Crafty Dreams

There is a story behind every craft piece - a story of its creator, where it was created, the roots of its origin and the taste and beliefs of its original patrons. The stories are not apparent to only craft experts; it's there for every discerning eye to comprehend - if one takes a second look. Compare a Madhubani painting with a Miniature painting. Is it difficult to identify which one was born in humble village surroundings and which one enjoyed the patronisation of the royalty? I bet not! You already know what I am driving at!

At a broad level, we could think of at least 2 classes of traditional craft - one that thrived in royal palaces, wealthy homes and religious places, and another that was born out of common man's beliefs and close interaction with Nature. While expensive raw materials, perfection and opulence charecterise one, the beauty of the other lies in its simplicity, starknesss and sometimes crude finish. That's probably why one should never compare the finish of a dhokra figurine with the elegance of North Indian brassware. While Gemstone paintings of royal Jaipur are done using crushed semi-precious stones to depict royal pastimes, Madhubani paintings, done with herbal colours, illustrate the simple life of a farmimg community!

At the next level, the colours, shapes and lines used in the craft form gives an insight into the religious inclinations of its patrons or purpose of its origin. Bronzeware of South India, mostly carved with mythological figures like the hamsa, were clearly born in Hindu temples and palaces of Hindu Kings. On the other hand, the Bidriware of the Deccan pronounces its middle-eastern Muslim origin in the shapes of its huqqa bases and the images etched on the surface.

If you go one more level deep, you might be able to identify the birthplace or the history and political background under which the craft originated. But this, I warn, may be beyond the comprehension of an idle eye. It might take extensive research and experience to see the fine nuances in shades, forms and mood. That's why art historians George Michell and Mark Zebrowski are able to distinguish Mughal art from Deccani art and are able to say, "Whereas Mughal art has a generous dose of logic and verisimilitude behind its glamour, especially in its classic phase in the seventeenth century, Deccani art revels in dream and fantasy. Paintings pulsate with restless lines and riotous colours...". Now, that one's really beyond me at this point! :)