Latest news with #Pattachitra
The Hindu
4 days ago
- Entertainment
- The Hindu
Art made affordable
Method Contemporary Art Space, in collaboration with Baro Market, has launched the 'Affordable Art in India' exhibition in Delhi. The initiative provides a unique opportunity to collectors, connoisseurs, and freshers to invest in some remarkable original artworks by over 60 Indian artists. The prices range from ₹3,000 to ₹3,00,000. The exhibition not only showcases artistic diversity but also breaks down financial and social barriers that have long kept art out of reach for many. 'I was determined to democratise art. There is an absolute joy that art brings; it should be possible for everyone to enjoy' says Baro Market founder Srila Chatterjee, talking about the inspiration behind starting Affordable Art in India, with Sahil Arora, founder of Method. The exhibition presents a diverse range of artistic voices. 'It doesn't have to be about wealth or circumstance; having a piece of art around can change the way you feel, the way you look, your mood... everything' says Srila. From National Award winner Anwar Chitrakar's scrollwork to the whimsical wit of Ayesha Broacha, and the expressive calligraphy of Hiral Bhagat, each piece showcased reflects individual and cultural depth of the artists. Geetanjali Das, a renowned Odia artist, continues the Pattachitra legacy using traditional techniques. She crafts her pieces using tamarind as the base and sabudana (sago) to bind the colors. 'I've grown up around art; my grandfather painted Pattachitra, and then my husband, Pranab Narayan Das did too. Baro has helped me take my art further ' says Geetanjali. Among the standout artworks is Mata ni Pechedi art from Gujarat by Sanjay Chitara & Sons. Sanjay, a fifth-generation custodian of the 300-year-old traditional art form, says, 'If we stop painting, our art will vanish. Each piece is handmade with incredible detail, some figures are just an inch tall. This tradition is sacred to us and passed down only within our family; it cannot be replicated.' Also on display are works by Vikalp Mishra, agrarian impact artist Hardev Chauhan, Aman Kumar's layered acrylics, and Deepshika Khaitan's Symbolic Composer. One of the many new voices is Chennai-based artist Narayan Lakshman, whose art journey began with his children, during the pandemic. 'My children taught me a few techniques, and suddenly everything I had absorbed from years of observing art made sense ' he says. Inspired by Gerhard Richter and V S Gaitonde, Narayan's works carry meditative and minimalist undertones. 'I want my canvases to feel like what silence would look like to help the viewer feel clarity, peace, and a connection with the Universe.' Proceeds from his art, supports girl child education in rural Andhra Pradesh. 'The objective' concludes Srila, 'is to provide the satisfaction of collecting art for those new to the concept, and making it affordable even to a student.' At Method Contemporary Art Gallery, Defence Colony; Till June 22; 12pm to 8pm
The Hindu
22-05-2025
- Business
- The Hindu
Kumhar village in Delhi: where clay holds stories, struggles, and hopes
Every home at Potters' Village in Uttam Nagar, West Delhi, is also a mini shop. Clay products, from gullaks and earthen pots and lamps to cooking and storage utensils, which the artisans chisel, are on display inside and outside the homes. It could be an indication enough that the potters' community is doing reasonably well in keeping their heritage alive at a time when several other handicrafts from the Rogan paintings of Gujarat to Pattachitra scrolls of Odisha are slowly fading, losing their grip in market. Many artisan communities face the harsh reality as their younger generations move away from the age-old skills and mechanised products or cheap imports often take over the market. The kumhars (potters) of Delhi are trying hard to remain an exception. Their wheels are not yet defunct and have helped generations learn and shape not just different types of vessels and products but have also kept together a vibrant community bound by heritage, resilience, and hope. Kumhar village is a story of migration and reinvention. The families came from Alwar district of Rajasthan in the early 1960s and built homes on land given to them by the Gujjar landlords in Uttam Nagar. Equipped in their ancestral skills of pottery, the families gained business and confidence over the years. Rajkumar Prajapati, a master potter, crafts gullaks (piggy banks), earthen pots and miniature temples round the year. During Diwali and festival times, the earthen lamps fetch more business. 'My forefathers came here with nothing but hope that changed their fate. Their training is helping us to sell our goods all over India and also USA, UK, and Canada,' he says. To keep their name and fame going, the potters make it a point to participate in different national and international artisan festivals, such as the Taj Mahotsav in Agra, the Surajkund Crafts Mela, the Dastkar Haat and events that showcase India's art and culture. 'Such events give us a stage to expose our art to the world and keep it relevant,' says Rajkumar. It helps to amplify our reach and gain recognition and appreciation for our eco-friendly products, he adds. The platforms help them to connect with potential buyers and also inspire them to expand on the digital platforms to secure better returns for their craftsmanship. For the artisans, pottery is not only a livelihood for sustenance but a legacy which is handed down to generations. 'Even if my son chooses to do some other job, I will teach him this art for our legacy to continue,' says Rajkumar, father to five-year-old boy. The story of potters' village is also shaped by its women who get married into the potters' families. 'I learnt the craft after marriage and am teaching my daughter-in-law now,' says 65-year-old Laxmi Devi. 'We work hard, but most of the profit goes to the middlemen who buy from us and sell in the market at a much higher cost,' she shares her concern, as the breadwinner of her family. The gullak she makes and sells for ₹50 goes for ₹200 in the open market. The other threat to their income comes from the Cheap Chinese imports flooding the Indian market are threatening their income. 'They are of inferior quality but people buy them for affordability and availability. It makes our lives difficult,' rues her daughter-in-law, Priya. The community also has to cope with environment regulations threatening their traditional art. For years, potters have relied on traditional wood-fired kilns to fire their clay products, a method that lends unique texture, shine, durability and quality to their products. But the procedure generates smoke and pollution. The National Green Tribunal (NGT) and local authorities impose ban on these kilns from time to time to curb air pollution in Delhi. 'We understand the need to protect the environment but switching to gas or electric kilns is expensive; majority of us cannot afford it,' says Sangeeta Prajapati. Without any financial support or clear guidance from the administration, the artisans face a painful choice that casts a shadow over their craft. 'We don't have any associations or unions to represent our issue. We as a community help each other to grow and sometimes send collective petitions to the government,' she adds. Under the National Handicraft Development Programme, there are a few schemes to develop clusters with world-class infrastructure and technology to boost production and exports. 'I hear there are policies to develop our community but there is no concrete information or communication,' says Ganesh Prajapati, 45. The potters want their children to learn and be equipped in using digital tools to scale their craft. 'Our sustainable products should reach every Indian household at fair prices,' Priya wishes. Despite the odds, the kumhars have shown resilience to keep going with their traditional craft. 'We wish to break free from the stranglehold of middlemen and expand our own businesses for better profit,' says Rajkumar. Their struggle is a reminder that preserving heritage requires more than skills and memories. 'Equitable policies, conscious consumerism, and acknowledgement of the handcrafted skills are important. Or else, the age-old stories waiting to be told in every handcrafted artefact will get buried,' he adds. Shashank Kumar Singh
The Hindu
15-05-2025
- Business
- The Hindu
Bangalore Dastkar Bazaar 2025 will held in the city later this month
Bangalore Dastkar Bazaar 2025 will feature crafts, workshops, cultural events and food. 'They are all aimed at celebrating culture, cuisines and crafts of India,' says Shelly Jain, Senior Director- Programmes Project and Personnel, Dastkar, over a call from Delhi. Dastkar bazaar brings over 160 craft groups from across 25 states of India, with a mix of products, traditions and skills, including third-and fourth generation craftsmen and some award winning artisans. Textiles will include cotton Jamdani, soof, aari, kantha, batik, bandhani, indigo block printing and more. 'We have also always been environmentally conscious, looking at promoting sustainable products, so there will be products made from natural materials like mat, cane, golden grass and sabai grass,' adds Shelly. There will also be crafts in bell metal, leather puppet, lacquer toys, gourd and wood carving, pottery. The folk arts section will feature Pichwai, Pattachitra, Bhil, Gond, Kalighat, Tanjore, and Madhubani Painting, while patrons seeking organic products can look to stalls with millet snacks, essential oils, perfumery, flavoured teas and herbal beauty products. The Purulia Chhau dance, a masked martial arts dance form from Jharkhand, will be presented on the weekend. Dastkar, was established in 1981, focussing on empowering traditional Indian craftspeople and crafts by bridging the gap between traditional rural artisans and contemporary urban consumers. 'We strive to strengthen and support them, act as consultants, trainers, designers, and resource providers to craft groups. We are bringing 20 new craft groups to Bengaluru this year including a lacquer bangle maker, who will demonstrate his work, and an embroidery group from Gujarat.' An added attraction is Karvati saris on tussar, says Shelly. 'This craft from Maharashtra is on the verge of extinction. Craftsmen do not want their children to take to the craft due to livelihood challenges. The entire belt in Maharashtra refuses to encourage their youngsters or even pass on the knowledge of the crafts. We have started new projects with other group to keep the craft from going extinct.' By encouraging designers to works with craft-persons on Karvati, Shelly says the hope is to create something appealing to people. 'With many people choosing not wear saris, the demand has gone down. Those who still wear saris or traditional clothes, the price of handloom is a deterrent.' Crafts-people, Shelley says put in long hours of work to create a fabric. 'They too have a family to feed. Unless we work collectively and create a bridge, these aspects will always pose a challenge. The government should also take concrete steps in bettering these issues.' Modernising tools and techniques and shortening the work process, Shelly believes might be the first steps to reviving the Karvati. 'Designers should collaborate with craftspeople to create modern garments that everyone would want to wear. We need to look at not just sustaining the crafts, but also how we can keep the craft-person's dream of giving their child an education.' Children trained in the family crafts, end up giving up on formal education, Shelly says as they take to the family business at a tender age. 'Despite these challenges, I have noticed a growing interest in funky, modern designs in the crafts. We see this happening more in Delhi, while Bangaloreans veer towards the traditional as they are aware of its heritage. This is one reason why many crafts-people are keen to return to Bengaluru. This city embraces crafts and respects the artisans' works, which boosts the artisan's morale.' The bazaar will include workshops in Madhubani, Gondh and clay modelling for children. 'We also have waste paper craft, which aims at teaching craftsmanship with sustainability. Though we have a free entry, we charge a token amount for the workshops.' Shelly has been with Dastkar for over two decades. Though she had no inclination towards crafts, a chance encounter paved the way for her association with Dastkar. 'I learnt much by interacting with artisans on a daily basis, this made my problems look minimal. Talking to them and hearing about their struggles made me a good listener, and a solution-oriented person.' With a national reach encompassing over 700 craft groups and small producers across 25 Indian states, Shelly says Dastkar achieves its missions through collaborative efforts with governmental, non-governmental, and foreign agencies, serving as an advisor, resource person, and incubator for craft groups.
The Hindu
02-05-2025
- The Hindu
Discover the culinary heritage of Odisha and Southeast Asia at Jaatra, Taj Puri
Stepping inside Jaatra, the specialty restaurant of the newly-inaugurated Taj Puri Resort and Spa, feels like being transported into a beautifully-crafted time capsule. One that narrates the story of Odisha's culinary heritage while paying homage to its Southeast Asian connections. Located at the beachside Taj Puri Resort and Spa in Odisha's temple town of Puri, Jaatra celebrates not just food, but a fascinating piece of history: the ancient maritime voyages of the Kalinga dynasty that once connected Odisha to distant shores of Southeast Asia. Overlooking the Bay of Bengal, the resort is a blend of heritage and indulgence, with one of its most treasured features being the wheel of the Jagannath Puri Yatra, acquired through an auction after the grand annual chariot festival. The resort's architecture draws inspiration from the Kalinga style, with interiors fashioned from traditional Khondalite and laterite stone. Layered with Odisha's artistic heritage, the space is adorned with intricate Pattachitra motifs, Ikat weaves and earthy terracotta accents. Fusion of flavours As I settle into my seat at Jaatra, I am drawn to the decor which is a fusion of traditional and the contemporary. Above me, the is ceiling adorned with circular fishing baskets, the kind still used by local fishermen in the backwaters. An entire wall depicts intricate maps of historical voyages, tracing the ancient paths that once linked Odisha with Bali, Sri Lanka, and beyond, nearly 2,000 years ago during the famed Bali Jatra. Curated by Roopali Mohanti, whose vision brought the Taj group to Puri, and chef Sabyasachi Gorai, her partner-in-culinary-exploration since their Institute of Hotel Management Kolkata days, Jaatra's menu is a symphony of stories. I begin my culinary journey with the steamed manda pitha dumpling. Unlike the traditional sweet version filled with coconut and jaggery, here, executive chef Biswarup Chatterjee has given it a savoury twist of soya-based meat, lemongrass and kaffir lime. The texture is soft, while the lemony undertone adds a brightness to the bite. Next comes the Ayam Goreng, an Indonesian-Malaysian fried chicken dish, reimagined to give an interesting taste. It is served crusted in flattened rice, alongside a bean paste dip. The presentation is a visual tribute to the palm trees that dot Odisha's coastline, making it almost too beautiful to eat. Then arrives the chicken patra poda. Served wrapped in sal leaf, the wood-fired chicken is seasoned with a delectable masala mix, each bite balanced with a side of cool cucumber and sweet potato mash. Black and white chicken dumplings follow. These are curried chicken dumplings that hit the perfect note between Indian warmth and Southeast Asian spice. Each morsel is delicate yet packed with flavour, a reminder of how borders blur when it comes to good food. For the main course, I try the khmer sea bass amok, a Cambodian classic brought to life with lemongrass, basil, bird's eye chilli, coconut milk, ginger-garlic paste, a hint of malt vinegar, and sesame. The sea bass has been steamed to tender perfection, and the broth is heady and aromatic. I also try the jackfruit kasa bao. Here, tender jackfruit is slow-cooked with spices and stuffed into pillowy bao buns, topped with vadi chura (crushed lentil fritters) and a sharp mango chutney. It is a playful, earthy dish, though I do miss the meaty flavours. The chhatu mulligatawny stew feels like a warm hug. It has mushrooms and tofu, served with delicate string hoppers. A hearty yet light, spiced stew. How can I leave without a sweet ending? First up is Textures of Coffee, a celebration of Koraput coffee of Odisha. Crunchy, creamy and intense all at once, it is an ode to the bean. And then, in a twist on tradition, the chenapoda cheesecake. The rustic caramelised flavours of Odisha's popular chenapoda has been reimagined as a silky, delicate cheesecake. It is familiar yet new, the perfect metaphor for my experience at Jaatra. Soon, Jaatra will unveil a cocktail bar and menu, adding another layer to its evolving narrative of flavours and storytelling. Open for dinner at the Taj Puri Resort and Spa. (The writer was in Puri on the invitation of Taj Puri Resort and Spa).
