Crafts of India

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Working of traditional Woodblock Printing Craft of Bagh, Madhya Pradesh, India Woodblock Printing Craft of Bagh, Madhya Pradesh, India.jpg
Working of traditional Woodblock Printing Craft of Bagh, Madhya Pradesh, India
Bagh print traditional hand block print craft in Bagh Traditional Bagh hand block print master craftsman-artisan-artist Mohammed Bilal Khatri, Madhya Pradesh, India.jpg
Bagh print traditional hand block print craft in Bagh
Artisan producing marble stone inlays, Agra Marbleworks-1.jpg
Artisan producing marble stone inlays, Agra

The crafts of India are diverse, rich in history, culture and religion. The craft of each state in India reflect the influence of different empires. Throughout centuries, crafts have been embedded as a culture and tradition within rural communities.

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Crafts

Metal crafts include metal work using zinc, copper, brass, silver, and gold. Some of the traditional ancient handicraft styles are Bidriware, Pembarthi Metal Craft, Dhokra, and Kamrupi

Bidriware: The term 'Bidriware' originates from the township of Bidar, which is still the chief center for the manufacture of the unique metalware. Due to its striking inlay artwork, Bidriware is an important export handicraft of India and is prized as a symbol of wealth. The metal used is a blackened alloy of zinc and copper inlaid with thin sheets of pure silver.
Pembarthi Metal Craft Pembarthi Metal Craft is a metal handicraft made in Pembarthi, Warangal district, Telangana State, India. They are popular for their exquisite sheet metal art works. This meticulous brass work art flourished during the reign of Kakatiyas empire. Kakatiyas extensively used sheet metal art to adorn chariots and temples.
Dhokra is non–ferrous metal casting using the lost-wax casting technique. This sort of metal casting has been used in India for over 4,000 years and is still used. One of the earliest known lost wax artefacts is the dancing girl of Mohenjo-daro. The product of dhokra artisans are in great demand in domestic and foreign markets because of primitive simplicity, enchanting folk motifs and forceful form. Dhokra horses, elephants, peacocks, owls, religious images, measuring bowls, and lamp caskets etc, are highly appreciated.
Kamrupi Brass and Bell Metal products of Kamrup are famous for their beauty and strength of form and utility. Brass is an important cottage industry, with highest concentration in Hajo, while Sarthebari is well known for its bell metal craft. The principal items of brass are the kalah (water pot), sarai (a platter or tray mounted on a base), kahi (dish), bati (bowl), lota (water pot with a long neck) and tal (cymbals). Gold, silver and copper too have formed part of traditional metalcraft in Kamrup, and the State Museum in Guwahati has a rich collection of items made of these metals. Gold is generally used in ornaments.

Crafts of Bihar

Bihar, recognised by its Madhubani/Mithila Painting, Being the birthplace of some of the most celebrated folk takes of India, it comes out quite naturally that the natives of Mithila have an innate quality to conceive a visually captivating narrative art form, to tell these tales with their due reverence. These visual narratives are known as Madhubani Paintings, literally meaning the ‘Forest of honey’. These are also one of the earliest forms of Indian paintings. Bhagalpur painting is also known as Manjusha Art & extra ordinary delicacy of quilting. [1]

Crafts of Rajasthan

Handcrafted swing, (Jhoola) inside the Phool Mahal, Junagarh Fort, Bikaner Jhoola inside the Phool Mahal, Junagarh Fort, Bikaner.jpg
Handcrafted swing, (Jhoola) inside the Phool Mahal, Junagarh Fort, Bikaner

Rajasthan, recognised by its Royal heritage is a prominent and well-established craft industry. Craft remains a tradition in Rajasthan, preserved over centuries by the stronghold of the Royal Rajput family. [2] Within the craft industry are smaller occupations. These include, fabric colouration and embellishment, decorative painting and puppetry. Craft workers see this not as an occupation, but rather a mark of respect to their heritage. In the process of fabric colouration, woven fabrics are treated by methods such as tie-dyeing, resist dyeing and direct application. The dupatta worn by women show the popularity of dyeing. In 2008, traditional Jodhpur garments inspired designer Raghavendra Rathore's collection, Rathore Jodhpur. [3] Fabric dyeing belongs to the Chippa caste of Rajasthan. Fabrics are embellished with mirror embroidery, symbolic to Rajasthan and wooden beading once dyed. The trend of mirror embroidery is also visible on dupattas in Punjab, known as the phulkari. Decorative patterns adorn all surfaces in Rajasthan. Interiors of homes are painted with floral motifs; similar bindi (dotted) designs are seen on garments. The clipped camel is unique to Rajasthan. In this, patterns are imprinted on the hide of the camel, taken place during the Pushkar and Nagaur festivals by the Rabari caste. [4] Puppetry and theatre has remained a popular form of entertainment in Rajasthan. Recently, its popularity has reduced with increased interest in film and television amongst rural communities. The nat bhat caste produces these marionette style puppets. [5] Facial expressions are painted on a mango wood head and the body is covered in decorative, Rajasthani clothing. The strings loosely bind the arms and torso together to give flexibility for movement. These puppets usually perform in legends and mythology conveying a moral message. The Rajasthani craft industry is iconic to the identity of India with many of its styles reaching the international market. Tie-dyeing is an example of how international fashion aesthetics have rooted from simple crafts methods of Rajasthan.

Crafts of Gujarat

Gujarat is renowned for its textile production methods. Bordering Rajasthan, the two states share similarities in culture and identity. The ancient Indus Valley civilization inhabited the entire region, including Rajasthan and Punjab during Medieval India. [6] They embarked on this textile industry in Gujarat. Within textile production, each caste is assigned to an occupation of its own. These are, weaving, dyeing and printing. For example, the Salvi caste is assigned to weaving. [7] Garment producers bring these elements together to form the identity of Gujarati textiles. Direct application is a method also symbolic to Gujarati garments. Paint and other applicants are used to form patterns on fabric for dupattas, ghagras (long skirt) and turbans. Block printing is a widely used form of direct application, Gujarati Ajrakh block printing is one of the oldest printing technique, origin of Ajrakh can probably be older than we can imagine. Excavation sites of Indus Valley Civilization give evidence that Ajrakh was possibly one of the oldest printing methods of the Indian subcontinent. [8]

In Bandhani, a unique Gujarati craft, fabric is tied at different sections before dyeing to create patterns. [9] This foundation of forming patterns through dyeing has emerged from the rural communities of this state. Along with the complete image of a Gujarati woman are large bangles made of ivory and plastic, these are symbols of a married woman. Conch shell and shellac bangles are the most common. Conch shell bangles are plain white with a light shade of a brighter colour where as shellac bangles are shaped as a shell, painted and decorated with glitter. [10] These have in recent years become an accessory in both domestic and international markets..

Crafts of Assam

To the far eastern region of India is Assam. A state recognised for its creative use of raw materials in textiles and crafts. Assam was one of the states whose craftwork was exhibited in the National Handicrafts and Handborn Museum in 2010, showcased to first lady, Michelle Obama. [11] Production of silk fabrics is iconic of Assamese textiles. Silk is the most valued raw material of Assam, with the Antheraea assama worm producing the unique muga silk. [12] It is mostly the duty of women to construct silk fabrics, using a domestic backstrap loom. [13] Mahatma Gandhi had noted ‘Assamese women are born weavers, they weave fairy-tales in their cloth’. [13] Domestic weaving is an important craft for Assamese women, their marriage and future is seen as reliant upon this skill. At some stage, an unmarried girl would present a hand made bihuan to her beloved. [14] Weaving holds a significant moral and cultural value in Assam. The silk and textile industry is also an economic resource to the state with over 25000 families associated with this craft. [12] Cane and bamboo crafts are also unique to Assam, the result of heavy physical work. Ridang, suli, lezai and long cane[ clarification needed ] are a natural resource to the state. [15] The finest cane is chopped and reduced to thin strips then woven into sheets. It is attached to the frame of a furniture piece, usually made out of bamboo sticks. They are also used as mats, providing comfort in summer. [15] The trend of this sitalpati [15] mat is also seen in Punjab in which a woven mat attached to a frame becomes a charpai. The crafts of Assam are reliant upon the raw materials of the state also making them unique.

Crafts of South India

The diversity of religious beliefs has had a great impact on the crafts of Southern India. The region has seen the rule of various empires such as the Mughal, Portuguese, Dutch, French and British. [16] Each has left their mark of style on traditional crafts. The craft industry of South India has established itself commercially in the nation, whilst reflecting a long history of foreign rule. Dravidian style, stone carved temples reflect the influence of Hinduism whilst Roman Catholic churches echo the impact of the British rule. [16] Temple carvings are symbolic of the craft skills in the Tamil Nadu region. The Meenakshi temple of Madurai typifies the skills and devotion put into this craftwork.

Madurai garland making craft can be defined as a band or chain of flowers, foliage, and leaves. In Tamil Nadu, and particularly in the temple town of Madurai, flower garlands are considered to play a significant role in expressing and enhancing Tamil culture. Every garland is a myriad of colours; a kaleidoscopic journey; an array of fragrant, vivid flowers weaved together to symbolize love, purity, and devotion. [17]

[18] Each section of the temple is a sacred shrine to a deity. North of Tamil Nadu is Karnataka, a region renowned for its wood and stone craftwork. The forests of this region provide extensive supplies of raw materials, mostly rosewood. For wood workers, crafting statues for large temples is a major source of income. The forms of characters from Hindu mythology are carefully shaped with a chisel. Soapstone is also commonly used to carve statues giving them a unique textural quality and smooth finish. [19]

Crafts today

The crafts of India have been valued throughout time; their existence today proves the efforts put into their preservation. Contemporary designers such as Ritu Kumar and Ritu Virani are constantly embedding traditional crafts into their designs. Also, there is a complete educational institute, Indian Institute of Crafts and Design (IICD) which is established in Jaipur, Rajasthan, which mainly educates for the crafts and their existence with design. Despite these efforts, the roots of these crafts, which are the rural craftsmen, are in decline. This argued by the India Foundation for the Arts organisation. [20] Rising costs of materials and supplies have placed many of these craft communities in financial struggle. A recent article in the Times of India predicts the price of steel to rise between Rs 600 and 1000 per tonne. [21] On the other hand, statistics from the All India Handicrafts Board show that craft export has risen from 230 million to over 90 billion since the past 50 years. [22] With rising economic and political issues in India, the craft sector is struggling to uphold. Although an interest to retain the culture of crafts is seen in designers and institutions. Handicrafts are the creative products made by the skill of the hand without the help of modern machinery and equipment. Nowadays, hand-made products are considered to be a fashion statement and an item of luxury.

India's rich cultural heritage and centuries of evolutionary tradition is manifested by the huge variety of handicrafts made all over the country. Handicrafts are a mirror of the cultural identity of the ethnic people who make it. Through the ages, handicrafts made in India like the Kashmiri woollen carpets, Zari embroidered fabrics, terracotta and ceramic products, silk fabrics etc. have maintained their exclusiveness. In the ancient times, these handicrafts were exported to far off countries of Europe, Africa, West Asia and Far East via the ‘silk route’. The entire wealth of timeless Indian handicrafts has survived through the ages. These crafts carry the magnetic appeal of the Indian culture that promises exclusivity, beauty, dignity and style. [23]

Related Research Articles

<span class="mw-page-title-main">Weaving</span> Technology for the production of textiles

Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. The method in which these threads are interwoven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms.

<span class="mw-page-title-main">Textile arts</span> Form of arts and crafts using fibers

Textile arts are arts and crafts that use plant, animal, or synthetic fibers to construct practical or decorative objects.

<span class="mw-page-title-main">Sari</span> Womans draped garment of the Indian subcontinent

A sari is a women's garment from the Indian subcontinent, that consists of an un-stitched stretch of woven fabric arranged over the body as a robe, with one end attached to the waist, while the other end rests over one shoulder as a stole (shawl), sometimes baring a part of the midriff. It may vary from 4.1 to 8.2 metres in length, and 60 to 120 centimetres in breadth, and is form of ethnic wear in India, Sri Lanka, Nepal, Bangladesh and Pakistan. There are various names and styles of sari manufacture and draping, the most common being the Nivi style. The sari is worn with a fitted bodice also called a choli and a petticoat called ghagra, parkar, or ul-pavadai. It remains fashionable in the Indian subcontinent today.

Ikat is a dyeing technique from Indonesia used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. The term is also used to refer to related and unrelated traditions in other cultures. In Southeast Asia, where it is the most widespread, ikat weaving traditions can be divided into two general clades. The first is found among Daic-speaking peoples. The second, larger group is found among the Austronesian peoples and spread via the Austronesian expansion. Similar dyeing and weaving techniques that developed independently are also present in other regions of the world, including India, Central Asia, Japan, Africa, and the Americas.

<span class="mw-page-title-main">Zari</span> Thread

Zari is an even thread traditionally made of fine gold or silver used in traditional Indian, Bangladeshi and Pakistani garments, especially as brocade in saris etc. This thread is woven into fabrics, primarily silk, to make intricate patterns and elaborate designs of embroidery called zardozi. Zari was popularised during the Moghul era; the port of Surat was linked to the Meccan pilgrimage route which served as a major factor for re-introducing this ancient craft in India.

<span class="mw-page-title-main">Morris & Co.</span> Decorative arts firm founded by William Morris

Morris, Marshall, Faulkner & Co. (1861–1875) was a furnishings and decorative arts manufacturer and retailer founded by the artist and designer William Morris with friends from the Pre-Raphaelites. With its successor Morris & Co. (1875–1940) the firm's medieval-inspired aesthetic and respect for hand-craftsmanship and traditional textile arts had a profound influence on the decoration of churches and houses into the early 20th century.

<span class="mw-page-title-main">Bandhani</span> Tie-dyeing technique of India

Bandhani is a type of tie-dye textile decorated by plucking the cloth with the fingernails into many tiny bindings that form a figurative design. The term bandhani is derived from the Sanskrit verbal root bandh. Today, most Bandhani making centers are situated in Gujarat, Rajasthan, Sindh, Punjab region and in Tamil Nadu where it is known as Sungudi. It is known as chunri in Pakistan. Earliest evidence of Bandhani dates back to Indus Valley civilization where dyeing was done as early as 4000 B.C. The earliest example of the most pervasive type of Bandhani dots can be seen in the 6th century paintings depicting the life of Buddha found on the wall of Cave at Ajanta. Bandhani is also known as Bandhej Saree, Bandhni, Piliya, and Chungidi in Tamil and regional dialects. Other tying techniques include Mothra, Ekdali and Shikari depending on the manner in which the cloth is tied. The final products are known with various names including Khombi, Ghar Chola, Patori and Chandrokhani.

<span class="mw-page-title-main">Banarasi sari</span> Indian Sari made in Varanasi

A Banarasi sari is a sari made in Varanasi, an ancient city which is also called Benares (Banaras). The saris are among the finest saris in India and are known for their gold and silver brocade or zari, fine silk and opulent embroidery. The saris are made of finely woven silk and are decorated with intricate designs, and, because of these engravings, are relatively heavy.

<span class="mw-page-title-main">Embroidery of India</span> Any of the various styles of embroidery indigenous to India

Embroidery in India includes dozens of embroidery styles that vary by region and clothing styles. Designs in Indian embroidery are formed on the basis of the texture and the design of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle, and permutations and combinations of these constitute the design.

<span class="mw-page-title-main">Silk in the Indian subcontinent</span> Overview about silk in the India subcontinent

Silk In India, about 97% of the raw mulberry silk is produced in the Indian states of Karnataka, Andhra Pradesh, Tamil Nadu and West Bengal. Mysore and North Bangalore, the upcoming site of a US$20 million "Silk City", contribute to a majority of silk production. Another emerging silk producer is Tamil Nadu in the place in where mulberry cultivation is concentrated in Salem, Erode and Dharmapuri districts. Hyderabad, Andhra Pradesh and Gobichettipalayam, Tamil Nadu were the first locations to have automated silk reeling units.

<span class="mw-page-title-main">Ajrak</span> Form of blockprinting

Ajrak, also known as Ajrakh, is a unique form of textile block-printing found primarily in Sindh, Pakistan and the village of Ajrakhpur in the bordering Kutch district of India. Ajrak textiles like shawls or dresses display special designs and patterns made using block printing with stamps. Ajrak is a symbol of Sindhi culture and traditions. Ajrak prints are also famous in neighbouring areas of India, in Gujarat, due to their influence from the Indus Valley civilization. Apart from Sindh and Kutch, recently, a Saraiki version of the Ajrak called Sajarak was created and is found in South Punjab, Pakistan.

Assam silk denotes the three major types of indigenous wild silks produced in Assam—golden muga, white pat and warm eri silk. The Assam silk industry, now centered in Sualkuchi, is a labor-intensive industry.

Weaving and cloth trading communities of Western India particularly of Gujarat are called Vankar/Wankar/Vaniya. The four major woven fabrics produced by these communities are cotton, silk, khadi and linen. Today majority of these community members are not engaged in their ancestral weaving occupation still some population of these community contribute themselves in traditional handloom weaving of famous Patola of Patan, Kachchh shawl of Bhujodi in Kutch, Gharchola and Crotchet of Jamnagar, Zari of Surat, Mashroo of Patan and Mandvi in Kutch, Bandhani of Jamnagar, Anjar and Bhuj, Motif, Leheria, Dhamakda and Ajrak, Nagri sari, Tangaliya Shawl, Dhurrie, Kediyu, Heer Bharat, Abhala, Phento and art of Gudri. Vankar is described as a caste as well as a community.

<span class="mw-page-title-main">Pochampally sari</span> Saree from Telangana State, India

Pochampally sari or Pochampalli ikat is a saree made in Bhoodan Pochampally, Yadadri Bhuvanagiri district, Telangana State, India. They have traditional geometric patterns in "Paagadu Bandhu" (Ikat) style of dyeing. The intricate geometric designs find their way into sarees and dress materials. The Indian government's official airplane company, Air India, has its cabin crew wear specially designed Pochampally silk sarees.

Jasleen Dhamija (1933-2023) was an Indian textile art historian, crafts expert and former UN worker. Based in Delhi, she was best known for her pioneering research on the handloom and handicraft industry, especially history of textiles and costumes. She was professor of living cultural traditions at the University of Minnesota. Over the years, during her career as a textile revivalist and scholar, she authored several books on textiles, including Sacred Textiles of India (2014).

<span class="mw-page-title-main">Bagh print</span> Traditional Indian wood block printing

Bagh print is a traditional Indian handicraft originating in Bagh, Dhar district of Madhya Pradesh, India. The process is characterised by hand printed wood block relief prints with naturally sourced pigments and dyes. Bagh print motifs are typically geometric, paisley, or floral compositions design, dyed with vegetable colours of red and black over a white background, and is a popular textile printing product. Its name is derived from the village Bagh located on the banks of the Bagh River.

The Surat Zari / Jari Craft is a textile product of Surat district in Gujarat, India, which is made from yarns of silk and cotton mixed with gold, silver or copper. The zari threads are used to make intricate designs by weaving into generally silk fabrics. Its use is extensive in textile industries and handicrafts. The Surat Zari is either woven on cloth or hand embroidered to form fabric borders or used as part on the body of the cloth. The zaris are used in fabrics made in Varanasi and a few other places in Uttar Pradesh, Tamil Nadu, Karnataka and Andhra Pradesh. Banarasi saris made in Varanasi and Kanjivaram Saris of South India use Surat Zari extensively.

The All India Handicrafts Board (AIHB), was an organisation in India established in 1952, which aimed to advise the Ministry of Textiles on development programmes for handicrafts. Its early key figures included Pupul Jayakar, Kamaladevi Chattopadhyay, Lakshmi Chand Jain and Fori Nehru. It was abolished by the Government of India in 2020 during the COVID-19 pandemic.

The crafts of Sindh and its craftsmen are held in high esteem and their works are notable not only in Sindh but also in many other places.

Block printing in India holds a significant place in the country's rich cultural heritage and artistic traditions. Dating back thousands of years, this ancient technique of textile decoration involves the meticulous carving of intricate designs onto wooden blocks, which are then dipped in natural dyes and stamped onto fabric to create vibrant patterns and motifs.

References

  1. ↑ "Painted whispers of Mithila". 12 May 2023.
  2. ↑ Barnard, Nicholas (1993). Arts and Crafts of India. London: Conran Octopus Limited. pp.  14. ISBN   1-85029-504-2.
  3. ↑ "Rajasthan is now on the world ramp". The Times of India. 19 June 2008.
  4. ↑ Barnard, Nicholas (1993). Arts and Crafts of India. London: Conran Octopus Limited. pp.  16. ISBN   1-85029-504-2.
  5. ↑ Barnard, Nicholas (1993). Arts and Crafts of India. London: Conran Octopus Limited. pp.  182–183. ISBN   1-85029-504-2.
  6. ↑ Edwards, Eiluned (2011). Textiles and Dress of Gujarat. Ahmedabad: Mapin Publishing Pvt. Ltd. pp. 10–13. ISBN   978-81-89995-52-2.
  7. ↑ Edwards, Eiluned (2011). Textiles and Dress of Gujarat. Ahmedabad: Mapin Publishing Pvt. Ltd. pp. 45–47. ISBN   978-81-89995-52-2.
  8. ↑ "The Eternal Azure…Ajrak". 12 May 2023.
  9. ↑ Edwards, Eiluned (2011). Textiles and Dress of Gujarat. Ahmedabad: Mapin Publishing Pvt. Ltd. pp. 116–119. ISBN   978-81-89995-52-2.
  10. ↑ Barnard, Nicholas (1993). Arts and Craft of India. London: Conran Octopus Limited. pp.  104–105. ISBN   1-85029-504-2.
  11. ↑ Basu, Indrani (7 November 2010). "Crafts village waits for Michelle". The Times of India . Archived from the original on 16 January 2014. Retrieved 3 October 2011.
  12. 1 2 Bhandari, Dhingra, Dr. Vandana, Sudha (1998). Textiles and Crafts of India. New Delhi: Prakash Book Depot. p. 105. ISBN   81-7234-021-4.{{cite book}}: CS1 maint: multiple names: authors list (link)
  13. 1 2 Gillow, Barnard, John, Nicholas (1991). Indian Textiles. London: Thames & Hudson Ltd. pp. 176–177. ISBN   978-0-500-51432-0.{{cite book}}: CS1 maint: multiple names: authors list (link)
  14. ↑ Bhandari, Dhingra, Dr. Vandana, Sudha (1998). Textiles and Crafts of India. New Delhi: Prakash Book Depot. p. 108. ISBN   81-7234-021-4.{{cite book}}: CS1 maint: multiple names: authors list (link)
  15. 1 2 3 Bhandari, Dhingra, Dr. Vandana, Sudha (1998). Textiles and Crafts of India. New Delhi: Prakash Book Depot. pp. 118–119. ISBN   81-7234-021-4.{{cite book}}: CS1 maint: multiple names: authors list (link)
  16. 1 2 Barnard, Nicholas (1993). Arts and Crafts of India. London: Conran Octopus Limited. pp.  36. ISBN   1-85029-504-2.
  17. ↑ "Garland making~Madurai - Craft Archive | Research on Indian Handicrafts & Handloom". 26 August 2020.
  18. ↑ Barnard, Nicholas (1993). Arts and Crafts of India. London: Conran Octopus Limited. pp.  34. ISBN   1-85029-504-2.
  19. ↑ Barnard, Nicholas (1993). Arts and Crafts of India. London: Conran Octopus Limited. pp.  41–43, 46–49, 54–55. ISBN   1-85029-504-2.
  20. ↑ Vellani, Anmol. "Sustaining Crafts Development in India". India Foundation for the Arts. Icarus Design Consultants. Retrieved 25 October 2011.
  21. ↑ Pandey, Piyush (1 June 2011). "Steel cos to raise prices on rising input costs". The Times of India . Archived from the original on 16 October 2013. Retrieved 24 October 2011.
  22. ↑ Dhamija, Jasleen (June 2003). "From then till Now". India Together. Civil Society Information Exchange Pvt. Ltd. Retrieved 25 October 2011.
  23. ↑ Indian handicrafts could be broadly divided into three categories: folk crafts, religious crafts and commercial crafts. Popular folk crafts that are modified according to the demands of the market become commercial crafts. Myriads of handicrafts are made for the diverse rites and rituals associated with the religious faiths of the varied ethnic groups of India. Some of the handicrafts basically meant for the religious purposes are also liked by the people for their aesthetic value.
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