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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