Chikon Embroidery of Bengal

Chikon is another craft of West Bengal. “The craft originated in East Bengal and it was carried to Lucknow during the period of lixury-loving Nawabs of Oudh”(Rustam J Mehta – Handicrafts & Industrial Arts Manufacturers of India(1860) and also  T N Mukherjee – Art Manufacturers of India(1888)): the district of Dacca had long been famous not only for its fine muslins but also f its fine embideries. Abbe de Guyon wrote in 1774: “From Dacca came the best and finest embroideries in gold, silver and silk and those embroidered neck cloths and fine muslins which are seen in France.”

At present the industry localized in and around the village of Babnan, a town located in the border of Hooghly-Howrah. It also practised in Barasat area of North 24 Parganas. In both the places the artisans engaged in the trade are Muslim women of good families who receive the training in early childhood from their childhood from their mothers and grandmothers. Saries & Dress materials, bedcovers , table & Cushion covers, napkins etc. are some of their distinctive products which are very much liked by the customers for their good designs & flawless craftspersonship.

Embroidery - Kantha of Bengal

In every part of the world embroidery work had been the special preserve of the ladies of the household, wherein they could give expression to their creative abilities and artistic talents. The ladies of Bengal also have been practicing this household craft from time immemorial and specimens of heir work is best exemplified in the Kanthas which has now become widely known and appreciated.

Kanthas are discarded saries placed upon one another sewn and quilted on which designis are embroidered with coloured threads fom broders of old saries. In some Kanthas te embroidery starts from the centre with a lotus motif and goes round and round to decorate the centre of the field. In another the tree of loves starts from the four corners and reach towards the centre. In another type available space is divided into panels each field in with rich embroidery. The designs are limitless, every women working on any innovation that takes her fancy. But there are some basic traditional designs which are found to be repeated. Some of the rituals designs are Kalasa Mandala, Sankha etc, are frequently seen. The whole work when completed achieves marvelous reasults and the most common materials  are endowed with uncommon distinction. In the word of Dr. Stella Kramrisch – ‘the interpretation of the coloured design stitched into the ground and of design result in a unity of substance and techniques by which a new texture is effected; the old rags are not only joined but appear transformed; the white ground with its ripples and patches is now alive with a throbbing or velvety texture;’ the dead rags are changed into a vital and rich whole of multi-coloured pattern and meaning.’

The endevour of Gurusaday Dutta for revival of Kantha stitching needs special attention. His collection of Kantha from various corners of Bengal is a rich treasure in the Gurusaday Museum in Joka.

Galar Putul, lac doll workshop at Rabindra Bharati University

The only lac doll craftsperson of Bengal Brindaban Chanda conducted a workshop on Lac doll of Bengal at the Rabindra Bharati University, Kolkata, B T Toad Campus on 8th & 8th and 14th and 15th December 2001 . The programme was sponsored by West Bengal State Academy of Dance Drama Music & Visual Arts. The students of Sculpture Section of the said university participated the workshop.
It is to be noted that Kalaboti Mudra prescribed the artist to the State Academy.

Sholapith - Use of Melli in a Pujo Pandal

This is Melli of Dinajpur - one of the sholapith crafts of Dinajpur. Reverred artist Madhumongol and his brother has made these superb materials. Kalaboti Mudra on itsx own decorated a Durga Pujo Pandal of Thakurpukur Club of various Bengal traditional crafts one of its is
Melli.

Decorated pandal of Melli of Dinajpur.

Sholapith - Another View

Sholapith is one of the traditional craft particular to West Bengal. Like other traditional crafts, it had it’s origin in the ritual and religious requirements of old days. There was a time when Malakars, the traditional Sholapith artisans, enjoyed a respectable position in the village society and were included in the nine artisan class of Bengal. They use to supply wreaths and flowers for village deities and for the religious functions of the village society. No puja or marriage could be celebrated without the floral decoration for the deities or the Topor(Ornamental Bridal headgear) made by village Malakars.

Those days are gone. Those traditional items are not so much in demand as before. But the tradition of distinctive design and craftspersonship have persists and some how trying to findout ways to survive. Dolls and toys from sholapith are such items.

Shola (Aeschynomene Aspera) is a herbaceous plant growing wildly in water-logged marshy situation in Bengal Assam and in some parts of Orisa and Deccan Peninsula. The seeds germinate with showers in April and matured plants are collected in September/October, which are then dried in the sun and stored in the shade for use thoughout the year. The mature plant grows 3’-4’ in heights and 2”-3” in diameter. The soft white light and lustrous inner portion of the plant is used by the artisans for their work.

Shoal is very light by weight. When the thin brownish bark is removed, a shining white spongy materials is obtained which is the main raw material. The artisan cuts the stem into pieces for various length according to their requirements. The artisan use to cut paper like sponge sheets termed ‘Kaap’ or thin slice termed ‘Paturi’ with a long sharp blade. The artisan also makes serated blocks or design blocks and cut slices thereof for decorative purposes. In some case for toys and doll and human & animal forms, plaster moulds are used where shoal sheets are pressed to shape and layers of paper are pasted at the back for reinforcement.

The craftsperson scattered and traitional items like Chandmalas, Topors are their  common line of production. Craftspersons in a given geographical area have specialized in a particular line of production. The crafts persons of South 24 Paraganas are noted for their beautiful chandmalas, topors and other forms of floral designs. Now a days artisans of Joynagar of the same district excelled their craftspersonship on decorative floral items. The artisans of Bankapasi area of Bardhaman are noted for their beautiful shola decorations and ornaments which are called Daker Saaj of unusual size and diamention. The Birbhum artisans of Kirnahar area have earned a name for making shola images. Those are from Murshidabad, are also doing various still characters, boats, animal figures. Artisan from Dinajpur & Malda are excelled their craftspersonship for making Melli, which is a local word for Sanskrit Monjush. The Melli are made for the worship of Manosa & Chandi as well as they made Goanra to commemorate various Muslim ceremonies.

Musk of Darjeeling

Hill Crafts of Derjeeling

Hill Crafts

Though Darjeeling is called the Queen of Hill Stations, it has other special attraction of its own -- the hill crafts. People of the hill have preserved a wealth of arts and crafts of which the forms, the designs, the motifs and even the techniques have peculiarity of their own. The famous painted thankas, colourful woven aprons & knitted garments, copper and brass utensils and wares of different shapes and forms with beautiful repouse work on them, exquisitely carved wooden trays and low table(Tokchi), carved wooden masks, decorative bamboo work with lacquered designes, different types of hill jewelry, Kalimpong handbags & patch work paintings are only a few amongst a host of enchanting and colourful products coming from the hills of Darjeeling.

The people of the hills have traditions of their own. Two distinct cultures – Indian and Tibetan have mingled together and forms a homogenous blending of these two distinct cultures, a new traditions in art & culture has originated, ofwhich the forms and motifs have been borrowed from Tibet, influenced by Tantric Cult, while the ethical background and ideas remain conspicuously Indian.

The peculiarity of these products lies in the fact that they still maintain the distinctive mark of the age-old tradition, untouched and unutlised by outside influence. The crafts persons of Deerjeeling mainly Bhutias & Nepalese in origin have zealously guarding their heritage through centuries of turmoil and upheavals in the plains.

The Tibetan refugees who come over to India have brought with them a tradition which are getting shapes in the self-help centres setup in Darjeeling. The products include wide range of Carpets, Tankas and other items. The stories depicted in the Tankas centre round the life og Goutam Buddha as described in Jatakas. These are used for decorative purpose in the Gumphas & Monastaries with the basic object rousing religious sense in those coming to offer Pujas.

About six thousands families are engaged in different crafts in the hill region.

Horn Crafts of Bengal

The use of animal horn for various ornamental and decorative purpose is perhaps as old as civilization itself. In a survey published by cottage industries of Bengal, 1927, J N Majumder, the then SI, Burdwan Division mentioned town of Dacca, Bhola, Patuakhali, Galachipa, Amtoli, of Barishal District as chief centres of horn comb industry in undivided Bengal. Though the present seat of industry in Medinipur district escaped his attention, though evidences show that the industry has established itself in the part of the State well ahead of period. In fact by and by the two main centres of horn productions Baisnabchak and Joteghanashyam of Purba Medinipur did flourished as a major horn crafts producing area. It may be mentioned that horn artisans of Bangladesh are from mainly Muslim Communities and the artisans of West Bengal are the Sutradhars. Later to develop the industry further Government of West Bengal employed some master craftspersons from Orissa to train the Medinipur ctaftspersons in making toys and fancy crafts.
Later Jeweleries, dolls and toys, walking sticks, pen holders, napkin rings, fork & spoons, fascinating birds and animals are produced as a part of interior decoration or everyday utilities.
Buffalo horn available in the market is hollow at the base and solid at tip. Only the hollow portion is used for comb making.
For making comb horizontal sections are required width are cut from the hollow portion of the horn with long saws called pancha karat. Then the pieces are soaked in water and outer coating is removed with a bias, an axe. The inner part is chisel to get uniform thickness. The round ring thus obtained is cut at one point and heated on charcoal fire. Horn become soft and pliable.
The traditional tools used to make horn products are -
OPancha Karat a type of saw fitted on wooden frame and worked by two persons pulling and pushing by the ends, Bais - sharp axe with short handle used to cutting and chipping the horn. Wooden press used for flattering of horn sheets pressure being exerted by hammering a wedge between two logs of wood fixed at the ends by metal rods, Sans - flat and round file with horizontal teeth, special chisels, teeth cutting saw sets, turning chisels etc.