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Applique Work | Brass & Bell
Metal | Horn Work |
Lacquer
| Papier Mache
Silver Filigree |
Stone
Carving | Tribal Combs |
Wood
Carving
Odissi Handlooms | Tribal Handlooms
Applique Work:
'Applique', which is a French term, is a technique by which the decorative effect is obtained by superposing patches of coloured fabrics on a basic fabric, the edges of the patches being sewn in some form of stitchery. It is distinct from what is known as patch work in which small pieces of cut fabrics are usually joined side by side to make a large piece of fabric or for repairing a damaged fabric. Though the form is not unknown in other parts of India, it is Orissa and specially in Pipli that the craft has a living and active tradition continuing over centuries. While the largest number of applique craftsmen are concentrated in Pipli, there are quite a few in Puri and very small numbers in Khallikote, Parlakhemundi and Boudh areas also.
As with many other handicrafts of Orissa, the roots of the applique art/craft form is interwined with the rituals and traditions of Lord Jagannath, the presiding deity of the Puri temple. The applique items are mainly used during processions of the deities in their various ritual outings. Items like Chhati, Tarasa and Chandua are used for the purpose. However, the applique work in its colourful best is most prominent in the cloth cover of the three chariots of the presiding deities in which they travel every year during the Ratha Yatra or Car Festival. As per tradition, the colour scheme of the three covers is predetermined. The chariot of Balabhadra known as Taladhawaja has a cloth covering of bright green and red, while that of Subhadra known as Padmadhwaja or Darpadalana has a cover of bright red and black. The chariot of Lord Jagannath called Nadighosha has a cover of bright red and yellow. The basic design of all three is similar being a combination of narrow and wide stripes while on the four sides above the openings, there are applique mythical motifs like Rahu, Chandra as well as motifs from nature like flowers etc. It is these colourful applique covers which indentify the chariots of the three deities from far away by the millions of pilgrims thronging the Badadanda or the extrawide main road of Puri in which the lords make their annual sojourn in the car festival. Seats and pillows in applique are also made for ceremonial use by the deities during the annual ritual of bathing festival (Snana Jatra) and is locally known as 'Chakada Kama' with motifs of 27 stars and geometrical forms in applique work with motifs of fish, frog etc. on black cloth is used in the ritual dress of the Deities of Puri temple, locally known as the 'Gaja Uddharana Vesha', incarnation of Rescuer of Elephant. Applique cover is also made for caparisoning the dummy horses in the 'Horse Dance' or Ghoda Nacha during Chaitra Festival in Puri and other places.
The craft is traditionally practised by a caste of professional tailors, known as 'Darjis'. As with others services of the Lord, darji seva or the supply of applique items is rendered by the caste members in return for which they receive certain portion of the daily offering, 'bhog' from the temple. All this is regulated by the record-of-rights of the Jagannath Temple. The darjis have their own headman or sardar who has a higher share in the 'bhog' of the Jagannath Temple. It is interesting to note that the craftsmen are socially well organised and there are close family relationships between the craftsmen of Puri and Pipli. Their organisation can be very well compared to the craftsmens' guilds of medieval Europe. They also have annual meetings of craftsmen to resolve social and related problems.
The traditional items made of applique patterns and associated with religious functions are canopies, locally called 'chanduas', Chhati, a sort of big umbrella with a long wooden handle. Tarasa, a heart-shaped wooden piece covered by applique cloth and supported by a long wooden pole, both these items being carried before the deities in their ceremonial processions. 'Jhalar' another popular item is a sort of frill which is used as a border to canopies and also independently used as decorative pieces. An interesting secular and popular item is 'Batua', a unique Orissan cloth pouch which has usualy a semi-circular shape with the top being straight. There are various layers of cloth providing pockets for storing different items of use and the mouth is closed by pulling strings attached to the sides. It is very popular among village folk for keeping the materials for 'pan', like betel leaf, areca nut, lime, etc., as well as for keeping money. Another traditional item is 'Sujnis' or embroidered quilts.
The basic material for applique is cloth. The process is fairly simple and has been succinctly summarized by Mr. B.C. Mohanty in his manograph on 'Applique craft of Orissa-study of contemporary Textile crafts of India' as under : 'Flat motifs are first cut from cloth and specially prepared motifs are made separately. If more than one of the same cut motifs is required, a stencil is used. These cut and specially prepared motifs are then superposed on a base cloth in predetermined layout and sequence. The edges of the motifs are turned in and skillfully stitched onto the base cloth or stitched by embroidery or without turning as necessary. The specially prepared motifs may be coloured or white. The base cloth is usually coloured. Some of the specially prepared motifs have exclusive embroidery work and some have mirror work. In heavy canopies, the base cloth is additionally supported by a back cloth for strength.
The stitching process varies from item to item and come under six broad categories, namely, (1) bakhia, (2) taropa, (3) ganthi, (4) chikana, (5) button-hole and (6) ruching. Sometimes emroidered patterns are also used and in a few items mirror work is also incorporated. The layout of various motifs and patterns vary according to the shape of the piece. The canopy has a large centre piece which may be a square. This centre piece is then bounded by several borders of different widths, one outside the other, till the edge is reached. In the umbrella and Chhati the inner field is arranged in circles, each circle having patches of one motif placed side by side. Patterns are laid in the same way as the shape of the Tarasa, with a large motif or two placed at the centre. The layout for covers for horses consists of a series of concentric strips in the portion which covers the neck, each strip having patches of one motif, while the portions which fall on either side of the body are plain, having border all round with or without a motif at the centre of the plain field.
The motifs used are fairly varied yet fixed and cosist of stylised representations of flora and fauna as well as a few mythical figures. Of the more common of these motifs are the elephant, parrot, peacock, ducks, creepers, trees, flowers like lotus, jasmine, half-moon, the Sun and Rahu (a mythical demon who devours the sun). Just as there are a few fixed motifs only a limited number of colors are used in the traditional applique craft. These are green, red, blue, ochre and black. The creative urge of the craftsmen however are released in the endlessly various combination of motifs as well in the mixing of these limited colors. While there has been very little change in the use of motifs, there has been a trend towards greater experimentation in colour combinations.
Superimposition of coloured cloths on grey marking cloth is quite common today as the use of cloth of all colors and hues. Similarly, with the changing times the craft has also adopted itself to the needs of modern man. Among the more popular applique items today are garden umbrellas, a variant of chhati with wooden or aluminium stands, shoulder bags, ladies hand bags, wall hangings, lamp shades, bed covers, pillow covers, letter pouches, etc. Applique items are also being used in combination with other handicrafts to produce composite products. An interesting use is the superimpposition of applique on grass mats and used as partitions. Though earlier the art form was restricted to darji caste, today it is practised by non-caste members, notably by some young Muslim boys. Unlike many other handicrafts, applique items are attractive artefacts of daily use apart from being decorative. They are also comparatively cheaper.
Brass & Bell Metal:
Metal craft is perhaps the single most important craft in terms of the number of artisans engaged in its practice as in its close links with the daily lives of the people of the State. The craft is practiced by the people of the Kansari caste who can be broadly described as metalsmiths while a particular variety, dhokra, is practiced mainly by sithulias. The largest concentration of the former is Kantilo and Balakati in Puri district although fairly substantial numbers are found in Cuttack, Ganjam and Sambalpur districts.
The products of this handicraft can be broadly classified into three groups-items produced through process of beating, locally known as pifa, those produced by casting and the third group would include the residual items. These can also be broadly subdivided into two groups in terms of raw materials used, this is, brass and bell metal, the former being an alloy of copper and zinc and the latter of copper and tin.
The workshop is called sala or shed and consists of a platform with a block of stone for the floor on which the beating is done, a heating furnace or bhati, a raised verandah with a local lathe for polishing. Tools used are hammers and anvils, pincers, hand drills, files and scrapers. The heating furnace with a crucible is fanned by a blower with leather bellows although of late the craftsmen have started using mechanical blowers.
The process consists of preparation of the material by melting the required materials in the crucible and then placing the molten metal into an earthenware container. After the molten metal sets, it is taken out and after repeated hammering and beating is given the desired shape. Sometimes for making a single item two or three pieces are separately made and joined mostly with rivets. The major items manufactured in the beating process are plates or 'thali', deep round containers called Kansa, small containers called 'gina' (tumbers), water containers called gara and buckets or 'baltis', large cooking utensils and storage vessels called 'handi', various types of pots and pans, ladles or chatu, perforated flat cooking spoons etc. While the above mentioned are items used in cooking and eating there are also a number of items used for puja or worship. Of these most important of course, is the ghanta or the gong and thali for offering of the food to the deities. It may be mentioned here that in a few places the surface of the items are also engraved with various designs including floral and geometric patterns besides human and animal figures and occasionally they are also painted with enamel paints. The items produced by the beating process are many and the designs also vary from place to place.
As for casting one can make two broad groups that is brass castings and dhokra casting. Both follow the lost wax or cireperdue process. Brass casting is done by the Kansaris and items produced include icons-mainly Radha, Krishna, Laxmi, pot bellied Ganesha, Vishnu and crawling Krishna called Gurundi Gopal, bells or ghanti, lampstand or rukha and lamps or dipa. It is interesting to note that at present there is no bronze casting being done in Orissa although the craft seems to have reached great perfection centuries ago as evidenced for the discovery of a large number of bronze icons from Achutarajpur near Banapur in Puri District. Again no casting is done in bellmetal although this is quite common in South India. The socio-cultural links of its handicraft are very strong. According to well entrenched traditions the bride is presented with a set of brass and bell metal articles for starting off her new home, the quantity and quality varying according to the economic status of the family. While in the villages these are extensively used for eating and cooking, in the areas other materials like stainless steel, aluminum and ceramics have dislodged them. Nevertheless the brides, even in urban areas continue to get their set of brass and bell metal items in marriage. Of particular interest is the round deep bowl called Kansa in which 'pakhala' a typical dish of Orissa, that is rice soaked in water and curd or torani or fermented gruel, is eaten. In the villages and in terms of the rural economy the articles also serve another useful purpose as they can be easily pawned for borrowing money. Besides, the old, broken and used items can always be exchanged at reduced rate for new items from itinerant metalware vendors. As for metal icons, while in most orthodox families these are installed as deities of the home, frequently placed on a brass platform called Khatuli, these area also used in some temples as the presiding deities. However, in all major temples almost invariably the moving image or the chalanti pratima of the presiding deities are brass icons. It is these icons which are taken out in various ritual processions and perform other mobile functions of the much larger and fixed principal. Of the major icons mention is to be made of the large brass image of Radha in the Sakhigopal temple in Puri district and similar images in temples in Ganjam district. Similarly the use of 'Ghanta' and 'ghanti' the bell and the gong are both important and indispensable for all ritual worships, particularly during arati and offering of food. During the Rath Yatra or Car Festival, hundreds of the gongs are beaten rhythmically by the devotees and priests in frenzied ecstasy as the divine chariots are pulled forward by the thronging millions. The manjira or gini, two circular cupped convex discs tied to strings and used for beating the rhythm and the ghunguroo or ankle bells tied in the feet of dancers are also products of this group of crafts and are in indication of their whereabouts. The sound of the cattle returning to the village after the day's garazing mixing their sweet bleatings with the jingle of the bells leaving a trail of dust cloud is a familiar scene of rural
Orissa.
Dhokra casting, a variety of metal casting is essentially a folk craft and is limited to a few pockets of Orissa, that is Kuliana in Mayurbhanj district, Kaimatin Keonjhar district, Sadeiberni in Dhenkanal district and Haradagaria in Puri district being practiced by an aboriginal caste called sithulias. While the lost wax process is followed the raw materials used is not pure brass but contains miscellaneous scraps of other metals which give it is typically antique look. Its motifs are mostly drawn from flok culture. While among the animals, the elephant is most popular, the other motifs include human heads, kings, manas or miniature replica of measures, containers with lids, with or without locking devices, images of deities like Ganesh and Durga, and lamps and lampstands, the last being made in several intricate designs in shape of trees and branches with as many as a hundred lamps in one stand. Of late some utilitarian articles like candlestands, ash trays and penstands are also being made keeping the essential folk design intact. Dhokra is not exclusive to Orissa and is found in Bengal, Bihar and M.P. also but it is a very important handicrafts because of its more or less exclusive folk character. The third group of items under this handicraft , that can be described as residual consists mainly of the unique flexible brass items like the brass fish and snakes made by the craftsmen of Belguntha in Ganjam district.
Horn Work:
Horn articles of Orissa are mystical and are blended with a superb fashion design. Their lively appearance, dynamism and animation vie with the real objects of nature - that spells the names of Parlakhemundi and Cuttack. Available in widest spectrum of items like combs, pen stands, cigar pipes, decorative figures - horn articles form a memorable memento for the near and dear ones at home.
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