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 About Festive Decorations

 

Talk of Festivals and the first thing that strikes our mind is decoration. This sections offers a comprehensive range of Indian handicraft festival decoration products made of varied raw materials to add vibrance to your home.

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Stone carving has a long history in Rajasthan, a land rich in a variety of granites, marbles, quartzite, slates, and other metamorphic rocks. Most of the local palaces sport intricate jaali worked sandstone and marble screens and windows, especially in the Zenana, women’s quarter, which were used in order to enable women in purdah to view the events of the court without being seen. The screens also offered protection from the elements while allowing unhindered passage of fresh air to the interiors. Of the many designs still prevalent today the most widely used are the badroom, khammi badroom, phool chava, jhaniya, phool chowkri, bel badroom and goltejdar; most of these appear to have assimilated stylistic elements of the Mughal court.

The craft, known by the French term ‘papier – mache’ is locally known as kar-e-kalamdani, pen case work, after its traditional Iranian name. Papier-mache was practiced as a form of decoration executed on the wooden panels of walls and wooden furniture and was eventually adapted to paper moulds as well. Trays, small boxes and book covers were made for royal patrons and members of their courts. The two major processes involved in the craft are sakthsazi (mould making) and naqqashi (painting). The naqqashi renders the surface in intricate floral patterns or highly stylized scene of hunts and battles. In the case of motifs, the painting may be executed entirely in gold or silver. The local term for gold or silver work is ‘son tehreer’. The motifs are derived from the profusion of local flora; some of the frequently used images are the bumtchuthposh (apple blossoms), dainposh (pomegranate) kongposh (saffron flowers) and yambarzal (narcissus). In Orissa, papier-mache masks and figurines are inspired by the patachitra tradition. Mukha, masks, are made by using a mould of clay and newspaper. Paper and cloth rags are soaked and applied in layers with locally made gum on the mould. Sawdust mixed with gum is applied smoothly, dried and burnished with sandpaper. As in patachitra painting, the colours are made from seashells and rocks. The detailing, such as outlines of the figures eyes in red and black, follows the patachitra style. Masks of deities, demons and animals are made for use in the local folk and classical dance performances. The figures and other products like dolls, pen stands and lampshades are made in many sizes. Papier-Mache art has been carried on for generations in many villages of Madhya Pradesh in the making of human and animal figures, and masks. Using a simple and inexpensive process, the skilled craftsmen can make any product if a design brief or a proper sketch is provided to them. Waste paper is soaked for about a fortnight and the mass is hammered to which pulp and gum is mixed thoroughly, which is then beaten and rolled into sheets that are pressed on to the required mould many times and then dried. The mould is separated after drying and the object is taken out and smoothened with a file, polished, and coloured. Finally a mixture of clay is applied for further smoothening. Animal and bird figures are usually made with hand by the dexterous craftsman without the requirement of any moulds. The cost of material or equipment is relatively low.

Andhra Pradesh has a number of toy forms made in Kondapalli, Tirupati, Nirmal and Etikoppaka. Kondapalli toys stand apart since the craftsmen specialize in regional themes taken from their immediate surroundings and the toys are made into seats of various sizes. The craftsmen belong to the Aryakshatriya community and toy making is a hereditary occupation for them. The toys are small, mostly narrative, archivist and lively. Every small detail is meticulously carved and later assembled. The toys are made of seasoned ‘tella poniki’ wood, which is lightweight and easy to curve. Mythology, rural life, bird and animals are the main theme. Toys representing woman drawing water from a well, snake charmers, ambari elephant with a mahout, potters, and mythological figures such as Krishna and dasavtra seats are also popular. Oral account suggests that artisans from Rajasthan were called to Kondapalli by a Zamindar, during the rule of Krishnadeva Raya in 16th century.

Gifts are the best way to express your heartfelt wishes in the Holiday Season and all year round.Find here some beautiful designer Christmas gifts that can spice up the holiday decor of anyone in an instant

In northern Bengal, Darjeeling and Siliguri, which are tourist attractions the craftsman mostly cater to the market demand for pots, and stylized terracotta objects like statuettes and wall panels. Matigara is famous for making large terracotta pots. They are thrown in parts and then joined together with the help of clay slip. Objects are adorned with the help of tools and sometimes figures made from moulds are attached. The clay used for making various objects come from the river beds of the Uttar Dinajpur area and the clay used for decoration comes from the tea gardens. The craftsmen make tiles and tubs for small plants. Some of them also make telephone stands, lampshades, fancy idols and decorative tiles. Motifs recur across items; the four commonly seen motifs are those of the tribal woman with a child, the palm tree, Ganesha figures, or typical motifs of Bengal, designs like ‘lata’ (blooming creepers) and ‘kalka’ (mango motifs). Terracotta in matigara is of very recent origin, though the craftsman who migrated to this region have been involved with the craft through generations. Ritual horses, elephants, manasa Chali and Shasta are produced in Panchmura, Bankura. For the votive elephants and horses, the clay is thrown on wheels and parts of the body are made separately, and joined later. The basic adornment is done with small clay balls and thin clay coils. This craft in Panchmura started with the rise in the popularity of the local serpent deity manasa. Local people promise to dedicate terracotta horses and elephants to the serpent deity on the fulfillment of a wish. The genesis of the famous Bankura terracotta horses and elephants lies here. These Bankura horses have also attached the urban market where they are used as objects of art. The men make the parts of the horses, which have to be thrown on the wheel, and the woman undertakes the decoration part of it. The women also make the hand formed small horse figures. Apart from the votive terracotta, the women also make plenty of clay dolls and toy by the pressing and molding methods. Some of these hand-formed dolls are also used for some ritual purpose. The Bankura horses are characterized by their erect neck and ears; and a dynamic look. The jaws are wide and a set of teeth can be seen; the eyebrows are drawn and the forehead is decorated with the chandmala necklace.

Palmyra, a tall fan palm, yielding a hard wood and sweet sap, and a source of palm wine and sugar, is locally found in Nellore. The leaves are used for thatching and weaving. The central portion of the palm leaf, called ‘moungu akku’ is used in basketry. It is woven by women from the agriculture communities. Strips are also dyed to provide more patterns. Palm leaf strips are braided, plaited and interlaced in a variety of ways to create large containers for agricultural uses. The material is versatile and the local people have transformed it into numerous applications and form such as umbrellas, hats, sunshades and large basket. For contemporary markets and handicrafts emporia, a large range of baskets, trays and coasters are made using the coiled binding process. Here a spiralling core of palm leaf strands is wrapped around by another moving strip, which interlocks consecutive coils in a series of knots. The shape of the basket or tray is varied by changing the direction of the spiral. The concept of stringing forms, like in garland, have been adapted to make Christmas decorations and as door curtains. Palmyra is an important and significant tree of Tamil Nadu. Palm leaf products are eco friendly. Hence, programmes have been formulated with a long term view to grow and protect Palmyra trees and to develop product using skills that help sustain rural communities. Green leaves are harvested and dried in the sun. The midrib is separated from the palm leaf and the leaf is cut into strips of varying widths. A section of the midrib is folded over and used as a die to make uniform splits from the leaf. Strips are also dyed for ornamentation. Baskets and products are shaped either by weaving or coiling strips. The craft traces its origin to a rough palm leaf bag for storing onions which was exported in plenty from the Kulasai harbour. The paravars, a local fishing community who practiced palm basketry, introduced new products deriving ideas from goods that were imported from Sri Lanka. These nesting containers, boxes with lids, bins and trays have come to be associated with Manapad. The palm leaf cooperatives in Manapad supply to export markets and to retailers in Chennai and Bangalore who have developed new designs in collaboration with craftspersons. Palm leaf baskets for storing rice, fish and agricultural products, winnowing trays and pouches for betel nuts are made in several southern districts such as Tirunelveli, Ramanathapuram and Madurai.

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