Illkal sarees from Karnataka and the Narayanpet textiles from Andhra Pradesh are also much sought-after. Gadwal and Wanaparti produce materials of thick cotton, mostly in checks with a contrasting silk border. Nander is famous for its fine quality cottons sarees richly worked in sold thread with silk border. Venkatagiri manufactures sarees of the Jamdani technique with stylized motifs woven in half cotton and half gold threads. Bandhani materials are made using resist-dyeing techniques popularly called Tie and Dye (internationally this technique is known by its Malay-Indonesian name 'Plangi'). These patterns are commonly seen on long scarves, sarees, turbans. The prosperous state of Gujarat and the princely land of Rajasthan have long been famous for the cultivation of cotton and the use of bright colours obtained through the dyeing process.

The Coromandel Coast of India was historically the source of some of the most beautifully coloured and delicately worked cotton fabrics. Here mordents, resists and brushes or pens were traditionally applied and used to produce exquisite figurative and floral designs. This Kalamkari cloth of south-east India had been known as "pintado" by the Portuguese and "Chintz" by the English. Around the mid nineteenth century, printing blocks were introduced and from then on very little freehand kalam (pen) drawing was done. Baluchari materials essentially have a silk base with silk brocaded designs. In spite of a rich composition, the Baluchar bootidars avoid strong contrasts. The Baluchari sarees have large floral motifs interspersed with flowering shrubs. Traditionally, the Muslim community was known to produce Baluchars with figured patterns depicting court scenes, rider on a horse, women smoking hookahs and much more. These textiles were developed mainly in Murshidabad in West Bengal. Brocades or the kinkhabs have a long history dating back to several centuries. Varanasi or Benaras is the undisputed centre of India's zari-figured silk weaving (brocade) industry. Other well-known brocades are Baftas, Potthans, Kimkhabs, Amrus and Tanchois. Kanchipuram-the silk brocade sarees of South India are considered very auspicious and are worn on ceremonial occasions. Today, brocades have a very strong mass market. Due to the glitter and beauty of this textile, its appeal is increasing not only in the field of garments but also in accessories like purses, belts, caps, shoes and cushions.

Ikat is a type of weaving where the warp, weft or both are tie-dyed before weaving to create designs on the finished fabric. Ikat fabrics of Gujarat, which involve a sequential binding of sections of yarns, are well known. Patola, which is also called double ikat, comes from Andhra Pradesh, Orissa and Gujarat. Ikat textiles of India have the distinction of being among the most highly priced textiles in the world. Worn during marriages, they are also used as coverings for royal elephants and horses or as hangings in temples and for the adornment of deities. The designs that predominate in Patola textiles are geometric, floral and figurative motifs. Bright colours like green, yellow, red and black are commonly used. A saree length takes two men seven months to complete.

Orissa's style of ikat has a long tradition dating back to the 12th century. Weavers migrated from the Patan area in Orissa, took the basic techniques which then developed over time to a unique style of flowing designs. The resist tying is done finely on two-thread units giving greater detail and fine curves. These units are tied freehand without marking out the threads beforehand.

Andhra Pradesh has some of the busiest hand weaving villages centered around a co-operative producing thousands of meters of ikat each month. They specialize in warp ikat particularly suitable for furnishing fabrics made from cotton. Sarees are also produced, with a never-ending demand as the average middle class woman owns at least 100 sarees.

Jamdanis or the figured muslins are amongst the most exclusive of Dacca muslins. These muslins had lyrical names like Shabnam (evening dew), Malmal Khas (muslin reserved for kings) and Abrawan (flowing water). The base fabric for Jamdanis is unbleached cotton yarn and the design is woven using bleached cotton yarns so that a light-and-dark effect is created.

From the south comes the Temple Sari, the Kanjeevaram, from the town of Kanchipuram. The Kanjeevaram sari was first woven around 400 years ago and since then this vibrantly coloured saree has become one of India's most popular materials. It is woven mainly in contrasting colours with silk or gold threads used as borders or motifs. The colours are normally bright deep colours, and the silk is among the finest in India.

Gharchola sarees carry tied and dyed patterns. These sarees are traditionally bought for wedding and they carry a gold thread for the checks with small golden motifs like a peacock or a lotus in the centre. The final red colour of the Gharchola saree is traditionally dyed in Jamnagar because of the special quality of the water there. Rajkot in Saurashtra is another important centre for the sarees.

Katwa and sujini and kantha are embroideries that use a running stitch and some satin stitch to turn out a magical array of exquisite quilts, duvets and running yardage. Embroidered textiles from the desert dunes of Rajasthan and Gujarat, shimmer with colour in a bid to make up for the bleak landscape. Mirrors glint, set in satiny colour-tilled embroideries that adorn houses as talismans as well as making regular appearances as blouses, huge rich tapestries and lehengas (skirts). Each handcrafted piece is unique and amazingly well thought out. Chikan, embroidery from Lucknow that looks like lace, has recently been revived and looks beautiful on pastel coloured sarees in summer.

India's great tradition of vegetable dyeing is unequalled anywhere in the world. However, the European development or synthetic dyes in the mid 19th century ended the export market for colourful textiles as well as the natural dyes. The technical skills of vegetable dyeing were lost to all but a minority of textile craftsmen. However, today there is renewed interest in natural dyeing due to bans being imposed by Governments, because of health risks from numerous synthetic dyes developed.
 

The tradition of wood-carving has existed in India from ancient times. The early wood-carved temples bear witness to the craft. Wood-carved temples exist till date in Himachal Pradesh and Uttar Pradesh. In India, each region has developed its own style of carving influenced by local traditions and wood varieties. Folk forms in woodwork include toys, puppets and religious objects and carvings.

North India has a tradition of carved wooden doors with intricate designs, brass inlay and trellis work for the windows.

Assam, with extensive forests, has a rich tradition of woodwork. Most places of worship include large carvings of mythical figures like halt-man, Garuda, Hanuman and lion.

In West Bengal, clay houses have large wooden pillars and beams with intricate carvings.

In Kashmir, houses are lined with wood, with ceilings in geometrical patterns and lattice-worked windows made up of pieces of wood locally known as Pinjara. The State also produces items like furniture, screens, boxes and bowls, mostly prepared from walnut wood, which is found in abundance. Decorative wood panels on ceilings and pillars are called Khatamband.

Ahmedabad in Gujarat is witness to some of the finest ornamental carvings of balconies in old homes. Sankheda is an important centre for lacquered furniture. The surface is painted with designs on a lacquered background. This is used to give a silver-like effect. Bedposts and cradles and toys for children are also made here. Surat has a tradition of marquetry work, which is also called Sadeli. The Tanjore dolls of Tamil Nadu, made of wood, form a part of the rituals in temples that also have carved wooden pillars.

In Andhra Pradesh, Tirupathi's red dolls are sold at the temple complex.
Kerala has one of the richest traditions in woodcarving. Most traditional homes have a carved family temple. Kerala wood-carvers also work wonders on sandalwood and rosewood.

In Punjab, old homes have carved doors and windows. Woodcarving and inlays are now practiced in Hoshiarpur, Jalandhar specializes in lacquer-turned furniture. In Uttar Pradesh, Saharanpur is an important centre in woodcarving. Screens and room-dividers with carved patterns and ivory-inlays with minute details are produced here.

Manipur is an important centre for Tarkashi, metal thread work, done in furniture. Karnaraka specializes in sandalwood carving. Large boxes covered with mythological scenes are an important product of Mysore, Kumta and Sagar. In South Kanada, life-size wood carving of Buddha figures is done. Mysore has an intricate form of ivory-inlay on wood that can be seen on the ceilings and doors of the Mysore Palace.

In Orissa, the main deity of the famed Puri temple, Lord Jagannath is reproduced in wood. A number of wooden masks are also made for the traditional Sahi Jatra.

Nagaland has a tradition of manufacturing statues as well as commemorative pillars in wood.
 

The craftsman's mastery over stone is best discovered in the architecture and sculptures found in Khajuraho temples. The intricate carvings found at Sanchi are amongst the finest found anywhere in the world. Bodh Gaya, a pilgrim site for the Buddhists also has an ancient tradition of stone carving.

Nothing epitomizes best the ethos of Varanasi and Agra than their stone carvings. From intricate architectural masterpieces, perfectly chiselled stoneware to table-tops with inlay work, every item is a piece of exclusive artwork. For centuries, Mathura and Varanasi remained at the centre stage of development.

In the 3rd century B.C. the imperial court of Ashoka provided a great boost to the art of stone carving. The stupas and cave temples of this period are perhaps the earliest surviving stone structures. The red sandstone of Chunar has been lavishly used in the stone sculptures which were found in excavations of Mathura and Agra areas dating back to the Mauryan era.

Ancient carvers were guided by the Shilpa Shastra, which clearly laid the rules for them. The main deity was carved by specialists who were knowledgeable in the properties of different stones, their gram, as well as their proportion needed for the carving.

Carving the deity was considered an act of worship and a sacred ritual. Stone temples are built even today and the Sthapathis of Tamil Nadu as well as the Somapuras of Gujarat and Rajasthan are in good demand throughout the country.

Agra is famous for its marble stone works. Many pieces like lattice windows, mirror frames, carved brackets, canopies, pendants and filigree works are carved here. The craftsmen are known for their inlay works. Rajasthan maintains a rich tradition of stone carving even in the common domestic buildings. Door frames are commonly built of red Stones. Windows have stone trellis works and even the supporting frame for the loom is made of carved stones. Jaipur is one of the most important centres where a large community of stone carvers carve deities in marble.

In Orissa, soft stones are used for carving small souvenir items, meant for sale to the tourists. Mahabalipuram in Tamil Nadu has hard granite stone carvings. There is also a school for training the Sthapathis according to the rules of the Shilpa Shastras. In Karnataka, Devanahalli a village near Mysore produces carved figures in relief on black stone. The figures appear to have movement and strength in their postures. The figures nor only have the effect of light and shade and a rounded form but also a linear quality. Durgi, in Andhra Pradesh is another stone carving centre where large nandis, bulls, and local deity images are carved.

Ivory carving is one of the most ancient crafts of India. Ivory is a precious material and a difficult one to carve. The important centres for ivory carving were Trivandrum in Kerala, Mysore and Bangalore in Karnataka, Delhi, Jaipur and Jodhpur in Rajasthan, Varanasi in Uttar Pradesh, Amritsar in Punjab, Benrampore in West Bengal and Ganjam and Puri in Orissa. Of late this craft is dying as the Indian Government has banned elephant poaching and ivory-work. Hence the carvers are turning onto other crafts, in particular, bone carving. The tribals are usually associated with this craft. The Himalayan tribals practice this craft for making ritual items. In Orissa, bone carvings of animal figures are common.
 

Terracotta is also used for offerings to the numerous Gods in the Hindu pantheon. Hence, each region has a distinct design, content and body. Bengal has the largest array of the finest specimens of temple terracotta panels. Even in South India, numerous offerings of terracotta horses and elephants are made to a deity called Aiyanar who is believed to ride them.

There is usually an intriguing symbolism in the size and form of each. For instance while the horse is big, the rider by comparison is small. The explanation is that, the horse has divine essence, whereas the rider is only a human representation.

West Bengal has perhaps the best tradition of terracotta. Most of these figurines have a ritualistic connotation. The Bankura horse is famous. Heavily decorated, it is made of rich red clay. Some of the best terracottas are seen in Murshidabad, Birbhum. Jessore, Hooghly and Dighha. The style is essentially folk and designs are highly expressive. The use of coloured glazed tiles began after the Muslim conquest. The tile art called Chini or Kashi became highly refined. Today, many ceramic centres produce tiles - both glazed and unglazed terracotta with traditional and modern designs.

Today under the onslaught of modernity, when traditions and cultures are being eroded and corrupted by the availability of mass-produced goods. For those who appreciate local crafts, it is these artefacts of everyday life, like storage containers for rice and salt, earthenware water jars, cooking pots and incense burners, which are assuming rich forms. Utilitarian yet unique, such ordinary articles are as much the result of a folk craft handled down over the generations as of the collective experience and wisdom of the people.

There are a variety of objects specially produced for restive occasions, such as lamps for Diwali, toys for Dusshera, pots for seedlings at Sankranti and colourful kalash (pots) for marriages.

Many products are also used for decoration and make great gifts. Some of which are ashtrays, flower-vases, tea sets, pottery, paperweights and decorative animal figures.

Delhi is famous for its 'Blue' pottery that uses an eye-catching Persian blue dye to colour the clay. Blue pottery is glazed and high-fired which makes it tougher than the others. Another version, the Jaipur blue pottery is unique. Some of this pottery is semi-transparent and generally decorated with animal and bird motifs. Decorative items such as ashtrays, vases, coasters, small bowls and boxes for trinkets, are made using Egyptian paste and fired at very low temperatures.
 

Khurja, in Uttar Pradesh, a three hour drive from Delhi, is also well known for its inexpensive but tough tableware. Produced on a mass scale, fired at high temperatures, these pottery items retain their mud colour and are in great demand.

Rajasthan pottery has certain distinct characteristics. The mouths of water pots are small, probably to prevent spilling.

Alwar is noted for its paper-thin pottery, known as kagzi (paper) pottery.

Goa's earthenware has a charm of its own. A wide range of figures and panels, apart from attractive water and flowerpots, are made here.

Interesting buys are the black pottery and chillum (clay pipe) from Tamil Nadu. At Kottaikorai in Pondicherry, the slat-glazed pottery has a texture of orange peel. The painting is done before firing and most of the items are utilitarian - starting from candle-stands to water hirers and tableware.
 

Utilitarian and decorative items are made from cane in different styles and motifs, of which baskets and mats are the most popular. Tripura and Bengal are famous for elegant screens and bamboo mats, made from split bamboo, finely done. Assam, a state with abundant raw materials has a large variety of beautiful products like baskets, mugs for rice beer, hukkas, musical instruments and floor mats. Neighbouring Arunachal Pradesh excels in cane and bamboo work too, producing items such as cane belts.

From Tamil Nadu, come the famed kora grass mats.

The most delicate mats are made in Kerala, where black and white square bamboo boxes are also made in the same tradition, making excellent gifts.

Cane is the natural endowment of the forest resources in Manipur. Due to Jhum (Shifting) cultivation rampantly practiced in the hill areas, cane resources have been dwindling. Bamboo, another forest resource is abundantly grown in Churachandpur, Jiribam, Tamenglong and Imphal districts of Manipur, the largest producer of bamboo products after Tripura in the entire north-east. Some of the bamboo products are sofa sets, murhas, mats, baskets, trays, chairs, tables, flower vases, ashtrays and other decorative and utility articles.
 

In Bengal, the iron kada (bangle) commonly termed loha is worn by the married woman as a symbol of her marriage. The bride is also given a beautifully crafted white conch bangle and a red lac bangle.

Ivorv bangles, like the glass ones, are an important item for brides of some communities. A bride from Punjab is traditionally given slender ivory choodas (bangles) in white and red. These bangles are given only in multiples of four. Over the years, the expensive ivory has been replaced by lac and plastic but the custom continues.

When the Gujarati bride conceives, her sister-in-law gifts her a silver chain bracelet. In the seventh month she is also asked to wear a bracelet made of black thread and five kowdis (a kind of shell). This bracelet is untied only when the woman goes into labour pains to symbolically help in an easy delivery. A similar ceremony called Valaikapu, is practiced in south India.

The profession of glass bangle making and selling is mostly dominated by Muslims. Ferozabad, a town in Uttar Pradesh, is renowned for its glass bangle manufacturing.

In each region, bangles are made using the materials available locally, like wood in Kashmir and lac in Rajasthan.

The Ahirs of Rajasthan and Rabaris of Gujarat cover their entire hand with bangles made of bone. The Lambadis of Andhra Pradesh wear the graded bone bangles upto their elbows. The Bastar tribe of Madhya Pradesh wears bangles made of coconut shell. The Gonds and Bhils wear bangles made out of brass or beads. The Kashmiris have the moat exquisitel painted papier-mache bangles.
 

There are sixty-two stalls selling handicrafts of varied kinds from all over the country. The stalls are allotted two weeks each on a rotational basis giving an opportunity to the maximum number of craftsmen to exhibit and sell their wares. Dilli Haat also offers the visiting tourist the cuisines and performing arts from different parts of the country.

Its main objectives are to ensure that crafts sell, quality is maintained, the craftsperson gets a fair price and that the craftsperson's future generations find it worthwhile to continue in the field. It ensures that adequate raw material is supplied to the craftsmen at a regular rate, helps upgrade tools and technology, works on community building programmes, introduces product design and helps market the crafts.