Naga Shawl Weaving originating from
Nagaland,
the 16th state of the Indian Union, is a rare art
form passed down through generations, with Naga
women mastering the art on looms during the
agricultural off-season.
Naga women predominantly use red or black
yarn,
occasionally infused with dark blue hues. Cotton and
wool are favored materials, although the decline of
cotton cultivation in the state has shifted weavers
towards store-bought supplies. The motifs are
intricately embroidered in a densely patterned weave
and are unique to each tribe.
These shawls are not mere garments but intricate
expressions of Naga traits,
professions, honors, and entitlements. Despite the
rich heritage of the Naga Shawl, it’s a fading art
as quality yarn is hard to come by, leading to
financial instability for the weavers.
Pattachitra originated in Odisha, India and has a rich legacy of over 3000 years. Etymologically, the term "Pattachitra" translates to a picture or painting on cloth, paper, and palm leaves, depicting songs, stories, and folklore from the region.
Pattachitra Art is deeply rooted in Hindu mythology and artists work in a familial setting. The head artists create outlines while women prepare glue, canvas, and fill the paintings with colors. To achieve its unique texture, the canvas is rubbed with a mixture of chalk and tamarind seeds, providing a distinctive leathery finish.
Renowned Pattachitra artist, sculptor, and Padma Shri awardee, Raghunath Mohapatra, has left an indelible mark on the art form. But due to a lack of recognition and patronage in recent times, this art form has been declining.
Naga Shawl Weaving originating from
Nagaland,
the 16th state of the Indian Union, is a rare art
form passed down through generations, with Naga
women mastering the art on looms during the
agricultural off-season.
Naga women predominantly use red or black
yarn,
occasionally infused with dark blue hues. Cotton and
wool are favored materials, although the decline of
cotton cultivation in the state has shifted weavers
towards store-bought supplies. The motifs are
intricately embroidered in a densely patterned weave
and are unique to each tribe.
These shawls are not mere garments but intricate
expressions of Naga traits,
professions, honors, and entitlements. Despite the
rich heritage of the Naga Shawl, it’s a fading art
as quality yarn is hard to come by, leading to
financial instability for the weavers.
Pattachitra originated in Odisha, India and has a rich legacy of over 3000 years. Etymologically, the term "Pattachitra" translates to a picture or painting on cloth, paper, and palm leaves, depicting songs, stories, and folklore from the region.
Pattachitra Art is deeply rooted in Hindu mythology and artists work in a familial setting. The head artists create outlines while women prepare glue, canvas, and fill the paintings with colors. To achieve its unique texture, the canvas is rubbed with a mixture of chalk and tamarind seeds, providing a distinctive leathery finish.
Renowned Pattachitra artist, sculptor, and Padma Shri awardee, Raghunath Mohapatra, has left an indelible mark on the art form. But due to a lack of recognition and patronage in recent times, this art form has been declining.
Lombok pottery is a timeless craft passed down through generations by the people of Lombok, an Indonesian island located east of Bali. The island is home to several villages known for their pottery production, including Penujak and Banyumulek.
Lombok pottery is made by processing clay into items such as vases, plates, and other household items. The pottery is often decorated with intricate designs that reflect the cultural heritage of the people of Lombok.
Lombok pottery was initially utilitarian, producing functional vessels for daily use. As tourism and cultural exchanges grew, Lombok pottery adapted to cater to a deeper audience, incorporating more intricate and decorative designs.
Saa paper umbrella making is a traditional handicraft of creating handmade umbrellas using Saa paper (made from the bark of the mulberry tree). The umbrella-making process, native to Thailand, involves treating the mulberry bark to soften it, then grinding and boiling it to create a fine pulp to make the paper. The paper is then cut and designed into the shape of the umbrella and supported by a bamboo frame.
Bo Sang, a town near Chiang Mai in northern Thailand, is a prominent destination for its Saa paper umbrella-making heritage and hosts an annual Umbrella Festival to showcase the work of local Saa artists.
Despite the aesthetic appeal of Saa paper umbrellas, challenges in accessing broader markets for their handcrafted umbrellas have impacted the economic viability of the craft.
The expensive Sumi-e ink is the traditional black ink used in Japanese calligraphy and ink-wash painting. Originally, artisans made the ink with soot from burned pine wood and combined it with animal glue or other binding agents to shape it into sticks. The Sumi-e ink stick was then rubbed on an inkstone with water to produce vibrant ink for writing or painting.
Sumi-e ink artisans produce the ink when the temperature and humidity are optimal. A minimum of four years is required for production—and the most expensive ones take even longer. The best time to make Sumi ink is from autumn to early spring when the air is dry and cold.
The rise of commercial inks and the intricate production of Sumi-e ink puts it at risk of decline. Masako Yamamoto, the artist behind the Koho School of Sumi-E, has helped to delay this fate and popularize Sumi-E artworks across the globe.
Lombok pottery is a timeless craft passed down through generations by the people of Lombok, an Indonesian island located east of Bali. The island is home to several villages known for their pottery production, including Penujak and Banyumulek.
Lombok pottery is made by processing clay into items such as vases, plates, and other household items. The pottery is often decorated with intricate designs that reflect the cultural heritage of the people of Lombok.
Lombok pottery was initially utilitarian, producing functional vessels for daily use. As tourism and cultural exchanges grew, Lombok pottery adapted to cater to a deeper audience, incorporating more intricate and decorative designs.
Saa paper umbrella making is a traditional handicraft of creating handmade umbrellas using Saa paper (made from the bark of the mulberry tree). The umbrella-making process, native to Thailand, involves treating the mulberry bark to soften it, then grinding and boiling it to create a fine pulp to make the paper. The paper is then cut and designed into the shape of the umbrella and supported by a bamboo frame.
Bo Sang, a town near Chiang Mai in northern Thailand, is a prominent destination for its Saa paper umbrella-making heritage and hosts an annual Umbrella Festival to showcase the work of local Saa artists.
Despite the aesthetic appeal of Saa paper umbrellas, challenges in accessing broader markets for their handcrafted umbrellas have impacted the economic viability of the craft.
The expensive Sumi-e ink is the traditional black ink used in Japanese calligraphy and ink-wash painting. Originally, artisans made the ink with soot from burned pine wood and combined it with animal glue or other binding agents to shape it into sticks. The Sumi-e ink stick was then rubbed on an inkstone with water to produce vibrant ink for writing or painting.
Sumi-e ink artisans produce the ink when the temperature and humidity are optimal. A minimum of four years is required for production—and the most expensive ones take even longer. The best time to make Sumi ink is from autumn to early spring when the air is dry and cold.
The rise of commercial inks and the intricate production of Sumi-e ink puts it at risk of decline. Masako Yamamoto, the artist behind the Koho School of Sumi-E, has helped to delay this fate and popularize Sumi-E artworks across the globe.
Globally recognized for their elaborate patterns, lively hues, and superior craftsmanship, Moroccan Berber rugs hold a prominent status. These rugs mirror the profound bond between the Berber people and their homeland.
The wool used in crafting Berber rugs comes from the sheep and goats raised by the Berbers, which are then hand-spun into yarns. Natural dyes extracted from plants, minerals, and insects are sourced locally to color the wool. The weaving process, usually practiced by women artisans, boasts a distinct character, making them unique.
Traditionally, Berber carpets were offered as a present to those in the upper social classes in the Imperial Cities of Morocco and other emerging nations. Museums like the Dar Batha Museum host many historic Berber rugs from Morocco that are still revered.
Mashrabiya wood carving is a traditional woodworking technique used to create intricately carved latticework panels and is a signature feature of Islamic architecture. Like Islamic mosaic tiles, mashrabiya patterns feature interlocking shapes, showcasing a blend of beauty and geometric complexity.
Mashrabiya serves as a passive cooling system, channeling air through lattice openings. Traditionally, these ornamental window treatments were designed to mark off gender boundaries within interior spaces while offering shade. In Islamic principles, mashrabiya evolved into a platform for showcasing artisanal and decorative skills within the permissible confines of realistic imagery.
In this age, Mashrabiya wood carving is a relic of aesthetic beauty and cultural significance. One popular representation of Mashrabiya intricacies is prominent in Susan Hefuna's artwork, "Woman Cairo 2022."
Sadu weaving is a traditional weaving style practiced by Bedouin women in Middle Eastern countries like Saudi Arabia, Kuwait, Qatar, and the United Arab Emirates. The term "Sadu" comes from the horizontal-style weaving technique used to create woven textiles with distinctive geometric patterns and designs.
Originating in the Arabian Peninsula, Sadu weaving was traditionally a functional craft used by Bedouin nomads to make practical items like tents, rugs, and camel bags. The weaving involves a warp-faced plain weave crafted on a ground loom. The resulting fabric, made using natural fibers and sourced locally by the community, is tightly woven and robust.
Master weavers, typically older Bedouin women, are the primary custodians of Sadu. Objects created using Sadu weaving techniques underscore the significance of female roles within Bedouin society.
Globally recognized for their elaborate patterns, lively hues, and superior craftsmanship, Moroccan Berber rugs hold a prominent status. These rugs mirror the profound bond between the Berber people and their homeland.
The wool used in crafting Berber rugs comes from the sheep and goats raised by the Berbers, which are then hand-spun into yarns. Natural dyes extracted from plants, minerals, and insects are sourced locally to color the wool. The weaving process, usually practiced by women artisans, boasts a distinct character, making them unique.
Traditionally, Berber carpets were offered as a present to those in the upper social classes in the Imperial Cities of Morocco and other emerging nations. Museums like the Dar Batha Museum host many historic Berber rugs from Morocco that are still revered.
Mashrabiya wood carving is a traditional woodworking technique used to create intricately carved latticework panels and is a signature feature of Islamic architecture. Like Islamic mosaic tiles, mashrabiya patterns feature interlocking shapes, showcasing a blend of beauty and geometric complexity.
Mashrabiya serves as a passive cooling system, channeling air through lattice openings. Traditionally, these ornamental window treatments were designed to mark off gender boundaries within interior spaces while offering shade. In Islamic principles, mashrabiya evolved into a platform for showcasing artisanal and decorative skills within the permissible confines of realistic imagery.
In this age, Mashrabiya wood carving is a relic of aesthetic beauty and cultural significance. One popular representation of Mashrabiya intricacies is prominent in Susan Hefuna's artwork, "Woman Cairo 2022."
Sadu weaving is a traditional weaving style practiced by Bedouin women in Middle Eastern countries like Saudi Arabia, Kuwait, Qatar, and the United Arab Emirates. The term "Sadu" comes from the horizontal-style weaving technique used to create woven textiles with distinctive geometric patterns and designs.
Originating in the Arabian Peninsula, Sadu weaving was traditionally a functional craft used by Bedouin nomads to make practical items like tents, rugs, and camel bags. The weaving involves a warp-faced plain weave crafted on a ground loom. The resulting fabric, made using natural fibers and sourced locally by the community, is tightly woven and robust.
Master weavers, typically older Bedouin women, are the primary custodians of Sadu. Objects created using Sadu weaving techniques underscore the significance of female roles within Bedouin society.
Seminole patchwork emerged in the early 20th century among the Seminole Tribe of Florida, evolving in the 1910s and 1920s as a response to economic needs and cultural expression. Initially simple two-color designs, the introduction of sewing machines allowed for more intricate patterns. The patchwork style, Taweekaache (meaning "design" in Mikasuki), became central to Seminole identity and later gained popularity among tourists.
Seminole patchwork is deeply tied to the tribe’s history, with each design reflecting tribal heritage, natural elements, and stories. It plays a crucial role in maintaining cultural identity, with patchwork garments symbolizing resilience. Seminole dolls dressed in patchwork clothing have also helped promote the tribe's culture to a wider audience.
Modernization, economic pressures, and cultural appropriation are among the top factors that threaten the tradition. The younger generation’s shift away from traditional practices, coupled with reduced tourism and mass production, jeopardizes the art form’s future. Despite these challenges, many artisans continue to create Seminole patchwork, blending tradition with modern themes.
Mi'kmaq quillwork of northeastern North America for centuries predates European contact. This intricate craft employs porcupine quills, sourced locally, to embellish items with unique patterns. Mi'kmaq women historically used quills to decorate clothing, accessories, and functional objects.
In the 18th century, European trade introduced new markets, prompting innovations like the birchbark insertion technique, where quills adorned birchbark containers and furniture. Quillwork symbolizes status and community ties. It also serves as a storytelling medium, preserving the Mi'kmaq people's heritage. Today, renewed interest in quillwork highlights its cultural importance and role in revitalizing Indigenous traditions.
Mi'kmaq quillwork, a vital cultural expression, has declined due to eroding traditional skills and competition from mass-produced goods. Additionally, assimilation policies created a generational gap, hindering the transmission of skills and knowledge.
Sweetgrass basketry, developed in the 1700s, are rooted in the traditions of enslaved West Africans and is practiced by the Gullah people of South Carolina and the Abenaki of New England. Using local materials like sweetgrass and palmetto, the craft evolved from practical uses, such as rice winnowing, to an art form symbolizing cultural heritage and community resilience.
This artform is a key cultural expression for the Gullah community. These baskets, both functional and spiritually significant, reflect natural environments and community stories. Passed down through generations, the craft supports economic survival for artisans. Highly valued by collectors and tourists, sweetgrass baskets symbolize African American artistry and heritage.
Despite its cultural significance, sweetgrass basketry has declined due to economic pressures from mass-produced goods, a loss of traditional knowledges, and environmental challenges affecting the availability of materials like sweetgrass. However, efforts within the Gullah community, such as workshops and festivals, are underway to revitalize interest and preserve this cultural heritage.
Seminole patchwork emerged in the early 20th century among the Seminole Tribe of Florida, evolving in the 1910s and 1920s as a response to economic needs and cultural expression. Initially simple two-color designs, the introduction of sewing machines allowed for more intricate patterns. The patchwork style, Taweekaache (meaning "design" in Mikasuki), became central to Seminole identity and later gained popularity among tourists.
Seminole patchwork is deeply tied to the tribe’s history, with each design reflecting tribal heritage, natural elements, and stories. It plays a crucial role in maintaining cultural identity, with patchwork garments symbolizing resilience. Seminole dolls dressed in patchwork clothing have also helped promote the tribe's culture to a wider audience.
Modernization, economic pressures, and cultural appropriation are among the top factors that threaten the tradition. The younger generation’s shift away from traditional practices, coupled with reduced tourism and mass production, jeopardizes the art form’s future. Despite these challenges, many artisans continue to create Seminole patchwork, blending tradition with modern themes.
Mi'kmaq quillwork of northeastern North America for centuries predates European contact. This intricate craft employs porcupine quills, sourced locally, to embellish items with unique patterns. Mi'kmaq women historically used quills to decorate clothing, accessories, and functional objects.
In the 18th century, European trade introduced new markets, prompting innovations like the birchbark insertion technique, where quills adorned birchbark containers and furniture. Quillwork symbolizes status and community ties. It also serves as a storytelling medium, preserving the Mi'kmaq people's heritage. Today, renewed interest in quillwork highlights its cultural importance and role in revitalizing Indigenous traditions.
Mi'kmaq quillwork, a vital cultural expression, has declined due to eroding traditional skills and competition from mass-produced goods. Additionally, assimilation policies created a generational gap, hindering the transmission of skills and knowledge.
Sweetgrass basketry, developed in the 1700s, are rooted in the traditions of enslaved West Africans and is practiced by the Gullah people of South Carolina and the Abenaki of New England. Using local materials like sweetgrass and palmetto, the craft evolved from practical uses, such as rice winnowing, to an art form symbolizing cultural heritage and community resilience.
This artform is a key cultural expression for the Gullah community. These baskets, both functional and spiritually significant, reflect natural environments and community stories. Passed down through generations, the craft supports economic survival for artisans. Highly valued by collectors and tourists, sweetgrass baskets symbolize African American artistry and heritage.
Despite its cultural significance, sweetgrass basketry has declined due to economic pressures from mass-produced goods, a loss of traditional knowledges, and environmental challenges affecting the availability of materials like sweetgrass. However, efforts within the Gullah community, such as workshops and festivals, are underway to revitalize interest and preserve this cultural heritage.