The panoramic view of Indian crafts is a patchwork quilt of many shades and shades of meaning, reflecting interactions with social, economic, cultural and religious forces. The world of crafts is full of contrasts, a universe of useful products and sacred objects, articles for ritual use and ephemeral crafts for festivals, representing many levels of refinement, from the simplest to the most technically advanced. Likewise, there are many perceptions of the term ‘craftsman’, ranging from a manual worker to a worker of high artistic excellence. Craftsmanship, then, is located in a complex environment, a dense matrix of many strands and elements.

The stories unfold in the material with the skillful use of tools and the application of the intellect and the product is a mirror of the society that produces it. It is strange how we can see traces and signs of culture frozen in stone or clay and metal and wood, all of which echo the roots of a particular cultural system that produces or uses the artisan object. The belief systems that determine that form may come from the religious source or from some body of ancient popular wisdom.

As someone rightly said, a craft is a true reflection of creativity, proximity to nature, mastery of thought patterns, the clarity of the right mix to turn a piece of wood or a piece of brass or some other mark on a masterpiece.

Hence, the huge Ayyanar terracotta horses stand as guardians of the village in Tamil Nadu. The temple, the mosque, the church and the tribal gods have contributed to the formation of the worship artifacts and votive offerings that are part of the initiation rites in so many communities in India. Birth and death, marriage and adolescence are occasions for community joy or pain, and create the context for the release of creative energies and the demand for the highest degree of skill that the craftsman can bring to the occasion. .

There are a variety of expressions: some are made with decorative motifs and surface ornamentation, others a pristine sense of peace with the material and sublime proportion that evokes soft feelings even when the object is made of metal, as in cast charakku massive. Kerala ship. The simplicity of the turned wood Jain paatra, utensils and elaborate and ornate meenakari, enameled metal items from the Islamic north are in stark contrast, each reflecting the spirit of the community and the purpose it serves. In the Nagaland Hills, the wearer’s baskets, hats and other accessories tell us about their worldview and identity.

India has been at the crossroads of civilization for over 5,000 years. The various waves of interactions from the Northwest and the subtle business interactions from the South and East have brought new ideas and practices, skills and applications. Internal migrations and business transactions took skills from one place and placed them in strange new environments. For example, the bandhani textiles of Gujarat find a new expression in the sungadi of distant Madurai. The arrival of the Mughals brought with it the fine Iranian art in metal weaving, silk and carpets. The arrival of the British and the Portuguese in South India introduced the carved wood traditions of the West. In addition, the hot and humid climate required a sensible design of shady terraces from Pondicherry, the Kerala coast and Tamil Nadu.

Indian crafts are a storehouse of classic motifs and patterns that have evolved over centuries, many of which have been passed down from commercial cultures over eons of interaction. Motifs and patterns that were once absorbed by a culture are diffused through a variety of mediums, from stone to wood to metal and fabric; from fabric to printing and from painting to inlay; Each technique gives the pattern its unique signature, an amalgam of material and limited tools. The floral motifs and the creeper, the bel, can find as many expressions as the materials and contexts as well as the keri or aam, the stylized handle.

The human form has also been represented in great variety. The rough and carved forms of the Naga warrior are in stark contrast to the elegant figurines of the Chola bronzes, while the Chhattisgarh wrought iron tribe member differs from the expressive occupational toys of Kondapalli in Andhra Pradesh.

Various crafts are a form of pure service and the craftsman plays the role of facilitator of some critical function of shaping or repairing. The mochi or shoemaker and the potter, the weaver, and the carpenter fall into the category of those who work to serve the community with their skills and knowledge. In the age of mass consumption, it may be a good idea to bring back some of the values ​​of this service to ensure that our products are recycled and repaired rather than used and discarded long before their active life ends. Craftsmanship and the use of crafts could bring new values ​​for a sustainable future and a new attitude towards the proper use and abuse of materials for years to come.

There are traditional and modern settings for displaying artisan heritage throughout India. The bazaar is the closest to the creator while the new forms of exhibitions and fairs promoted by the government and non-governmental organizations represent the new formats for contemporary action. The artisan heritage continues to evolve into modern times and the objects are also finding new and contemporary expression, while the old and the traditional are still valued for the refinement they represent. That crafts understand and respond to the variety requested by their clientele can be seen in the profusion of jewelry, clothing, footwear and hand accessories that are used as part of our daily wardrobe. The Kolhapuri chappal, leather footwear, is one of those products that comes to mind. Warli and Madhubani’s painting are two outstanding examples of everyday art that is part of the living culture of the land.

In the changing context of a global market driven economy and ideology, traditional crafts offer sustainable practices that need to be reviewed and assimilated. The development of handicrafts requires a paradigm shift from the promotion of karigar, traditional craftsman, to karigiri, quality of craftsmanship, since whoever absorbs this quality becomes a craftsman forever.