If you recall any movie that was set in Kolkata, you will remember at least one scene depicting Bengali women draped in traditional white sarees with red borders. These are indeed among the most well-known and sought after sarees from this region.

Why red and white?

The combination of red on white is considered very auspicious by Bengali women. White stands for purity while red symbolizes her fertility. A white or off-white saree with a red border and pallav is often the attire of choice of a married woman for devotional events, religious ceremonies or commemorative functions. These sarees are often accessorized with white bangles made of conch shells (called “shakha”) and red coral bangles (called “pola”), along with red sindoor on the forehead, all symbols of her marital status.

What kind of sarees are these?

Red-n-white sarees are available in all textures and price ranges. The simplest cotton sarees are available for a few hundred rupees while the most gorgeous silks could even cost several thousands. One can choose an appropriate saree based on her budget, taste and the importance of the event where she plans to wear it.

Common varieties of red and white sarees:

Tant: Typical tant sarees in this combination have a white or off-white cotton base, a red border often with gold zari work, an artistic pallav and small red motifs strewn across the body of the saree.

Jamdani: The jamdani sarees have a sheer white base in cotton or silk and fine red motifs in cotton woven all over the body giving it a grand finish. The motifs are usually traditional, ranging from simple polkas to more elaborate paisley and floral designs.

Garad and Garad-Korial: The most popular garad saree comes with a plain white silk base, a broad red border and a striped pallav. Variations of this have striped borders and small red motifs woven across the white base of the saree. Garad-korial sarees are more elaborate with intricate motifs in red or gold woven in the body and pallav. The silk in garad sarees is very fine and has a papery texture.

Tussar: The tussar silk sarees have a beige or off-white base with a golden sheen. The borders are in red or red-gold, and the pallav has elaborately woven motifs in red. The patterns in the traditional tussar silk sarees are quite similar to those of tant sarees.

Muslin: The muslins are super-fine and exotic versions of the jamdani sarees. The white base of the saree is extremely light and sheer and is adorned with delicate weavings in red, giving it a luxurious finish.

Korial-Banarasi: These are lavish silk sarees with a plush white or off-white base and gorgeous gold/silver embellishments that are characteristic of Banarasi silks, adorning the red border and pallav of the sarees.

Baluchari: Baluchari silk sarees in the red and white combination are very exquisite to drape and behold. The borders and pallav are intricately adorned with red motifs depicting tales from epics and religious texts. The rich white base complements the gorgeous borders and often has delicate red motifs woven across. A touch of gold zari amidst the red weavings can further enhance its grandeur.

‘Phulkari’, literally meaning the flower working, is designed to enhance the beauty of attire. It is an art form, in which exquisite embroidery is done over shawls, dupattas and headscarves, in a simple and sparse design. In some cases, the entire cloth is covered with dense designs, so that the ground cloth becomes invisible. This is called as the ‘bagh’ design, which literally means ‘garden’. Bagh is generally considered as a symbol of marriage and is widely used during special occasions.

Origin
Phulkaris were originally made by Punjabi women for their own personal use. They used to design embroideries on their garments as a means of passing time. Nevertheless, this art form gradually became a significant craft of Punjab, with a huge market both within and outside the country. It was particularly after the 15th century that phulkari grew rapidly in popularity. Some scholars trace the history of phulkari to Iran, where it is known as “Gulkari”. Others are of the opinion that it came from Central Asia along with Jat tribes who migrated to India and settled in Punjab, Haryana and Gujarat.  There is also reference to phulkari in Vedas, Mahabharat, Guru Granth Sahib and folk songs of Punjab.

Technique
Phulkari is done by making artistic small-darn stitch over the cloth. The stitches are made on the reverse side of a coarse cotton cloth, with colored silk threads. Smaller stitches are finer, delicate and have an awesome look. Only one single strand is used at one time. The stitches are done vertically, horizontally and even diagonally, to create special effect of light and shade. The base cloth is homespun, locally woven and dyed khadi. Such a base is strong, long lasting and cheap and at the same time, facilitates much needed counting of threads while stitching. Besides, it can be easily worked on without a frame and the cloth does not puckers or pulls. Colors like white, dark blue, black and brown are generally used for the base cloth, but the most preferred color is red. The fabric itself is used as an inner decoration so that the pattern sewn on it becomes more distinct and attractive. The finished portion of the embroidery is rolled and covered with a muslin cloth, to keep the embroidered part clean while working.

Designs and Patterns
There is an extensive pattern of designs used in phulkari. Every possible representation of life and nature find expression therein. Though it began with geometrical patterns, flowers and leaves, today, the designs have been enlarged to encompass birds, animals, human figures, the sun, moon, the objects of everyday use and everything found on the earth. Then, there is a special bagh design called dhoop-chhaon (sun-shade), which is extremely popular in the state. However, no religious subjects or darbar scenes are embroidered. Some of the most famous varieties of phulkaris and baghs have been listed below.

• Chope: This variety is usually presented to the bride by her grandmother, during a ceremony before the wedding. It has straight, two-sided line stitch and appears the same on the reverse. However, only the border is embroidered and the center is left plain. It is usually red in color and worn as a veil.
• Vari-da-bagh: This is also done on a red cloth. It is covered with lozenge golden yellow embroidery, with smaller ones within the border.
• Ghunghat Bagh: This includes a small border on all the four sides, with a large triangular motif in the center. It is worn as a veil.
• Darshan dwar: This is usually used for presentation in temples or for adorning the walls of home, when the Granth Sahib is brought therein. It is also done on a red cloth with the motifs of arched gates facing design of humans, animals, birds, flowers etc.
• Chamba: This includes a series of wavy creepers, stylized leaves and flowers and is highly in vogue recently.
• Suber: This is worn by the bride during marriage. It contains five motifs, one in the center and one in each of the corner.

Other than the above mentioned, there are some more important phulkaris like bawan bagh, satrang, surajmukhi, mor, mirchi, belan and parantha and ikka or ace of diamonds. A new form of phulkari has evolved of late which is not as detailed and time consuming as the older variety. Using a range of different fast colored synthetic threads, it is done from the top of the cloth rather than on its reverse.

Namaste- Is it just a salutation and a way of greeting each other? Does it have any deeper significance? Indian culture is a complex and chaotic mixture of various rituals and traditions just like most of its cities and towns. But behind these mind-boggling practices and customs, lies sound logical foundation of thousand years old. Many of these old Indian custom and wisdom lead towards a sound and healthy life. Namaste as a form of no-touch greeting is the greatest example in the current time. Namaste – the traditional greeting in India has definitely got its due crossing the boundaries of language and region. In the meantime let us delve into the meaning of Namaste or Namaskar and what significance does it have in Indian culture.

Namaste Meaning

Namaste is widely used as a greeting in India and Nepal. Along with the uttered word “Namaste”, it is also accompanied by a gesture. The hands are pressed together and placed near your chest with palms touching and fingers pointed upwards. Also, you bow down a little. Sometimes, only the gesture itself without any said words is sufficient as a greeting.

The history of the gesture dates back to several thousands of years. “Namaste” or Namaskar has been mentioned in the Rig Veda, the oldest of the four Vedas, the important Hindu text book. The term has been borrowed from Sanskrit. “Namah” means bow, obeisance or veneration and “te” means you. In short, Namaste stands for I bow down to you. If you delve deeper into the meaning, the word along with the gesture means

“The divine in me bows to the divine in you”.

“The sacred in me recognizes the sacred in you.”

Well, I have seen these lines scribbled unceremoniously across tee-shirts and tote bags. And then I had thought of how the true meaning of Namaste has been lost in everyday conversation.

The gesture of folding hands too has its own significance. In Sanskrit terms, the gesture is known as Hrdayanjali mudra that means reverence from heart, or Atmanjali mudra that means reverence from the soul. There is both humility and respect in the greeting. Namaste means that we are acknowledging ourselves and the person in front of us as a part of the divine creation. In this way, we are considered equal and connect with the other being with a sense of love and gratitude shedding any feelings of ego and arrogance. Isn’t it beautiful?

In Yoga, tips of the fingers are major energy forms. Each fingertip represents certain energy. The little finger represents Tamas or dullness, the ring finger represents Rajas or activity, the middle finger represents Sattva or refinement, the index finger is the individual soul and the thumb represents is the ultimate soul (or Paramatma). So when the fingers are joined together, there is a feeling of calmness and well being.

Namaste ais a no-touch way of greeting and it has a logical reason too. It is also believed that by folding our hands together, we keep our energy protected as opposed to absorbing the other person’s energy (which is usually in the case of handshakes and hugs). As there is no physical contact, the ability for one person to affect another negatively is minimized. Infact, it is well known that the mudras (gestures) in yoga had a specific science behind them.

Namaste as a greeting in India

Namaste is a common greeting in India. Young and old use this salutation when they meet as well as while bidding goodbye. Usually, young greets the older people with Namaste. As a foreign tourist visiting India, you can greet anyone with Namaste and a sweet smile. It can never go wrong!

So next time you are in India or in any part of the world for that matter, greet each other with a Namaste. Not only will this serve the purpose of greeting and salutation, but will also keep you safe from those germs from unwanted touch!

Caps, the glorious crown of Himachal Pradesh are now a recognized fashion logo in every hue. Colorful caps fascinate everyone at first instance. The traditional yet stylish headgear has derived its name from the place of its origin. Locally, it is called as Kullu topi and is an important part of a local man’s attire/apparel/garments. Alike Kullu district, in some of the other districts also, cap is an important part of male’s attire. The designs of the caps represent the area. The Kullu cap is round in shape and is flat on the top. A band of colorful border brightens the front with beautiful pattern, which is separately woven on small looms and the back portion, which covers the head is made of local woolen yarn and sometimes is also made of cotton or any other light material. These days, plain velvet caps in maroon and green colours are also available in the market. Once use of bright colours in the cap was the significant feature of the caps but nowadays, vegetable colours are being used. These caps are categorized as small, medium and large. The price of a Kullu cap depends on the cloth used and the pattern on the border.

During the pre-independence era clothes from industrialized regions couldn’t reach the valley due to lack of transportation facilities. As Kullu Valley falls under temperate Himalayan region, the cold climate prevalent is suitable for sheep and goat rearing, which also fulfills the necessity for woolens.

Initially the people of Kullu used to weave Patti which is 18”, 20” or 22” wide, and having an appropriate length. They wove it to fulfill the bare necessity of covering their body and protecting themselves of severe cold. Menfolk wove Patti for coats and suthan (pyjamas) and women used it as Pattus  for themselves. Men also made caps out of Patti, which was originally, woven in natural colors of wool i.e. black, white and grey.

Until 1936 pattus were made on the pitloom, but after that handloom came into way, this probably happened because of British influence. When weavers from Bushehar (Shimla) came to the valley in early 1940’s their craft influenced the people of Kullu Valley. The weavers of Bushehar were acquainted with the geometrical designs, which they successfully used on Pattus.

In 1942 when Indian film star Devika Rani, daughter-in-law of famous Russian painter Nicholas Roerich  , came to Kullu. She took a zealous interest in the looms and it was at her request that Sh. Sheru Ram of Banontar village fashioned the earliest urban size shawl (72″ x 36″). On being inspired from Mr. Sheru Ram, Pt. Urvi Dhar started manufacturing shawls commercially.

The advent of synthetic threads in Kullu too dates back to 1940’s when Busheheras came to the valley. As there weren’t any spinning mills in the valley, weavers started importing yarn from Ludhiana (Punjab) and used them in pattus and shawls. Most of these are being imported even today.

In 1957 Kullu Shawl Improvement Center opened up in the valley and Mr. Devi Prakash Sharma joined there as a technician. He developed diverse designs, visited the various co-operative societies and individual weavers and gave them new designs.

With time shawls are now being manufactured in a wide variety of patterns and the use of vegetable dyes, which augment an exotic array of subdued colors in apricots, ochre, rusts, browns, olives and many more, is in vogue.

Processing of Kullu Shawls

The process of shawl weaving consists of making of reels from Ruffle, Pashmina and Angora wool yarn first.

In case of the pitloom, the warp is made manually by winding it around peg- stands separated by a definite amount of distance. The drafting and denting of the ends is done by pulling them through the thread healds and the reed with the help of fingers. The warp is then set onto the loom, its ends are tied and its tension adjusted as per the requirement.

The warp for the fly shuttle flame loom is wound on the warping machine. It is transferred to the warp beam under tension, which is then put on the loom for drafting and denting. The warp ends are drafted and dented with a reed hook, the loom tie-ups and tension are re- adjusted and the loom is geared up for weaving.

The basic structure for the shawl is 2/2 twill woven on a straight or pointed drafting order. The surface texture could be as follows:

• Straight lifting plan woven on a straight drafting plan to give diagonal lines.
• Pointed lifting plan woven on a straight drafting plan to give vertical zigzag.
• Straight lifting plan woven on a pointed drafting plan to give a horizontal wavy pattern.
• Pointed lifting plan woven on a pointed drafting plan to give a diamond shaped structure.

The decorative border of the shawls is always woven in a basket weave with the dove- tailing or slit- tapestry techniques. The colored graph of the design to be woven is used as a reference and the number of ends per design is considered.

Cut lengths of the colored acrylic wool threads are placed in the warp in 2- 3 plys. The technique used to produce the pattern is intertwining or the ‘dove- tailing’ technique also referred as the tapestry weave.

Bidri craft is yet another craft that serves as the pride of the Telangana region. This unique art of silver engraved on metal has always enthralled people with its lure. History reveals that this amazing craft was brought by Iran migrants to the country. It involves various stages such as casting, engraving, inlaying and oxidizing.

During the 14th century, a craft was brought to India by the Iranian migrants/ traders. It is said that noted Sufi Khwaja Moinuddin Hasan Chisti brought metal inlay work in the form of utensils. Later, this craft was popularised by Sultan Ahmed Shah Bahmani by inviting Iraninan craftsman, Abdullah Bin Kaiser to work on his royal palaces and courts.

It is said that Kaiser is the person behind the genesis of Bidriware in India. Kaiser, along with other local craftsmen, spread this craft in the region. Back then, the craft was akin to an ancient practice in Persia and Arabia that was known for inlaying gold and silver in copper and steel. It is believed that the know-how was brought to India from this region but the imbibed craft took a different form altogether.

Documentations over years mention that the making of Bidriware involves an eight step process. The process, nonetheless, is time-consuming and even the making of the smallest of the pieces takes upto two days. In some rare cases, a few pieces could even take months to make.

Moulding is the first step. A masterpiece is first laid onto a wooden surface and sprinkled with sanjeera powder and then the craftsmen add mud in which castor oil is mixed. Adding castor oil to the mud makes the mud smooth. Then the extra smooth/ fine mud is tightly pressed onto the mould. This very process consumes a lot of time and effort as it is very important to get the mould right.

The artisan stands and puts his/her body weight onto the mud to achieve a desired shape. The groove is now ready and the masterpiece is then removed. The sanjeera powder is sprinkled again onto the mould. The fine work of the masterpiece can now be seen clearly on the groove. In the next step, the hot molten zinc and copper (95% zinc and 5% copper) is poured into the groove. The mud that cools immediately, solidifies the metal almost immediately.

The artist then removes the excess metal from the mould and sends a smoother piece to the next steps that involve engraving, inlaying and buffering.

At this point, the base is kept on a wax surface and copper sulphate is added onto the metal. This turns the metal dark and lets the artist see the intricacies of the engraving that needs to be done. The artist engraves on a metal and then inlays the silver wires into the engraved metal by hammering which is followed by buffering. The smoother metal in silver colour is now ready for a wash with kerosene.

After rubbing this metal piece with ash, it’s subjected to oxidation with just two ingredients comprising mud (90%), ammonium chloride (10%) and little quantity of water. It is important to note that the mud is not exposed to both water and sunlight. At this stage, the metal (comprising zinc and copper) that is dipped into the solution turns black but leaves the silver inlay intact.

Over the centuries, Bidriware has been a symbol of wealth. It has adorned the aristocrats and royals. Traditionally, bidriware was used as hookahs and paan holders and a limited set of designs. Today, connoisseurs across the globe would like to get their hands on this exquisite metal inlay craft of Bidriware. It is used to make a range of utility and decorative items like cufflinks, paper cutters, jewellery, boxes, photo frames, vases and others.

The Indian master karigars of Bidar with their great ability and prowess have been able to assimilate a craft of foreign origin into India’s heritage. Bidriware art is not a handicraft. It is the transmission of the collective feeling of artists of this land. Bidriware is a product of devotion of the highest order.

 Pickles of Mango and Gongura in Andhra style

One can hardly ever imagine of an Indian platter without a spoonful of achaar (pickles) whether it is for veg or non-veg meal. Many of our cherished memories of childhood are replete with occasions of helping grandma with her pickle preparation or taking the ceramic jars of pickles to the open terrace for letting them seasoned under the sun.  But, how many of us know how this spicy marinade seeped into Indian culinary tradition?

The tradition of pickle making goes back thousands of years. Etymologically, the word “pickle” is derived from the Dutch word derived from “pekel” which means saline.  According to some historians, the origin of pickles is in ancient Persia where meat, fruits or pickles were preserved in salt, vinegar, honey or syrup.  Some other studies suggest preparation of pickle dates back to BCE 2030 in the valleys of the Tigris River. The tradition of achaar preparation has an ancient and rich legacy which is found in the Kannada text Lingapurana of Gurulinga Desika in 1594 CE. In this text, there is a mention of about more than fifty kinds of pickles. In another work Sivatattvaratnakara, an encyclopedia of the king of Keladi, Basavaraja belonging to the 17th century, there is a mention about pickles.

Avakai is a popular mango pickle of South India which originated in Andhra Pradesh and has been popularised by the Andhra and Tamil communities in the south. The key ingredients of this pickle are green mangoes, mustard paste, hot oil, chilies and other spices.

Mango pickle is usually made during the summer months when mangoes are available in opulence. It takes about four to eight weeks for the mangoes and spices to form a uniform marinade after they are seasoned under the sun continuously during this time.

Gongura pachadi or Gongura pickle is a popular and traditional cuisine of Andhra Pradesh which made from the tangy flavoured Gongura leaves and is eaten as a side dish for rice or chapattis. To preserve the Gongura Pachadi for a long time one should make the leaves dry before making the pickle. Gongura pickle with ghee rice is an all-time favorite platter for the Andhra folks.

Benefits of pickles

• Pickles that are seasoned with salt, help in the growth of probiotic bacteria in your gut, therefore consuming pickles with food aid in better digestion.
• Since pickles are made by preserving raw fruits or vegetables, the anti-oxidant properties of these ingredients are also preserved in the marinade. Anti-oxidants help in fighting against the free radicals that can cause various ailments.
• Studies show pickles boost our central nervous system and our mental health in general.
• It is also a great way to give your children the nutrition they require from fruits and vegetables that they may not eat otherwise.
• The fibre content of the fruits and vegetables are also retained if they are pickled. Due to use of acetic acid in preparing pickles, your hemoglobin level is boosted. But it holds true for pickles that have low salt content.
• Pickles improve immunity in children and prevent them from common cold and flu.

The culture of West Bengal is considered to be one of the richest cultures in India. Apart from boasting of its immense contribution in reformation movements, the state also takes the credit for being the pioneer of cosmopolitan culture in the country. Over the years, the culture of West Bengal has emerged as the perfect blend of modernity and traditions. The sanctity of Hooghly, the beauty of Eastern Himalayas, the diversity of Sunderbans and the freshness of the Tea Gardens, all blend together to constitute what we call the unique culture of West Bengal. Bengali culture also has its root in Bengali music, Bengali cinema and Bengali literature. The delicious Bengali cuisine also forms an important constituent of the state’s cultural heritage.

History of West Bengal
The present culture of Bengal has its roots in the history of the state. In the past, Bengal kept shuffling between the hands of various rulers, making it exposed to different cultures. Mauryans, Guptas and Palas were succeeded by Sena Dynasty, who lost Bengal to Qutb-Din-Ibaq, the Sultan of Delhi. After the death of Aurangzeb, Bengal became independent, with Muslim governors running the administration. The Battle of Plassey, in 1757, saw Siraj-ud-daul, the last independent ruler of Bengal, being defeated by the British. In 1947, with the independence of India, Bengal was divided into East and West Bengal, with the former being given to Pakistan and the latter being made a part of India.

Bengali People
There is a popular saying ‘What Bengal thinks today, Rest of the India will think tomorrow’. This tells what a rich genetic inheritance the people of Bengal have. Bengal has been home to great social reformers like Raja Ram Mohan Roy and Vidyasagar. The great saint Ram Krishna Param Hans and Nobel Laureate Rabindra Nath Tagore also had their roots in Bengal’s soil. Today, Bengalis reflect a mixture of traditional values and modern traditions. They have deep affinity toward art, craft and music and mainly believe in socialism.

Bengali Cuisine
Bengali people are considered to be great foodies and the appreciators of good taste. The staple Bengali food comprises of rice and fish. Fish recipes also form a part of every festive celebration in Bengal. Salmon, Hilsa, Bhekti, Magur, Carp, Rui and Prawns are some common verities of fish cooked in the state. The typical Bengali food has a distinct kind of taste, due to the use of mustard oil and panch-foran (mix of five special types of species). The perfect blend of sweet and spicy flavors in dishes is considered the forte of Bengali cuisine.

Religions in West Bengal
People belonging to almost all the religions practiced in India can be seen in West Bengal. However, Hindu and Muslim domination still prevails. The minority communities in the state include Christians, Buddhists, Sikhs and Jains. Fairs and festivals form an important part of all the religions of Bengal. It is said that in Bengal, there is a festival for every season, every region and every occasion. Apart from the grand festivals, like Durga Pooja, Diwali and Id, small sects organize fairs at various dargahs and mandirs in West Bengal.

Bengali Theatre
The theatre in Bengal dates back to 18th century. Reflecting the rich art and cultural lineage of the state, it gained prominence during the freedom struggle of India, when it was used as a tool of expression. Apart from the religion folk dramas prevalent in many parts of Bengal, Bengali plays with nationwide popularity are also churned out on a regular basis. Girishchandra Ghosh, Rabi Roy, Sisir Bhaduri, Badal Sircar, Shobha Sen and Soumitra Chatterjee are some of the prominent names in Bengali theatre.

Bengali Cinema
The tryst of Bengal with cinema began in 1890s, when the first “bioscopes” became popular in Kolkata theaters. By 1900, the first production company in Bengal was set up, by Hiralal Sen, named the Royal Bioscope Company. The first Bengali movie, Billwamangal, was released on 8th November 1919, only six years after the first full-length Indian feature film, Raja Harish Chandra. In contemporary phase, the immense contribution of great Bengali director Satyajit Ray can not be ignored. Other prominent film makers in the Bengali film industry are Bimal Roy, Ritwik Ghatak, Rituparno Ghosh and Aparna Sen.

Bengali Literature
Bengali literature is regarded as one of the richest in the world. Michael Madhusudan Dutt, Bankim Chandra Chattopadhyay, Dinabandhu Mitra, Raja Ram Mohan Roy, Kazi Nazrul Islam, Rabindra Nath Tagore, Sharat Chandra and Ishwar Chandra Bandyopadhyaya are some of the classic names in Bengali literature. The first evidence of Bengali literature is formed by a collection of 8th-12th century CE Buddhist mystic poems from Eastern India, named Charyapada or Charyageeti. The first Bengali novel was Alaler Ghorer Dulal. Bengali literature includes a variety of classic prose, poetries and fiction and non-fiction drama.

Tribes in West Bengal
A discussion on the culture of West Bengal is incomplete without the mention of its tribal population. There is a variety of tribes found in almost all the nooks and corers of the state, which add a beautiful flavor to its culture. About 38 in number, the tribes comprise nearly 2% of the entire population of West Bengal.

Bengali Music
Bangla Music forms an important part of Bengali cultural heritage. In fact, the music of West Bengal compliments and adorns its culture. There is a lot of variety within Bengali music, from Bangla classic to Banga folk and even rock. Apart from the vocal and instrumental classic, Majlishi classic (with thumri and toppa) form an important part of Bengali Music. Then, there is the Rabindra Sangeet, Ganasangeet, Jeeban mukhi gaan and Bengali film song.

West Bengal serves as home to many talented artisans in India. The unique rustic and mystic charm of Bengal crafts is admired by art-lovers the world over. From embroidery to sculpture and sketching to metal crafts, the state has a unique specialization in many forms of craft. The age-old traditional crafts of West Bengal have been so well molded according to the present day demands that it seems that these artisans, apart from their traditional skills, have an expertise in the art of survival as well. Even if you have little understanding of arts and crafts, you will certainly be captivated by the unique handicrafts of West Bengal. Let us know more about them.

Kantha Embroidery
Kantha is a very beautiful form of embroidery that originated in West Bengal. It is basically the art of outlining decorative images with running stitch, on clothes, with colorful threads. It is used on saris, dhotis, kurtas, ethnic-wear for men and women, bed-linen, cushion covers, quilts and other such items. A craze amongst foreign tourists, Kantha stitch is best used on cotton and silk.

Terracotta Craft
The terracotta craft of West Bengal is famous throughout the world, for its pastoral and rustic charm. The clay-modeled items that form a part of this craft, made with natural colors, are a viewer’s delight. They were a craze in Bengal during the reign of Malla rulers, in the 16th-17th century. The temple of Vishnupur stands as marvelous example of the terracotta craft of Bengal.

Scroll Painting
Scroll Painting is done on thick fabrics, with the help of natural colors. Popularly called Pat Chitra in Bengal, they vary in length and height. However an average scroll painting is about 15 ft long. It is divided into a number of compartments, with each compartment carrying an episode of the story being narrated through Pat Chitra.

Conch Shell Crafts
Conch shell craft is one of the most unique and most beautiful forms of handicrafts practiced in West Bengal. It is actually the art of engraving decorative motifs on the natural shells obtained from the ocean. Conchshell crafts are beautiful and delicate, apart from being considered to be extremely auspicious in the Hindu mythology.

Dokra Metal Craft
It is one of the most popular forms of art practiced in Bengal, named after the people who practiced it. It is actually the art of creating statues, jewelries, idols and many other decorative pieces, with the help of clay, wax and molten metal. The best part about Dokra metal crafts is that they are completely original and no replica of any item can ever be made.

Pottery
One of the oldest crafts of Bengal is pottery. It is practiced in the state with beautiful variations, in exquisite styles. Different kinds of pots, like Mangal Ghat, Lakshmi Ghat, Manasha Ghata and Tulsimancha, are designed here. All of them have their own significance and distinctive style. Apart from being practiced for individual purposes, it is also designed and sold on a commercial scale.

Bankura Horses
Bankura horses made from terracotta and considered to be auspicious in West Bengal. They are found adorning one or the other corner, in almost all the Bengali households. They are also used in traditional Bengali rituals, as they are considered to represent the holy horses in Sun God’s chariot. When in the state, make sure to buy a sample of this craft, as a souvenir.

Clay Dolls
Putul, as the Bengali dolls are popularly called, are a craze in the European market. Shaped out of clay, painted in vibrant colors and baked in a kiln, they represent the rural Bengal. Out of several varieties of clay dolls in Bengal, the real-life dolls of Krishna Nagar, depicting various social scenes like Collector’s court, tea garden, pandit sabha and Charak festival, are the most popular.

Sholapith Craft
Sholapith is a milky-white sponge-wood, used for crafting beautiful decorative pieces. It is also known as ‘herbal ivory’, as it seems to look like the milky-white items made from ivory. Sholapith is popularly used to craft head-wears of bridal couples, garlands, decorative fans, animals, birds, dolls, Images of gods and Goddesses, elephant-howdahs, peacock-boats, palanquins, flowers various kinds of crowns and backdrop of Durga Pooja stages.