Textile Weaving

Textile weaving is one of the main crafts of Madhya Pradesh. Sarees in subtle shades are woven in ppilaces like Chanderi, a village near Gwalior and Maheshwar. These sarees include a wide variety of checks with traditional gold borders. Madhya Pradesh’s craftsmen are equally adept at producing tassar silk handloom fabrics.

Thousands of craftsmen practice hand printing, generally with vegetable dyes. Tarapur and Umedpura, two villages on the opposite banks of the river Gujari, use indigo for their prints. The printers specialise in printing fabrics with a blue background and yellow and red prints, known as nandra. Garments, bedspreads, tablecloths and curtain material are produced here. Jawad also has a similar style of printing. Mandsaur produces excellent bandhanis as well as resist prints imitating the bandhani patterns. Sarees with batik work based on the local mandana traditions of floor and wall decorations have been developed here. Tie and dye chunaries are the speciality of Tarapur and Mandsaur. Skilled craftsmanship is also on display in a variety of zari-embroidered articles.

‪#‎India‬ ‪#‎art‬ ‪#‎textile‬ ‪#‎craft‬ ‪#‎bharat‬ ‪#‎hindustan‬ ‪#‎update‬ ‪#‎madhyapradesh‬‪#‎MP‬

Bastar Art

Bastar artifacts grace homes the world over, attracting the attention of art enthusiast's and the connoisseur alike. The bastar artifacts usually depict the rural lifestyle of the tribal community, incorporating pastoral scenes with the farmer as the main focus. Beautiful and elegant, the bastar brass artifacts can be incorporated into pen stands, stationary holders and wall hangings.

‪#‎India‬ ‪#‎Bharat‬ ‪#‎art‬ ‪#‎Bastar‬ ‪#‎Hindustan‬ ‪#‎painting‬ ‪#‎chhattisgarh‬

Rock art

The rock art of India includes carvings, engravings and paintings. It is estimated there are about 1300 rock art sites with over a quarter of a million figures and figurines. The earliest rock carvings in India were discovered by Archibald Carlleyle, twelve years before the Cave of Altamira in Spain, although his work only came to light much later via J Cockburn (1899).

Dr. V. S. Wakankar discovered several painted rock shelters in Central India, situated around the Vindhya mountain range. Of these, the Bhimbetka rock shelters have been deemed a UNESCO World Heritage Site. The paintings in these sites commonly depicted scenes of the human life alongside animals, and hunts with stone implements. Their style varied with region and age, but the most common characteristic was a red wash made using a powdered mineral called geru, which is a form of Iron Oxide (Hematite).

Types of clay crafts in India

Jhuker pottery a famous clay art in India has its roots deeply associated with Harappan civilization. The clay art which developed in the Harappa civilization gained quite a chic form during the Vedic era. According to the archaeological discovery in western Uttar Pradesh, the most acclaimed clay art in the late Vedic period was the "Red Ware". Another notable form of clay art of the Vedic period was "Painted Grey Ware" which comprises dishes, bowls which were used during the rituals and ceremonies for meal. Another form of clay art came into existence was Northern Black Polished Ware. Northern Black Polished Ware was a kind of pottery where a very glossy and lustrous kind of fabric was used. 

As the clay art developed, black pottery as another form of clay art became popular in India. The blackening involves the firing in a closed hearth and the smoke arises from the hearth colours the terracotta. The process of Black Pottery is more luxurious in Nizamabad (Uttar Pradesh). The process indulges the carving of the designs on the dry surface then they are fired and after firing the carvings are filled with paint made from a mixture of mercury and zinc. Some pots, when they are hot are painted with raw lacquer and a black, glossy, non- porous surface is produced. 

Clay art also involves the making of clay beads, "jbanvan" for cleaning the feet, "hookahs" and "chillums" for smoking tobacco. Even clay art in India associates the making of some of the architectural elements such as "Jali" (trellised screens) and tiles. Miniature toys, utensils, animals and human figures of various casts and occupation are available in bright colours and fabulous designs and are often used as an element of decoration. Varanasi and Krishnanagar in West Bengal are famous for producing umpteen amount and variety of miniature idols. Even the religious festivals demand the clay images of the deity which are hugely manufactured in Kumartully and Patuapara of Kolkata. 

Terracotta is an important form of pottery. In fact terracotta is the most common form of pottery in India. Various figures are made in terracotta. Terracotta figures serve as show pieces in many of the Indian households. In India clay images made as votive offerings for tribal shrines are sold at fairs organised by government departments, and end up as decorative pieces in city homes, shorn of their basic ritual association. 

Centres of Clay Crafts in India 

There are a wide variety of clay crafts in India. For instance the Bengali Surai or the common jug, the Kagzi or paper pottery of Alwar, the painted pottery of Bikaner, the colourful Khurja pottery of Uttar Pradesh, the variety of clay ware in Himachal Pradeshlike gidya, patri and narale, the beautiful pottery of Saurashtra, the earthen ware of Srinagar. The unique Karigari pottery of south Arcot also enriches the clay craft of India. Some other popular potteries of India are the Blue Pottery of Jaipur, Pokran Pottery and a lot more. In the present age Pottery has diversified into a number of branches. Clay figures of Lucknow represent characters of different races and tribes of Oudh. Wall brackets, vases, clock-cases, and other articles are manufactured out of clay. They are in a decadent style that is modelled after the Italian work which is found all over Lucknow. Clay figures painted and dressed up in muslins, silks and sequins are modelled at Kolkata, Lucknow and Pune. 

Modernization of clay art in India happened with the introduction of the Chinese and Persian porcelain art which was brought in India by the Mughals. The porcelain tableware came into demand. During the Sultanate period in Delhi and Uttar Pradesh, India proceeded with its own manufactory of blue pottery. Ram Singh, an innovative ruler was the person who fetched the craft from Delhi to Jaipur and then onwards the craft preceded its growth and now proved to be the principle manufacturer. 

Clay Crafts of India

Clay Crafts of India is an ancient art form dating back to more than 1000 years. The remnants of clay pottery that is found in the sites of Indus Valley Civilisation points to the highly skilled potters who were present even in ancient India. Red Ware was the most popular clay craft in the late Vedic Age. According to myths and traditions clay art was originated by the Potter. Potter the synonym of Prajapati is also revered as Lord Brahma, the creator, created human beings from clay. According to mythology, when Lord Shiva came to marry Sati, the need of an earthen pot was required. So Lord Shiva took two beads from his necklace and gave birth to a male and female forms who are the first moulder of "Kumbha". So the potter is also known as kumhaar. Clay as a material is difficult to control at all stages and the potter has to be constantly diligent from beginning to end, in order to avoid damage or breakage. The culminating fire which will turn plastic clay into permanent terracotta is the most hazardous operation of all. 

Albert Hall Museum Jaipur

This museum is supposed to be the oldest museum of the state. Colonel Sir Swinton Jacob designed it in 1876 to greet King Edward VII as Prince of Wales on his visit to India. It was opened to public ten years later. Positioned amidst the gardens of Ram Niwas Bagh in Jaipur, this museum has an assortment of rare articles on its display including textiles, carpets, paintings, metal and wood crafts, pottery, arms and weapons, flora and fauna of the state, toys, dolls and even an Egyptian mummy that belongs to the Ptolemaic Epoch. It is also known for housing the famous carpet, which portrays the scene of a Persian garden carpet with running water streams that was bought at a dear price from Shah Abbas of Persia, by Mirza Raja Jai Singh I. It also puts on show the miniature paintings of a number of sub-schools of Rajasthan.

The galleries on the ground floor of the museum have been completely remodeled and restructured since 1959 in an attempt to depict the uniqueness of the dresses and jewellery of all the classes and tribes of Rajasthani people including the privileged class that mainly consists of Rajputs and the merchant class. It includes the lifestyle of the tribals such as Meenas, Bhopas, Bhils, Gadoliya Lohars and many more. One gallery has also been committed to the henna body art of Rajasthan, popularly called as 'Mehndi Mandana', which makes an exhibition of the typical Rajasthani motifs and designs that are so well recognized as ethnic all over the world. Puppets and Phad paintings (the painted scrolls depicting the life of Pabuji Rathore, who was a great folk-hero from Marwar) occupies yet another gallery of the museum. The highlights of the museum, however, are displayed in its central gallery, which is completely devoted to the Rajasthani music and dance forms.

Leh Palace

Leh Palace was built during the 17th century by the ruler King Sengge Namgyal. Its construction is on the same lines as the construction of the Potala Palace in Lhasa, Tibet. This palace had to be deserted by the royal family in the middle of the 19th century, because of the taking over of Ladakh by Dogra forces. After this the royal family is living in-exile in the popular Stok Palace. The Archaeological Survey of India (ASI) is restoring some of the ruined portions of this nine-storey palace. While the store rooms were on the lower floors, the royalty resided on the upper floors. The roof of this palace offers an excellent view of the valley. ‪#‎leh‬ ‪#‎ladakh‬‪#‎india‬ ‪#‎bharat‬ ‪#‎travel‬ ‪#‎tradition‬ ‪#‎tourism‬ ‪#‎archive‬

Himachal Pradesh Handicrafts

Wood Carving 

Painting

Thangkas

Rugs & Carpets

Garments & Accessories

Embroidery

Shawls

Leather Craft

Jewellery

Metalwork

Stonework

Being rich in forests, wood is abundant in Himachal Pradesh and so woodcarving is still a living tradition of the state. Earlier this craft was mostly used in building temples and palaces. However, at present artisans creates intricate designs used in building houses, and also for making other things like low benches, spinning wheels, smoking pipe, cradles, low settees, boxes, serving spoon, rolling pins, wooden utensils, and much more. Moreover, other interesting things like fruit bowls, beer mugs, wooden jewellery, decorative boxes and carved images can also be found carved out of wood.

Like most other states in India, Himachal Pradesh is also rich in traditional paintings. You can see the miniature paintings in art galleries and museums in Himachal, but the true picture of the traditional paintings can be seen in most village houses. The women of the house paint their floors and walls. Moreover, they draw illustrative designs called yantras on the doorstep on ceremonial occasions. The floors are decorated with a white paste made of rice, whereas the walls are painted with colors, which they collect from daily used things such as turmeric powder, red clay, kumkum (a liquid used for make up) and so on.

Thangkas are brightly coloured cloth paintings, which are mostly used as ritual paintings exhibited during some Buddhist festivals. International tourists love these paintings. They generally depict lord Buddha and other deities as well as the wheel of life.

Rugs, Carpets are significant part of furnishing in Himachal Pradesh. Available in brilliant colors and traditional motifs these items look amazingly beautiful in appearance. 

Moreover, Blankets made with wool weaved out of sheep and goats are also available in plenty.

Garments & Accessories used by People of Himachal are very colorful. Their traditional attire is bedecked with delicate embroidery with circular and linear patterns. They are also fond of all sorts of accessories like colorful scarves, bangles, rings, hand knit woollen socks, gloves, mufflers, caps and grass shoes.

Women in Himachal like to pass their time in the afternoon by working on embroidery work with needle and thread. They make beautiful pieces of clothing like scarves, coverlets, handfans, caps, cholis (bodices), gaumukhi (prayer gloves) and so on. The richly embroidered colorful silk rumals (scarves) of Chamba have traditionally been made since the last 1000 years. Himachali women use these small shawls as head coverings.

Like Kashmir, Himachal also produces fine and precious Shawls, which are in high demand by tourists from all over the world. These shawls are weaved in the cottage industries of Himachal and are available in plain and patterned.

. 

Leather craft is another significant craft of the state. The traditional chappals (slippers) of Chamba are not only beautiful but very comfortable as well. They are embroidered with colorful threads and at times with Zari (golden thread). You will also find a range of shoes, sandals, socks and belts.

Jewellery of Himachal Pradesh consists of beads and metals, which are worn by the local people with their traditional attire. These include pendants, necklaces, rings and so on

The metals used in metalwork or metal carving are brass, copper, iron, tin and bell metal. These are used to make exquisite statuettes, lamps, incense burners, low settees of silver or brass, vessels and musical instruments mostly used in temples. Moreover, some objects are also made for daily use at home.

Stone carving is another such craft, which was mostly used for temples in the early days. You can see splendid samples of the stone carving in various temples in Himachal.

Punjabi Paranda

Paranda is one of the traditional handicrafts of Punjab. It is a colorful hanging worn by the Punjabi women in their hair. Most of the Punjabi women have long hair, which they plait and then tie a paranda at the end. Parandis are available with a great variety in designs and colors. They are made out of a bunch of silk threads, intricately woven with other skillful works. #india #punjab #handicrafts 

Toy Making (Jharkhand)

Jharkhand originally a tribal state is known for its wood work, bamboo works, pitkar paintings, tribal ornaments and stone carving. The beautifully carved wood products and bamboo products show the craftsmanship of the people. Lack of promotion and marketing for these products has mostly resulted in extinction of some crafts like paitkar paintings and stone carvings.

Toy Making

In the hilly regions of Jharkhand and around its capital city Ranchi, there dwell families who, for generations have reveled in toy making. Their wooden cut outs, glossed with an eye-catching canary paint depict the nature around. Of course the sizes are miniaturized for they are really playthings for children that have wheels for mobility or detachable limbs that allow free acrobatics manipulated by the pulling of string. These agile puppets are usually made from palm leaf slivers painted with pink dots and finger paintings, giving the right accents to a day of fun and frolic.

The love of the people of Jharkhand for the grand weddings and their accompanying fanfare is reflected in the toys also. The toy traders recreate the wedding of Lord Rama or the elephant god Ganesha in the toys. The lord as a groom is draped in a canary yellow lower garment or dhoti, the typical wedding finery for a bridegroom. The tinges of gold on the garment and the veiled face of the toy bride complete the ambience. Of the scenes of nature nothing pleases these craftsmen more than the sight of a flock of brilliant parakeets in paddy green feathers. The contrasting red of the beak is a bonus that few can overlook. But the bird is not a boring depiction of its realistic form. Only the colors of the bird are copied and then re-designed in folk art forms of well- defined lines and frozen posture forms.

‪#‎india‬ ‪#‎jharkhand‬ ‪#‎bharat‬ ‪#‎toys‬ ‪#‎craft‬ ‪#‎art‬

Crafts of Chhattisgarh

Chhattisgarh is a state renowned for its rich metal crafts and other traditional craft products made out of bamboo, wood etc. The folk paintings of Chhatisgarh depict the living expressions of the people, intrinsically linked with the socio-cultural ambiance of the area. They are not mere decorations but also spontaneous outpourings of religious devotions. The main craft produce of the State include Bamboo work, Wood carving, folk painting and folk Jewelry.

Bamboo Work

Bamboo thickets are common sight in the State and tribals of Chhattisgarh have been putting their craftmanship to work. Craftsmanship of Chhattisgarh tribals can be seen from varying articles of craft produce they make out of bamboo. Articles for daily as well as decorative use are produced by these artisans. Some of the will known Bamboo produce include agricultural implements, fishing traps, hunting tools and baskets.

Wood Carving

The woodcarving art has been flourishing in Chhattisgarh from time immemorial and one can find beautifully carved wooden products designed by the craftsman of the State. The skillful craftsmen of the State carve beautiful wooden ceilings, doors, lintels etc using different kinds of wood like shisham, teak, dhudi, sal and kikar. The craftsmen also make pipes, masks, doors, window frames and sculptures.

Painting

Traditional wall paintings of the State is associated with rituals. Floors and walls are painted with colours and in almost every instance the depiction being associated with some ritual. Pithora paintings is a common traditional art form. These paintings originated in the tribal area of the Central India which is presently Madhya Pradesh and Chhattisgarh and depicts the offering to gods. These paintings are usually done on the occasion of marriages, childbirth and other occasions of fulfillment of wish etc.

Most of these paintings has a horse as it was considered auspicious to sacrifice a horse. In most of these tribal houses one can find pithora paintings. They are colorful and use natural colors.

Ornaments

Jewelry from Chhattisgarh is available in a variety of gold, silver, bronze and mixed metal. Ornament made out of beads, cowries and feathers are part of tribal costumes. Tribal men and women wear traditional ornaments.

‪#‎Chhattisgarh‬ ‪#‎india‬ ‪#‎freelancetalents‬ ‪#‎bharat‬ ‪#‎art‬ ‪#‎freelance_talents‬‪#‎indian‬ ‪#‎crafts‬ ‪#‎desi‬

Stonecraft

Stonecraft is a popular craft in Agra, Uttar Pradesh. This is the art in which craftsmen creates fine work on stone to give it various shapes of windows, garden furniture, decorative pieces and so on.

Bandhani

In Kachchh, tie and dye craft is known as “Bandhani.” Bandhani dates back to the Bandhani 12th century, and came to Kachchh when members of the Khatri community migrated from Sindh. Bandhani tie and dye became a staple local source of income with the export of bandhani bandannas to Europe via the English East India Company in the 18th century. Much like the local block printers, bandhani artisans used local, natural resources like madder and pomegranate to dye their cloth in a brilliant range of hues. The technique of tightly winding a thread around a section of cloth, dyeing it, and then removing the thread to reveal a circular resist motif has remained the same since bandhani was first practiced.

Bandhani has long been culturally important to Kachchhi communities.The most revered type of bandhani is the gharcholu, which is the traditional wedding odhani of Gujarati Hindu and Jain brides. The chandrokhani is worn by Muslim brides.

Modern Artistry

Today, the Khatri community is the main producer of Bandhani in Gujarat, maintaining a mastery of the craft that has lasted for generations. Khatris in Kachchh are usually Hindu or Muslim. The demand for intricate designs featuring Bandhani is high, and the newest patterns can feature as many as one lakh ties (dots). Bandhani is used for daily attire and for auspicious occasions, like births, weddings, and goddess temple pilgrimage.

Khatris are making new versions of Bandhani to fit the demands of modern and more international clientele. They experiment with the size, shape, and placement of each dot on the cloth to offer a whole new range of products. Their patterns reflect an artistic sentiment to explore and play, creating new motifs with an innovative spirit.

Sustaining Tie and Dye

Seeing the need to control the use of chemical dyes in Kachchh so that lasting ecological damage was not done to the environment, water, and people of local communities, Khamir began initiatives to popularize and teach the value of natural dyes, making natural dyestuffs more accessible to modern artisans. Khamir has conducted workshops and trainings with Bandhani artisans in order to expose them to more sustainable practices.‪#‎bandhani‬ ‪#‎kachchh‬ ‪#‎india‬ ‪#‎bharat‬ ‪#‎art‬ ‪#‎craft‬

Gujarati Crafts

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. 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. 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. In Bandhani, a unique Gujarati craft, fabric is tied at different sections before dyeing to create patterns. 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. These have in recent years become an accessory in both domestic and international markets.

Jammu

One of the most visited destinations in North India, Jammu is a beautiful city dotted with a number of tourist attractions including temples. While the architectural beauty of the temples leaves you mesmerized, the scenic beauty and pleasing ambiance of the city is not less, it makes you visit again and again. Jammu is best known for housing Vaishno Devi, which is one of the most sacred sites of the Hindus. When it comes to tourist attractions in Jammu, temples dominate the destination Jammu. Apart from the popular shrine of Vaishno Devi, Raghunath Mandir, Bawey Wali Mata Temple, Ranbireshwar Temple, Mahamaya Temple, Peer Kho Cave Temple and Panchbakhtar Temple are popular shrines in Jammu.

Jammu is also popular for housing a number of historical structures like Mubarak Mandi Palace, Bahu Fort and Amar Mahal Palace. These structures showcase different architectural styles such as European, Mughal and Rajasthani. To sum up, Jammu is a great destination if you wish to explore the religious and scenic side of India. ‪#‎india‬ ‪#‎jammu‬‪#‎tourism‬ ‪#‎destination‬ ‪#‎nature‬ ‪#‎history‬

Udayagiri and Khandagiri caves

The caves, 6 km west of Bhubaneswar, on the two low hills of Udayagiri and Khandagiri, date from the time of Jain occupation of the region, at least the second century BC. A narrow valley winds between the hills, the route of an early Buddhist pilgrim track leading to a stupa which probably stood on the present site of Bhubaneswar. The coarse- grained sandstone which forms Khandagiri ('broken hill') and Udayagiri ('hill of the sunrise') rises nearly 40 m above the surrounding lateritic and infertile plain. The crumbling nature of the sandstone into which the caves were dug has exposed them to severe damage, moderately repaired by the Archaeological Survey of India.

The Jain caves are among the earliest in India. Furthermore, some of the rock inscriptions found above the Hati Gumpha (Elephant Cave, No 14) and elsewhere, speak of the Chedi Dynasty who ruled over Kalinga from their capital, probably at Sisupalgarh, 9 km southeast of Khandagiri.

Kharavela, according to his own record, extended his rule across a large part of North, Central and South India. At home he made great efforts to improve canals, rebuild his capital city of Kalinganagara, and also to excavate some of the caves at Udayagiri- Khandagiri. Probably all the caves now visible were constructed during the 150 years before Christ. Designed for the ascetic life of Jain monks, they simply provided dry shelter, with no concessions to any form of comfort. Too low to stand in, the cells are no more than cramped sleeping compartments.

Dadra and Nagar Haveli

Situated on the foot hills of Western Ghats, Dadra and Nagar Haveli, the Union Territory, not only boasts of rich natural beauty but also of an interesting history. The land, which was ruled by Koli chiefs later came into the hands of Marathas who offered Portuguese the right to collect revenues from here to seal their support to fight Mughals. After Indian liberation the land was still under the control of Portuguese until it was freed in 1954. The Union Territory merged with India in 1961. Dense forests, magnificent mountain ranges, serene valleys, stunning ranges of flora and fauna, breathtaking rivers – if this is the package you expect on your holiday, head for Dadra and Nagar Haveli. Your expectations will be more than adequately fulfilled.

Mysore Palace

Mysore Palace, also known as Mysore Maharaja Palace is one among the largest palaces in India. It is situated in the city’s center. The palace was built in the year 1897 using wood, which was damaged due to fire. It was later reconstructed in the year 1912. The architecture is a blend of Hindu, Islam, Gothic and Rajput styles. The stunning interior is a display of intricate craftsmanship. While it is a feast to your eyes during daytime, you will be completely mesmerized by the sight of the palace illuminated by over 98000 bulbs in the night.

Ajanta & Ellora Caves

The Ellora Caves and the Ajanta Caves are near Aurangabad in Maharashtra. Chalukya and Rashtrakuta kings ruled over the Deccan from the middle of the 6th century AD to almost the end of the 12th century. The former were tolerant of all religions and, under their liberal patronage, the technique of excavating rock-cut temples reached a high degree of perfection. With the rise of the Rashtrakuta and other powers in the Deccan, there was a decline of Buddhist influence, but artistic activity continued unabated.

Rock-hewn architecture reached its zenith in western India as the Western Ghats provided suitable sites for excavation and carving. No existing caves as such were used. Thus architecture was sculpture on a mass scale. The solidity of the rock obviated the need for periodic repairs, and many of the temples are in a state of good preservation to this day.

An aesthetic vision and advanced technical knowledge combined in the architects. It is interesting to note that the excavation usually proceeded from the top downwards—the natural rock-surface below providing a platform and eliminating the necessity of scaffolding.

The Ajanta Caves, accidentally discovered by a shooting party in 1829, are excavated out of amygdaloid trap rock, and situated in the scarped side of a deep ravine that is shaped like a crescent. They are entirely Buddhist and date from about 200 BC to approximately 650 AD. It is of interest to note that the Chinese Buddhist travellers, Hiuen Tsang and Fa Hien, refer to Ajanta in accounts of their travels.

Of the 29 excavations, four are chaitya halls (all differing in design) and the rest are viharas. The decorative motifs differ with the age of the excavations.

The Hinayana and Mahayana phases are also well defined, the first being simpler the second being much more decorative and characterised by images of the Buddha. The caves are unique in that they combine three forms of art—architecture, sculpture and painting.

The technique employed in the frescoes was to spread on the rough surface of the rock a layer of clay mixed with cow- dung and rice-husks. Sometimes pounded brick mixed with fibre was added.

Over the plaster was spread a coating of white lime plaster, and the surface was kept moist while the colour was applied. The outlines were first drawn in red. The colours used were local pigments and all the colours except blue could be obtained from neighbouring hills. The paintings sought their inspiration from the Jatakas, legendary Buddhist stories.

Caves No. 13, 12, 10, 9 and 8 (according to chronological sequence) belong to the Hinayana period; No. 11, 14, 15, 16, 17, 19, 18, and 20 and perhaps No. 6 and 7 belong to a later Mahayana period ending approximately AD 580 No, 1 to 5 and 21 to 29, also Mahayana in character, came into existence between AD 500 and 650. Caves 19 and 26 (chaitya) and 1 and 16 (viharas) are good representative specimens. No. 16 is one of the most important caves, being the most elegant architecturally. The shrine has a large statue of the Buddha preaching.

This cave contains the famous fresco of ‘The Dying Princess’. The Ellora Caves are unique because the visitor can see three styles of architecture at one place, 12 Buddhist, 5 Jain and 17 Brahmanical caves being located here side by side. Unlike the Ajanta cave temples, they are excavated in the sloping sides of a hill and not in a perpendicular cliff.

As a result, most of the temples have courtyards and sometimes an outer wall or rock with an entrance through it. The 10th century Arab geographer Masudi and the European Thevenot who visited the temples in 1667, have left accounts of these cave temples in their writings.

The Buddhist temples were excavated between AD 350 to 700 Compared with the Brahmanical temples, they are austere and solemn. Cave No. 10, the only chaitya at Ellora, is in the form of a chapel, reminiscent of Ajanta and Elephant. It is called Vishvakarma, the name indicating its dedication to the patron saint of the craftsman.

Caves No.11 and 12 are some of the few caves in India with more than one storey.

The next group consists of Brahmanical caves, excavated between the seventh and the early eighth century. No. 14, Ravan ki Khai (Excavation of Ravan) is different from the Buddhist temples, having a front aisle of 4 pillars, 12 columns enclosing a central hall and, beyond, a shrine standing by itself at the end of the hall.

The south wall has Shaiva sculptures; the north wall has Vaishnava (i.e. pertaining to Vishnu) sculptures, representations of Durga, Lakshmi, the Varaha or boar incarnation of Vishnu, etc. Inside the shrine is a figure of Durga. Cave No. 15 is the Dasavatara cave.

The Kalidasa temple, dedicated to Shiva, is considered to be a magnificent achievement of the ancient Hindus, and represents Shiva’s celestial abode, Mt. Kailasa. It was executed under the patronage of the Rashtrakuta king, Krishna I. It is one of the grandest monolithic excavations in the world. The architects worked from above downwards, until they struck one gigantic solid rock which they shaped into a temple. The hillside was cut down to the level of the base of the hill and it has been estimated that 3 million cubic feet of rock were chiselled out.

The remarkable imagination which conceived it, the unstinted labour which was spread over an uninterrupted period of a hundred years and finally, the sculpture with which it is adorned have been aptly summed by Percy Brown: “This plastic decoration is something more than a record of artistic form, it is a great spiritual achievement, each portion being a rich statement glowing with meaning.”

Kailasa stands in the middle of a vast court in which are carved colossal elephants and other animals. The main temple is dedicated to Shiva. The temple proper stands on a plinth and has an impressive frieze of boldly carved elephants and lions.

The temple is approached by flights of steps and is double- storeyed with chapels and monastic halls hewn out of the rock. Over the temple rises the tower in three tiers, with a projecting gable front surmounted by a cupola.

The interior consists of a pillared hall with a cruciform central aisle. The friezes on the wall have scenes from the Ramayana executed with superb artistry and craftsmanship. The pavilion has Shiva’s bull, Nandi, in front. The two pillars on either side of the Nandi shrine are called dhvajastambhas (flag-staffs). They have symbolic carvings pertaining to the cult of Shiva and are fine works of art.

In the final group of five Ellora caves (the Jain group), the most interesting are the Indra Sabha (assembly hall of Indra, king of the gods) and Jagannath Sabha (assembly hall of the lord of the universe).

The Indra Sabha is a two-storeyed shrine cut into the rock to a depth of over 200 feet and is approached through a rock-hewn doorway leading into a square courtyard. To the right is an imposing statue of an elephant. The Jagannath Sabha is similar in plan to the Indra Sabha but smaller. The shrine is a small antechamber with a well proportioned torana (arch), and within it is a seated Mahavira. The walls are recessed for figured sculptures, and the pillars are richly carved in the best Jain traditions.

The upper storey is borne on 12 profusely sculptured pillars and these and the broad surface dividing the two storeys are profusely carved, the upper one having images of the 24 Jain tirthankaras. The ceiling over the large altar is in the form of a large lotus. At each end of the hall is a large shrine containing a statue of Mahavira. This temple is possibly the earliest of the Jain group.

On the top of the hill in which the Jain caves are excavated is a rock-hewn statue of Parasnath.

Art Gallery - Nature Morte

The staple of contemporary Indian art scene, the gallery Nature Morte was originally opened in 1982 in New York and revived 15 years later in New Delhi by Peter Nagy, a gallery owner and an artist himself. Nowadays, the gallery is based in a multi-level space in central-south Delhi. The gallery showcases a variety of contemporary art forms, with special focus on conceptual art, installations, Pop Art and photographs. The gallery represents a number of well-known and established contemporary Indian artists such as a multimedia artist Jitish Kallat and installation artist Anita Dube.

Nature Morte, A-1 Neeti Bagh, New Delhi, India, +91 11 41740215