Craft Villages of India: Preserving Traditional Arts & Crafts

A craft village is a modern day concept, which helps boost tourism as well as provides a platform to local, rural and tribal communities to promote their traditional arts and crafts. A craft village is a rural setting where communities of artisans live and work to practise, showcase and sell their traditional arts and crafts. In India, a country with a very rich cultural heritage, these craft villages are vital for preserving and promoting the country's diverse arts and crafts.

Following are some notable craft villages in India :

Raghurajpur, Odisha

The heritage crafts village of Raghurajpur is Odisha’s best known for its Pattachitra art. This art form is dedicated to Lord Jagannatha. The term Pattachitra refers to scroll paintings done on cloth. They are used for storytelling in temples, as the main themes of these stories are based on epics, gods and goddesses like Ram, Sita, Nandi, Brahma, Vishnu, etc. Jatripatti, a type of pata depicts the trinity in different poses and the architecture of Jagannath temple.

It is steeped in ancient culture, portraying scenes from mythology with vibrant colours, superb craftsmanship and simplicity in design. Pattachitra has captured the imagination of artists and art lovers alike. The term Pattachitra refers to chitra (painting) done on Patta (Vastra or Cloth).

Raghurajpur is located approximately 12 km from Puri. It is a quaint village where 120 odd homes are neatly lined up facing each other in two rows. Every house has an artist engaged in the trade making it perhaps the only place in India where one can find such a large congregation of artists.

The popular forms of Pattachitra are the paintings on cloth depicting scenes from mythology and epics, the tussar cloth Pattachitra are also quite popular, the Pattachitra etched on dried palm leaves are picked up by tourists as souvenirs, as well as the paper mache masks, paintings on coconut and betel nut. Apart from these, artists also engage in making toys out of stone and wood and paint on them.

Raghurajpur also happens to be the birthplace of the doyen of Odissi Dance Guru Kelucharan Mohapatra and the village is also known for the Gotipua dance (a precursor to Odissi).The villagers welcome tourists, strike conversations with them to share more about the art form and its history.

Radha-Krishna Pattachitra Painting by Apindra Swain

To read more about this village, click here

Check out our blogs on Pattachitra to know more about the craft and the work that these artisans do, the themes, colors, techniques and materials that they use to create these masterpieces -

https://www.memeraki.com/blogs/posts/the-enchanting-world-of-pattachitra-art?srsltid=AfmBOoqGW3yEEfW5zPxjb1DYqI7Z6OsrnSQ8295pJrC0zyzhoqRPVBy2

https://www.memeraki.com/blogs/posts/pattachitra-a-journey-through-four-artistic-traditions?srsltid=AfmBOopsUKY2LKTPf2CSfFlpGhZNO0xPZEJcAGP_Bgd2Q1N8B_7_oz8W

https://www.memeraki.com/blogs/posts/journey-of-the-divine-chariots-an-in-depth-analysis?srsltid=AfmBOooaG_7JEse-hD51Je-tvai9juruyEkTJL9ZtOKnn4BOs9U_7daS

https://www.memeraki.com/blogs/posts/pattachitra-narrating-lord-jagannath-s-tales?srsltid=AfmBOorZ-XmTdRcrLwkwrKoZPwVjUC9jHJQtT7PqlLO53fjvaaxCp37_

View our entire collection of Pattachitra paintings and support these artisans - here

Molela, Rajasthan

Molela is a village in the Rajsamand district of Rajasthan, India, that is known for its traditional terracotta craft. The history of this region, and of this craft, stretches back several centuries, reflecting the rich cultural heritage of Rajasthan. Molela terracotta art, also known as Molela clay art, is a unique type of terracotta relief work. The art has been practiced by members of the Kumhar caste for generations and has been passed down from father to son. According to local lore, the tradition of terracotta in Molela dates back more than 700 years. The clay panels crafted in Molela often depict scenes from Hindu mythology, nature, and daily life. These include depictions of gods and goddesses, local legends, festivals, and rituals. This art form serves both a ritualistic and decorative purpose. The clay idols and plaques have traditionally been used in local temples and households for worship.

Scenes from the Ramayan in Terracotta by Dinesh Molela

To know more about this village, click here

Molela is a hollow relief terracotta craft, mostly depicting deities like Devnarayan and Nagaraja using natural stones and minerals found in the region.

To know more about Molela terracotta art, check out this blog

Nirona, Kutch, Gujarat

Located at the western tip of Gujarat and about 40 km from Bhuj, Nirona is known as the crafts village of Kutch – a testament to the indomitable spirit of its 6,000-strong residents. Shaped by a rich history of trade relations with the Swat Valley, West Asia, and Africa, its artisans embody resilience and inspiration drawn from the challenging landscape.

Rogan art takes centre stage in Nirona, a colourful tradition said to have originated in Persia around 300 years ago. As designs, drawn with precision using an iron stylus dipped in coloured gel, adorn various canvases, from wall art to curtains, table cloths, and apparel, Rogan art becomes a living legacy. Geometric or floral, the patterns tell stories, each stroke carrying the weight of tradition. Boiled castor oil is used to create natural colours. Mohammed Jabbar Khatri, a torchbearer of this art, recounted how Rogan art faced oblivion until Prime Minister Narendra Modi breathed new life into it. Gifting a Rogan painting, depicting the Tree of Life, to the then US President Barack Obama in 2014.

Check out our blog on Rogan art - https://www.memeraki.com/blogs/posts/rogan-an-art-or-craft?srsltid=AfmBOopJ1gwAHiA6Wn7_47EkUcHGEx_OCgx4BEJY4TZw-I26tOb5LR5W

Check out our collection of Rogan artworks - here

Nirona is also known for its leatherwork and lacquerwork. Craftsmen now convert leather – in its original form or dyed – to make modern products such as chappals, juttis, bags, lamp shades, and mobile covers. Communities in Hodka, Dhordo, Sumarasar, Bhirandiyaro, and other Kutchi villages also work with leather. In the realm of lacquerwork, the Vadhas, a nomadic community that migrated from beyond Sindh before Partition, uses lac – resinous secretion from lac insects – to craft vivid items: spoons, spatulas, rolling pins and boards.

This village is also known for copper bell making. Artisans use scrap metal from the metal industry and create bells which produce various sounds, and bring them together in many patterns and varieties. The most interesting fact here is that they don’t use any welding, soldering or other joining techniques. They only use different types of hammers to join and shape metal pieces together.

Check out our collection of these copper bells - here

To know more about this vibrant village, check out our blog - here

Bagru, Rajasthan

Bagru village located at the edge of Jaipur city has created a name for itself in the block printing and textile industry; it is located 33 km from Jaipur. The textile printing technique is believed to have been developed in Bagru by skilled hand printers called Chhipas. These artisans, hailing from towns in Rajasthan like Sawai Madhopur, Alwar, Jhunjhunu, and Sikkar, brought their unique talents to the fertile land of Bagru.

Bagru prints are primarily on cotton cloth and sometimes on silk cotton. Among the designs and motifs in Bagru prints, Buta and Butis in a variety of colors are a hallmark of Bagru. Colors used for the Bagru Hand Block Printing process used to be vegetable dyes but over the years they have been replaced by chemical dyes. Traditionally, prints used to be of fast colors, and did not change even after repeated washing..

Among Bagru prints, Dabu, the mud-resist technique of block printing is the mainstay of Bagru block printing. It allows for bright prints on dark backgrounds. Indigo prints are also a Bagru printing specialty.

(Source - https://www.rajasthandirect.com/tourism/activities/bagru-jaipur )

Ajrakhpur, Gujarat

Ajrakh is an elaborate block printing technique that involves layering of prints to create unique effects. Interplay of natural dyes and designs of hand-carved wooden blocks bring themes like starry nights and seasons on the fabric. Originally from the Sindh region (now in Pakistan), the craft later flourished in the Kutchh region of India and is one of the oldest printing methods alive today.

(Source - Author)

To know more about the craft of Ajrakh, check out this blog

The massive 2001 earthquake in Gujarat caused immense damage not only to life and property, but also to the environment. The iron content of the river Saran had increased, rendering it unfit for Ajrakh printing. Only a few craftsmen decided to stay behind in Dhamadka while the rest moved to a new place. This place was closer to Bhuj and the water was more suitable. They built a village there and it came to be known as Ajrakhpur. The craftsmen understand the value of water for the craft, and have built a water-harvesting plant in the village in collaboration with the government; thereby setting an example for others to follow.

Kisama, Nagaland

The Kisama village of Nagaland, also known as the Naga Heritage Village, is located 10 km away from Kohima. The Naga Heritage Village is a captivating tribute to the traditional Naga way of life, designed to keep their vibrant culture alive and thriving. Artisans living in clusters of houses called Morungs, create and sell traditional Naga artwork, jewellery, textiles, and souvenirs. Cane and bamboo work, wood carving, blacksmithing and pottery are the most popular handicrafts work of the Nagas.

A wide variety of figures are carved meticulously on wood. Commonly carved figures are human figure, mithun head, hornbill, elephant,leopard and tiger. The Konyak tribe is believed to be the most skilled wood carvers. Cane and bamboo are produced in abundance in the forests of Nagaland. The Nagas utilize them in the best possible manner to make amazing items such as baskets, hats, armlets, necklaces, mats, shields and other decorative items. Beautiful pots in various designs are made by the Nagas by the use of hands only. Blacksmithery is practised by most of the tribes, except for Lothas who consider this art inauspicious as they believe that a person involved in this trade does not live long.

(Source- https://jkphotosnagaland.blogspot.com/2019/02/photos-of-woodwork-art-and-handicrafts-of-nagaland.html )

Patangarh, Madhya Pradesh

The village of Patangarh lies in the Dindori district of Madhya Pradesh and is central to the story of Gond art. Almost every wall in the village is painted, with most families having someone who practices the artform, more so after the prominence Jangarh Singh Shyam’s work has brought to the village. The village is inhabited primarily by members of the Gond Pradhan tribe – one of the largest Adivasi (tribal) communities of India.

The Gond community of Patangarh holds a belief that everything surrounding them has a spirit and hence, is sacred. The imagery bears a strong element of storytelling, depicting folk tales and local cultural traditions of the past, while nature and its elements are a central theme.

Where words and songs dance on canvas, colors and patterns make musical harmonies... such is the charm of Patangarh's (Dindori, Madhya Pradesh) gond paintings. These paintings have a unique style and unique art which certainly mesmerizes for its unique theme. Gond art has been ruling for centuries, traditionally adorning the walls of each artist's home in Patangarh. However, with the changing times, from the walls of homes, Gond art gradually shifted to paper and canvas.

The art of the Patangarh community is deeply rooted in their traditional customs and beliefs, reflecting their close connection with nature and the surrounding environment. Patangarh art encompasses various mediums, including painting, drawing, and sculpture. Inspired by the Gond art style that has been practiced in the central Indian region for centuries, Patangarh artists have developed their own unique artistic expressions. Distinctive characteristics of Patangarh art include intricate patterns, bold and vibrant colors, and the integration of natural elements such as leaves, flowers, and twigs. These artistic creations serve as a visual representation of the community's cultural heritage and way of life.

To know more about this craft village, read our blog

https://www.instagram.com/kailash_pradhan_gond/

(Source- https://www.facebook.com/startindiafoundation/posts/patangarh-village-the-birthplace-of-gond-from-craft-to-contemporary-art-residenc/1440185979471900/)

Role of Craft Villages in Preserving Arts and Crafts

Craft villages provide a platform to artisans to nurture, practice and pass on these skills to the next generation. These villages help boost sales and provide economic stability to the artisans, encouraging the current and future generations to continue learning and practising their traditional arts and crafts and using them as a means of livelihood. Through training programmes, workshops, etc., these craft villages can spread awareness about their art forms. Women, who are mainly engaged in these crafts and might not be allowed to step out of their villages, get a platform to nurture and showcase their skills, and also get access to the outside world, gaining more access to education, livelihood and widening their horizons.

Most traditional crafts use eco-friendly materials and sustainable techniques to manufacture their products, and do not compromise on quality. This encourages sustainable practices of consumption and creates less waste. Craft villages attract tourists interested in authentic cultural experiences, thereby boosting local economies. These villages serve as bridges between artisans and broader markets, including international buyers, through fairs and online platforms. Collaborations between artisans and designers lead to innovative products that appeal to contemporary consumers while preserving traditional values and aesthetics.

These craft villages can also provide a second chance to villages or communities affected by any disaster or calamity, and give them a chance to rebuild their identity through government support and aid, slowly getting their lives back to normalcy. These villages can encourage consumers to choose handcrafted, ethically made products that can directly support artisans and encourage sustainable practices. Training artisans in digital skills and providing access to e-commerce platforms can expand their market reach. Encouraging partnerships between artisans, designers, and brands can lead to innovative products that appeal to modern consumers while preserving traditional crafts.

Craft villages today face challenges like lack of adequate funding, infrastructure, and access to markets, competition from mass production, limited digital presence as well as the need for innovation or newness. These can be combated by taking measures like government support and aid, boosting local and cultural tourism, supporting local business, raising awareness and educating both artisans and buyers, etc.

Bibliography