Akshara - Crafting Indian Scripts
The Akshara project involves 58 artists in crafts, textiles and traditional painting on a journey of discovery into the world of letters, scripts and calligraphy. It incorporates scripts in 14 languages and 21 different handskills, covering 16 States of India. Some worked closely with guides, but a few were masters of their own form and thoughts from the very beginning. The individual stories of these journeys and the resulting art works contributed to the multi-faceted Akshara.
Woolen StoleDastkari Haat Samiti
The objectives of the Akshara project are: To enable craftspeople to appreciate a new facet of being literate by exploring their own scripts and cultural stories through their traditional craft skills. To use calligraphy in design to encourage non-literates to embrace literacy and explore the idea of crafting the written word. To develop a series of artistic works, in a variety of materials, embellished with regional scripts, through a collaborative process between experienced designers/guides and expert craftspersons. To demonstrate how the marvels of a computer and the principles of graphic design can combine with indigenous alphabets to highlight their many dimensions. To promote appreciation and interest in the diverse regional scripts of India.
Cushion covers Cushion with sequinned Urdu alphabetsDastkari Haat Samiti
The artists would showcase their art at a series of exhibitions, developing new craftworks for different audiences as they progress. The Akshara exhibitions will seek to inspire even as they instruct, inform and entertain.
sozni embroidery - Shabir Ali Beigh, Mehboob Ali
Beigh & Ghulam Mohammad Beigh
Kani is a technique of handloom weaving with bobbins of coloured threads to create floral patterns on shawls. Sozni is the name for embroidery with needle and thread. In recent times, elaborate and rich embroidery covering the entire surface of the shawl has been christened kani sozni as an embossed variation of the woven shawl.
Stole Preliminary stage with block printDastkari Haat Samiti
Shabir Ali Beigh is a talented embroiderer in the little known kani sozni tradition of Kashmir.
Stole MufflerDastkari Haat Samiti
The thick encrusted embroidery of a typical kani sozni decorates two ends of a stole in cream-coloured pashmina wool. Hidden from initial view is a message meandering through the field of flowers. It says talim aadmi ko insaan banata hai, meaning “education makes a man human".
StoleDastkari Haat Samiti
Shabir’s skill with the pen did not match up to that of his needle. However, he agreed to learn to write and embroider some of the names of over 100 different motifs on a cream-coloured pashmina shawl. He added the local names by subtly surrounding the motifs with them to look like part of the design. His brother Ghulam Mohammad ably assisted him in his work.
The calligraphy on a lotus pink silk quilt cover patterned with water lilies and lotus flowers reads as da - wa - shar- na - ku - mu - dha, meaning “at moonrise the water lilies open, but the lotuses close.”
Wooden Elephant statuette by Mahavir Prasad BondwalDastkari Haat Samiti
- Mahavir Prasad Bondwal
Master craftsman Mahavir Prasad was asked to write down his thoughts and
the story of this particular elephant.
is a holy place in Jind, Haryana called Pind Pindari where the Pandavas of the
Mahabharata were said to have given holy offerings to their ancestors. At this
very spot was an ancient kadam tree that had fallen and become almost hollow
and filled with mud inside. It was discovered when the local administration
decided to renovate the shrine and its environs. The local official was an
enthusiast of culture and respectful of local history. He arranged for the tree
to be sold to us woodcarvers, and used the money towards renovating the shrine.
He told us the tree was of better use to us than others and we should use it
well. The grain of this old tree was so beautiful that we chose to avoid
carving over a large area.
Within one wooden object,
the maker of this rare piece has scripted the history of the wood he has used,
the elephant as a great animal, and the importance of literacy.
On its ears on the vertical side is carved chaukanna har aahat par meaning the elephant is always alert.
On different parts of the body, the wood carver places phrases meaningful to him. Akshar gyan sarvottam meaning “knowledge of the alphabet is of utmost importance” is carved on its forehead.
On its edges and feet is carved the story of the origin of the wood used to fashion the elephant and how the artist’s family came to obtain it.
- Nazir Ahmad Mir
The artist, Nazir Ahmad Mir, is the recipient of a national award for his intricate and fine art on papier-mâché and wood. Although his usual repertoire consists of only typical replicas of age-old papier-mâché designs, his ability to innovate when given new ideas is unmatched. During a period of political unrest in Kashmir, young men began pelting stones at symbols of State authority. When it was suggested to Nazir that he collect smooth rounded delicately-hued pebbles from local streams and paint them with flower and bird motifs to offer a response of peace, he readily did so.
painting - Sneh Gangal
The miniature artist is adept at painting images with a fine squirrel-hair brush. When this art is transposed onto a mirror, the work faces the challenge of needing to be painted in reverse. The process involves pasting a mirror sheet at the back and removing the calligraphic portion carefully by hand.
Painting on glass (series of four)Dastkari Haat Samiti
Artist Sneh Gangal has chosen the Kangra school of painting to fill the spaces within Geet Govind, the famed poem of love describing and dedicated to the deity Krishna written in Devanagari calligraphy.
The intricate designs and inlay patterns on the surfaces of the Taj Mahal have inspired hundreds of artisans over centuries. Semi-precious stones and many varieties of marble are used to cast a rich glow on surfaces of tables, boxes, platters and even chessboards. The dramatic and graphic use of a single letter “k” in Devanagari and Urdu, demonstrates how letters when graphically presented can transform Agra marble work into contemporary objects of simple beauty. The designs of inlaid calligraphy on the lids of the two stone boxes have been inspired by the workmanship on the Taj Mahal. The Devanagari letter is inlaid with a hard black stone locally called “belgium” on translucent white alabaster, which is a soft stone. The black box is made of ‘”paleva”, a popular soft stone used widely in Agra. The inlaid Urdu letter is in mother-of-pearl
Woolen StoleDastkari Haat Samiti
Inside the paisley are words of 17th century Mughal emperor Jahangir who is famously said to have exclaimed gar firdaus / ruhe zamin ast / hamin asto / hamin asto hamin sat on seeing the beauty of Kashmir. It means, “If ever there was a heaven on earth, it is this, it is this, it is this.”
Woolen Stole Exploration on PaperDastkari Haat Samiti
For many months Majid and Altaf drew designs on paper, worked out the talim (instruction sheet) to weave the shawl on the kani loom, and came up with single and multi-coloured experiments in calligraphy and calligrams (called as such when letters are artistically placed within a shape, such as of a horse, bird, or deer).
Sanjhi - Ram Soni
Sanjhi is a stencil-style papercutting art derived from religious ceremonials associated with the tradition of Radha and Krishna. Its origins are in Vrindavan, Uttar Pradesh. A community of goldsmiths, sonars, took on the role of ornamenting Radha and Krishna statuettes during auspicious festivals. They also began to design elaborate patterns with stencils, coloured powder and a cloth base. Over a period of days the pattern would build up and finally be consigned to the river. The context of the festival is Radha’s love for Krishna, and pictorial images are built up of flowered gardens, idyllic settings with parrots, peacocks, monkeys and cows living harmoniously in the service of Radha and Krishna. Krishna’s flute is a sound and a symbol that repeats itself in many manifestations of Vrindavan’s Sanjhi art.
Lamp Lamp by Ram SoniDastkari Haat Samiti
The sentence on the opposite side of the four-sided lamp is agar bheetri batti jale to sare jagat ko prakash deti hai, meaning “If the inner light shines, the entire world is illuminated.”
Lamp Craftsperson applying the art of paper cutting to calligraphy.Dastkari Haat Samiti
Ram Soni, Sanjhi artist, cuts the words and images with a pair of specially designed scissors using handmade paper.
Lamp Krishna and Radha CuttingDastkari Haat Samiti
Depictions of different forms of trees, a special feature in most Vrindavan imagery, support the calligraphy. In the image of Krishna playing his flute, the paper is cut to bring out the words of a Krishna bhajan.
The image of Krishna and Radha standing in a well-recognized pose has a bhajan flowing within the water of the stream at their feet, while animals and birds complement the blissful scene.
Blockmaker and calligrapher Mohammad Ayub is proud of his skills. He makes geometric patterns, birds and other elegant forms with any words you may suggest to him. Calligraphy was always in his blood. Mohammad Ayub chose Kabir, the poet, weaver and social reformer from Banaras to inspire him. Familiar words of one of his favourite hymns kahate Kabir, suno bhai sadho / mai sadho were carved into a wooden block, accompanied by a series of tiny letters. Waris, a young zari and zardozi embroiderer who uses his skills with the needle, uses a wide range of threads and sequins to embroider these words and letters after printing impressions of the blocks on shades of velvet to create cushions with an antique look.
Papier-mâché - Fayaz Jaan
Papier-mâché has provided the base material for thousands of fine artists to decorate plates, boxes and many other kinds of decorative artifacts and accessories. National award winning artist Fayaz Jan has won many laurels for his delicately wrought wall plates. However, by turning them into clocks, the object gained greater utility. By adding words of wisdom in Urdu calligraphy, he believes he is now not merely a decorator of surfaces, but a communicator of thoughts and ideas to whoever looks at his clocks to tell the time.
Book Binding - Naresh Kumar
Paper, brushes, and pens or pencils are the lifeblood of writers and calligraphers. Notebooks of different shapes and sizes are always a welcome addition to the work desks of those who love scripts. Naresh Kumar has embraced the concept of reading, reusing and recycling by collecting newspapers and journals in many regional languages to cover notebooks, some of which are bound with bamboo and jute thread.
Handbound Books ExplorationDastkari Haat Samiti
Naresh Kumar, a bookbinder and stationery-maker, does all his work by hand. He has bound tabletop accessories in printed cloth with motifs of Kannada letters decoratively arranged within a leaf shape. Knowledge has always been ranked highly in Indian culture with the teacher or sage taking precedence over the king. In rural areas those who cannot read look forward to sharing the news of a daily newspaper at a group reading and the literate often pass a newspaper around from one to the other so that as many as possible are well-informed about important events.
The Akshara Project - Interview with NareshDastkari Haat Samiti
handloom weaving and embroidery - Shawkat Ahmad Khan, Mushtaq Ahmad, Nisar Ahmad & Ghulam
Few people outside Kashmir notice the hieroglyphic quality of the weaver’s instruction sheet. Known as the talim (which also means education) it tells the weaver which colours to use to formulate a particular pattern or design. Kani weavers who use kanis (bobbins) of different colours listen as their helper “reads” the talim sheet by calling out the colours in a musical cadence. This tells them which colours to use to create the pre-set patterns on the shawl or carpet they are weaving. Each motif of the talim indicates a particular colour and number so that it would read as “three blue, four yellow, six red, four black…”
Woolen Stole The process making of the scriptDastkari Haat Samiti
It was a fascinating challenge for them to weave the talim ‘script’ as a pattern since the instruction sheet itself became the design. They had to prepare a talim of a talim.
Woolen StoleDastkari Haat Samiti
Another challenge was in trying to create a shawl in the colours of the pigeons that sat on the windowsill outside the room in which they kept the loom. Shawkat tried to capture an image of a pigeon on his mobile phone but the pigeons kept flying away. He was told there were many pigeons at the Maqdoom Sahib mosque situated near the Kohimaran Fort at Hariparbat in Srinagar. There, the caretaker told him that among the large flock of pigeons one had just died after a scuffle with another pigeon. Shawkat gently carried the dead pigeon in a piece of cloth to the dye-master and asked him to dye the yarn for his shawl in its colours. The dye-master examined the pigeon carefully. He then dyed the yarn in a range of grays perfectly replicating the pigeon’s body, with an added salmon-pink shade – the colour of a pigeon’s feet. Embroidery in shades of gray and salmon-pink has been added to the “talim” kani border.
work - Abdul Rashid Baba
Copper has always been a popular metal in Muslim communities. Kashmir’s tradition of using copper vessels, kettles, samovars, serving spoons, cups and other such artifacts was influenced by Persian artisans during the time of Emperor Zain-ul-Abedin in the 14th century.
Since Islamic art traditions would not allow the depiction of human figures, the art of calligraphy was highly developed and came to be seen in many handcrafted works. In Kashmir, while the language is Kashmiri, the words are in Arabic, as many art forms in Kashmir still adopt Arabic or Persian lettering. In the narrow lanes of Srinagar’s old city, copper shops and copper workers create items of traditional use as well as replicas of antique pieces.
Copper trunk Process stage of castingDastkari Haat Samiti
Abdul Rashid Baba, a young coppersmith of Srinagar, reproduces an antique box with calligraphy around the upper edge of its base. In past times such boxes would have been used to store important family documents.
Copper trunk Copper trunkDastkari Haat Samiti
The words are of a love poem in which the lover asks when he will see his loved one who is more important to him than life, and asks his god to fulfill all his desires by allowing him just a glimpse of her: dekhoonga kab use / jo mujhe zindagi se bhi badkar hain / yeh khuda mere dil ke saare armaan poore honge / agar ek nazar use dekhoon.
engraving - Manzoor Ahmed Naqishgeer
Copper work is a popular craft in many Islamic communities all over the world. Coming to Kashmir from Persia in the 14th century, it became the preferred material to fashion vessels for cooking and related customary practices in offering hospitality. Elaborately carved samovars to serve tea, basins and water jugs with which to wash one’s hands before a meal, and large pots to cook the vast wedding feasts that take place in Kashmiri society are still plentifully made and used. Platters and bowls are part of everyday use. Occasionally, inspired by old copper artifacts, a copper engraver will add some Urdu script with some significant religious poem or thought. Apart from everyday articles, wall plates are engraved with portions of the Koran, to be hung inside the home.
Copper plate Process stage of castingDastkari Haat Samiti
Copper vessels are lined with an alloy that prevents harm from acidic foodstuffs. They are usually decorated with motifs of flowers, trellises and chinar leaves.
Copper plate Copper plateDastkari Haat Samiti
Manzoor chose a prayer to Allah, embossing the words ya khuda mujh par bhi karam farma / uth kar bazm-e-jahan ka aur hai andaaz hai / mashrek was maghrib mein tera hi daur ka aagaaz hain. The supplicant asks his god to direct his pity towards him and give him the care and attention he has given people everywhere.
Woodcarving and inlay work Door HandleDastkari Haat Samiti
and inlay work - Arshad Kafeel
Pilakhuwa and its
adjoining areas in western Uttar Pradesh have, for centuries, been home to woodcarvers who sustained the printing industry by making patterned blocks. As
screen printing and industrial printing took over most of the market, their
finely honed ability was put to wider use. Families like that of Arshad Kafeel
began to make carved boxes or inlaid them with brass, white metal and copper
wire. Picture and mirror frames, vase holders, lamps, low tables and wall
plaques with intricately laid designs have earned them national acclaim. While
tentatively exploring calligraphy, Arshad was encouraged to communicate
something of significance for his family.
When such an object is fixed to the entrance of a home, the hidden scripted welcome to a guest in Urdu expresses the old Indian tradition of unconditional hospitality.
Within the peacock are hidden the words aane wala ka swagat hai.
Woodcarving and inlay work MirrorDastkari Haat Samiti
The message in Urdu script within the inlaid design of the mirror frame is handcrafted.
It says darpan jhoot na bole, which means “the mirror never lies”.
Woodcarving and inlay work BookDastkari Haat Samiti
With his daughters in mind, Arhsad devised a tribute to learning by carving talim insaan ko farsh se arsh tak uthaata hai on the branches and foliage of a brass inlaid tree on a wooden notebook cover. It means, “education lifts a human being from the earth to the skies”.
It means, “education lifts a human being from the earth to the skies”.
weaving - Mohammad Abdul Kalam
Mirzapur is an area in Uttar Pradesh with a high population of carpet weavers. Most of them replicate old Mughal designs, copy abstract art and old English paintings, or create geometric patterns. They make tufted and knotted floor coverings and flat durries in cotton or wool.
Woven Carpet Basic sketchDastkari Haat Samiti
He did a series of images with verses about women and their suffering when they were subjected to injustice in matrimony. In spite of their visual beauty and his enthusiasm, they did not seem suitable for floor coverings.
Woven CarpetDastkari Haat Samiti
He created a design that was more mystical, though still edgy and abstract in thought. It could be interpreted in many ways. The carpet’s elegant calligraphy says bechain shab ve sehr, meaning “restless morning and evening”.
Hand woven stoles Artisan at workDastkari Haat Samiti
He researched words, songs, poems, phrases, and finally inspired his cousin Shaad Abasi to compose a poem about Kabir for this experiment. Abasi’s poem emerged on the end pieces of stoles woven in Urdu in silk. It says kaaf se kargha bane / kaaf se bane kapaas / kaaf se kapda bane / kapde bane libaas / kaaf se karigar bane / kaaf se bane Kabir.
Hand woven stoles Close-up of a stoleDastkari Haat Samiti
“Kaaf” is the Urdu letter for the consonant “k”. The Abasi poem plays on this aspect. The word for loom (kargha), cotton (kapaas), cloth (kappa) which turns into clothing, craftsperson (karigar) and Kabir (the poet) all begin with the same letter and are deeply interconnected in this woven work. The many shades of life are reflected in the cream, gold and black of the stoles woven by Shahid Junaid. The white and black lines conjure up the colours on a notebook in which words have been written.
Hand woven stoles Various KindsDastkari Haat Samiti
The Devanagari script laid out in an aesthetic manner across the length of the cream silk stoles has two lines of Kabir’s most well-known poem das Kabir jatanse odhi, jyon ke tyon dhar dini. The poem jhini re jhini chadariya expresses life as experienced by the human body with the cloth as a metaphor of life. In these lines Kabir says he wore the shawl without soiling it.
The master weaver, naqaash (pattern-maker), and a dozen others who worked on creating new calligraphy for the famed brocades of Varanasi were fascinated with the idea of making patterns out of words. They researched from the 15th century poet Kabir’s works. The brilliant colour known among weavers as “rani pink” carries the Urdu script. The design on the larger end motif is an interweaving of the words kargha (loom), kapda (cloth), kaagaz (paper) and qalam (pen) to form an elegant stylized bird. The interconnected words are obvious and become a leitmotif of Akshara that is about literacy and, therefore, pen and paper, connecting with the weaver, hence the loom and cloth. The smaller matching motif, scattered on the body of the stole, is the word resham, “silk”. Happily, it is also the name of the master-weaver’s establishment.
Weaver Munna Pahalwan has reproduced an old sari that was commissioned by an unknown person for someone in an aristocratic family many decades ago. The tiny coin pattern has the words bai sahib kunwar bai sahibas a form of respectful address. In mulberry silk with the coin-shaped motifs in muga silk, the sari displays the fineness of the woven script even within a tiny area.
Image: Jaya Jaitly, Charu Verma, Kabambari Mishra, Sunil Kumar and the artisans featured.
Text: Jaya Jaitly
Video and Film Editing: Anupa Dasgupta