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.
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