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Delhi prides itself in its rich crafts tradition that sturck root during the
reign of Emperor Shahjahan. It was in his new city of Shahjahanabad that arts
and crafts proliferated. Artisans and craftspersons were invited, bought, won in
battles or gifted by other sovereigns. They settled within the estates, in the
karkhanas (workshops) of the noblemen and princes, and nurtured their special
styles and sensibilities with a finesse developed over years of learning. The
evolving Shahjahanabad was a maze of avenues and alleys, dictated by trade'and
commerce. Specific streets derived their names and character from
different crafts and occupations.
Their inheritors, painstakingly, and often against all odds, carried on the
secret code of these special knowledge systems, with their fingers, their eyes,
mind and soul. Today what we see as meticulously beautiful in craft, design and
conception is a real testimony to this inheritance.
Despite modernity and its aggressive onslaught, despite urban sharks and
middlemen, many traditional crafts have survived and have evolved new parameters
of aesthetic and commercial value.
Craft, unlike so-called 'fine' art, is an expression of functional necessity,
directly affecting peoples' daily lives. Design intervention and adaptations
have rejuvenated some crafts which are alive and pulsating in the labyrinthine
lanes of Delhi.
Zardozi
Kinari Bazaar, a narrow lane off Chandni Chowk, displays a dazzling
array of gold embroidered garments. Available in the numerous small shops here
are multiple applications of zardozi or intricate hand embroidery done with gold
and silver threads. However, its sophisticated application is to be seen in the
boutiques of New Delhi.
A talk with Gul Mohammed, a national award winner for the best craftsperson of
zardozi work, reveals the inner architecture of work and space. He negotiates
the narrow lanes of Shahjahanabad into courtyards, through verandahs and secret
passages, up staircases into room-lined landings and further up to tiny rooftop
penthouses and then down again into adjacent streets, tracing zardozi workers,
mostly women their bodies crouched next to wooden frames with fabric stretched
across, fabric ranging from the most diaphanous silks to the heaviest velvets
and damasks.
Nimble fmgers pluck away with fme needles at gold, silver and coloured threads,
beads and spangles. The patterns are phool-patti (flower and leaf). Today,
contemporary patterns have been assimilated into the vocabulary. Gotas, or woven
tapes of gold and silver, are stitched in geometric patterns on lehngas
(ankle-length skirts), saris and veils. The embroidered fabric could finally end
up as wedding garments, temple hangings, bags, shoe- uppers, caps or even
decorative cloth for draping a bridegroon's horse.
DELHI BLUE POTTERY
Behind Asaf Ali Poad, as you go in from Turkman Gate into Hauz Suiwalan, one of
the little alleys leads to Hazarilal's house. He is the only practitioner of the
Delhi Blue Pottery tradition. A special mix of powdered quartz is used to make
the stoneware base which is then glazed blue, with ingredients which werer used
for the blue tiles of pre-Mughal and Mughal domes, a style inherited from
Persia.
MINIATURE PAINTING
The tradition of the Delhi school of miniature painting has continued from the
time of Emperor Jehangir, father of Shahjahan.
The Delhi school is an offshoot of the Mughal painting tradition. Mansoor, a
painter in Jehangir 's court, was apprenticed to the Iranian miniature painters,
Mir Ali and Abdul Samer during the 16th century. The Delhi school was
distinguished for its dynamism and naturalism in treatment, contrast of colours
and strong urban influence. The preferred base for the painting was ivory, but
today special handmade paper is used.
In the Zakir Nagar house of Firozbhai, Faridbhai and Akhtarbhai, direct
descendants of Mansoor, the ambience is that of a medieval studio. They prepare
their own brushes with squirrel hair inserted into quills with specifications
for fine single hair lines or thicker strokes. Only herbal and mineral colours
are used. The gold-leaf work is the last to be applied before burnishing with
agate stones.
IVORY CARVING
Ivory was in Mughat India a symbol of aristocracy. African ivory was coveted as
a material for its close grain, though Indian ivory was extensively used.
Furniture, screens, lamps, platters and decorative items were inlaid with gold,
silver, precious stones and miniature paintings. The carving was delicate, as
can be seen in the screens in the Red Fort Archaeological Museum.
Delhi Ivory Palace, a 300-year-old shop at the northern gate of Jama Masjid,
attracted the best craftsmen who lived in Shahjahanabad. It has, in its
collection an old set of furniture carved by three generations of craftsmen
which was intended as a gift for Queen Victoria. Because of the ban on ivory,
craftsmen now work on bone for small items such as pendants and earrings, and on
sandalwood.
JEWELLERY
Dariba Kalan near Chandni Chowk, known as the jeweller's street, is famous for
Meenakari or the art of enamelling on silver and gold. Setting in gold of
navaratan (nine precious stones), is a traditional skill of Muslim craftsmen
called Saadegars who settled in Delhi during Shahjahan's time. Dariba also has
Hindu craftsmen from Punjab and Bengal who specialise in gold and silver work.
The sarafs, sellers of jewellery, are mostly Hindus and have been around for
more than two centuries. Over the years, a lot of work has sifted from gold to
silver and gold-plated silver ornaments. Exquisite handcrafted silver ornaments
are also available in Dariba Kalan.
TERRACOTTA POTTERY
Uttam Nagar and Bindapur in west Delhi are where most potters in the city live.
Most of them are originally from Rajasthan and Haryana. A neatly laid-out
settlement in Uttam Nagar called Kumhar Colony (kumhar meaning potter) was built
in the 1970s to suit their specific needs. This is a unique case of group
migration and solidarity. Most kumhars fan out to various parts of the city and
establish pavement stalls from where they sell their wares.
The crafting of objects of everyday use like clay pitchers, cooking pots ar
small oil lamps continues. Modern adaptations include flower pots and exotic
display pots and planters. Quality earthenware is available at the Crafts Museum
in Pragati Maidan, Dilli Haat, Lajpat Nagar and along major roads and at the
annual Surajkuna Crafts Mela.
PUPPETRY
Opposite the Shadipur Bus Depot in west Delhi, one dips under the flyover and
turns left into a deceptively innocuous street marked by a small stall of dholak
(drum) sellers. This is settlement of Rajasthani puppeteers, street performers
and craftspeople who migrated to Delhi decades ago. Puppets, large and small are
made here as well as big, dramatic sculptures.
Families of the Bhopa community who live here are traditionally storytellers.
Their women sing out the stories which are, in turn painted horizontal scrolls.
The paintings are folk versions of the Rajasthani school of miniature painting.
The painting are adapted to surfaces such as wood and clay, on furniture and
decorative pots. The densely packed images are lyrical tales of local heroes.
OTHER CRAFTS
There are a few old shops dealing in musical instruments, most of which brought
to Delhi from various parts of India. Here, assemblage work is done, such as
fitting of hide membranes of tablas, dholaks and other drums.Harmoniums are set.
String instruments such as dilruba, israj and sarod are fitted, and the
single-stringed ektara is made. One of the oldest shops dealing in musical
instruments is Bina Musical Stores in Nai Sarak. Rishi Ram at Connaught Circus
is known for its sitars.
The same tazia-makers also make huge Ravana effigies during the Hindu festival
of Dussehra which are packed with fire crackers and burnt with flaming arrows.
Their work place is known as teer ghar meaning house of arrows. They are also
involved in making tazias with flowers for the festival of Phoolwalon ki Sair at
Mehrauli.
The making of paper kites caters to the famous kite-flying mania of Dilliwalas
which reaches its height during the monsoons, especially on 15 August, India's
Independence Day, and during the spring festival of Basant Panchami. The patang
or kite market in Lal Kuan Bazaar in Shahjahanabad is then a riot of colours.
Kites come in all sizes, ranging from 36 inches to their miniature versions,
which are available at the Crafts Museum, Dilli Haat and Central Cottage
Industries Emporium. However, the two standard sizes are 12 inches and 15
inches. Kites made of plastic sheets are also available.
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