Collecting art and craft work has become a strong hobby of quite a number of people. On one hand, it works as an investment opportunity and secondly, it helps in spicing up one’s living room. So, if someone is looking to add some finesse and rich color to his home then he need not look further than ha-painted furniture from Rajasthan. This desert state is home to myriad crafts. Rajasthan has always excelled in producing hand painted wooden furniture. If one is looking for distinctive style of furniture then Jodhpur and Kisanganh in Rajasthan are the places to be in.

The woods usually favored by Rajasthani artists are rose, mango and acacia Arabica etc. The process begins with making the furniture first. Thereafter, the end product is given finishing touches. Painting is the last step in the process. A coat of varnish is applied over the finished piece. As far as range of products are concerned, stools, wine racks, small chairs, paneled screens, trunks, doors, decorative carved windows and cupboards etc are the furniture items one can get his hands on. While decorating these items, wide range of bright colors are used over them.

Talking about wooden furniture from Jodhpur, they are generally made using ethnic color combinations. These items have unique antique charm associated with them. Decorative wooden wall pieces are highlight of Jodhpur school of art. They have richly carved borders and paintings of Rajput kings and queens and Hindu Gods.

Kishangarh School of Art is very rich in terms of its symmetrical floral motifs which will remind you of Mughal influence. Painted designs and embossed features are shining aspects of Kisangarh furniture. Painted furniture of Rajasthan are true reflections of state’s glorious past and rich culture. These pieces can add value to one’s living room and act as style statements.

In our previous posts, we have shared about what Madhubani paintings are and where do they emerge from and what are the common themes in such paintings. Also, off late I have been reading a lot about Madhubani paintings and thought I too should try my hand at it too. To do a Madhubani painting here is all that you would need:

• Cloth/Handmade paper
• Trace paper
• Fabric colours(for cloth)
• Poster colours (for paper)
• Black outliner
• Carbon sheet
• Indian inks (green, blue, red, orange, black)
• Madhubani Pen or a Black ball point pen

Decide on a theme. Trace the design of Madhubani using a carbon sheet on the handmade paper. If you do not trace it well, then later while outlining the painting you may face trouble. In case you want to make changes, you can make improvements in designs. Draw the outline using the Madhubani pen, dipping the pen in black Indian ink and removing the excess ink and drawing thin outline on the entire painting, or using a black ball point pen and outlining the design. People who are comfortable can also use a 000 point brush.

Now fill in the designs with Indian inks that come in various colors. Most people use green and red in Madhubani. However, you can use other colours too. Now allow it to dry and frame it. Madhubani paintings can be done on fabric too, however you then need to use fabric paints instead of Indian ink.

Indian art and craft has always been admired, appreciated and imitated. It comes as a sheer delight to notice that despite the presence of diverse cultures, diverse customs, diverse languages and habits, Indian art and craft as a whole has always shone by its sheer cultural richness. One of the siblings of rich Indian art and handicraft is patchwork that has always remained in shadows. Patchwork is all about combining together the pieces of fabric into a larger, beautiful design. It is also known as piecing in many parts of Indian subcontinent.

Patchwork can also said to be one of the primary construction techniques. Usually, patches of numerous colors and designs are formed together to make a larger design. The final design is normally based on repeat patterns. Appliqué and patchwork often go together. Patchwork is a detailed and precise craft and needs lots of practice and expertise. The joining of clothes must be precise. Most often than not, basic geometric shapes are used in these designs.

If we talk specifically about Indian states then, this craft flourishes in western states of Gujarat and Rajasthan. Indian patchwork has one unique feature of highlighting jazzy shades on the patches. The stitches are usually, not hidden. This helps in adding a bit extra to entire artistic flavor. States like Orissa and Punjab also practice this craft and one has to see these beautiful patchworks.

It is believed that patchwork came to India from Arab and Europe and today, it is a widely prevalent and practiced craft inside Indian Territory. Patch works thrive on artists’ creativity and imagination. Western Indian art and craft consider patchwork as an integral part of its culture. Some patchworks are made using ornaments with motifs. Colors are bold and often mixed with aesthetic motifs of animals, birds and trees. The beauty of patchwork can be witnessed in quilts, cushion covers, wall hangings, bed covers and even decorative items.

Working with a variety of mediums such as watercolours, oils, and pastels, Amitava has painted his thoughts yet camouflaging something which makes the spectator want to dig deeper in the canvas.

Amitava’s earlier works saw gentleness and acquiescence however; his recent paintings depict the violence and apathy of modern times. He has portrayed his thoughts and feelings evoked by his observations of the life around him. The artist feels that his paintings are a way that he gets a chance to express his thoughts. He says “The basic concept of my work is life around me. Throughout my life, I have been an urbanite and have reacted to anything that has happened - either political or cultural. But obviously, my paintings are my thoughts and I think through them. Painting to me has become a kind of a language.”

Born in 1947 in Delhi, Amitava graduated from the Delhi College of Art. He experimented with a few styles of painting and sketching. What is remarkable is the fact that through all his paintings, there is one common striking quality that comes through – stress on background and the layers of colours laid on the surface through which the images emerge. Amitava feels that it is through details that he defines his space in the painting. His work is based on situations where man is both the creator and the destroyer. Amitava creates a world that is natural and man made at the same time. It is way he uses different elements to create an environment that intrigues the spectators. With keen observation and sympathetic approach, Amitava highlights the inner struggle of humans. Off late, his work portrays aggression as Amitava feels how man has been isolating himself in this materialistic world. 

Those deeply interested in art and crafts must have heard of Stained glass art. It is a very colorful medium of expression for amateurs as well as professional artists. Many people are indulged in stained glass art as a serious hobby. This art from has several interesting aspects. One needs to be aware of those aspects that open a completely new dimension of stained glass art. Elements like how to cut the glass, foiling heavily textured glass, grinding, soldering (flux application and filling gaps, burnishing, etc.), and finishing (application of patina) etc very rudimentary to the whole craft form. One will also need to be aware of zinc farming and lamp photography to understand the true significance of this unique art. Many artists have reached to the level where they can decide the price of the finished works.

Large sheets of glasses are cut in the beginning steps. Curves are made with tapping techniques and serious practitioners of the craft even learn to cut inside a deep curve. This is a thorough process and takes discipline and patience. Grinding glass is another useful thing to learn here. One also needs to smooth up the rough edges of the glass. Then, there is soldering process that is actually very brief in nature. Then glass is centered where spaces are created between the glass pieces.

One of the crucial steps is Patina application that is relatively easy. One can witness stained glass art in products such as boxes, lamps, and other decorative objects. When it comes of lamps, one can see beautiful pieces of Panel lamps, Styrofoam mold lamps; fiberglass mold lamps etc. stained glass art is a process where one needs to be very patient. Things might not turn out as expected initially but sooner than later, with due practice, artist will surely master it.

Goud has a rustic charm of his own. He is versatile and experiments with a lot of different mediums in which he has been successful. Goud has used various mediums such as watercolours, pastels, gouache, glass painting, and even sculpturing in bronze and terracotta. Laxma Goud, using the simple art of sketching also creates wonders. He feels that possibilities are immense once you know the correct use of a particular medium.

Looking at Goud’s work, one feels that it is highly raw and rustic. Each portrait be it a man or a woman has a strong expression on their face. Also, his work has a strong Indian base that represents Indian ethos. Each character be it a sculpture or a painting has a powerful individual existence and the aspect of male and female sexuality is also highlighted. Goud’s strokes are highly casual and rough. This gives the canvas a very raw appeal which is quite exuberant in its own way. Goud’s work demonstrates the south Indian rural element of the country especially the way the woman is wearing her bindi. Sometimes it feels that Goud is recreating paintings from his childhood as if they are frozen in his mind.

Born in 1940 in Nizampur, Andhra Pradesh, K. Laxma Goud completed his diploma in drawing and painting from the Government School of Art and Architecture, Hyderabad, in 1963. He then went on to study Mural Painting and Printmaking at the Faculty of Fine Arts at M.S. University, Baroda, from 1963 to 1965. Today, the artist lives and works on his own in Hyderabad. Recently, Goud has worked on a series of landscapes in vivid colors with the theme of his youth spent in rural Andhra Pradesh. Like most of the artist’s work, these are generally executed in a miniature format this is probably because the viewer can connect directly with the work.

The state of Punjab has a significant place in the history of India. It is not only a happening place but also totally vibrant and bubbling with energy. Punjab is known for Sikh temples, lush green farms, Maake di roti and Bhangra. The folk music of Punjab is very popular and now it has also acquired international fame. Punjabi dance and song are popular all over the country and have been made even more happening by the Indian residents living abroad. Not many pople know, Punjab is also considered very rich for its craft forms. One form of art that has been in existence since ages in Punjab is Phulkari art. It is primarily a handiwork of the female folks of Punjab. The literal meaning of phulkari is flowering. In this craft, embroidery of the flowering patterns on dupattas, shawls and other garments are performed.

The evolution of this art occurred because of enthusiasm shown by the women. Men used to work outdoors and women stated to develop this craft in the sixteenth century. It was quite amateur during the initial era but by the end of 19^th century, it became a developed craft. The Phulkari designs make clothes very beautiful and appealing. When the designer stitches are made on clothes, the prepared piece is called Bagh. Silk yarn that is also called as pat is used as thread.

Several colors like golden, yellow, crimson, orange, green, blue and pink etc are used in Phulkari. Design options are plenty. From geometrical designs to natural patterns, one can witness plethora of wonderful designs. Figures of flowers, leaves, birds, animals and humans can also be seen in this art form. Phulkari designs have religious significance as well.

Born in Mumbai in 1940, Haren Vakil is one of the upcoming Indian contemporary artists. The artist has had many solo shows in Canada as well as in India. Haren holds a degree in Architecture as well as a post graduate diploma from the Victoria College of Art, Canada. Haren worked as an architect and urban designer in India and the Netherlands.

Harn Vakil’s work is something that is surrealistic and striking. In fact in one of the interviews he has stated “My intent is to produce images which evoke wonder, surprise and amusement.” His art work takes you into a world that is full of fantasy. What is particularly interesting about this artistic personality is the way in which he intertwines reality and dream like situations. There are a lot many situations where you can see the artist’s interest especially in music painted on the canvas. Haren is particularly passionate about jazz and this can be seen in his work. In fact, he admits that he is influenced by his background in architecture and his experiences of various cultures.

Vakil’s work is pleasant and he takes us through images that are out of context. He uses certain objects and places them in situations one wouldn’t think of.  He uses bold bright colours with expressions on objects that leave you in amusement. Most of the images use monochromatic colours that are multicultural with diverse meanings.

Haren’s recent exhibitions include one held at Jehangir Art Gallery, Mumbai, in 2005; ‘Figure it Out’ at Fran Willis Gallery, Victoria, in 2003; and at Gallery 1248, Victoria, in 2001, 2000 and 1999.

Bronze holds a significant place in the annals of world history. Not one but many have been closely associated with this metal. When bronze has such proud history to boast of, how could India remain untouched by this ubiquitous metal? The material of bronze always had unique and important place in all the eras of Indian history. If we turn back the history books, we will find, bronze’s relationship with rich Indian history goes back to no less than 3000 years. The widespread use of bronze has not decreased even in the modern era. However, there is one place where usage of bronze is most visible. Yes, we are talking about statues of gods and goddesses within the religions.

If we further delve into the history sheets of bronze and its affiliation with different regions of India, we will find segregation of eras within the regions. For example, if we look at western Indian bronze period, then from 6^th century to 12^th century, bronze was associated with almost every sphere of life in western regions. Jainism had a close bond with bronze. Western Indian bronze was primarily sculptural bronze. Similarly, eastern Indian bronze had a close affiliation with Hinduism and especially statutes of Shiva and Vishnu. South Indian bronze was again primarily based on the gods and goddess statues in the Hinduism religion and the period was a wide range of 8th century to the 16th century.

Lost wax casting method was the chief bronze casting methods used within India during these centuries. During the earlier eras, usage of bronze was basically restricted within the realm of religious representation. Slowly, cultures started to make objects like incense burners and other ritual objects like lamp bearers. South Indian culture took most advantage of this metal by making objects like jewelry, coins, numerous variations of the Hindu gods and goddesses in representational forms. Now, whenever you would see a bronze sculpture, you will know the proud history of it.

One of the most aesthetically beautiful forms of sculptures is Marble sculpture. They have polished looks and appear very intriguing. Marble sculptures have always been admired by art aficionados because of their refined beauty, sophistry and elegance. Marble sculptures are timeless and gives the impression of luxury and aristocracy. One can find these wonderful pieces of art in many parts of India. Marble stones have kept manifesting their beauty in forms of statues, idols and decorative pieces. Marbles are also known as lime stones and sculptures are made from metamorphosed lime stones. Indian marble sculptures are story-tellers of our proud history and great tradition of art and culture. These sculptures are no less than invaluable and are of historical significance. Many such wonderful pieces of art have inspired new generation of artists to create their own imagination. These sculptures are extremely inspiring and you can’t help but feel overawed by their sheer magnificence.

The marble sculptures were made using blocks of marble and tools like chisels, hammers and hand drills. Marble blocks have raw outer surface so to smoothen them, sandpapers and rubbing stones were used. Ever wondered why these structures are still so shining? The credit goes to coats of shiny polishes like tin oxides that bring glow and luster to the sculptures. The best part about marble sculptures is they are very reliable and durable and that explains their extensive us in making figurative works. They are quite easy to use and sculptor’s delight. The culture of marble sculptures is not just restricted to India. Several parts of the world like Italy (Rome), France and England have extensively used marble blocks for beautiful creations. Some of the famous European sculptors were Soudbinine, Bourdelle, Leon Fourquet, Rodin, Victor Peter and Jean Escoula who have gifted us some of the most amazing pieces of art works ever created on the mother earth.

In India, marble sculptures can be seen in the form of religious deities and Idols of Buddha, Lord Shiva, Lord Ganesha, Lakshmi Devi and Goddess Durga. Who can forget the best piece of marble architecture; The Taj Mahal of Agra? We don’t need to look further than that. In modern age, usage of marble can be seen in furniture, fireplaces, photo frames, vases, medallions, show pieces, tiles and garden sculptures.