Gujarat Lipan Painted Terracotta Kachchhi Embroidery Rogan Painting Bandhani Resist Dyeing Katab Namda Felted Rugs Leather Work

Total Page：16

File Type：pdf, Size：1020Kb

Gujarat Lipan Painted Terracotta Kachchhi Embroidery Rogan Painting Bandhani Resist Dyeing Katab Namda Felted Rugs Leather Work

Gujarat Clay Relief Work Lipan Painted Terracotta Bandhani Resist Dyeing Namda Felted Rugs Wood & Lac Turnery Applique embroidery Kachchhi Embroidery Rogan Painting Katab Leather Work Wood Carving Bell Making Bead Work: Ajrakh Printing Silver Work Lohar Ka Kaam Bullock Cart Making Moti Kaam Gujarat Wood/Metal Embossing Kite Making : Patang Block Making Mashru Weaving Pithora Painting Stone carving Ritual Cloth Painting Agate Stone Work Sompur Kaam Mata Ni Pachedi Patola Weaving Aari Embroidery Akik Silver Ornaments : Sankheda Furniture Bamboo Crafts BhBohra Caps Sujuni Weaving Pachi Kaam Kharadi Kam Vaaskaam Gujarat Terracotta & Pottery: Embossed Metals Maati Kaam Brass & Copper Ware Marquetry Mask Making Devru Patku Weaving Index GUJARA Folk Painting (Lipan, Mata ni Pachedi, Pithora painting) Banaskantha Terracotta - votive (Votive offerings, Molela plaque) Pottery & Clay (Painted Terracotta) Banni region Stone Carving Patan (Agate stone work, Pathar kaam / Sompura ka Nirona Kachchh Wood Carving (Bullock cart making, Block making, wood HL Mehsana Zura Sabarkantha carving - architecture) Dhamadka HL Nakhatrana Bhuj Bachau Wood - Turned & Lacquered Gandhinagar Abdasa Anjar HL Wood - Inlay (Metal embossing on wood, Marquetry) Ahmedabad Mandvi Mundra Surendranagar Kheda Panchmahal Dahod HL Metal - Folk (Devru - Embossed metal) HL Anand Metal Ware (Bells, Brass & Copper ware) Jamnagar Rajkot Vadodara Filigree & Silver Ware HL HL Jewellery (Silver ornaments, Bead work) Bharuch Narmada Porbandar Textile - Handmade HL Amreli Bhavnagar (Namda - felted rugs, Bohra caps, Patola, Mas HL Patku, Sujuni ) Textile - Printing & Dyeing (Rogan Painting, Bandhani, Ajrakh printing) Junagarh Surat HL Textile - Embroidered (Kachchhi Embroidery, Applique, Ari Embroid Navsari Dang Leather - Bags & others Cane & Bamboo Valsad (Vaaskaam) Furniture (Sankheda furniture) Theatre Crafts (Mask making) Paper Crafts (Patang - Kite making) HL Handloom.

Copy Link

Recommended publications

Sustainable Approaches to Rejuvenate the Handloom and Handicraft in India
Journal of Textile Engineering & Fashion Technology Review Article Open Access Sustainable approaches to rejuvenate the handloom and handicraft in India Abstract Volume 6 Issue 6 - 2020 Handlooms and Handicrafts are one of the most important cottage industries in the country Sanjay Shrivastava giving livelihood to most of rural India. A number of handlooms in India are engaged in National Institute of Fashion Technology, Ministry of Textiles, weaving with natural fibers such as cotton, silk, and wool. Most of the villages in India are Govt. of India, India directly or indirectly dependent for their bread and butter on the handloom and handicraft sector. This sector carries proudly the traditional beauty associated with India’s such Correspondence: Sanjay Shrivastava, National Institute of precious heritage. A research study on one of the silk handloom sectors situated in a small Fashion Technology, Ministry of Textiles, Govt. of India, Mithapur village named Bhagaiya in Jharkhand was carried out with an objective to gather considered Farms, Patna – 800001, India, Email data and references reflecting the aspects and aspirations of this lively craft and its position in the region. The ambition of the research is to add perspective to the development of this Received: September 02, 2020 | Published: November 10, craft and the craftsmen associated with it. The study was carried out with the intention 2020 to understand the existing supply chain, to gain insight through a diagnostic study of the environment, specific realities prevailing, resources available and mapping the aspects of the handloom industry practiced in the region. The study and its outcomes aims to bring forth the strength, weaknesses, opportunities, and threats.
[Show full text]
India: Birds & Culture on the Maharajas' Express
INDIA: BIRDS & CULTURE ON THE MAHARAJAS’ EXPRESS FEBRUARY 2-18, 2022 KANHA NATIONAL PARK PRE-TRIP JANUARY 28 – FEBRUARY 3, 2022 KAZIRANGA NATIONAL PARK EXTENSION FEBRUARY 18-23, 2022 ©2021 Taj Mahal © Shutterstock Birds & Culture on the Maharajas’ Express, Page 2 There is something indefinable about India which makes westerners who have been there yearn to return. Perhaps it is the vastness of the country and its timeless quality. Perhaps it is the strange mixture of a multiplicity of peoples and cultures which strikes a hidden chord in us, for whom this land seems so alien and yet so fascinating. Or perhaps it is the way that humans and nature are so closely linked, co-existing in a way that seems highly improbable. There are some places in a lifetime that simply must be visited, and India is one of them. Through the years we have developed an expertise on India train journeys. It all started in 2001 when VENT inaugurated its fabulous Palace on Wheels tour. Subsequent train trips in different parts of the country were equally successful. In 2019, VENT debuted a fabulous new India train tour aboard the beautiful Maharajas’ Express. Based on the great success of this trip we will operate this special departure again in 2022! Across a broad swath of west-central India, we will travel in comfort while visiting the great princely cities of Rajasthan state: Udaipur, Jodhpur, and Jaipur; a host of wonderful national parks and preserves; and cultural wonders. Traveling in such style, in a way rarely experienced by modern-day travelers, will take us back in time and into the heart of Rajput country.
[Show full text]
GI Journal No. 75 1 November 26, 2015
GI Journal No. 75 1 November 26, 2015 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO.75 NOVEMBER 26, 2015 / AGRAHAYANA 05, SAKA 1936 GI Journal No. 75 2 November 26, 2015 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Bagh Prints of Madhya Pradesh (Logo )- GI Application No.505 7 Sankheda Furniture (Logo) - GI Application No.507 19 Kutch Embroidery (Logo) - GI Application No.509 26 Karnataka Bronzeware (Logo) - GI Application No.510 35 Ganjifa Cards of Mysore (Logo) - GI Application No.511 43 Navalgund Durries (Logo) - GI Application No.512 49 Thanjavur Art Plate (Logo) - GI Application No.513 57 Swamimalai Bronze Icons (Logo) - GI Application No.514 66 Temple Jewellery of Nagercoil (Logo) - GI Application No.515 75 5 GI Authorised User Applications Patan Patola – GI Application No. 232 80 6 General Information 81 7 Registration Process 83 GI Journal No. 75 3 November 26, 2015 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 75 of the Geographical Indications Journal dated 26th November 2015 / Agrahayana 05th, Saka 1936 has been made available to the public from 26th November 2015. GI Journal No. 75 4 November 26, 2015 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 530 Tulaipanji Rice 31 Agricultural 531 Gobindobhog Rice 31 Agricultural 532 Mysore Silk 24, 25 and 26 Handicraft 533 Banglar Rasogolla 30 Food Stuffs 534 Lamphun Brocade Thai Silk 24 Textiles GI Journal No.
[Show full text]
Read Magazine
Trendy Travel Trade with Food & Shop Volume VIII • Issue I • February 2021 • Pages 88 • Rs.100/- Experience Spirituality, Faith and Culture #LadyBoss Kutch: A Land of White Desert Royal Journey of India Archaeological Tour of Majestic Kerala Enchanting Himalayas Tribal Trail Buddhist Temple with 18 to 20 Nights Rajasthan 14 to 15 Nights with Taj 15 to 17 Nights North East India Tour Mumbai – Mangalore – Bekal – Wayanad Bhubaneswar - Dangmal - Bhubaneswar 21 to 23 Nights 13 to 15 Nights 14 to 16 Nights Delhi - Jaipur - Pushkar – Ranthambore – Kozhikode(Calicut) - Baliguda Delhi – Jaipur – Samode – Nawalgarh – Delhi - Agra - Darjeeling - Gangtok - Delhi - Varanasi -Bodhgaya - Patna Sawai Madhopur – Kota – Cochin – Thekkady – Kumarakom– - Rayagada - Jeypore - Rayagada - Bikaner – Gajner – Jaisalmer – Osian Phuntsholing - Thimphu - Punakha - -Kolkata - Bagdogara - Darjeeling - Bundi - Chittorgarh - Bijaipur - Quilon – Varkala – Kovalam Gopalpur - Puri – Bhubaneswar Udaipur - Kumbalgarh - Jodhpur - – Khimsar – Manvar – Jodhpur – Rohet – Paro - Delhi - Pelling (Pemayangtse)- Gangtok - Jaisalmer - Bikaner - Mandawa – Delhi Mount Abu – Udaipur – Dungarpur Kalimpong -Bagdogra – Delhi – Deogarh – Ajmer – Pushkar – Pachewar – Ranthambhore – Agra – Delhi Contact @ :+91- 9899359708, 9999683737, info@ travokhohlidays.com, [email protected], www.travok.net EXPERIENCEHingolga HERITAGE & NATURE ATdh ITS BEST A Hidden Gem of Gujarat Just 70 kms away from Rajkot is a unique sanctuary which not only offers the grandeur of a royal era but also nature's treasures. Explore the magnicent Hingolgadh palace surrounded by a scenic sanctuary that is home to the Chinkara, Wolf, Jackal, Fox, Porcupine, Hyena, Indian Pitta and 230 species of birds. So this weekend, have a royal experience and some wild adventure. Disclaimer: The details and pictures contained here are for information and could be indicative.
[Show full text]
Integrated Handicraft Cluster Development Programme
OFFICE OF THE DEVELOPMENT COMMISSIONER [HANDICRAFTS] West Block No. 7, R.K. Puram, New Delhi-110066 INTEGRATED HANDICRAFT CLUSTER DEVELOPMENT PROGRAMME Proposals are invited in prescribed proforma for undertaking Handicraft Cluster Development Projects under Ambedkar Hastshilp Vikas Yojana for the year 2016-17. The eligible Organisation who can apply are Central/State Handloom and Handicrafts Development Corporations and other Govt. Corporations/agencies promoted by State Government or organization promoted by Financial Institutions/banks and NIFT, NID, University Department, DRDA, NISIET, Artisans Federation, Apex Co-operatives societies/Co-Operative Society, EDIs and other similar bodies, and those Non-Governmental Organisations(NGOs) which are empanelled with TATA INSTITUTE OF SOCIAL SCIENCES(TISS), MUMBAI & NITI AYUG NGO Partnership Portal. In addition to the above, Research and Development Project Proposal under R&D Scheme is also invited from the eligible Organisation. For further details visit: www.handicrafts.nic.in OFFICE OF THE DEVELOPMENT COMMISSIONER [HANDICRAFTS] West Block No. 7, R.K. Puram, New Delhi-110066 INTEGRATED HANDICRAFT CLUSTER DEVELOPMENT PROGRAMME Proposals are invited in prescribed proforma for undertaking Handicraft Cluster Development Projects under Ambedkar Hastshilp Vikas Yojana for the year 2015-16. The eligible Organisation who can apply are Central/State Handloom and Handicrafts Development Corporations and other Govt. Corporations/agencies promoted by State Government or organization promoted by Financial Institutions/banks and NIFT, NID, University Department, DRDA, NISIET, Artisans Federation, Apex Co-operatives societies/Co-Operative Society, EDIs and other similar bodies, and those Non- Governmental Organisations (NGOs) which are empanelled with TATA INSTITUTE OF SOCIAL SCIENCES (TISS), MUMBAI. The proposal can be submitted to Deputy Director (Cluster Cell), Hd.
[Show full text]
Textile Designs - 1
Textile Designs - 1 1. Crewel Work, Kashmir Textile Designs - 1 2. Embroidered Dorukha Shawl, Kashmir Textile Designs - 1 3. Kinnaur Shawl, Himachal Pradesh Textile Designs - 1 4. Embroidered Chamba Rumal, Himachal Pradesh Textile Designs - 1 5. Bagh Phulkari, Punjab Textile Designs - 1 6. Banarasi Zari Saree, Uttar Pradesh Textile Designs - 1 7. Chikan Embroidery, Kurta, Uttar Pradesh Textile Designs - 1 8. Block Printing, Rajasthan Textile Designs - 1 9. Bandhani Printing, Rajasthan Textile Designs - 1 10. Applique Work, Gujarat Textile Designs - 1 11. Mirror Embroidery, Gujarat Textile Designs - 1 12. Paithani Silk Saree, Maharashtra Textile Designs - 1 Hkkjr us gLrf'kYi dh Js"B ijaijk dks èkjksgj osQ :i esa izkIr fd;k gSA lqUnjrk ls India has inherited a great tradition of handicrafts which has its iw.kZ o lkekftd mi;ksx dh oLrqvksa dh jpuk gsrq ekuo dh ewy vko';drk esa bl beginnings in Man's basic need for creating objects of beauty and social utility. Even simple household articles such as pots, mats and furniture ijaijk dk izkjaHk fufgr gSA ;gka rd fd] crZu] pVkbZ;ka vkSj est] oqQlhZ tSlh lkèkkj.k have been decorated with stylised motifs inspired by nature. ?kjsyw oLrqvksa dks Hkh izo`Qfr izsfjr 'kSyhxr vfHkizk;ksa ls vyao`Qr fd;k tkrk gSA Apart from other handicrafts, India is also famous for the excellence it vU; gLrf'kYiksa osQ vfrfjDr Hkkjr] oL=kksa dh le`f¼ lEcaèkh Js"Brk osQ fy, Hkh has achieved in the rich variety of textiles. Excavations show that, as far izfl¼ gSA [kqnkbZ ls irk pyrk gS fd dkiQh igys] r`rh; 'krkCnh bZlk iwoZ esa lwrh back as in the third millennium B.C, cotton fibre was woven into cloth and rUrq dks oL=k :i esa cquk tkrk Fkk rFkk Nis gq, oL=kksa osQ uewus Hkh izkIr gq, gSaA samples of printed fabrics have also been found.
[Show full text]
Traditional Indian Textiles Students Handbook + Practical Manual Class XII
Traditional Indian Textiles Students Handbook + Practical Manual Class XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 In collaboration with National Institute of Fashion Technology Traditional Indian Textiles – Class XII Students Handbook + Practical Manual PRICE : ` FIRST EDITION : 2014 © CBSE, India COPIES : No Part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the prior permission of the publisher. PUBLISHED BY : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi - 110301 DESIGNED & LAYOUT : M/s. India Offset Press, A-1, Mayapuri Industrial Area, Phase-1, New Delhi - 110064 Hkkjr dk lafo/kku mísf'kdk ge Hkkjr ds yksx Hkkjr dks ,d ^¿lEiw.kZ izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kRed x.kjkT;À cukus ds fy,] rFkk mlds leLr ukxfjdksa dks % lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /keZ vkSj mikluk dh Lora=rk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj jk"Vª dh ,drk vkSj v[k.Mrk lqfuf'pr djus okyh ca/kqrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/kku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/kku dks vaxhÑr] vf/kfu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/kku ¼c;kfyloka la'kks/ku½ vf/kfu;e] 1976 dh /kkjk 2 }kjk ¼3-1-1977½ ls ÞizHkqRo&laiUu yksdra=kRed x.kjkT;ß ds LFkku ij izfrLFkkfirA 2- lafo/kku ¼c;kfyloka la'kks/ku½
[Show full text]
Bandhani (Tie and Die) – a Rajasthani Technique for Dyeing Textiles
SRJIS/BIMONTHLY/DR. RANJANA GUPTA (5083-5086) BANDHANI (TIE AND DIE) – A RAJASTHANI TECHNIQUE FOR DYEING TEXTILES Ranjana Gupta, Ph. D. Associate Professor- Home Science, K. R. Girls P.G. College Mathura Scholarly Research Journal's is licensed Based on a work at www.srjis.com The art of Bandhani is highly skilled process. The technique involves dyeing a fabric which is tied tightly with a thread at several points , thus producing a variety of patterns like Leheriya, Mothra, Ekdali and Shikari depending on the manner in which the cloth is tied. 1.1 History Different forms of tie and dye have been practiced in India. Indian Bandhani, a traditional form of tie and dye, began about 5000 years ago. Also known as Bandhani and Bandhej, it is the oldest tie and dye tradition that is still practiced. Dyes were discovered by primitive man/woman in the form of extracts of various plants, flowers, leaves, bark, etc., which were applied to cloth and other fabrics. Even though color was applied they didn't consider this dyeing. It was simply a form of embellishment. What was considered dyeing was the art of using color to form a permanent bond with fiber in a prepared dye bath. Ancient artists discovered that some dyes dissolved and gave their color readily to water, forming a solution which was easily absorbed by the fabric. Herbs and plants like turmeric and indigo were crushed to a fine powder and dissolved in water so that cotton material could be dyed into deep colours. These colours have been used in India since ancient times and are considered to be the origin of the art of dyeing.
[Show full text]
List of Awardees Sl. No Name Craft State Recipients of National Award
List of Awardees Sl. No Name Craft State Recipients of National Award for the Year 2012 1 Shri Chanchal Chakraborty Metal Delhi 2 Shri T. M. Mayachar Bronze Carving Karnataka 3 Shri Man Mohan Soni Metal Engraving Uttar Pradesh 4 Shri Harpal Singh Yadav Brass Engraving Uttar Pradesh 5 Smt. Jhunu Dutta Cane &Bamboo West Bengal 6 Shri M.Devaraj Silpi Stone Carving Tamil Nadu Clay Modeling 7 Shri Sudhir Kumar Paul West Bengal (Terracotta) 8 Shri P.G.Keshavulu Gold Leaf Painting Andhra Pradesh 9 Shri K.Siva Prasad Reddy Kalamkari Painting Andhra Pradesh Shri Khatri Jumabhai 10 Rogan Painting Gujarat Daudbhai Shri Bhanubhai Chunilal Kalamkari Traditional 11 Gujarat Chitara Matani Pachhedi Painting 12 Shri Samsher Khan Miniature Phad Painting Rajasthan 13 Shri Shiv Shankar Sharma Miniature Painting Rajasthan 14 Shri Sindhe Maruthi Rao Leather Puppet Andhra Pradesh 15 Smt. Chandra Gujar Leather Mojri Juti Rajasthan Bagh Print (Traditional 16 Mohammed Dawood Khatri Hand Block Print with Madhya Pradesh Natural colour) 17 Smt. Khropeu Koza Artistic Tribal Textiles Nagaland Hand Embroidery 18 Smt.Shweta Kaistha Delhi Chikankari Kantha Stitch 19 Smt. Mahamaya Sikdar West Bengal Nakshi Kantha 20 Shri Rathindra Nath Malik Coconut Shell Carving West Bengal Recipients of National Award for the Year 2013 1 Shri Tijuram Vishwakarma Wrought Iron Chhattisgarh 2 Shri Sivakumar S.R Vedic Metal Art Kerala Sheet Metal art ware in 3 Shri R.Venkateshwarlu Telangana brass 4 Shri R.V.Shajahan @ Shaji Wood Carving Kerala 5 Shri K.R.Mohanan Wood Carving Kerala 6 Smt. Anita Das Cane & Bamboo Tripura 7 Shri Keshava Maharana Stone Carving Odisha 8 Smt.
[Show full text]
Documentation of the Motifs Used in Tie and Dye of Rajasthan Bandhani
ESSENCE—IJERC International | Datt and JournalMarriya for (2018) Envir | onmentalIX (1): 13—20 Rehabilitation and Conservation ISSN: 0975 — 6272 IX (1): 13— 20 www.essence-journal.com Original Research Article Documentation of the motifs used in tie and dye of Rajasthan Bandhani Datt, Sunetra and Marriya, Kavita Department of Fashion and Textile Technology, IIS University, Jaipur, Rajasthan Corresponding Author: [email protected] A R T I C L E I N F O Received: 12 January 2018 | Accepted: 22 April 2018 | Published Online: 15 August 2018 DOI: 10.31786/09756272.18.9.SP1.153 EOI: 10.11208/essence.18.9.SP1.153 Article is an Open Access Publication. This work is licensed under Attribution-Non Commercial 4.0 International (https://creativecommons.org/licenses/by/4.0/) ©The Authors (2018). Publishing Rights @ MANU—ICMANU & ESSENCE—IJERC. A B S T R A C T Heritage is the collection of traditional Myraid art forms of a country. The exquisite and exclusive traditional design passes down from generation to the other making the craft more enchanting with each generation. India is one of the countries that is wonder wedged with the art , beauty, diversity, variety, skills of craftsmen with tremendous capabilities especially in the world. Rajasthan is one of the states with a magnificent collection of the tie dyed fabrics and block printed textiles. Tie and dye of Rajasthan is a reflection of royal patronage of textile art forms. Rustic yet elegant, violently colorful yet eye pleasing. The study aims documenting the motifs used in the three regions of Ra- jasthan namely Mewar, Marwar & Shekhawati.
[Show full text]
Traditional Clothes of the Country(Joint
Message froM PRESIDENT Dear Rotaractors, Warm Rotaract Greetings from Rotaract Club of Thane North (RID 3142- India) We are glad sharing an editorial space with you and find great pleasure introducing the Traditional attire of our country. As you know India is a diverse country and has 29 states and 7 union territories. Every state has their own diverse language and traditional attire. We even have diversity in religion maximum people following Hinduism and the rest being Islam, Christianity and Sikhism; leave aside the other tribes which have their own traditional attire. Living in such a diversified country it is difficult to write about the entire traditional clothing, but here I will just try giving you a glimpse of the same. For men, traditional clothes are the Achkan/Sherwani, Bandhgala, Lungi, Kurta, Angarkha, Jama and Dhoti or Pajama. Additionally, recently pants and shirts have been accepted as traditional Indian dress by the Government of India. In India, women's clothing varies widely and is closely associated with the local culture, religion and climate. Traditional Indian clothing for women in the north and east are saris worn with choli tops; a long skirt called a lehenga or pavada worn with choli and a dupatta scarf to create an ensemble called a gagra choli; or salwar kameez suits, while many south Indian women traditionally wear sari and children wear pattu langa. Saris made out of silk are considered the most elegant. Mumbai, formerly known as Bombay, is one of India's fashion capitals. In many rural parts of India, traditional clothes is worn.
[Show full text]
A Glorious Journey of Roghan Painting from Kutch, India
Research Journal of Family, Community and Consumer Sciences ________________________ ISSN 2320 – 902X Vol. 2(1), 1-4, January (2014) Res. J. Family, Community and Consumer Sci. A Glorious Journey of Roghan Painting from Kutch, India Batham Meena and Arora Chitra Department of Fabric and Apparel Science, Institute of Home Economics, Hauz Khas, New Delhi, Delhi University, New Delhi, INDIA Available online at: www.isca.in, www.isca.me th th th Received 25 December 2013, revised 6 January 2014, accepted 25 January 2014 Abstract The study was carried out to create awareness on the exquisite value of the ancient art of Roghan painting on fabric. This traditional art is slowly losing its value and is on the verge of extinction. This report would be a step towards improving the economic and social status of the people and help to preserve the cultural heritage of our country. Traditional method was compared with the method used today by craftsmen The objectives of the study were to analyze various aspects of the art of Roghan painting on fabric, practiced in the past and present, in terms of its origin, raw material used, motifs and designs used, preparation and application of Roghan paste in traditional style. Purposive sampling technique was used where all the craftsmen involved in Roghan painting, were interviewed during a survey at Nirona village in Kutch (Gujarat). Information regarding historic background of Roghan painting and its evolution was collected through literature and museum exhibits. With the passage of time, this traditional art has undergone many changes in raw material, its preparation, tools, fabric, colour, designs and the end products.
[Show full text]