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About the Crafts
Terracotta of Panchmura, West Bengal
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Bengal has a long, rich, and continuous tradition of terracotta art, spanning from ancient and early medieval times to the present day. This craft flourished particularly in the 16th century during the Vaishnava movement, led by Sri Chaitanya, which deeply influenced Bengali culture. The Malla kings of Bankura took the initiative to popularize the Vaishnava sect, and a distinct style of terracotta art emerged, depicting scenes from the Krishna sect in the magnificent temples they built. These temples, constructed from brick and adorned with terracotta tiles, featured scenes from the Hindu epics, the Ramayana and the Mahabharata, as well as everyday life. Many of these temples can still be found in Bishnupur, Bankura, and other districts such as Birbhum, Hooghly, and Midnapur.
The terracotta art of West Bengal is broadly categorized into round-shaped figurines, plaques, and tiles. The round-shaped figurines include both male and female human figures, along with a variety of animals. Female figures often represent Mother Goddesses or mother-and-child scenes, while the male figures commonly depict Baul singers, who are an intrinsic part of Bengal's musical heritage.
Panchmura, in the Bankura district, is a traditional center for ritual pottery. The Bankura Horse—a long-necked terracotta horse—has become the symbol of this craft. Standing on four legs with its neck held high and its ears and tail erect, this figure has a distinctive form. Originally, these terracotta horses and elephants were offered as devotional tokens to deities such as Dharma Thakur (a local sun god believed to ride horses), Manasa, and other village gods. Figurines were also dedicated to the serpent deity as a gesture of thanksgiving or as part of rituals for a child's recovery, with some horses even made life-sized to match the child being offered.
Art of Baiga Community
The Baiga are a semi-nomadic indigenous tribal community primarily inhabiting the states of Madhya Pradesh and Chhattisgarh. They are classified as one of India’s 75 "Particularly Vulnerable Tribal Groups" (PVTGs). The name ‘Baiga’ means "sorcerer-medicine man" and likely originates from the Hindi word ‘Vaidya’ (healer). The Baiga are known for their extensive knowledge of the medicinal and healing properties of the flora and fauna found in the forests of central India.
There is an interesting myth about their origin: the Baiga believe they were the first inhabitants of the Earth and that humanity descends from them. They are known for their deep connection with nature and hold the belief that all diseases stem from the wrath of their Gods and Goddesses, who are associated with various trees in their Sacred Groves. Their traditional arts, elaborate rituals— including those for healing and driving away evil spirits—and their profound understanding of nature form a cultural treasure. However, as they are gradually relocated from forests to urban areas, their ancestral beliefs are slowly being forgotten.
Wooden Inlay of Punjab
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Hoshiarpur, located in the northeastern part of Punjab, is renowned for its beautiful wood inlay craft, a tradition that has been passed down through generations for over 300 years. The primary wood used is Sheesham, known locally as Tahli. The process of inlay involves first scooping or chiselling out areas in the wood to create recesses for the inlay pieces. Historically, ivory was used for this intricate work, but after the government banned its sale and export, artisans began using white or black acrylic sheets, as well as wood, to create these decorative motifs.
The inlay designs often feature ornamental patterns, including foliage, geometric shapes, and traditional motifs. The use of contrasting colors, particularly the white and black inlay against the natural grain of Sheesham, gives these products a distinctive and striking appearance. Artisans from Hoshiarpur are skilled in crafting a wide range of items, from furniture to smaller decorative pieces, and their work remains highly valued for its precision and aesthetic appeal.
The wood inlay craft of Hoshiarpur continues to thrive, with artisans innovating while maintaining the core of this ancient tradition. The unique combination of craftsmanship, natural materials, and contrasting colors makes these pieces stand out in Indian handicraft markets and beyond.
Varanasi Toys
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Varanasi is not only known for its spiritual and cultural heritage but also for its traditional toy-making craft. The city's artisans have been creating wooden and clay toys for generations, often depicting animals, birds, and mythological figures. The toys are made from locally sourced materials such as lightweight wood (often neem or mango wood) and clay. Hand-carving and painting techniques are used to create vivid designs, with artisans applying natural dyes to achieve bright, eye-catching colors. The distinctive style of Varanasi toys often reflects the city’s spiritual ethos, with motifs drawn from Hindu epics like the Ramayana and Mahabharata, as well as local folklore
The history of toy-making in Varanasi dates back centuries and is deeply intertwined with the city’s rich cultural and religious heritage. The tradition of crafting wooden and clay toys is believed to have originated during ancient times when artisans were patronized by local rulers and the temple economy. Varanasi, being a center of Hinduism, saw a demand for toys and figurines that depicted mythological themes, deities, and animals used in religious rituals or festivals. One of the most wellknown toys from Varanasi is the traditional lacquered wooden toy known as the "Lattu" or spinning top. This simple yet popular toy has been a favourite among children for generations.
About the Makers
Mon Ami Foundation
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Mon Ami Foundation is an independent, not-for-profit Trust, registered in India, with a strong focus on social responsibility. They work closely with recipient communities across rural and urban India with support from corporates, domain experts, and service providers to ensure equal participation from all stakeholders for a sustainable future! Their passion drives them to ensure inclusive and sustainable growth amongst communities by maximizing the social impact of corporate investment. Their projects, primarily focused on sustainable livelihood & vocational skills, environmental sustainability, and healthcare, are designed, and delivered with utmost transparency, speed, and commitment
Their Projects:
NCR, Delhi, Crochet Project
Nearly one-third of India's population consists of migrants from rural areas seeking better socio-economic conditions in cities. Over half of these workers are illiterate, making them vulnerable to exploitation and low wages. Women, who form a significant portion of this migrant population, often have to contribute to family income. To support these women, Mon Ami Foundation, in partnership with HCL Foundation, launched a crochet skill-building initiative. Over 75 days, 250+ women were trained in crochet techniques, advanced design, and production skills, and also received financial education, computer literacy, and wellness sessions to promote sustainable livelihoods.
Loni District Hardoi Uttar Pradesh- Zardozi Project
Project Zardozi is a program that was designed with the main purpose of creating livelihood opportunities for women. It is being run as a part of the CSR initiative of DCM Shriram Foundation, where young rural entrepreneurs are being trained in the art of zardozi and other embroideries at the Silai School in Loni and Ajbapur.
Taking this forward, a group of around 50 women artisans from Loni, Hardoi were motivated to work on a special festive collection under the guidance of master artisans from Mon Ami Foundation.
Malaya by Neelam Varma, Bandhavgarh, Madhya Pradesh
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Malaya, an art and handicraft store founded by Neelam Varma in 2008 in Tala village, at the heart of Bandhavgarh Tiger Reserve, is a haven for handicrafts sourced from across the country. An avid traveler, Neelam is passionate about discovering rare crafts in the most remote parts of India, many of which are on the verge of extinction. She is not only a connoisseur of tribal crafts but also designs a select range of products like bamboo rain sticks, lamps, and other curios, using materials sourced from the jungle nearby. She trains local artisans interested in crafting, who then bring her designs to life. A firm believer in sustainable living, she has made a cozy home for herself and her dog, Lulu, next to her store in Bandhavgarh. Kontha is truly inspired by her passion for living life on her own terms and is fortunate to celebrate this journey of handicrafts alongside her.
Dharmendra Rohar, Bhopal, Madhya Pradesh
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Often referred to as a master bamboo craftsman and sometimes even a magician, Dharmendra Rohar meticulously crafts various birds and animals using bamboo shavings. A resident of Bhopal, he is the fourth generation in a family of traditional bamboo workers. While his ancestors made standard baskets and other utility items, Dharmendra introduced the art of replicating nature in his creations. His process involves creating a mold from sculpted paper or thermocol and then intricately pasting each strand of bamboo shaving and paddy seed onto the mold. It typically takes him two to three days to complete a sculpture, and he often employs women to assist in the work.
His family is supportive of his passion, and as a state-awarded artisan, his craft has gained significant popularity in Bhopal. Dharmendra's humble nature is reflected in his work, making him a valuable contributor to Kontha Crafts.
In his own words: “I realized that if I have to survive, I will have to keep up with the changing tastes,” he said in a conversation with the Free Press Journal.
Jagannath Khumbhakar, Panchmura, West Bengal
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A versatile terracotta artist hailing from the renowned village of clay, Panchmura, West Bengal, has had an instinctive connection with clay since his early years. Growing up, he spent his childhood watching his grandfather, a national awardee in the 1960s, master the art of terracotta. Inspired by this rich legacy, he developed a keen eye for detail and a passion for incorporating modern designs into traditional forms, which sets him apart from others in the field. His dedication to terracotta craft has earned him several state-level awards, recognizing his commitment and skill in this ancient art form. Terracotta is not just his occupation but his passion, and he actively shares his expertise by conducting workshops for district-level school students and institutions like NIFT. His mission to carry this art form forward is his driving force, and his contributions to Kontha Crafts reflect his passion and pride for his heritage.