| Bengal
was famous in ancient times for river and sea crafts.
The arts of navigation, boat building and maritime warfare
developed because of the many rivers and the long seacoast.
Not enough praise can be sung about the ingenuity, skill
and adaptability of the artisans who have kept their
traditions alive over many generations. In almost all
the small towns and villages in Bangladesh there are
areas where artisans practice their crafts. Heriditary
artisans have sustained their family trades through
the centuries: the tantis/weavers, kumars/potters, kamars/brass
smiths, sutradhar/wood carvers, subarnabaniks/gold smiths,
malakars/shoal craftspersons and others have pursued
their traditional occupations to produce crafts for
daily use, for rituals and for decorative purposes.
Bhutan:
In Bhutan the series of traditional
skills or crafts is defined as zorig chusum (zo = the
ability to make; rig = science or craft; chusum = thirteen).
These refer to those practices that have been gradually
developed through the centuries, often passed down through
families with long-standing relations to a particular
craft. These traditional crafts represent hundreds of
years of knowledge and ability that has been passed
down through generations.
Although
the skills existed well before, across the country's
isolated settlements, it is believed that the zorig
chusum was first formally categorised during the rule
of Tenzin Rabgye (1680-1694), the 4th desi (secular
ruler). The following provides a brief overview of the
thirteen traditional crafts:
-
DEZO
- Paper Making: Handmade paper made mainly
from the Daphne plant and gum from a creeper root.
-
DOZO
- Stonework: Stone arts used in the construction
of stone pools and the outer walls of dzongs, monasteries,
stupas, and some other buildings.
-
GARZO
- Blacksmithy: The manufacture of iron
goods, such as farm tools, knives, swords, and utensils.
-
JINZO
- Clay Crafts: The making of religious
statues and ritual objects, pottery and the construction
of buildings using mortar, plaster, and rammed earth.
-
LHAZO
- Painting: From the images on thangkas
(religious wall hangings), walls paintings, and
statues to the decorations on furniture and window-frames.
-
LUGZO
- Bronze Casting: Production of bronze
roof-crests, statues, bells, and ritual instruments,
in addition to jewellery and household items using
sand casting and the lost wax method.
-
PARZO
- Wood, Slate, and Stone Carving: In wood,
slate or stone, for making such items as printing
blocks for religious texts, masks, furniture, altars,
and the slate images adorning many shrines and altars.
-
SHAGZO
- Woodturning: Making a variety of bowls,
plates, cups and other containers.
-
SHINGZO
- Woodwork: Employed in the construction
of dzongs and monasteries
-
THAGZO
- Weaving: The production of the famous
hand-woven fabrics of Bhutan
-
TROKO
- Silver and Goldsmithy: Working in gold,
silver, and copper to make jewellery, ritual objects,
and more practical household items.
-
TSHARZO
- Cane and Bamboo Work: The production
of such varied items as bows and arrows, baskets,
drinks containers, utensils, musical instruments,
fences, and mats.
-
TSHEMZO
- Embroidery and Tailoring: Working with
needle and thread to make clothes, boots, or the
most intricate of appliqué thangkas (religious
wall hangings).
Articles
for everyday use are still fashioned today as they were
centuries ago. Traditional craftsmanship is handed down
from generation to generation. Bhutan's artisans are
skilled workers in metals, wood and slate carving, and
clay sculpture. Artefacts made of wood includes bowls
and dishes, some lined with silver. Elegant yet strong
woven bamboo baskets, mats, hats, and quivers find both
functional and decorative usage. Handmade paper is prepared
from tree bark by a process passed down the ages.
India:
India is a country
with a very rich heritage of arts and crafts. Each and
every part of this country has its own unique arts and
crafts with their own craft history.
Literary
records from the 2nd century AD paint a picture of abundance
and splendour in the Indian arts and crafts scene. The
Silappathikaarum (The Ankle Bracelet), a Tamil romance
(roughly dated to the late second century AD), suggests
that the markets offered a great variety of precious
commodities prized in the ancient world. Special streets
were earmarked for merchants that traded in items such
as coral, sandalwood, jewellery, faultless pearls, pure
gold, and precious gems. Skilled craftspeople brought
their finished goods such as fine silks, woven fabrics,
and luxurious ivory carvings. Archealogical finds of
spectacular burial jewellery notably necklaces, ear
pendants and finger rings, characterised by a mastery
of granulation and inlay in southern India appear to
corroborate such accounts. Northern India also had its
flourishing urban centres. This can be inferred from
descriptions of an archealogical site in ancient Taxila.
The
antiquity of Indian textile exports can be established
from the records of the Greek geographer Strabo (63
BC - AD 20) and from the first century Greek source
Periplus, which mentions the Gujarati port of Barygaza,
(Broach) as exporting a variety of textiles. Archaeological
evidence from Mohenjo-Daro, establishes that the complex
technology of mordant dyeing had been known in the subcontinent
from at least the second millennium B C. The use of
printing blocks in India may go as far back as 3000
B.C, and some historians are of the view that India
may have been the original home of textile printing.
Patola (double ikat silk in natural dyes) from Patan
and Ahmedabad, and decorative cottons in brilliant color-fast
dyes from Gujarat and the Coromandel coast were sought
after by the Malaysian royalty and wealthy traders of
the Phillipines. Textiles also comprised a significant
portion of the Portuguese trade with India. These included
embroidered bedspreads and wall hangings possibly produced
at Satgaon, the old mercantile capital of Bengal, (near
modern Calcutta). Quilts of embroidered wild silk (tassar,
munga or eri) on a cotton or jute ground, combining
European and Indian motifs were comissioned by the Portuguese
who had been attracted to Bengal, (as traders had been
since the early centuries AD), by the quality of the
region's textiles. Kalamkaris - i.e. finely painted
cotton fabrics produced in the Golconda hinterland and
'Palampores' - painted fabrics based on the "tree
of life" motif that had become popular in the Mughal
and Deccan courts were also highly regarded. Several
textile producing centres were located in Northern and
Central India, in the kingdoms of the Rajputs and the
Mughals, each with their own unique specialization.
While Kashmir was well known for its woollen weaves
and embroidery, cities like Benaras, Ujjain, Indore
and Paithan (near Aurangabad) were known for their fine
silks and brocades. Rajasthan specialized in all manner
of patterned prints and dyed cloths.
According
to texts dating from the Buddhist era, woolen carpets
were known in India as early as 500 B.C. References
to woven mats and floor coverings are not infrequent
in ancient and medieval Indian literature. By the 16th
century, carpet-weaving centres were established in
all the major courts of the sub-continent.
Under
the patronage of the various royal dynasties that ruled
India, particularly the Mughals, the Rajputs and the
Deccani nawabs, the decorative arts and crafts reached
unprecedented heights. (These traditions were continued,
and even augmented by later regional nawabs in Bengal,
Mysore, Central India, Punjab, Awadh and Kashmir). Hardwood
furniture was a major product of Portuguese patronage,
usually richly decorated with inlaid woods and ivory.
The craft of papier mache, extensively promoted by the
Mughals and later the Rajputs, also found favor with
17th century European traders who commissioned Kashmiri
artists to produce for the European market.
In India, steel was used for weapons, for decorative
purposes and for tools, and remarkably high grade articles
were produced. The old weapons are second to none, and
it is said that the famous damascus blades were forged
from steel imported from Hyderabad in India. The iron
column, called the Kutub pillar at Delhi, weighs over
six tons and carries an epitaph composed about 415 A.D.
The craft of Bidri ware which originated in the Deccan,
in Bidar and spread northwards to centres like Lucknow,
required not insignificant metallurgical skills. The
delicate inlay work required discipline and expertise,
and additionally, required the knowledge of extraction
of zinc (a primary constituent of the Bidri alloy).
Maldives:
Maldives has a very rich arts and crafts
heritage. The specialisation that existed among the
islands could have been the result of availability of
raw materials, like the special reeds and grasses used
for weaving mats, or may owe its origin to traditions
followed by the islands. The skill and traditions of
craft have been handed down the generations in families.
The main handicraft items of Maldives can be categorized
as jewelery - silver, gold, mother of pearl & coral,
lacquer ware, mat weaving, coir rope, coconut products,
textiles and boat-building. Hand
made household items like coconut graters, granite stone
spice crushers with a stone rolling pin, wooden mortar
and pestle and coconut shell spoons are produced in
the Maldives.
Ribudhoo Island in Dhaalu (South Nilandu atoll) is famous
for making gold jewellery, and Huludeli, in the same
atoll, is known for silver jewellery. Using ancient
techniques the craftsmen make dainty chains and bracelets
over tiny charcoal fires. Beautiful jewellery and decorative
items are made from mother of pearl and black coral,
including rings, bracelets, necklaces and carved model
dhonis.
Lacquer
work is a highly skilled decorative art in which the
craftsman first shapes the wood to create the object
he wants, using a lathe. Different kinds of wood are
used to make boxes, bowls, vases and other turned objects,
including chess sets.
The weaving of mats of various sizes and shapes, and
the making of containers, food covers and lamp shades
from reeds or strips of dried stems of coconut palm
leaves, is practised in many islands. Cadjan weaving
is also common. Cadjan is a mat made from coconut leaves
sewn together with coir rope. It is used for thatching
houses and for fences.
Coconut
shell and palms are used to make toddy holders, woven
palm leaf baskets and mats (sataa), folding carved Koran
rests, wooden scoops for bailing boats, fittings for
hookah pipes and woven trays for winnowing rice.
The
traditional boat "dhoni" modelled on the Arab
dhow, has evolved and been adapted to local requirements
by the Maldivians. Built in various shapes and sizes,
the dhoni is used for all kinds of purposes - inter-atoll
transport, family fishing boat, local ferry, tourist
excursion boat, dive boat delivery truck and mini-fuel
tanker.
Nepal:
In
Nepal, the production of handicraft is an age-old occupation.
Novel handicrafts are also developed in harmony with
changing market taste.
The
Pashupatinath temple and the Boudhanath temple bear
testimony to the rich crats heritage that prevailed
in ancient Nepal. The advent of the Licchavis brought
in the first golden era of Nepalese art and culture.
They were great patrons of arts and crafts. Pagoda-roofed
structures came into vogue. Sculptors fashioned exquisite
images of their Gods and Kings. It was during this same
period that the temples of Changunarayan, Vishabjynarayan,
Sikhomanarayan and Ichabgunarayan were built.Other notable
masterpieces include the Reclining Vishnu of Budhanilkantha,
the gilting of the roof of Pashupatinath Temple, the
struts of Hanuman Dhoka and the Basantapur Tower, the
Uku Bahal in Patan, and the Indreshwar Mhadev Temple
at Panauti. Nepali craftsmen excelled in stone carving,
woodcarving, brick making, metal work and painting.
The
renaissance during the Malla eras saw further development
in the craft of image making. Stone carvings of the
earlier times gave way to mental craft. All the spires
of important temples and shrines were crowned with gold;
this technique of gilding involved a chemical compounding
process. Skill in metal craft reached a high degree
of excellence and Patan, or Lalitpur (city of arts)
became the center. The best example of that period can
still be seen today in the 14th century Kwa Bahal, the
Golden Temple. Tibetan pilgrims who came on pilgrimage
to this site were so enraptured by the sight of it that
they called it "Yerang" meaning "Eternity
Itself."
The
artisans of Bhaktapur pursued the traditional craft
of stone and woodcarving. Evidence of their excellence
is still visible today as one observes the 55-Windowed
Palace, the Peacock Windows, and the Nyatopola Temple
– all built during the reign of King Bhupatindra
Malla.
From
the 11th century, religious manuscripts were being embellished
with paintings. Buddhism inspired the earliest of these.
Drawn on palm leaf strips, these simple ink sketches
were accented with basic natural colors. After the 15th
century, paper began to replace the leaf.
Pakistan:
With
the Indus Valley civilization, identified by the two
principal cities of Mohenjo Daro in Sindh and Harappa
in Punjab, begins the story of crafts of Pakistan. This
civilization, which spanned more than 950 miles from
north to south, had well planned towns and elaborate
systems of drainage. The material used for building
was brick - testifying to the availability and calibre
of a class of people engaged in masonry work.
Also
found during the excavations were steatite seals, with
fine and realistic engravings on them displaying craftsmanship
of a high order and pointing to the use of precision
tools. The art of sculpture was also quite developed
and some of the surviving pieces show impressive craftsmanship.
Terracotta
miniatures - monkeys, squirrels, bullocks, deer, birds,
statuettes of women, carts, etc, - probably used as
toys by children or as ornaments show that the community
had people engaged in occupations other than agriculture
and trade. That cotton spinning, weaving and dyeing
were prevalent in these cities is corroborated by the
discovery of fine cloth at Mohenjo Daro.
From
about 1500 B.C. to 500 B.C. invading Aryans overran
the region bringing other skills with them - carpentry,
metal smithy, basket weaving, weaving and pottery making.
It seems that around the sixth century B.C. Peshawar
Valley had a prosperous agricultural community and was
famous for its fine sheep wool. Excavations at Taxila
have revealed the use of iron in the sixth century B.C.
Two centuries after the Iranian invasion came Alexander
(327 B.C.). The Greeks introduced new skills to the
region particularly carpentry, sculpture, pottery, jewellery
and the minting of coins.
The
first four centuries of the Christian era witnessed
foreign invasions, from both north and south. However,
the surviving stone and metal works of the Kushan and
the Gupta periods suggest that during this period conditions
were stable enough to attract craftsmen from Iran, Bactria
and Central Asia.
The
Islamic influence brought a change in the aesthetic
values and also exposed the region to the Islamic movements
in the field of arts and crafts in different parts of
the world, particularly in architecture and woodcrafts,
ceramics, tile-making, calligraphy and ornamentation
and metalwork.
The
Mughal aesthetic and the Islamic art form, with its
emphasis on perfect synchronization, balance and order
depicted through floral and geometric designs is still
predominant in Pakistan. It can be seen in all art forms
from architecture to textiles, and continues to form
the basis of design in urban Pakistan today.
Post-independence(1947)
period has seen substantial state help and initiative
for the crafts sector. The institution of mastercraftsmen
awards and the recognition of the accomplishments of
craftspeople have been facilitated by the activities
of the National Crafts Council. Steps to promote the
export of handicrafts are being taken.
Sri
Lanka: Sri Lanka's craft heritage is
an ancient one; at once diverse, exotic and magnificent
in its craftsmanship. The legacy of centuries of master
craftsmanship, ingenuity and inbred skill, these goods
are turned out using age-old techniques, tools and natural
indigenous material, mainly in the homes of craftsmen
or occasionally at rural craft centers. They are essentially
cottage industries. Sri Lanka's ancient social system
following its Indo- Aryan roots, assigned certain trades
and pursuits to socio -occupational groups or castes;
it was mainly within these divisions that traditional
skills were preserved with a high degree of purity and
characteristic identity.
A marked degree of regional specializations exists,
based on the availability of raw materials as well as
other factors such as royal patronage in the past and
the demand for products.
Sri
Lanka's classical architecture, sculpture and painting
is predominantly Buddhist. Stupas sprinkle the countryside,
and there are several extravagantly large Buddhas sculptures,
notably at Aukana and Buduruvagala. Anuradhapura and
Polonnaruwa have the most impressive archaelogical legacy,
but Kandy is the most thriving cultural centre today.
Colonial remnants include Dutch forts, canal and churches
and British residences, clubs and courthouses. Galle
is the finest colonial city on the island.
Woodcarving, weaving, pottery and metalwork are all
highly developed crafts, and Sri Lanka is especially
renowned for its gems. Ambalangoda is the best place
to see Sri Lankan masks; Ratnapura is the centre of
Sri Lanka's gem trade.
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