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Dhokra - "Ancient yet contemporary"
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Dhokra Art Bell Metal Casting Lost Wax Casting – has got its name associated with the French name of “cire perdue is the process by which a metal (such as silver, gold, brass or bronze) sculpture is cast from an artist's sculpture. Lost-wax casting was widespread in Europe until 18th century, when a piece-mold process came to predominate.

Dhokra Art is not only beautiful but unique also. These artifacts are made from brass and are unique as each piece is made from a new mold which is lost in the process. So every Dhokra artifact is unique in the world. It also, does not have any joints. It comes in one piece as a whole. Since it is completely handcrafted and therefore, the shapes are not perfect, and the symmetries are not mirror image produced like in machine made products.

In the lost-wax (or cire perdue) process as used by artisans, a figure is first roughly modeled in clay. Over this inner clay core, the craftsman applies a layer of beeswax. This wax is applied in thin threads that are pressed through a bamboo tube or a syringe or other device. Sometimes the threads are criss-crossed into a lattice pattern, giving a characteristic appearance to the final figure. At some places on the figure, the worker may use a hot knife to smooth the surface of the threads.

Once the wax is modeled into a final form, two layers of clay are placed on top. First, a thin clay paste is added and allowed to dry; then a layer of rougher clay mixed with rice husks is added and also allowed to dry. Thus, the wax now forms a mold for the metal that will subsequently comprise the cast statue. A hole is cut through the top of the clay coverings to allow for the entrance of the molten metal. Likewise, a channel is made in the bottom to let the wax flow out of the mold. Metal wires are then tied around the whole construction to keep it intact.

Molten brass or bell metal is gradually poured into the mold through the top hole. The hot metal melts the wax, which flows out the exit hole in the bottom. The heat of the metal also chars the clay. After the metal has cooled, perhaps overnight, the wires are untied or cut and the outer layers of clay are chipped away. The inner core of now blackened clay may be scraped away through a hole or holes in the figure, or it may be left intact, giving weight to the cast piece. (This blackened clay core is often visible through holes in the castings.) When the metal figure is revealed after the outer layer of clay is removed, additional scraping, chiseling, or polishing may subsequently be done to the cast figure, according to the craftsman's intentions for the final form. Apart from beautiful statues and Folk motifs Dhokra art is also used for making Jewellery and other small items.

The traditional profiles and captivating designs of these Dhokra artifacts will provide timeless beauty to any home. Each and every piece of this captivating art is made with so much devotion, care, patience and skill that each artifact is valuable in itself.

We at Komoli work with several Artisans practicing this Art form and are spread over in the states of Chattisgarh, Madhya Pradesh, Odisha, Jharkhand and Pashim Banga.

Paper Mache - "Recycled and Eco Friendly"
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Paper Mache (Papier mache) is a delicate decorative art. This art of Papier-mâché was born in Persia, a land known for bringing such rich culture and heritage to the world.

The traditional method of making Paper Mache (Papier mache) starts with waste paper which is soaked in water for several days until it disintegrates. The excess water is drained and the soaked waste paper, cloth, rice straw and copper soleplate are mixed to form a pulp. This mixture is placed in a mold and left to dry for two to three more days. Once the pulp is dried, the shape is cut away from the mold in two halves and then glued again. The surface is coated with the layer of glue and gypsum, rubbed smooth with a stone or baked piece of clay and pasted with layers of tissue paper. A base color is painted on, and a design is added free hand .The object is then sandpapered or burnished and is finally painted with several coats of lacquer.

The ingenious Paper Mache artisans of the State of Jammu & Kashmir, India transform a variety of utility articles into rare art pieces. The creation of a Paper Mache object can be divided into two distinct categories, the sakhtsazi (making the object) and the naqashi (painting the surface). The final product is a beautiful art work that cannot be called a creation of one artist. It travels many pairs of talented hands before reaching a table or a mantel. Above all other talents, the aesthetic sensibility and hereditary skills are most essential in these craftsmen.

Passed down from generation to generation, son taking the place of his father and father taking place of his father this art has been handed down from family to family. Kashmiri craftsman have tried to maintain the culture of Paper Mache and to this day it is still being made by hand in these small home shops where families gather together and work on it and bring these beautiful creations to the world. But with the age of technology and fast paced economies, the art of Paper Mache has shown signs of decline. The new generation of people are as worldly and knowledgably as the rest of their peers and have not shown the inclination to preserve this art. However, as with anything else there is new awareness among the people that his art needs to be preserved and brought out to the world to see and admire. We at Komoli are working with paper mache artisans in the State of Jammu & Kashmir and have been trying to explore new market and business ideas for them.

Paintings - "Evergreen"
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Painting is the practice of applying paint, pigment, color or other medium to a surface (support base). The medium is commonly applied to the base with a brush but other implements, such as knives, sponges, and airbrushes, can be used. In art, the term painting describes both the act and the result of the action. However, painting is also used outside of art as a common trade among craftsmen and builders. Paintings may have for their support such surfaces walls, paper, canvas, wood, glass, lacquer, clay, leaf, copper or concrete, and may incorporate multiple other materials including sand, clay, paper, gold leaf as well as objects.

Painting is a mode of creative expression, and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature.

The Indian Style

Being extremely diverse in culture, you can expect Indian painting tradition to be diverse as well. Indian painting is mostly a direct result of traditions and changing life styles over the years. You would even find Indian rock paintings dating back to as early as 5500 BC. The caves of Ajanta and Ellora are famous for its mural paintings.

During the reign of Mughal Empire, Indian painting tradition took a new turn. A new form of painting called Mughal painting came up. ‘Hamzanama’ is one of the first and most famous Mughal paintings known today. Rulers of that time, Akbar, Jahangir, and Shah Jahan were all keen in promoting the art of painting. However, Aurangzeb showed little interest in arts and this probably led to downfall of art painting afterwards.

Next major era of painting started during the Rajput Empire and is called Rajput Paintings. The artists preferred creation of miniatures, but the subjects of the paintings were diverse. You would find paintings illustrating events from great Indian epics, landscapes and human life. Rajput Paintings are famous for its rich use of colors. An interesting fact about the colors used for these paintings is that some of the colors used were made from precious stones, silver and even gold! It took weeks to prepare the colors needed for these paintings.

Madhubani Painting is a rare painting style which originally was done with the use of natural colors and with the help of finely carved wood sticks and freehand. Use of lines drawing is one of the most prominent features of Madhubani Painting. The whole painting is first created by lines across the canvas and a layout is created. Then the artist fills in various shades in between the lines to give the painting its desired look. The painting style is truly folk in nature. The painting finds its place in all houses of Madhubani / Mithila region in the state of Bihar, India. In the olden days, the paintings were done all across the mud houses to decorate the external walls of the home. 

Madhubani painting mostly revolves around religious stories and God and Goddesses. Sun, Fish, Peacock, Elephants & Trees are another aspect which is widely used by the artisans for portraying. 

Mysore paintings are famous for the level of detailing given to the subjects and for the use of gentle colors. Like any other classical South Indian painting, Gods and scenes from Hindu mythologies found its place reserved in Mysore paintings.

The creation of a perfect Mysore Painting has many stages. It starts with a rough sketch of the image. The base on which this sketch is made is just a paper pasted on a wooden board. First the throne or anything of that importance are painted.  Even gold foils were used for a better output. Then, watercolor is used to complete the painting, but only gentle tones.

Tanjore painting is perhaps the most important and old classical painting of south India. Use of rich colors, attention given to every minute detail and, most importantly, elegance, are some specialties of Tanjore paintings. The artists used precious stones and threads to make paintings look better. Dyes were used for giving color to the paintings.

There are lot many other specific painting styles prevailing in India which are prominently either of on the folk themes or tribal themes. The most noticeable of those are Madhubani or Mithila Painting of the State of Bihar, Warli Painting from the State of Maharashtra, Pattachitra Painting from the State of Orissa, Specialized Kashmiri Painting, Gaund Painting etc etc.

Bidriware - "Magical Contrast"
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The origin of Bidriware is usually attributed to the Bahamani Sultans who ruled Bidar, now in the state of Karnataka, India during the 13th–15th centuries. Abdullah Bin Kaiser, a craftsman from Iran was invited by the Sultan to work on decorating the royal palaces and courts. According to stories around, Kaiser joined hands with local craftsmen and gave birth to Bidriware. Since then, the craft has been handed down succeeding generations mostly among the local Muslim and Lingayat sects.

An alloy of zinc and copper (in the ratio 1:16) serves as the main raw material of Bidriware. This alloy is referred to as white alloy because the proportion of copper that is mixed in the alloy is very little as compared to zinc. The reason behind this unequal proportion is to produce the right base which can be turned to deep black in the final oxidization process.

The process of making Bidriware is long, intricate, and enduring. The first step involves casting which is done in moulds of special soil of Bidar. The red soil is made malleable by mixing caster oil and resin. Once the mould is ready, the molten alloy is poured into the mold. And then the article is smoothened with files and scrapes.

Next step involves a black coating and designing. The design is etched free hand first and later sharp and small chisels are used to carve out the design. It requires ultimate control over carving to fuel life into the designs. The designs range from flowers, creepers, geometric patterns, to human figures. Once the design is carved out fine wires or sheets of silver are gently hammered into the chiseled design pattern. Other steps like filing and polishing follow to give a silky smooth look to the object.

The final step involves permanent black coating on the entire surface of the object. Again, the black coating is no ordinary. It’s made by mixing soil, oil, and carefully chosen chemicals like ammonium chloride. It is this black coating that makes the silver patterns shimmer superbly through the dark background. The object is rinsed, polished with oil to deepen the black matt coating. This adds brilliance to the inlaid silver pattern and you get a marvelous Bidriware articraft.

While Bidar in Karnataka and Hyderabad in Andhra Pradesh are the most vibrant centers, this art is also practiced in Aurangabad of Maharashtra, India.

Die Casting - "Imaginative Impression"
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Die casting is a metal casting process that is characterized by forcing molten metal into a mold cavity. Though the conceptual base of the process remains the same, however the concept of creating die differs from region to region. In Indian Handicraft arena, a die is nothing but a prototype of the product which is used multiple times to create replicas out of it. Whereas in many other part of the world die casting handicrafts are made out of steel mold purposefully created about the concept design.

First of all, the artisan is required to create a prototype of the concept item. Depending up on the nature of the concept item and requirement, the prototypes are generally created out of soft bee wax but sometime it could be of wood or clay as well. Once the prototype is ready the same would be inserted inside a mixture of special type of sand, clay and molasses syrup and some more ingredients using a two side frame. The artisan then ensures that the mixture inside the frame has settled and slightly dried as well. Later on the frame is opened up and the prototype would be removed from the mixture ensuring that the hollow space left after removal is intact and exactly similar to the prototype. Then molten metal would be poured in to the hollow area in the frame and allowed to dry up. Once dried, the metal piece would be removed out the mixture and the frame. The mixture then is good to be used again.

The piece so coming out will be of extremely raw and crude finish and the artisan would require working on the finishing aspect by employing threading, scrubbing, buffing, coloring & polishing techniques. After all these (as required) process the product is ready to decorate your house.

The entire process has lots of challenges involved which demands for extreme care and patient observation. The prototype is the first such challenge which should be made picture perfect to make a replica which would look good. Many a time the prototype needs to be cut in pieces before casting as casting full prototype at one single go is not possible. Hence the casting has to take place in multiple pieces and later on each individual pieces would be fabricated together to make the concept item.

The Die Casting technique is quite old in Indian handicraft arena. In India most of the Brass, Aluminum, bronze and mix metal crafts are made out of die casting technique.

Flame Work - "Performance @ High Temp"
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Flame working is a type of glasswork where a torch or burner is primarily used to melt the glass. Once in a molten state, the glass is formed by blowing and shaping with tools and hand movements. It is also known as burner working or lampworking, Although lack of a precise definition for flameworking makes it difficult to determine when this technique was first developed, the earliest verifiable flameworked glass is probably a collection of beads thought to date to the fifth century BC. Flame working became widely practiced in Murano, Italy in the 14th century. In the mid-19th century flamework technique was extended to the production of paperweights, primarily in France, where it became a popular art form, still collected today. Flameworking differs from glassblowing in that glassblowing uses a furnace.

Early flameworking was done in the flame of an oil lamp, with the artist blowing air into the flame through a pipe. Most artists today use burners that burn either propane or natural gas, or in some countries butane, for the fuel gas, mixed with either air or pure oxygen as the oxidizer.

The process in this craft form is fairly simple but it needs exceptional levels of skill sets, imagination and patient to execute the same. A glass piece has to be heated up in front of a burner flame until it get in to temperature at which the glass piece can be converted in to any desired shape with the help of certain tools using free hand techniques. This stage generally arrives at around 500 degree Celsius. To keep the glass piece retain it shape the artisan continuously has to keep it rotating at different direction at high speed so that the glass doesn’t melt too fast and drips away.  

Flameworking is used to create artwork, including beads, figurines, marbles, small vessels, Christmas tree ornaments, and much more. It is also used to create scientific instruments as well as glass models of animal and botanical subjects.

The city of Firozabad in the state of Uttar Pradesh, India has many artisans practicing this art form.

Molding - "A Freeflow Trick"
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Molding or moulding is the process of manufacturing by shaping pliable raw material using a rigid frame or model called a pattern. A mold or mould is a hollowed-out block that is filled with a liquid like plastic, glass, metal, or ceramic raw materials. The liquid hardens or sets inside the mold, adopting its shape. A mold is the counterpart to a cast. The manufacturer who makes the molds is called the moldmaker. A release agent is typically used to make removal of the hardened/set substance from the mold easier. Typical uses for molded plastics include molded statutes made of metal, glass, resin, clay etc etc.

We at Komoli see a great potential in this form of art form and have done good amount of progress working with artisans in around NCR region. After lots of experimentations around, we finally have succeeded in making lots of designs coming out of pre-designed molds.

Intarsia - "A Master piece in Pieces"
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Intarsia is a form of wood inlaying that is similar to marquetry. The term is also used for a similar technique used with small, highly polished stones set in a marble matrix. In other ways Wood Intarsia is a mosaic of wood fitted and glued into a wooden support popular in 15th century Italy for decoration. Intarsia is a beautiful three dimensional mosaic wall hanging, which was an ancient woodcraft basis for Wood Art, Marquetry and Wood-inlay craftwork of years ago.

Intarsia is a woodworking technique that uses varied shapes, sizes, and species of wood fitted together to create a mosaic-like picture with an illusion of depth. It is created through the selection of different types of wood, using their natural grain pattern and color (but can involve the use of stains and dyes) to create variations in the pattern. After selecting the specific woods to be used within the pattern, each piece is then individually cut, shaped, and finished. Sometimes areas of the pattern are raised to create more depth. Once the individual pieces are complete, they are fitted together like a jig-saw puzzle and glued to wood backing which is sometimes cut to the outline shape of the image.

The technique of intarsia inlays sections of wood (at times with contrasting ivory or bone, or mother-of-pearl) within the solid stone matrix of floors and walls or of table tops and other furniture; by contrast marquetry assembles a pattern out of veneers glued upon the carcase. It is thought that the word 'intarsia' is derived from the Latin word 'interserere' which means "to insert".

In India, though marble Intarsia was exceptionally popular during Mughal and other dynasty period, wooden Intarsia is not at all popular and not many of the craftsman following this Art form now a days or at any point of time. We found on artisan in a remote town of Tamilnadu practicing this artform and have been working with him for many years. We have been developing many new designs with him, exploring market and additional revenue for him.

Etching - "Perfection & Precision"
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Etching is the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal (the original process—in modern manufacturing other chemicals may be used on other types of material). In pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with a pointed etching needle where he or she wants a line to appear in the finished piece, so exposing the bare metal. The échoppe, a tool with a slanted oval section, is also used for "swelling" lines. The plate is then dipped in a bath of acid, technically called the mordant (French for "biting") or etchant, or has acid washed over it. The acid "bites" into the metal, where it is exposed, leaving behind lines sunk into the plate. The remaining ground is then cleaned off the plate.

Carving & Inlay - "Magnificant Execution"
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Carving is the act of using tools to shape something from a material by scraping away portions of that material. The technique can be applied to any material that is solid enough to hold a form even when pieces have been removed from it, and yet soft enough for portions to be scraped away with available tools. Carving, as a means for making sculpture, is distinct from methods using soft and malleable materials like clay or melted glass, which may be shaped into the desired forms while soft and then harden into that form. Carving tends to require much more work than methods using malleable materials.

Inlay is a decorative technique of inserting pieces of contrasting, often colored materials into depressions in a base object to form patterns or pictures that normally are flush with the matrix. In a wood matrix, inlays commonly use wood veneers, but other materials like shells, mother-of-pearl, horn or ivory may also be used. Colored stones inlaid in white or black marbles, and inlays of precious metals in a base metal matrix are other forms of inlay. Master craftsmen who make custom knives continue a tradition of ancient techniques of inlaying precious metals; additionally, many new techniques which use contemporary tools have also been developed and utilized as well by artisans.

Both these art form has endless possibilities and we have worked along with several artisans who have excelled in this field and also some unique artisans who have excelled in this field but have decided to take some un-conventional medium to depict their skills.

We primarily see Carving & Inlay skills using wood and stone as medium. Beside these conventional one we are bringing you rare “Slate Carving”. Also, Bidri Work of Karnataka is a rare form of carving and inlay where metal is inlaid over metal to give the artifact its destined designer look.

Sculptures - "Truly Universal"
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Sculpture is the branch of the visual arts that operates in three dimensions, and one of the plastic arts. Durable sculptural processes originally used carving (the removal of material) and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other materials but, since modernism, shifts in sculptural process led to an almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast.

Sculpture in stone survives far better than works of art in perishable materials, and often represents the majority of the surviving works (other than pottery) from ancient cultures, though conversely traditions of sculpture in wood may have vanished almost entirely. However, most ancient sculpture was brightly painted, and this has been lost.

Sculpture has been central in religious devotion in many cultures, and until recent centuries large sculptures, too expensive for private individuals to create, were usually an expression of religion or politics. Those cultures whose sculptures have survived in quantities include the cultures of the Ancient Mediterranean, India and China, as well as many in South America and Africa.

India & Sculpture Styles

The first known sculpture in the Indian subcontinent is from the Indus Valley civilization (3300–1700 BC), found in sites at Mohenjo-daro and Harappa in modern-day Pakistan. These include the famous small bronze female dancer. However such figures in bronze and stone are rare and greatly outnumbered by pottery figurines and stone seals, often of animals or deities very finely depicted. After the collapse of the Indus Valley civilization there is little record of sculpture until the Buddhist era, apart from a hoard of copper figures of 1500 BCE from Daimabad. Thus the great tradition of Indian monumental sculpture in stone appears to begin relatively late, with the reign of Asoka from 270 to 232 BCE, and the Pillars of Ashoka he erected around India, carrying his edicts and topped by famous sculptures of animals, mostly lions, of which six survive. Large amounts of figurative sculpture, mostly in relief, survive from Early Buddhist pilgrimage stupas, above all Sanchi, these probably developed out of a tradition using wood that also embraced Hinduism.

The pink sandstone Hindu, Jain and Buddhist sculptures of Mathura from the 1st to 3rd centuries  reflected both native Indian traditions and the Western influences received through the Greco-Buddhist art of Gandhara, and effectively established the basis for subsequent Indian religious sculpture. The style was developed and diffused through most of India under the Gupta Empire which remains a "classical" period for Indian sculpture, covering the earlier Ellora Caves, though the Elephanta Caves are probably slightly later. Later large-scale sculpture remains almost exclusively religious, and generally rather conservative, often reverting to simple frontal standing poses for deities, though the attendant spirits such as apsaras and yakshi often have sensuously curving poses. Carving is often highly detailed, with an intricate backing behind the main figure in high relief. The celebrated bronzes of the Chola dynasty from south India, many designed to be carried in processions, include the iconic form of Shiva as Nataraja, with the massive granite carvings of Mahabalipuram dating from the previous Pallava dynasty.

Repousse - "Medivial and Transformed"
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Repousse or repoussage is a metalworking technique in which a malleable metal is ornamented or shaped by hammering from the reverse side to create a design in low relief. Chasing is the opposite technique to Repousse, and the two are used in conjunction to create a finished piece. It is also known as embossing. Repousse refers to pushing the metal out from the back side of the piece - Chasing is pushing the metal down from the front. There is a lot of back and forth between Repousse and Chasing when creating a relief. As the metal is moved around it becomes stiff, or work hardened. The metal will crack if the stresses are not relieved.

Repousse and Chasing are techniques for creating 3 dimensional reliefs in sheet metal. The process is a very old one which is often overlooked by metal artists today. It is a direct method of sculpting metal using simple hand tools and hammers. There is no loss of material when forming metal with these techniques - the metal is not cut by the tools but pushed into shape in small increments.  There are as many approaches to Repousse and Chasing as there are artists.

The tools used for Repousse and Chasing are simple punches of specially shaped faces which push the sheet metal around by tapping on the tool with a hammer.  Most chasing tools are made from hardened and tempered tool steel.  The texture of the business end of the chasing tool will be transferred to the surface of the metal. Smooth faced tools like these are often used to move the metal into shape. Chasing tools with textured faces can produce different surface effects and are often used in the refinement stages of Repousse work.

Repousse and Chasing are commonly performed over pitch. Pitch is a resinous tar-like substance which is semi-fluid when hot and hard when cold. It provides a backing for forming the metal that supports it yet allows it to be deformed. The pitch holds the metal in place during hammering and prevents the material from being pushed around, other than what is directly under the chasing tool. The pitch is used at different temperatures depending on the amount or depth of forming required. The final stages of refinement, called planishing, are typical done on cold, hard pitch.

Repousse and Chasing are having wide presences in India especially in the States of Uttar Pradesh, Andhra Pradesh, Tamilnadu, Paschim Banga as such. The States of southern India is mainly making objects mostly for temple and other ethnic construction and other states like Uttar Pradesh is making commercial handcrafted decorative objects.

Leather Crafting - "Panoramic Over Ages"
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Leather crafting or simply Leathercraft is the practice of making leather into craft objects or works of art, using shaping techniques, coloring techniques or both. The various processes undertaken to make a leather craft are,

Leather dyeing usually involves the use of spirit or alcohol based dyes where alcohol quickly gets absorbed into moistened leather, carrying the pigment deep into the surface. Leather painting differs from leather dyeing in that paint remains only on the surface while dyes are absorbed into the leather. Due to this difference, leather painting techniques are generally not used on items that can or must bend nor on items that receive friction, such as belts and wallets because under these conditions, the paint is likely to crack and flake off.

Leather cutting entails using of different kind of cutting tools to cut the leather piece in desired shape and size. Other than conventional tools now pre-fabricated tools to cut various shapes are also available.

Leather Stitching is the process of stitching various pieces of leather cut in specific sizes to give it a final shape of utility item.

Leather carving entails using metal implements to compress moistened leather in such a way as to give a three dimensional appearance to a two dimensional surface. The surface of the leather is not intended to be cut through, as would be done in filigree.

Leather stamping involves the use of shaped implements (stamps) to create an imprint onto a leather surface, often by striking the stamps with amallet.

Slate Carving - "Truly Marvellous"
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Carving is the act of using tools to shape something from a material by scraping away portions of that material. The technique can be applied to any material that is solid enough to hold a form even when pieces have been removed from it, and yet soft enough for portions to be scraped away with available tools.

Slate Carving is not a very popular Art Form at least in India and worldwide. Due to its intrinsic limitations that the Slate Stone has lots of thin layers in in and it needs tremendous amount of extra efforts to ensure that while using carving tools some layers are not chipping off from the main body of the stone and also the stone is not applied with any extra force than what it would enthrall. If not controlled carefully, the slate stone breaks of easily.

A piece of slate stone is picked first and then sized according to the concept. The stone some time required finishing on the top as well. The artisan would then place his imagination on the slate in a rough sketch form. In second stage the artisan needs to adopt the carving techniques to get the sketch getting its desired shape and form either by carving a line out or removing some back ground portion by which the design become prominent. The challenge with the artisan is get the sketch design to the foreground by carving and scrapping some portion out of slate. There is no use of color in this art form. Polished slate would appear near black or dark gray in color and the carved, scrapping out portion would appear a little rough on surface and light gray in color. It’s phenomenal that the artisan still manages to bring out his imagination in a picture perfect way.

In India, “Slate Carving” can be found in the interiors of the State of Odisha and State of Pashim Banga. All the carving designs created by the artisans residing in these areas are primary based up on mythological events & characters and village & folk contextual.

Wire Art - "Different Expression"
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Its unique and its rare!!!! -  This art form has very simple definition – an art made of wires, many artist over the period has done experiments with wire of different material and thickness depending up on the concept they wish to canvas. Since Generations copper wire has been known and found to be of very good mold ability without leaving any kind of marks on it and hence its been widely used in making & executing wire art. However, Iron and Aluminum wire has equally been popular with in a limited class of artisans.

Its not an art which has been preached and taught over generation and generation like any conventional art. It has mostly been an individualistic art performed by individual artisans who develop great affinity towards it.

In India many artists make this rare kind of wire art using copper wire and this is yet very different from the conventional wire art which we see across the world. In all the wire art depicted on Komoli.com, the artist has sketched his imagination on soft board laminated with cotton cloth using copper wire.  The copper wire has been passed through the surface of the soft board many a time and finally the sketch would come alive. To decorate the sketch further, spiral shape of copper wire has been created and placed appropriately. To give the sketch more realistic and make it alive, copper wire of different thickness would be used to depict different strokes of the lines. Imagination & Excellence!!!!!

Betelnut Carving - "Rare & Unparallel"
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Betelnut | Hindi – सुपारी | Botanical - Areca nut  - Betelnut carving is extremely intricate and complex craft form which needs exceptional level of perfection to create magnificent artifacts. The carving process starts with imagining the structure which has to be created using multiple pieces of finely carved Betelnut Pieces. Each artifact will be made up of multiple pieces of betelnuts joined together. Each such piece would be distinguished with respect its size and curves. A final compilation of various such pieces purposefully worked over would find its destined shape. Each piece of the artifact has to be imagined well and per the requirement a whole betelnuts will be chosen to get the desired shape. Working over these raw and soft betelnuts pieces required expertise to handle the process as the betel nut breaks instantly if not handled with utmost care and diligence.

This ancient carving technique is now currently practiced in the State of Madhya Pradesh, India now is on the verge of being extinct. Only very few Artisans Families residing in a small town situated around 500 kilometers away from the capital city of Madhya Pradesh, India now is practicing this Art Form.


We @ Komoli have been working with a couple of artisan’s family who practice this astonishing art form and have been helping them to source more business for them. This is perhaps a small contribution from our side to keep the art form alive for years to come and keep the artisans involved in a gainful employment. If you like the creative work depicted here and has any comments about it, please do write to us at care@komoli.com. There are many more designs & styles of articraft is available here which are not displayed here. Please do write to us if you wish to see some more of this fascinating art form.