Dough sculpturing dates back to the Han Dynasty as sacrifices for the dead. A dying folk art and tradition, little of it is known outside China and its importance as a study in history and folk lore has eroded. Struggling to remain relevant, dough scultures now takes form of popular pop culture genre and modern fictional characters.
The Taj Mahal is regarded as one of the eight wonders of the world that was constructed over a period of twenty-two years, employing twenty thousand workers by Emperor Shah Jahan in the memory of his dear wife – queen Mumtaz Mahal. Completed in 1648 C.E. at a cost of 32 Million Rupees, the Taj is an “elegy in marble” or some say an expression of a “dream.”
Built in the early 12th C as King Suryavarman II’s temple state and capital city, Angkor Wat was neglected after the 16th C only to be discovered by French explorer – Henri Mouhot – in the mid-19th C. Restoration begun in the 20th C and continues today by foreign parties despite the establishment of the Angkor World Heritage Site that provides funds to the Cambodian government.
Traditional Tibetan rug weaving industry dates back thousands of years to satisfy monastic institutions and the aristocrats’ need for khaden, but today Nepal and India are the largest producers and exporters of both Tibetan rugs and Tibetan-styled rugs. Traditional methods have given way for more cost effective and time efficient ways. Styles have evolved to suit the Western-styled homes.
In Tibet, tailoring is a fine art made proud by the fine pieces of silk thangkas ranging from the standard two feet to the 16-storeys kyigus, hand sewn laboriously by appliqué artists for months end. However at the TRSHC, the stitches of Tibet are applied to daily practical consumption items like clothing and shoes, with some toys for sale.
These flats – Mojaris, Jootis and Kolhapuris – ‘floods’ Rajasthan, Delhi and Punjab with production dating back to the period of Kings and Queens. Unlike those produced in the heydays with real gold and silver threads and gems, these cow hide shoes are now embellished with artificial materials to suit everyone’s budget.
Dating back to Song (960-1279) and Yuan (1271-1368) Dynasties Chinese Opera face makeup plays a symbolic artistic function of expressing commendatory and derogatory connotations and that of differentiating benevolence and malevolence. Spending hours to depict the stereotypical characters they play, opera actresses and actors applies the face paint with horse-hair Chinese brushes themselves.
Chinese Opera is now an incidental ‘performance’ limited to temple celebrations and festivals associated with the need to appease and honour deities. Stylised language, symbolism and feudal stories performed are irrelevant in today’s context, but the poliferation of gloablisation has brought new entertaintment.
One of the three oldest dramatic art forms in the world, the delivery of the Chinese Opera’s beautifully written and lyrical dialogues are accompanied by melodious tunes produced by skilled musicians on traditional musical instruments like the Erhu, gong and lute.
20,000 people are engaged in weaving in the Kullu Valley, majority being women affliated with cooperative society operated by women for women. With these cooperatives, women benefit not only from economies of scale but general management knowledge that cuts across the entire value-chain of the weaving industry.