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The motifs sewn on the quilt represented sun and cloud, indicative of life-giving forces, fertility symbols, sacred animals, and mythical animals to protect against evil forces, and to attract blessings from the gods. Use of different shades of threads symbolized life's forces such as red, symbolic of blood and yellow denoting the sun.
Embroidery in India includes dozens of embroidery styles that vary by region and clothing styles. Designs in Indian embroidery are formed on the basis of the texture and the design of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle, and permutations and combinations of these constitute the design.
Many of the varieties are part of museum exhibitions and private collections. Thind makes reference to the contributions made by Mohinder Singh Randhawa in promoting the preservation of Phulkari art. He also mentions private collections where he has seen various motifs including the Harmandir Sahib (Golden Temple) embroidered in a Phulkari. [20]
Chamba Rumal, a ceremonial cover Chamba Rumal Ram Nath Kovind presenting the Nari Shakti Puruskar to Chama Rumal embroiderer Lalita Vakil. Earliest reported form of this rumal is the one made by Bebe Nanaki, sister of Guru Nanak in the 16th century, which is now preserved in the Gurudwara at Hoshiarpur.
In the ancient times, these handicrafts were exported to far off countries of Europe, Africa, West Asia and Far East via the ‘silk route’. The entire wealth of timeless Indian handicrafts has survived through the ages. These crafts carry the magnetic appeal of the Indian culture that promises exclusivity, beauty, dignity and style. [24]
The Indian modern artist, Nandalal Bose, frequently drew from alpanas and their traditional motifs in his art, especially floral motifs such as the autumn flower. [16] [4] Abanindranath Tagore, the painter and writer, wrote a study of alpanas in his book, Banglar Broto, and compared their motifs to hieroglyphs. [14] The film-maker, Satyajit Ray ...
This sort of metal casting has been used in India for over 4,000 years and is still used. One of the earliest known lost wax artifacts is the dancing girl of Mohenjo-daro. [1] The product of dhokra artisans are in great demand in domestic and foreign markets because of primitive simplicity, enchanting folk motifs and forceful form.
Toda embroidery, also locally known as "pukhoor", [1] is an art work among the Toda pastoral people of Nilgiris, in Tamil Nadu, made exclusively by their women. [1] The embroidery, which has a fine finish, appears like a woven cloth [2] but is made with use of red and black threads with a white cotton cloth background.