Thursday, 29 December 2016

Yalis; Herculean Grandeur A La India!

The Yali, an Indian mythological creature, with parts of the Lion, Elephant and Tiger, is believed to have, powers greater than the sum of the whole. Its omni-present in South-Indian carvings at Temples and buildings, and equalling , in fabulous works of art. It symbolizes and bestows powers to the space it inhabits. Used as brackets typically, these outstanding mythological creatures capture the spirit and imagination with wonder and awe. This piece in teak wood has exquisite carving, in bold and minute detail, contrasting with each other to communicate the power of this awesome mythological creature, the Yali!
 
Wood Carving, across the Southern States of India, is an established tradition. The Chalukya Dynasty, with its Capital at Badami, ruled Karnataka from the 6th to the 8th Century  and in its patronage the school of architecture flourished. At Badami, both the Nagara, North-Indian and Dravidian, South-Indian Styles of architecture can be witnessed. The caves are a part of a UNESCO World Heritage site.


kerala-woodwork 

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Wednesday, 28 December 2016

Jaipuri White Metal; Goblets for the Gods

Jaipur; Rajasthan. The land of Royalty, the land of “Rajas”. Timeless elegance comes with having stood the test of Time. There are no shortcuts, no slip roads to the path that leads to that accomplishment. It takes endurance, adaptability, consistent quality and sustainability. Rajasthani crafts, Meenakari, Marble and Jaipur Pink Stone Works, Brass and Woodworks from Jodhpur, Jaipur Blue Pottery, Jaipuri Quilts, Bandhini and Leheriya- Tie-Dye, Mirrorwork, Sanganeri, Daabu Block-prints, Jaipuri Gold and Gemstone Jewellery and Jaipuri Brass and White Metal are all example of the Timeless Elegance.




 
These have withstood the passing of Time quite like the Forts and Palaces of Jaigarh and Neemraana. On the other hand, they have outdone those great monuments of past glory because these crafts breathe, live and engage with the here and now, the present day, Indian and International. If anything, they have crossed-iver deom beinging obky to India, to belonging to the Global Community. Jaipuri White Metal adorns home in the Living room as Objects of Art, in the Dressing Room as glorious mirrors and at the Dining table as Goblets for White or Red Wine.
It has transgresses traditionalism and with a natural found a place in contempory India and Western Cultural affinities, without bias and discomfort. Hats off to the vision, versatility and adaptability if the Craftspersons for staying relevant and keeping this craft alive and even thriving, in a modern-day, consumer-centric Global context. Jaipuri White Metalware. Find these at www.craftsbazaar.com

 

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Monday, 26 December 2016

Padharo Hamare Des






India. An Ancient Cradle of Civilization. A consciousness, one with the mysteries of the universe; its belief systems aligned with planetary movements, atomic sciences and the occult, all in a seamless flow of the Time. Stop to gaze upon decorated, elaborate doorways where all Yesterdays once passed and all Tomorrows are welcomed; Receive the gracious expression of tradition in every gentle salutation; Revel in the graceful folds and flow of garments plainly simple or exquisitely elaborate.
Experience India. The Indian consciousness is one with its Creator, all divine and earthly elements. In India, thousands of years of timelessness in Sanskaras, have remained in preservation by Shruthi and Smriti, the spoken and enunciated tradition and the collective unconscious that travels seamlessly, one generation to the next.

Prepare to be welcomed into the poetic, iconic entrances of humble homes with only thatch and baked clay to call home. This is witnessed in every craftsman, artisan woman or even those unfortunate children who hold yarn and wool to weave to the beats of their ancestral tunes in place of a pencil or textbook.

In poverty and want, under natural light or fading gas-lamps, with handmade rough tools that forever disfigure creative hands, using natural dyes or natures bounty, these bearers and custodians of civilization strive tirelessly to deliver artworks that remain true, pure and in conformance with all norms, mystics patterns, dictates of various schools of art.
They do all this working in remote villages, with few amenities. But for the grace of an innate pursuit of human excellence it is impossible to justify how these men, women and children devote their lives and livelihoods remaining faceless, nameless, “karigars” at the very bottom of the food-chain or modern day supply-chain.

Heritage and Traditions can only be honored when those who deliver those to us are honored. When you light a candle or a lamp next, take a moment to consider those hands that made them and their aspirations and challenges. Wouldn’t that be a light that communicates truly with God and Human in one glow?


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Friday, 23 December 2016

Nomadic. Rooted.

The image above captures the glorious freedom of spirit and strong sense of identity that is associated with the nomadic “Banjaras”. The nomadic tribes originate from the desert sands of Rajasthan and Gujarat from where a group journeyed through to the Northern part of Karnataka in Southern India. The tribe is known as the Lambanis.


 
sThe heavy, layered style of jewellery, the chunky pieces complimented with delicate dangling chains and bells, the borders framing theirs attire meticulously embroidered in square and round mirror-work, the colourful continuum of patchwork, into which are sewn in conch-shells and finally the stunning array of silver coins accenting the edges…these are merely the few ornaments adorning the braided hair and covered head!
There are delicate nose-pins or nose-rings, chokers in beads or silver, longer neck-pieces with pendants, bracelets commencing on the wrists that then are layered right up to the armpits, amulets, anklets and the usual rings et al.
The skirts are always in brilliant colours, flowing, layered and swirling around the ankles in consonance with the majestic gait that is the hallmark of these striking handsome women. The cholis or blouses are each, individual, works of art. The centre piece for the yolk is traditionally rectangular with larger and small mirror and patterns created in patchwork and the sleeves are perfectly symmetrical and compliment the structure and form of the yolk. The back is open and pulled close using tie-back with tassels at the ends. This allows for the blouse to fit over the course of a woman’s lifetime! Its comfortable, convenient and gorgeous. They don’t dress, to follow or create fashions. They dress to express and be who they are. Banjaras.
There is often supreme irony in the role perception plays in social commentary. The nomadic tribes are the timeless travellers and journeymen. In my view, they anticipated and as part of their view of a natural order, lived the life globalization has over the last decades triggered in countries across the world. We’ve witnessed unprecedented migrations of people from rural to urban, as globalization, powered by the internet and open markets, created opportunities for skills-development and employment.
The Banjaras, have for centuries, travelled from one place to another, displaying their unique crafts, their products with an innate entrepreneurial streak and a natural ease of doing business. Their women have sung the songs of creation and sewn together patches of clashing colours, different textures and then embroidered patterns that reveal the glory of Nature. Their mystical tattoos symbolize their unique interpretation of an eternal order. These are never random or devoid of meaning. On the contrary, each is always perfectly uniform in content and form and consistent, in keeping with the origins of the tribe and the individuals place in the universe which is never constant but always dynamic and evolving. To one tattoo is added another as the person experiences the next milestone. Every piece of ornament, every piece of garment and every tattoo is in harmony with the individuals roots and place in the world.
If we took a hard and honest look at the nomadic tribes, we would discover that they were indeed the first expressions of what was to follow as an emerging global world-view. They did not choose to champion this change nor is there any evidence of their attempting to influence existing social orders, as they walked besides the established status quo, at their own pace, following their own rituals and traditions, inhabiting an alternate and parallel way of life. In truth, the were never considered for any permanent membership in any social context nor expected to participate integrally in any fashion. Their lot and their choice remained, in perpetuity, at the periphery.
The Banjaras have remained rooted in the most holistic meaning of the word even as they travelled from place to place. We, the other part of humanity, that formulated written and spoken language and attributed meaning to words that came from our singular reference-points, have referred to their state of being, as nomadic or “rootless”. As though being rooted was a physical state of being!
As migrations increase and cities expand into bordering villages and the lines become more blurred, there are growing concerns of traditions being eroded, cultures being diluted, indigenous populations being overwhelmed by the influx of “outsiders” or migrants and the migrants themselves, dealing with the angst of “loss of identity”.
A few moments of gazing into this photograph would help draw attention to the reality that in a transient, impermanent lifetime, the Banjaras and Nomads, exemplify what being “rooted” should be. To be free to roam freely, to journey through life working to earn an honest living, to engage with all peoples equally, to belong everywhere and no where, to carry one’s rooted and identity within oneself and wear it on one’s person with abandon, these are life’s best lessons and there are no schools and universities where these can be learnt.
The Nomads are perhaps the finest icons of lives well-lived. Free yet rooted.


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Thursday, 22 December 2016

The Crafters of Indian Heritage; Dastakaars, Chisel and Toil

From Time immemorial its been learnt that Cavemen decorated their caves with paintings and adorned themselves with jewelry made of bones, feathers and stones. Humans always looked to Nature’s resources not only for survival but also for creating beautiful interiors to dwell in. Each person’s home has always been their castle, their haven and their refuge; a personal universe.
What is there to appreciate if not beauty? Why is it that every article of furniture that has a use cannot be exquisite and made with the finest craft? What machines can make the turns, curves and engraved motifs and inlay work that human hands can? The question is rhetorical.
Beauty lives within the human soul, its conceptualization takes place in the mind and its expression springs forth in the form of design, structure and form in every man-made object each influencing the next mind and the next work of art or craft.
In works from the olden times, we see the form and motifs of the prevalent cultural tenor and architecture of the time. The Jhoolas, Modas, Altars, etc are reminiscent of the pillars, brackets,
 


 Yalis, Rakshakas and domes of the temples and notable structures of those days.
Ancient mythology and its significance is evidenced in the application of particular symbols and motifs to specific objects. Most types of furniture was delicately adorned with motifs of Nature’s abundance and these were clearly products of fine dastakaars with well-honed skills. They would have spent their days toiling at these works, stooped over, chisel and hammer in hand, to bring to life the exquisite mystique and beauty of unique one-of-a-kind pieces of traditional furniture.
Each a work of art. Each a treasure. A blessing.


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Tuesday, 20 December 2016

Hope in Waiting; The Emergence of Rural India

Not so long ago, across from Europe, bold sea-faring men, set out in search of a land of exotic spices and untold riches in the Orient. Vasco da Gama of Portugal, was to be the first to  succeed in reaching destination India, in 1498. India, this fabled land of abundance and ancient wisdom, offered visiting pioneers from Europe and the Americas, spices, silks and sometimes spiritual solutions. The journeys were arduous and the divide and boundaries between the West and the Orient, absolute. That was well-over half a century ago.




In recent times, over only the short span of two decades, air travel, telecommunications and finally the transformational force of the internet, have erased traditional boundaries, leading inquiring minds and entrepreneurial adventures, into a virtual, seamless entity, a global village. From India, that once fabled land, the contributions to the Global melting pots were largely from  IT Services. Highly-skilled migrants, moved to the developed economies of US and Europe and some have returned back to India since, with a desire to leverage the infinite opportunities of the fast-developing economy of India, in leadership roles for global businesses or influencers on the India-Strategy.
India, too has had its own robustly challenged melting pots, in all its large Metros, with every state being a contributor the size of most countries and the country itself, containing diversity associated with a continent. The youth of the evolving Indian melting-pot, have migrated from villages or small towns, armed with flashy whites, gifted with an amazing can-do and will-do attitude, that can only be acquired over generations, as one does tradition.
This irrepressible attitude with a fire in the belly to prove himself or herself, an equal and sincere citizen of the world has enriched global commerce. This attitude has been a differentiator when in some parts of India, as much as, in other economically developed regions of the world, the problem of plenty has to some extent, blunted the edge that pushes humans to go the extra-mile.
When readiness meets opportunity great successes follow. The consumption of all services and specifically, Support services, is only likely to increase in keeping with projections of the aggressive adoption of cell-phones and mobility solutions. Not only does a new segment of consumers open up to Global and Indian retailers but also potentially, a more cost-efficient, well-informed, better-equipped and highly aspirational employee-base. With a progressively evolving Infrastructure, Banking and Technology landscape in India, rural India is well-positioned to develop into the new source, the fountainhead that can set in place, a new social order. For IT Services and even Manufacturing the option of cost-effective, resource-rich, smart, small towns of the future is quite likely to be incredibly attractive. To polish it off nicely, there’s clean air, a rich heritage and farm-to-table eating!

If economics does indeed define the dynamics of all relationships, personal, social and global, then the potential reverse-migrations, away from Urban towards Rural, may inevitably lead to the next tectonic shift in the way we perceive ourselves in societies and the dynamics of relationships between diverse social groups.
India is poised for perhaps the most dramatic, transformative and redefining chapter of its future. Potentially, the interesting aspects to welcome are the inevitable influences of economic parity on caste, class and gender. The melting pots of the future hold much of interest to many in the anticipated emergence of a new socio-economic order in India.

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Nataraja; The Indian Lord of Dance Symbolism & Cosmic Order: Indian Artifacts Online



Gracing large, splendid foyers in heritage spaces, placed in a commanding position and venerated by all Classical Indian Dancers and Hindus globally, the Nataraja, Dancing Shiva, of the Trinity of Bramha, Vishnu and Maheshwara or Shiva,  is perhaps the most striking example of the role of symbolism in Hinduism and ancient Indian ethos. It can be found carved in stone in the ancient UNESCO Heritage archeological sites at Badami Caves and most ancient stone temples dating back thousands of years. Now its usually prized in brassware or similar metals with a great deal of intricacy. Always, without exception, its perfectly poised, an inspiration to all dancers and all mortals that perform their individual dance of life.
God, the Creator, is in the form of Shiva, also the Destroyer of all that must come to its natural end to allow for life to be created again and again in the Cosmic cycle. The Nataraja symbolizes this core belief-system most beautifully. It is a highly energizing and positive visual expression of the significance of not loosing sight of  the Natural Order and the dynamic and eternal quest for balance that we each must pursue.



In the Nataraja pose, Shiva’s upper hands hold symbols Of Creation and Destruction. The Drum in the upper right hand is Symbolic of the very origins of sound. The Fire in the upper left hand symbolizes destruction. The Blessing Hand or Abhaya Mudra,  assures protection to the righteous. The second left hand which points downwards to the foot symbolizes the promise of upliftment of all humanity and a promise of potential salvation. The demon below signifies the ability to vanquish evil shown in the physical body of a demon.
We each are born unique and must dance to our personal beats, slow or frenzied, disruptive or harmonious. Nataraja offers anyone who wishes to seek inspiration, a symbolic pose of the potential energy, the dynamic force and spiritual focus we each hold within.
In every moment, balance holds the key to human well-being. Who would argue that??






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Channapatna, Childhood Revisited: Affordable Delightful Indian Toys Online

 



Toys! Toys! Toys!!! Growing-up in India and spending one’s early years in the Southern states of Tamil Nadu and Karnataka, was for the child in me the most precious gift my parents could give me. The gift that kept on giving through my adulthood and will, I suspect, keep that awe-struck child within intact for the most part. And how’s that?? ? Well, there were sprawling avenues of Wise Banyans, Silent clusters of Sandal Wood tress, appetizing Mango Groves, Guava and Custard Apple fruit plucked straight-off the trees, Banana trees with endless sumptuous bundles of perfect bananas, large and small, raw tangy-green and ripe mushy-yellow with exotic burgundy flowers, tall trees with deep purple succulent Jamun, Jackfruit tempting at a just-within-our-reach position, Papayas in pendulous abundance, Grapes in Green and Red colors and Raisins dried-on-the-vine.




Food was clearly always right-up-there-ahead on my innocent, perpetually famished agenda! There were tales of snakes and festivals devoted to the faithful offering milk in bowls to the Cobra, no less, with great affection and reverence. How amazing is that! The cow and bull, were dressed-up in great finery and walked about with, colorful horns and jingling bells included. Exotic, earthy, India.
AND then, there was Channapatna. The fairyland of magical toys! Wooden, colorful play-with-me and carry-me-where-you-go toys from Channapatna. These handmade objects of wonder offered themselves-up to all manner of kids and quirky choices. The Abacus, the Stacked Joker in concentric circles, the Tea-party Set for the future home-maker ( those days it would most certainly only have been a woman!), the Vintage Cars, Toy-trains, pull-along rides, the egg-within-an-egg-within-an-egg, the Wright Brother’s Glider and of course, the one and only,  rocking- horse. If the child in you could imagine it, it probably existed at Channapatna.






We would drive into Village lanes and be welcomed-into small huts where these toys were made by the men and women of the family. The wood was sourced locally, given the abundance of a variety of suitable trees, including, Sandalwood and Rose wood. The cutting, pruning, sculpting and polishing were all done at the village. This was followed by lacquering. Vegetable dyes were used and this Eco-friendly and Child-friendly, safe measure has been maintained to the satisfaction of contemporary, safety-conscious parents.



The personal connect, the immediacy of contact and the joyful satisfaction of finding that special toy to take home hasn’t diminished over time. I simply loose myself in the rows of Lilliputian toys while Time waits outside the road-side stores. Yes, stores.
Recently, after close to 50 years, I set-off to travel those remote, inviting roads again. The main highway and large road leading to Mysore, to Bannergatta National Park and to Ooty from Bangalore is busier than before and this makes for greater exposure to the Channapatna Toys as the stores line both sides of this road. However, the artisans who make these don’t have the resources to reach the travellers directly and therefore, are suppliers to these large stores.




I visited and watched in amazement as every step of the process of making every toy, every horse and every walker, was played-out in highly-energized small workshops, with a combination of antiquated and modern tools and with great attention to detail and joyous pride. The wood used is primarily Jungle Wood which is using set patterns cut-into the different parts required for each individual toys and then polished and prepared for the laquering process. Once that is done, each toys, which has so many different small bits, is put together and given its fabulous, joyful persona, ready to pack-off to different stores on-demand.  The horses are hand-painted and spray-painted but not the toys that are all a part of the support craft of Laquer-work. A few images capture this below.




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