Here at CraftVogue, you don’t just buy the products of your choice but also get an opportunity to know what you are buying and thus spread the beauty of Indian arts and tradition through your knowledge and unique shopping experience. This page will get regularly updated as we bring more and more unique crafts for you from all the corners of the country.

Suf

Suf is one of the most painstaking embroidery based on the triangle, called a "suf". Suf is counted on the warp and weft of the cloth in a surface satin stitch worked from the back. Motifs are never drawn. Each artisan imagines her design then counts it out --in reverse! Skilled work thus requires an understanding of geometry and keen eyesight. A suf artisan displays virtuosity in detailing, filling symmetrical patterns with tiny triangles, and accent stitches. And the final product is brought up for sale at our online store for you to purchase!!

Paako

Paako literally solid, is a tight square chain and double buttonhole stitch embroidery, often with black slanted satin stitch outlining. The motifs of paako, sketched in mud with needles, are primarily floral and generally arranged in symmetrical patterns. Paako crafts will definitely interest those who have a strong liking for floral patterns. We at Craftvogue have tried out our level best to reach out to maximum possible demands of our valued customers and have got every possible products at our store.

Rabari

Rabari embroidery is unique to the nomadic Rabaris. Essential to Rabari embroidery is the use of mirrors in a variety of shapes. Rabaris outline patterns in chain stitch then decorate them with a regular sequence of mirrors and accent stitches, in a regular sequence of colors. Rabaris also use decorative back stitching, called bakhiya, to decorate the seams of women's blouses and men's kediya/ jackets. The style, like Rabaris, is ever evolving and in abstract motifs Rabari women depict their changing world. Contemporary bold mirrored stitching nearly replaced a repertoire of delicate stitches --which Kala Raksha revived.

Jat

Garasia Jat work similarly "belongs" specifically to Garasia Jats, Islamic pastoralists who originated outside of Kutch. Garasia women stitch an array of geometric patterns in counted work based on cross stitch studded with minute mirrors to completely fill the yokes of their churi, a long gown. This style, displaying comprehension of the structure of fabric, is unique in Kutch and Sindh. So those who have a taste for the Western culture will definitely go for it!!

Mutava

The Mutavas are a small culturally unique group of Muslim herders who inhabit Banni, the desert grassland of northern Kutch. The exclusive Mutava style comprises minute renditions of local styles: paako, khaarek, haramji and Jat work, though these are known by different names. Specific patterns of each style, such as elongated hooked forms and fine back stitch outlining in paako, and an all-over grid in haramji, are also unique to Mutava work. Though technique varies, Mutava style is uniformly fine and geometric. The different geometric designs adds to the beauty of the handicraft to a great extent.

Kantha

Indian kantha is undoubtedly a fine example of rich tradition of handicrafts in rural Bengal. A product that was once made for necessity is now an emissary of Indian handicraft throughout the world. Kantha are traditionally associated with rural women of Bengal who transformed pieces of old rags into magical textiles. The kantha stitch, in fact, is merely a running stitch. It is the clever grading of the stitches, and the positioning, that produces the amazing variety of designs. The designs of the Kantha products are pretty appealing and Kantha products are suitable for all occasions to be given away as gifts or for one’s own use.

Patchwork and Appliqué

Patchwork and Appliqué Patchwork and appliqué traditions exist among most communities. For many embroidery styles, master craftwork depends on keen eyesight. By middle age, women can no longer see as well and they naturally turn their skills and repertoire of patterns to patchwork, a tradition that was originally devised to make use of old fabrics. Older artisans could thus join the cooperative. Women need not feel their earning days are numbered. The elder patch workers as well as younger embroiderers can earn.

Lac Jewelry

Lac jewelry, also known as lacquer jewelry, originated in Rajasthan and has gained considerable popularity in India today. Lac jewelry is available in versatile designs, which add to its beauty. Rajasthani people believe that lac bangles bring good omen to those who wear them.

This prominent craft of Rajasthan was initially developed by tribal people of the state. Once the craft of tribal people, lacquer jewelry is now rage of urban India. The accessories made of lac attract everyone for obvious reasons. The process of making lac jewelry is complex. Glass beads, flower shaped mirrors and decorative wire are also used for the enhancement of beauty of the jewelry. Core lac, when mixed with a material similar to white clay, strengthens the bangle. The heating, mixing, kneading, and hammer pounding of the parched ingredients takes place repeatedly and dough like mass is formed.

Once this mass is heated, it is shaped further and the expansion of the lac takes place in lieu of bargained diameter. The shaping is done by suppressing the length of lac into grooves (colored) on every side of the mould. The lac takes the shape of the groove into which it is forced. This process, which requires great precision, produces the most beautiful pieces of jewelry. So those who have a real craze for jewelries be it in junk or precious forms will definitely fall for Lac Jewelries.

Warli

Tribal Art is inseparable from the lives of the Warli tribe in Maharashtra. It is an image of their cultural ethos. It is a natural and extempore manifestation of their emotions. The thatched soil-dung plastered wall becomes a powerful canvas to exhibit the moments of simple and unpretentious tribal life, their so different life, their festivals, festivities daily occurrences and incidents, manner - everything finds place on this canvas. The joy of painting on these cow-dong splashed walls with rice-gruel or porridge is unparalleled. One can see numerous items therein - such as Dances, Marriage, Marriage-procession, Festivals, Coconut/Palm trees, Rice-fields, Tribal Gods, one can see daily life incidents picturized on the wall. To grasp the real import of their picture-culture one must wander through the Warli countryside. The beautiful nature, the tribals living therein, their culture, their social life has to be observed from close quarters. Then alone one can appreciate the Tribal-Art.

One can observe so many things therein marriage ceremony, marriage festivities, the marriage party, the band, procession, marriage couple, rice-fields, the circle in Tarpa Dance, Group Dance, Dancers who dance in serpentine rhythm in a circle with hands woven round the coin one can notice in Warli paintings, minute observation of various creatures, snakes, frogs, crabs, field-worms, scorpions, men at work; a minute observation of all these entities can be noticed in Warli paintings. Every picture / painting depicts the world as their simple unadulterated mind perceives it. The present attempt is to carry to the people this overwhelming art in the basic form, in the form of wall-painting and in a form that ‘talks’ silently.

Those who have a taste for paintings or are looking out for having a good collection of paintings then going for Warli paintings are indeed a good choice as these paintings apart from its extreme artistic beauty sends out some kind of social message to the society.

Madhubani

Madhubani painting comes from the Indian villages of Madhubani and Mithila in Bihar. These paintings are done on various mediums such as cloth, hand made paper and canvas. The main themes of Madhubani paintings contain images of Hindu deities such as Krishna, Ram, Shiva, Durga, Lakshmi and Saraswati.

The art of Madhubani painting requires skill and implies a certain technique. This technique requires simple raw materials that are easily located in villages such as bamboo sticks and cotton.

Firstly the cotton is wrapped around a bamboo stick to serve as a brush. Then the brush is dipped in colors and applied on to the fabric. No shading technique is used. The outline is done with double lines. The gaps between the two lines are filled with cross or straight lines. Vegetable colors are used making use of natural resources.

Madhubani paintings are pretty and well recognized by their distinct style of painting. Colorful and vivid in their description and get, the Madhubani art form is well appreciated by one and all. Madhubani paintings add a dash of vibrancy in the room and enhance its appeal when used as home décor item. So, next time you think of decorating the interiors of your house Madhubani Paintings are a must.

Patachitra Painting

Patachitra is a vibrant folk art form native to Orissa, a state in eastern India. Patachitra was originated in the 8th century AD in the form of an annual ritual in the famous Jagannath Temple of Puri, a beach town in the East Indian State of Orissa. Each year the painted wooden images of Jagannath, Balabhadra and Subhadra (residing deities of Orrisa) are ritually given the holy bath which leads to the decoloration of the images. While these images are sent for repainting, they are temporarily replaced by three paintings, representing the holy trio, on specially treated clothes or patas by the temple prainter; hence the name Patachitra (Sanskrit Pata=cloth, Chitra=Painting). Evolved as a yearly ritual, Patachitra paintings have now registered a special place for themselves in Indian folk art and craft and is unanimously applauded worldwide for their beauty and uniqueness.

The process of preparing the Pata is quite tedious, usually taking upto 5 days. It involves the preparation of a tamarind seed paste, which is mixed with water in an earthen pot and subjected to further treatment. It is known as the 'Niryas Kalpa'. The chitrakar (artist) then selects two pieces of cloth of equal size and sticks them together with this paste. Clay powder is then added to the mixture and two or three coatings of this mixture are applied on to the prepared canvas on both the surfaces. When the canvas is dry, it is polished, a process that takes several hours. Once it is dry, the paintings ('chitrakarita') begin. While the tradition started with depicting only Gods and Goddesses, the Lilas (feats) of Lord Krishna, legends and animals, modern Patachitra paintings also depict scenes from the lives of the common man and the celebration of the events of life.

Pinguli Painting

The small and almost inconspicuous village of Pinguli, located near Kudal has been home to the traditional folk artists of the Thakar Adivasi community from mid- eighteen century onwards. The art, which has been handed down the generations verbally and informally from father to the eldest son of the family, received Rajashraya or patronage from Raja Khemsawant Bhosale of the erstwhile princely state of Sawantwadi. The original nomadic puppeteers who used their artistic skills to bring to life legendary myths and anecdotes, were interestingly also appointed by royalty especially Shivaji Maharaj for political espionage, as they traveled from village to village down the Konkan coast until they reached Karwar, which is now part of coastal Karnataka.

Pinguli paintings have their own way of depicting stories from the ancient tales of the Mahabharata and the Ramayana. These stories can be in the form of scenic depictions or certain moments from history and day to day lives of the royal clan.

However, in the struggle for daily needs, this art form took a back seat and the artists had to let go off their age-old traditions and seek livelihood for their families. Culture Aangan, an organization arranging home stays in Sawantwadi, has started an initiative to revive this art form. CraftVogue is helping them in this initiative by providing a platform for global exposure as well as providing an opportunity for the people to know about this dwindling art form and help preserve this folk art.

Apart from paintings, Pinguli has a whole lot of art forms which still remain within the confines of this village and are slowly dwindling into anonymity. To know more about those art and craft, visit http://www.cultureaangan.com/pinguli.htm.

Sabai Grass Products

Sabai grass is grown widely in the Mayurbhanj district of Orrisa which is mainly used for making Sabai ropes. Sabai ropes are mostly sold outside the state for use in weaving Charpai (Cots) and in paper manufacturing concerns. Sabai rope is also used in making Sofa sets, Chairs, Tea Poy etc. The main body frames of the Chairs and sofas are made in Bamboo and wood and Sabai rope is woven and coiled over the frame to give a finishing shape, which attains exceptional excellence. The civil Jail of Baripada, Orrisa is pioneer in introducing such Sofa and some other items namely Car mats, Screens, Carpets etc. thus providing a means of earning for the inmates.

In recent years utility articles like Dining mat, Fruit Basket/Tray, Flower vass, Coasters etc. are produced by using jute twine along with Sabai rope with intervention of National Council of Jute Development.