stories.

A realization that occurred to me was that even if there were Indian publishers, there were not many regional languages books, especially in Kannada, which is her mother tongue. I wanted her to read kannada books as well. My very first book is, in fact, about our roots in Kannada to familiarize kids about the same. So this is my first book titled Chinniya Rajayi releasing this Sunday.

My husband did give the first push, but Baby R was my first reader and listener. Her reactions were gravely important for me as I narrated the story to her first and if she found it boring, I altered the story a little. I never wrote stories on paper – I sewed the stories in mind and made edits mentally and simultaneously. And once it did make sense, I put it on paper.

My first book talks about a not-so-known quilt stitching of Karnataka. I knew about this stitching since I was a kid but I had never seen anyone stitch it before, although I come from that part of Karnataka. There is a community in Northern Karnataka, especially women community, who stitch this quilt by going from house to house to collect old sarees/clothes. Whenever the ladies came home to collect clothes and stitch, I was either at school or college. During my pregnancy days, I saw them quilting for the first time. I was amazed at how they stitched such big quilts in a matter of minutes! That was the reason that made me think that the kids would be as fascinated as I was as an adult. Hence, the story of Chinniya Rajayi took its form.

The second book titled ALilu Seve is part truth-part imaginary. When I was working at Times of India, I used to write this column called ‘Citizen of the City’ which was about the people’s contribution. I met this coconut seller who used to give coconut meat to the squirrels. There are episodes about this in my second book. Some kindness and animal imagery to cater to children’s imagination.

Your books cater to which age group?

The publishers believe ages 6 to 12, but from what I have experienced is that one must not limit a child’s potential. Do not go by an age slate, I believe anyone can enjoy a book as each child is different. Even when my friends ask me what book their child must read, they forget that my recommendations do not matter more than a child’s willingness to read.

Where can we read your books?

It will be available 16th October 2022 onwards on Harivubooks website and its bookstore. By next week, you will be getting it at Sapna book house in Banglore. I will be posting the details on my account as well.

You can get the copy of her books by visiting the Harivu Books website links below,
ಅಳಿಲು ಸೇವೆ – https://harivubooks.com/products/alilu-seeve-kids-book-kannada
ಚಿನ್ನಿಯ ರಜಾಯಿ – https://harivubooks.com/products/chinniya-rajaayi-kids-book-kannada

Will your books be translated to English?

No one has approached me yet, and I am not sure if I can translate them into English. I am open to the idea of the books being translated, definitely. I will also have to discuss it with the publishers.

Exploring the GI Protected Art Forms of India

Rupsha Sen

October 14, 2022

A geographical indication (GI) tag is a trade name or label applied to particular products that designates a particular geographic region or country of origin. The GI tag makes sure that only individuals who have been approved as users and who are physically present in the geographical territory are permitted to use the product name. The GI label confirms that the product possesses special characteristics that can be regarded as local community intellectual property. Darjeeling tea was the country of India’s first GI-tagged product in 2003; since then, 191 additional products have been added to the growing list.

When a product receives GI status, its price rises on the global market (because consumers in the First World prefer such exotic items with proven origin), boosting its export and reducing competition from vendors selling fake goods for the poor farmers and artisans in that region. Sustainable development is thus indirectly facilitated.

As a highly diverse nation, we have a wide variety of handicrafts that are primarily made in rural areas. These handmade products represent our culture through their exclusive proprietary techniques, distinctive key ingredients, and time-honoured traditions. It is crucial that we are aware of these goods in order to support their continued production and pass them on to future generations.

Nowadays, advertisements for goods with distinctive GI labels like Kancheepuram or Mysore Silk are common. They emphasise the weavers’ names, places of residence, and the number of years in the industry. This is a great way to support the neighbourhood and show it the respect it deserves. There are currently 191 products with GI tags on them from different parts of India. 100 additional products are awaiting authorization to be designated as GI tags. Here is the list of GI protected art forms of India we must support.

Mysore Traditional Paintings

GI Protected Art Forms of India, Mysore Painting — Image – International Ramayana Trust

GI Tagged State: Karnataka
GI Certificate Date: Jan 30, 2006

An important style of traditional South Indian painting known as “Mysore painting” developed in and around the Karnataka town of Mysore under the guidance and patronage of the Mysore kings. Painting in Karnataka has a long and distinguished history, dating back to the Ajanta period (2nd century B.C. to 7th century A.D.). The distinctive school of Mysore painting emerged from the Vijayanagara period paintings during the reign of the Vijayanagar Kings (1336-1565 AD). Mysore paintings are renowned for their elegance, muted colours, and attention to detail. The majority of these paintings are based on scenes from Hindu mythology and depict Hindu gods and goddesses.

Thanjavur Paintings

GI Tagged State: Tamil Nadu
GI Certificate Date: May 16, 2007

The classical South Indian painting style known as Thanjavur painting originated in the town of Thanjavur and quickly spread throughout the neighbouring and geographically adjacent Tamil nation. The Thanjavur paintings are distinguished by rich, flat, and vivid colours, simple iconic composition, glittering gold foils overlaid on delicate but extensive gesso work, and inlay of glass beads and pieces or, very rarely, precious and semi-precious gems. It has been recognised as a Geographical indication by the Government of India in 2007–2008. Paintings from Thanjavur exhibit influences from Deccani, Vijayanagara, Maratha, and even European or Company styles.

Madhubani Paintings

GI Tagged State: Bihar
GI Certificate Date: May 05, 2007

The first Madhubani paintings were created by the women of the village of Maithili in Bihar as a means of expressing their feelings, aspirations, and thoughts on the walls of their homes. Over time, celebrations and important occasions like marriage began to include the paintings. The Indian Madhubani painting gradually began to reach art connoisseurs on a national and international scale, transcending traditional boundaries. The traditional base of freshly plastered mud wall of huts has been replaced by cloth, handmade paper, and canvas.

Cheriyal Scroll Paintings

GI Protected Art Forms of India, Cheriyal Scroll Painting — A marriage procession, Cherial painting

GI Tagged State: Telangana
GI Certificate Date: October 06, 2010

A stylized form of Nakashi art, Cheriyal Scroll Painting is rich in Telangana-specific regional motifs. The scrolls, which are currently only produced in Hyderabad, Telangana, are painted in a narrative style akin to a film roll or a comic strip and feature tales from Indian mythology that are closely related to the shorter tales from the Puranas and Epics. The paintings are distinguished by the unrestrained imagination of the local artisans who were not constrained by the academic rigour that characterised the more classical Tanjore painting and Mysore painting. They are painted in vivid hues, mostly primary colours, with a predominance of red in the background. In 2007, the Cheriyal scroll painting was granted GI (geographic indication), or intellectual property rights protection.

Kangra Paintings

GI Protected Art Forms of India, Kangra Painting — Image/Ashley Van Haeften/Flickr

GI Tagged State: Kangra, Himachal Pradesh
GI Certificate Date: April 02, 2012

Kangra paintings, which were created in the Himachal Pradesh state, were well-liked in the city that bore their name. After the Basohli art movement gradually started to wane in the middle of the 18th century, the Kangra School of Painting emerged. The Kangra paintings received high praise from both the public and critics for their new improvements and features. The Pahari art (a form of painting used in hilly areas of India) was eventually replaced by the Kangra art as a result of the enormous support given to this style of painting. Bilaspur, Nurpur, Guler, and of course Kangra are the main locations where this art form is actively practised. Later, it spread to other parts of India, including Kullu, Suket, Arki, and other places. Even though many kings and aristocrats supported Kangra painting, this art form only really gained popularity during the reign of Maharaja Sansar Chand.

Warli Paintings

GI Protected Art Forms of India, Warli Painting — Image – Yoga Moorthy

GI Tagged State: Maharashtra, Gujarat, Dadara & Nagar Haveli, Daman Diu
GI Certificate Date: March, 31, 2014

This folk art form, created by the Maharashtrian tribe with the same name, is thought to be among the earliest schools of drawing and makes excellent use of geometrical forms. In the distant past, the tribal people would decorate or perform rituals on their walls by painting pictures of nature and everyday life, including social events like weddings. They contrast vividly with the red ochre mud walls because they are typically painted white (a colour created from rice paste and gum). The art is still being practised in places like Palghar, Dahanu, etc. despite being on the decline (easily accessible from Mumbai). You could gather a few of the current cloth paintings and frame them for your wall. Additionally, some businesses have chosen to translate these designs onto furnishings and clothing. In 2014, Warli painting received a GI tag.

Sohrai Khovar painting

GI Protected Art Forms of India, Sohrai-Painting — Image – ART-Ds/FB

GI Tagged State: Jharkhand
GI Certificate Date: September 14, 2021

In the Hazaribagh district of Jharkhand, tribal women practise the traditional and ritualistic mural art known as Sohrai Khovar during the local harvest and wedding seasons using locally produced, naturally occurring soils of various colours. Telia Rumal cloth is made using a cotton loom and intricate handwork, and it comes in three distinct colours: red, black, and white. Only the Hazaribagh district primarily employs the Sohrai painting technique. However, in recent years, it has been observed in other regions of Jharkhand for promotional purposes. They were previously only visible on the walls of mud houses, but they are now visible on other surfaces as well.The pattern is characterised by an abundance of lines, dots, animal and plant forms, which frequently depict religious iconography. In recent years, Sohrai-Khovar paintings have been used to adorn the walls of significant public spaces in Jharkhand, including the Hazaribagh and Tatanagar Railway Stations, the Birsa Munda Airport in Ranchi, and others.

Kalamkari Paintings

GI Tagged State: Andhra Pradesh and Telangana
GI Certificate Date: September 14, 2021

Even art historians do not know with certainty when Kalamkari painting first appeared, but it is believed to have started several hundred years ago in what are now the states of Andhra Pradesh and Telangana. The term “Kalamkari,” which refers to a particular, intricate style of hand-painting onto cloth, derives from the word “kalam,” which means pen. Scenes from sacred texts like the Mahabharata, Ramayana, and Bhagavatam were first depicted in this manner. These paintings, which tell the tales of the gods, were frequently used as decorative backgrounds in temples.

These themes, along with other esoteric and antiquated symbols, are still prevalent in Kalamkari today. One particularly well-liked Kalamkari motif is the Tree of Life, which unites heaven, earth, and the underworld while remaining firmly planted on the ground. Numerous animals eat its leaves, live in its branches, and seek out its shade, making it a symbol of nourishment as well. Deer, tigers, and peacocks are popular subjects.

Rogan Paintings

GI Tagged State: Kutch, Gujarat
GI Certificate Date: —

Around 400 years ago, the Rogan Art, a centuries-old textile tradition with Persia as its birthplace, arrived in Nirona Village, Kutch, Gujarat. In this craft, a unique castor-based paste is utilised. Castor seeds are manually pounded to extract the oil, then boiled to create a paste. This is combined with coloured powder that has been diluted in water. In order to prevent drying out, the various coloured pastel-yellow, red, blue, green, black, and orange—are kept in earthen pots with water. With the help of the fingers of the left hand, the kalam, an iron rod that is flat on both ends, is used to paint half of the design. The other half of the cloth is then imprinted with it by pressing the two halves together. Rogan Art was initially supported by the farming and animal-herding communities in the area. Rogan art used to be traditionally incorporated into these communities’ bridal attire. Demand for the art started to decline as machine-made textiles became a more affordable alternative. The last and original Abdul Gafur family in Nirona village upholds the Rogan art tradition. It started out as a decorative art but has since developed into a distinctive, intricate fine art.

Indian folk art is a part of the nation’s heritage and is an expression of its history and culture. Because it emerges from the human soul, it is the most unique work of art. The Indian government has launched a number of initiatives to preserve this vibrant traditional art form. Future generations will now find it simpler to access this heritage, which will further diversify the culture of the nation. The preservation of geographical indications promotes the general economic well-being of producers and manufacturers. Additionally, the marketing and promotion of the goods with GI tags strengthen the ancillary economic activities in that particular region, which in turn supports the growth of the local economy.

All You Need To Know About Vibrant Kalighat Paintings of Kolkata

Rupsha Sen

October 12, 2022

Over several centuries in literature, drama and visual arts, Kolkata has emerged as the unofficial cultural capital of India and has pioneered a number of movements and trends in the same. Kalighat painting is one of the rich legacies the country continues to retain.

Kalighat painting is a traditional Indian form of art that originated in the colonial atmosphere of Calcutta in the 19th century. The Kalighat Kali Temple is the birthplace of these paintings, and this traditional form of painting owes its name. Kalighat’s paintings have been mainly made of cloth or paper scrolls, and are named after the flourishing colony of the patuas or cloth artists at Kalighat temples in Kolkata. The focus for these paintings was mostly mythological characteristics that eventually evolved with other secular and contemporary themes into civil life in Calcutta. The style is characterised by the use of bold and vibrant colours and the strong and effective use of brush strokes. Experts consider the brushwork on these paintings to be soft, smooth, flawless and among India’s most seamless artworks.

History of Kalighat painting

Kalighat Paintings Historical Background — Image – Wikimedia

Bengal’s earliest art was on clothes and patas and even on paper scrolls that represent scenes from Hindu holy epics such as Rama Charita Manas. The patuas were transported to the urban hub of Calcutta, to expand the client base for their art form. The way they settled down around the temples, in particular the Temple of Kalighat, was deliberate, as the subject of their art was most popular. Since Kalighat Temple was a renowned religious location, during their regular visits people would buy Kalighat paintings. The artists created paintings with a distinctive theme during the festivals, which was once again quite popular with temple goers. It is thought that around 1850 the particular genre of Kalighat painting emerged in India.

Jyotindra Jain, one of India’s most recognised art historians, believes that there was no discrete society of painters and artisans involved in making the Kalighat paintings. These paintings were done by artisans, potters, stoneworkers and men of other professions.

At the same time, Calcutta underwent incremental reforms in its British education system and began to accept fine art as a mainstream field of learning. This led artists to travel into the city, learn new techniques and appreciate contemporary themes, of which Kalighat paintings later show an influence. Two different styles, the Oriental and the occidental arose from Kalighat art, both popular in the country.

Motifs and Themes in Kalighat painting

Kalighat Paintings Motifs and Themes — Image – Wikimedia

The whole process of creating a painting from Kalighat depended only on the efficiency and amazing capabilities of the patuas. The paintings were made via a production line, and mostly by family members. The first was to copy the figures from an original crayon sketch, then passing them to the others who gave life to the painting by adding the basic colour to the flesh and muscles where required, further filling the other family member with colours, in different parts of the body and in the background. The final member, especially the master artist, would apply lamp black to the finishing touches. The background was kept unchanged or straightforward, eliminating all the necessary elements and therefore saving time. These were their skills that could readily create hundreds of Kalighat’s paintings in one day by a family of four to five members.

Colors and Hues in Kalighat painting

Kalighat Paintings Colors and Hues — Image – Wikimedia

Kalighat Art is recognised for its brilliant, jewel-toned hues, powerful lines and its pristine visual harmony. Therefore, the use and availability of correct colours formed the basis of the whole artwork. The paintings were done using opaque colours, the paper and the brushes, based on water, were made from the hair of the goat or the squirrel. They used natural colours before the painters changed into cheaper manufacturing hues.

Black- burnt carbon
Blue- aparajita flower and indigo
Green- sem and its leaves
Red- peepal tree bark
Yellow- turmeric
White- rice powder

These colours, including crushed tamarind and bel gum, were blended in with a variety of binding agents. Colloidal tin was utilised in addition to the basic colours for decorating the paintings and giving them a sparkle.

Themes and Varieties

Religious Art – The concepts normally shown in these paintings were an extension of the original pattachitra, which was intended to be devotional keepsakes for the Hindu gods and deities. Scenes from Ramayana, Mahabharata, or tales from the life of Krishna were painted in their many shapes and deities like Shiva, Kali, Durga, Lakshmi, Ganesha, Sita, Kartikeya. In order to entertain their Muslim guests, the artists often portrayed Islamic figures like the horse of Imam Husain. These religious and mythological paintings were known as the Oriental school of Kalighat Paintings.
Contemporary Art – Only when they started producing Kalighat paintings, did they start painting scenes from everyday lives and resorted to urban themes. These pictures reflected the social and political climate of Bengal’s 19th century and often satirically viewed the culture of ‘babu,’ which painters disregarded. Given that these painters relocated to a relatively new metropolitan environment from rural areas, these paintings reflected their perception of contemporary life. Crime scenes were drawn by artists and women and men who fed their pet cats, birds and animals, men travelling on elephants, courtesan ears being washed by the barber, etc. Not only did they produce excellent quality paintings, but their traditional paintings of Rani Lakshmibai and Tipu Sultan also propagated the concept of independence. In Kalighat Pat Art, the depiction of civilian life was called the ”Occidental school of Kalighat Painting’.

Jamini Roy- The pioneer of Kalighat Paintings

All about the vibrant Kalighat Paintings in Kolkata -Jamini Roy — Image – Pinterest + Facebook

If you walk into an average middle-class art-loving West Bengal household, you’re more likely to find a well-preserved portrait of Jamini Roy than a fancy-looking work by one of India’s many modern painters. The paintings had to be kept in good condition since Jamini Roy would not have sold his work if he had doubts about his buyer’s passion for art. While most Indian artists of the twentieth century were enthralled by modern art, which paid well, Jamini Roy stood out for his devotion to Indian traditions. He was so enamored with simple Indian folk art. Outside the famed Kalighat temple in Calcutta, he received his genuine calling in 1925. Jamini instantly recognised what he preferred and was interested in art after seeing a few Kalighat paintings on display outside the temple. Jamini Roy threw up modern art and kept to his origins after being influenced by the simplicity of Kalighat paintings (Indian folk art), gaining millions of hearts in the process. He also abandoned the use of European pigments and even canvases in favour of more appropriate substitutes. He was awarded the Padma Bhushan by the Indian government in 1954 for his contribution to art.

Prominent Works

Kalighat-Paintings-Ramayana-by-Jamini-Roy — Jatayu, Ravanna & Sita from the Ramayana by Jamini Roy

Ramayana – His 1946 masterpiece, “Ramayana,” is widely regarded as his magnum opus by art lovers and critics alike. This particular work of his is a series of paintings spread across 17 canvases, created in the Kalighatpata style. To tell his interpretation of the old Indian epic, Roy employed vegetable colours and pigments obtained from natural ingredients. Sarada Charan Das, K.C. Das’s successor purchased the entire series, which currently hangs on the walls of his home, Rossogolla Bhavan. With 25 of the artist’s original paintings, the residence houses the artist’s largest private collection. Individual Ramayana episodes have also been created by Jamini Roy, some of which are displayed at places like the National Art Gallery.

Bride with two companions – This painting, which was completed in 1952, is notable for its magnificent Bengal indigo. Every feature of this painting, according to critics, has a meaning and a cause.

Krishna Balaram – In this picture, Lord Krishna is seen with his brother Balarama. Roy had employed earthy tones over a magnificent red background.

Radha Krishna Series Roy painted a series of paintings representing Radha and Krishna’s colourful lives. Along with his other Gopis, he depicted Krishna’s life.

Present Day Scenario of the Kalighat paintings

Now the paintings of Kalighat are on display all throughout the world, from Britain to Philadelphia. It is a global testimony to one of the most famous modern Indian art styles. In the production of stylish ethnic Indian clothes, it is also used as an art form for a more modern motif. This type of art has inspired Indian designers to produce some of the most unique themes ever seen in a saree. However, this has played a major part in broadening and bringing the reception to younger people whose interest is more in distinctive fashion than in modern art forms.

7 Nude Indian Painting That Continue To Amaze Us

Mahima Sharma

October 10, 2022

Reading the pages of history through scriptures and caves is a crucial part of learning through the ages. One such domain which is not only quintessential but also controversial in the subject of Indian culture is nude Indian painting. When referring to this kind of art, the first impression comes with its subject, the portrayal of females. Sigiriya Damsels, a massive 5th century mural in Sri Lanka, have 500 naked ladies adorned on the Lion Rock. The murals of Ajanta tell the Jataka stories, the oldest 2nd century BC age Indian art. Here, there lies handsome princes and princesses with love-lorn displaying heavy breasts and feminine beauty. If you look closely at the old Indian sculptures, you will find there is a certain kind of an obsession of Indians with the sensual body parts. It is momentous to note that nude art is not always about eroticism, but rather about creating a sense of fertility and abundance through females. To complement the idea, you must know that centuries ago, 1200 BC, in the reign of the Mauryan empire, women and men didn’t wear anything but just a fabric to cover the essentials, close to nothing. It is not surprising that India has a rich nude art history, from which many Indian artists have drawn inspiration. This article highlights some of the famous ones whose art is irresistible.

Here we list the top nude Indian painting and the artists who painted them.

1. Female (Nude) By Mahadev Viswanath Dhurandhar.

Nude-Indian-Painting-by-Mahadev-Viswanath-Dhurandhar-2 — Female (Nude) by Mahadev Viswanath Dhurandhar. Source: Tallenge Store

After Raja Ravi Varma, Dhurandhar is the second most popular Indian artist of the first half of the nineteenth century. His work comprised mainly of landscapes, portraits, and mythological and historical India. The painting Female (Nude) is realist nude Indian painting by the artist with a princely eye for details. In Mumbai’s J J School of Art, he mastered classical Western training while incorporating traditional Indian craftsmanship and iconography.

This naked female art by Dhurandhar portrays a lady from the rear against a thick blue background. Her fleshy skin and minimal muscles are some of the features that make her appealing, while she embraces herself with a necklace. The white pearl earrings and flowers on her hair are an addition to her beauty. Her expressions hint to us about her going crimson while closing her eyes. This painting perfectly manipulates the artist’s mastery of lighting, shade, and body language.

2. Untitled By Hemen Majumdar

Female Nude Art by Indian Artist Hemen Majumdar — Untitled by Hemen Majumdar. Source: Tallenge Store

Among the epic artists, Majumdar is known for the wet-saree effect he produces with his paintings. He learnt art with the European books he got from England. Majumdar produced a series of artworks with the woman as the subject. He used to paint sensuous layers of smooth skin with little muscles and bone structures to portray feminine beauty.

This nude Indian painting has a female with long black hair covering her torso with a free cloth. Moreover, her body skin shows a smooth texture with a whitish tone. Her facial expressions and head-down explain the dilemma of the woman’s life. In the background, there lies a statue which is also naked. The painting holds a spectacular vision of the domestic side of a woman’s life through the rich colours and vivid scenery.

3. Self-Portrait As A Tahitian By Amrita Sher-Gil

Nude-Indian-Painting-Self-Portrait-As-A-Tahitian-By-Artist-Amrita-Sher-Gil — Self-Portrait As A Tahitian By Artist Amrita Sher-Gil. Source: Picryl.com

In remembering one of the finest Indian female artists, one can’t neglect the name of Amrita Sher-Gil, who was a Hungarian-Indian artist. She is the Avante-grande woman artist of the 20th century, referred to as Frida Khalo of the east. By analyzing her 172 oil paintings, it becomes clear that she captured the inside peaks of women’s lives that nobody knew about. She was an exceptional colourist with special effects through colours. Surprisingly, until her late 20s, she did not use red colour in any of her paintings. She took inspiration from the murals of Ajanta and Ellora caves and drew classic compositions. She has painted a number of nude Indian painting that continue to amaze us. Learn more about her style of art, earlier life and late life from here.

The composition you see does not intend to showcase the female body as a component of desire but as a reflection of reality. Sher-Gil portrayed a man’s reflection on the naked lady with misery on her face. The reason behind this is the message of patriarchial society and the female body as a depiction of a mere sexual object. In addition, various Japanese figures used in the background of the naked female art suggest her experimentation with a new art style.

4. Tilottama By Raja Ravi Varma

Nude-Indian-Painting-Tilottama-By-Raja-Ravi-Varma — Tilottama by Raja Ravi Varma. Source: Picryl.com

Raja Ravi Varma was the first Indian artist to display Westernism in his paintings, yet his values and subjects were deeply rooted in Indian traditions. He was born in Kerala and grew up with his siblings in his mother’s ancestral home, where he observed the women working and performing their daily rituals. In his paintings, he used to display subtle flesh skin with careful attention to facial expressions. He used to embrace feminine beauty with ornamentation and glittering clothing.

In this composition of Tilottama, there lies a Hindu mythological story of an Apsara, Tilottama. As a result of Brahma’s request for the destruction of two demons, Sunda and Upasunda, she was created in the epic Mahabharata. As their atrocities grew, Lord Indra sent her to them. They were captivated due to her irresistible beauty. As a result, they fought and ended up killing each other. The nude Indian painting displays a naturalistic woman with a bare chest and hand gestures above her head. Her long hair, use of red saree and glittering jewel gives another reason for her prolonged charm in the composition by the artist.

5. Nude with Mirror By Francis Newton Souza

Born in Goa in 1924, he was the most influential modern Indian painter and mentor of M.F. Husain. He studied at St. Xavier’s school, where he was dismissed due to his drawing of pornographic images on the school’s lavatories. He further enrolled in J. J. School of Art in Bombay, where he was expelled again due to his participation in the Quit India movement with Gandhiji. He experimented with many art styles, but his most famous was the black paintings, produced in London during the 1950s to 60s.

In this composition, he portrayed a nude lady who adores her beauty with a comb in one hand and a mirror in the other. The evocative sensuality in this artwork through the unusual private parts of the lady is notable here. The artist filled colours in the lady with black reflections.

6. Bharat Mata By M.F. Husain

Bharat Mata Painting by M.F. Husain. Source

There is rarely anyone in India who does not know about M.F. Husain. He was one of the most crucial modernist Indian artists who remained controversial due to his naked depiction of Hindu Gods and Goddesses. On asking about his naked art, he often said that nakedness in it links itself to formlessness, innocence and maturity. He drew nude portrayals of Saraswati, Sita, and Ram and as the hurtful sentiments to the people of India; he even went to exile.

In this composition, he drew Bharat Mata as a red nude female with various other elements in the background. The artwork led him to around 900 odd cases and massive protests against him. It portrays a weeping woman due to colonization by the Britishers. The careful use of lines and symmetry alongside brighter colours are the noted points in the controversial Indian nude painting.

7. Untitled, Nude with Still Life By Badri Narayan

Nude with Still Life by Artist Badri Narayan. Source: Sarmaya.in

Born in 1929, Badri Narayan was an Indian artist, author, and storyteller. He worked as a successful art teacher before he took paintings as a full-time role. Additionally, the core of his composition remains in Indian literature. He inserts popular Indian icons into his oeuvre at times, and symbolism dominates his work. A constant theme in his artwork was self-reflection and autobiographical perspective.

An abstract still-life composition is juxtaposed with the figure of a seated female nude in this painting by Badri Narayan. Almost as if the woman herself is part of the still-life composition. It has a certain mystic dream-like quality, which is typical of the artist’s painting compositions. In Narayan’s artworks, there is a hidden message conveyed through certain symbolic elements.

Suggested read – Top Indian Artists That Every Indian Should Know

Conclusion.

There is no doubt that nude depictions have always been a part of Indian history. They not only showcased the purity of artistry but were bound to explore the traditions of old India, which we now overlook. What do you think of these artworks, and which nude Indian painting is your favourite? Let us know in the comments below.

12 Best Websites to Buy Handloom Sarees this Festive Season

Cscope Staff

October 6, 2022

Handloom sarees are the perfect blend of elegance and tradition. The Indian handloom sector is re-establishing itself on the world fashion map. The rising love for khadi in a fashionable approach is exactly what people are seeking for. Luxury fashion businesses and self-made labels are working together to address this need. This, in turn, will boost and illuminate the traditional weavers of India. The indigenous loom is surely doing the rounds on the internet among B-town stars and clients all over the world.

It’s time to spruce up your wardrobe with the ideal weave. Handloom sarees are a valuable treasure, from the stunning Banarasi Silk to Telangana’s Pochampalli. It’s a tradition you wear, a tradition that contributes to the charm of your personality in the truest sense. All around India, numerous sarees and draping techniques may be found. Each one differs in terms of materials, manufacturing processes, design, and minute features. Their beauty and cultural value are enhanced by their differences and variety. These sarees reflect the cultural history, customs, and traditions of the region to which they belong.

Suggested Read – 10 Best Websites to Buy Indian Ethnic Wear Online

Since it may be difficult to personally visit weavers and obtain the best handloom sarees, here is something for you: We’ve compiled a list of the greatest online stores where you can purchase these incredible pieces of art. These one-of-kind selections of designer, traditional bridal and everyday usage sarees will make you the center of attention everywhere you go!

1. Suta

Suta is a fresh design house that focuses on providing a variety of clothing with a mix of heritage and modernity. Their handcrafted inspirations are detailed, and the designs bring beauty, boldness, and grace. Suta, or thread, is the brand’s inspiration and a nod to India’s handmade traditions. Suta, like a pure creation that begins with a needle and thread, provides surprise each time it is encountered. They value raw threads, historic boldness, and unbroken simplicity. Visit website – https://suta.in/

2. Loomfolks

The founding members of Loomfolks traveled the length and breadth of India with the support of well-known non-governmental organizations (NGOs) dedicated to reviving and assisting traditional weavers and artisans to achieve a sustainable living through continuous training and education. In order to cater to a wider audience and showcase their creativity and craftsmanship, they encourage craftsmen and weavers from diverse communities around India, a world of colors and cultures. Their objective is to foster creative design thinking among rural craftsmen while also enabling a worldwide audience to deepen their artisanal heritage and live a handcrafted life. From vibrant oranges and yellows to more subdued linens and breezy cottons, Loomfolks offers something for everyone. Visit website – https://www.loomfolks.com/

3. Ekaya

Ekaya is India’s first handloom luxury brand, showcasing the greatest Banarasi art from the repertory of Indian artisans. The brand comes with a 120-year legacy that has been passed down through four generations of the family. Ekaya was founded with the goal of changing the way handloom textiles are marketed and displayed internationally, as well as to provide its clients with a highly distinct product range based on the concepts of history and artisanship. All of Ekaya’s products are handwoven and handcrafted, supporting and empowering over 10,000 weavers as well as craftspeople from around the country. Each product is woven using the highest quality raw materials in the most environmentally friendly way possible, taking from 200 to 1000 man-hours from start to finish. The brand provides a highly distinct product range to the discerning customer on both the national and international levels, based on the ideals of history and artisanship. Visit website – https://ekaya.in/

4. Gaatha

Gaatha was founded in November 2009 with the goal of investigating and recording Indian craft clusters and traditions that are rapidly disappearing. However, they quickly realized through their experiences with craftspeople that study alone would not be enough. They required the restoration of dignity as well as business opportunities in their ecology. As a result, Gaatha became Gaatha.com, an e-commerce platform, in August 2013. Gaatha now strives to restore the lost esteem and riches to these historic handicraft clusters.

Gaatha combines craft research with a keen awareness of technology to create rich and engaging online experiences. In the midst of expanding online shopping, they plan to educate customers about the great worth of handcrafted items by telling the story of their origin, evolution, and production. These eco-friendly items educate us how to live a balanced existence. Visit website – https://gaatha.com/

5. Chidiyaa

The label, which is largely inspired by nature, ecological techniques, and the values of simplicity, is handcrafted in the villages of Ajrakhpur in Gujarat and Phulia in Bengal. Chidiyaa strives to revitalize the art of block printing, hand-spun and handwoven silk and linen sarees, and other textile and craft creations via its collections.

Chidiyaa embodies a love of nature, basic yet wonderful life experiences, and optimism. Recognizing that in order to practise sustainability successfully, it must become a way of life, the brand incorporated eco-friendly methods from the start. Chidiyaa’s designs promote slow fashion by producing high-quality clothes with distinctive yet wearable patterns that survive the test of time. Chidiyaa’s designs stand out by adding a modern twist to traditional Indian handicrafts. Experimentation with materials, patterns, and processes is encouraged by the design philosophy. At the moment, block printing is their most powerful means of expression. They only sell their products through their independent online store, and before the pandemic, they routinely showcased their work at various events, exhibits, and pop-ups around the country. Visit website – https://chidiyaa.com/

6. Madhurya

The idea of Madhurya arose from Smt. Bhanumathi Narasimhan who founded the organization in 2007 to promote and support craftsmen and to revitalize ancient Indian crafts and weaves. The first Madhurya retail store opened in Bangalore at The Art Of Living International Centre. The revenues, in turn, benefit underprivileged children’s education through the Art of Living Foundation’s Gift-a-smile initiative. The brand promotes products such as handloom silk sarees, jewelry collection, décor items, historical furniture, and so on with the goal of revitalizing, protecting, and preserving Indian traditions and history. The sales revenues benefit the education of the girl child in India. One of the most sought-after items available at Madhuya are hand-woven sarees in various designs like Benarasi, Paithani, Kanchipuram, Jamdani, Uppada, and many more. Visit website – http://madhurya.com

7. TheiaScape

Loomers and weavers are the last remnants of a period that prized workmanship above all else. They are the remaining protectors of traditional Indian weaving workmanship, which still employs handlooms to make our dream sarees.

TheiaScape’s goal was to identify and provide a specialized platform for all of the vibrant local arts and handicrafts that resonate with our culture. As a result, selecting Handloom means prioritizing heritage over anything else. Their weaves, trinkets, and lifestyle goods are all handcrafted, eco-friendly, and fashion-forward, as imagined and created by the subcontinent’s most talented craftsmen. According to TheiaScape, each saree has its own collection of facts and a unique story to tell. Visit website – https://theiascape.com/

8. BharatSthali

Bharat, the name, evokes the diversity, rich traditions, and transformation that she threw over the years, resulting in brilliant colors, beautiful textiles, and cultural splashes. BharatSthali takes you on a trip across India’s rich past, offering you regional specialties and character with each fabric. Time travel through history with them and experience the greatest of crafts and the best of weaving. Bringing together textile designers, artisanal communities, weavers, and artists, this is a modern platform that meets and does not fade away the lovely treasures. While the technology, interface, and platform are cutting-edge, the designs and goods are as authentic and traditional as they can be.

They work closely with the artists and weavers to offer only original items, which are sourced directly. The brands exert no control over their creative liberty. The handcrafted aspect is highlighted, whether it is embroidered or block printing, a simple ajrakh or the regal Banarasi. Visit website – https://www.bharatsthali.com/

9. ForSarees

ForSarees began in 2015 with a passion and enthusiasm for Indian handloom. Keeping this in mind, the brand embarked on a mission to deliver handloom sarees to modern saree enthusiasts who are unable to attend exhibitions on a regular basis. For their younger target population, they also use fusion looms.

Forsarees is a tribute to Indian artists who have been carrying the history of crafts and a commitment to popularize their work internationally. Traditional designs are reflected in a new and contemporary style in their collection. They specialize in lovely handcrafted silk and cotton silk sarees for all events and seasons. There is also a large selection of dupatta and blouse materials. Not only that, but they have a one-of-a-kind variety of German silver jewelry, including earrings and necklaces. Visit website – https://www.forsarees.com/

10. Parisera

Parisera, which means “environment” in Sanskrit, was founded in 2014 as an online retail business to link clients all around the world, including India, to the best of Indian weaves and hand-crafted jewelry. They wanted to create an atmosphere where all of our favorite projects were just a click away. Parisera quickly became a destination for companies that had a direct connection to one or more weaving groups. They had huge and little brands, but each one was genuine.

Parisera understands that India is not a homogeneous nation. Their variety is beautifully represented in the hands of various craftsmen, who carry on their family heritage, and each sari tells a time-honored narrative. For that purpose, the brand concentrated on bringing together a diverse range of art and artists, allowing clients to wear a piece of history and heritage. They are joined in this attempt by like-minded weavers and companies from around the nation who have taken great satisfaction in presenting their work to the globe. Visit website – https://www.parisera.com/

11. Tarini

Tarini is a social enterprise that works to provide sustainable livelihood options for Odisha’s weaving community. They are dedicated to preserving and promoting Odisha’s unique handloom heritage. Tarini’s journey began with a respect for the weavers’ skills and an awareness of the weavers’ circumstances. The brand is dedicated to developing and revitalizing Odisha’s handloom industry and putting it on the global map. As a business committed to ethical and ecological processes, they promote endangered traditional and tribal fabrics dyed with natural dyes. Tarini provides a more environmentally responsible alternative to quick fashion. Visit website – https://tarini.shop/

12. Roots Handloom

Roots is a brand that aims to portray Madhya Pradesh’s style and roots of art by supplying handloom items made by weavers in Chanderi and Maheshwari, two tiny towns in the Indian state of Madhya Pradesh. The intricacy and elegance of these handcrafted items are highly valued, yet many people do not have easy access to them. Roots hopes to broaden the appeal of these distinctive textiles from Chanderi, Maheshwar, and Bagh.

Their current product line currently comprises Chanderi, Maheshwari, and Bagh hand block print sarees. The aim of the brand is to bridge the gap between handloom weavers and consumers, and their ambition is to share the legacy with the rest of the world. Visit website – https://www.rootshandloom.com/

Websites and social media platforms are fantastic sources of hassle-free shopping in today’s technological environment. These boutiques take pleasure in offering vibrant selections that entice clients to return for more. Apart from bringing elegance and a touch of history back into your wardrobe, these online saree retailers are also changing the socioeconomic structure for the craftsmen and resurrecting handloom, which has been a major industry in India since its independence. If you’re looking to add some sophistication to your everyday traditional wear, do check out these stores!

Journeys of Clay and Fire, A Collective at the British Council

Cscope Staff

October 3, 2022

British Council, the UK’s international organisation for cultural relations and educational opportunities, is hosting Journeys of Clay and Fire, a collective exhibition featuring 7 ceramic artists and makers from across India. The exhibition focusing on their work in the field of contemporary Indian ceramic art will run from September 30 to November 29, 2022, at the British Council, New Delhi.

Journeys of Clay and Fire brings together Indian and UK artists and arts organisations to co-develop and collaborate on projects which explore new futures for craft in India. The exhibit is a part of the India/UK Together, Season of Culture – a programme of Arts, English and Education that celebrates India’s 75^th anniversary and builds on the British Council’s commitment to creating opportunities for Indian and UK artists and artisans to collaborate. Some exhibiting Indian artisans have also been supported by the Charles Wallace India Trust.

The exhibition aims to draw attention to artisanal pottery – one of India’s oldest art forms – and underline what artistic collaboration and knowledge exchange can do in reviving a fading art form and taking it to global audiences.

Exhibit 1 includes work by

Ela Mukherjee (Delhi) – “Meanderings and “Tribute to a Shared Past Series”,
Abhay B. Pandit (Mumbai) – Fathom” and “Troposphere”,
K. GukanRaj (Chennai) – “Tidal” and “Thaw”,
Neha Kudchadkar (Mumbai) – “Inheritance” and “Weightlifter”,
Shitanshu G. Maurya (Kolkata) – “The Sketchbook II”, “Fossil 1” and “Fossil II”,
Shruti Bansal (Delhi) – “Memoirs of Transformation”,
Shirley Bhatnagar (Dehradun) – “Ochterlony’s Household” and “Unusual Suspects”.

The exhibition would also explore the fostering of a creative dialogue between design institutions in India and the UK which is leading to innovative solutions.

Exhibit 2 would showcase collaborative work by

Design Innovation and Craft Resource Centre, CEPT University Ahmedabad and British Ceramics Biennale in Gundiyali, Gujarat,
Indian Institute of Craft and Design, Jaipur and West Dean College of Arts and Conservation in Baswa, Rajasthan.

About the British Council

The British Council is the UK’s international organisation for cultural relations and educational opportunities. We support peace and prosperity by building connections, understanding and trust between people in the UK and countries worldwide. We do this through our work in arts and culture, education and the English language. We work with people in over 200 countries and territories and are on the ground in more than 100 countries. In 2021–22, we reached 650 million people. britishcouncil.org

About Charles Wallace India Trust (CWIT)

The Charles Wallace India Trust is a UK charity and a grant-making Trust established in 1981. Our alumni numbering almost 3,000 people, come from across India. We work in partnership with several institutions providing much-needed opportunities for postgraduate study and research in the arts, heritage and humanities.

British Council India has been our main partner for more than four decades. We are particularly pleased to be collaborating with the British Council on the India/UK Together Season of Culture. The Trust has been a key player in the development of contemporary ceramics in India. We are grateful to Kristine Michael (alumna) for curating this exciting exhibition showcasing the work of our grantees.

About India/UK Together, a Season of Culture

India/UK Together, a Season of Culture is a year-long celebration of the long-standing relationship between India and the UK. Marking India’s 75^th anniversary, the Season of Culture will see a vast programme of creative collaboration, education and cultural exchange take place online, and in cities across both countries. Working with a number of partners and institutions in the field of Arts, Education and English, the British Council is developing a programme of cultural activity which will bring together people in both countries, raise awareness around key real-world issues, and strengthen and celebrate the UK and India’s educational and cultural ties. For more information on India/UK Together, a Season of Culture, please visit www.britishcouncil.in

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