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. |
