Moti Bharat: Weaving culture one bead at a time

Saurashtra’s folk culture is a blend of numerous ethnicities that have coexisted for generations in an arid environment, resulting in beautiful craftsmanship. In addition to having rich literary traditions that include tales of gods and goddesses and natural elements, these folk cultures are also known for their abundance of textiles. One such skill that is widely practiced in Gujarat’s Saurashtra region is beadwork. Gujarat’s otherwise arid environment is brought to life by these colorful beaded jewelry.  This age-old art form, which is commonly called Moti Bharat, involves the laborious and skilled utilization of small, colorful beads to craft beautiful and delicate designs on a range of fabrics, accessories, and home décor items. 

Historical Journey of the Craft

Beginning around 4000 BCE, the Mesopotamians were the first known beadwork artists. Clay, lime, soda, and silica were used to make the beads. Some tribal cultures in Africa, America, and some regions of the former USSR were skilled bead workers. It is very popular in Gujarat, especially in the Saurashtra and Kutch regions, as well as in Rajasthan and some areas of Madhya Pradesh in India.

Beadwork is an age old tradition in Gujarat. It began hundreds of years ago and has since been handed down through generations, with craft evolving with each passing generation. The earliest beadwork products constitute of jewelry and decorations that were meant for the Gods and the royalty. With time the practice seeped among the common masses as well. Saurashtra became the hub of beadwork in Gujarat. Other districts where the craft is practices include Ahmedabad, Rajkot, Bhavnagar, Amreli and Junagarh. 

The Gujarati traders had developed successful business relationships with ports on the eastern coast of Africa. From there they began importing Venetian-Murano beads during the second half of 1800s.   Hand-fans, torans (a panel on the entrance door lintel), and chaklas (decorative squares) are only a few examples of the utilitarian and beautiful items that artists and women homemakers stringed after being drawn to these tiny glass beads because of their consistent size and flashing vivid colors. Numerous communities from all over India contributed to the development of this craft, which witnessed tremendous growth in the 19th century and continued to flourish into the 20th. 

Crafting of the Beadwork

Tiny beads are strung together in the bead weaving process in different ways to create fine designs and motifs. A large variety of beads are available based on size, shape and texture giving a large scope to the craftsmen to experiment on different  products. As for as colors are concerned, the most dominant ones are the primary colors along with white. The mono-bead system and the tri-bead system are the two techniques used in actual bead knitting. From a simple jewelry piece to an ornate one, each of the products require great precision and perseverance along with a thorough skill of the craft. 

Techniques for beading can be divided into two categories. The first being stringing where in the beads are threaded to one another to make a particular product. Different sized and colors of the beads are put to use to achieve interesting patterns and designs.  The other technique being weaving where the beads are weaved on a cloth or string to form the designs. This method is also used to create three dimensional objects like boxes and balls. 

Symbolism and Aesthetics

The bulk of patterns and motifs which constitute the principal attraction of bead work, consists of six different categories of depiction: divine and human figures, animals, birds, plants and floral forms,  inanimate objects, and purely geometric forms. Each one of them possess its own charm and serves as complementary to each other in the general scheme of the design or composition.

• Divine and Human Figures

  

Among the divinities, the most frequently represented are Ganesh and Mahalakshmi. They figure as tutelary deities and occupy central panels in torans and decorative articles. The depiction of Krishna is also popular  and attractive. The usual theme is the Rasleela where two gopis participate with Krishna in dance. Krishna as a beloved child swinging on a swing accompanied by Nand and Yashoda is another delightful incident found among the motifs. The depiction of Radha and Krishna needs no special introduction. The deities are often depicted along with other religious symbols like the Kalash or the Swastik. Another instance of a mythological figure is provided by Shravan who is depicted as carrying his parents in two baskets suspended from a wooden bar resting on his shoulders.

Among the human figures several types may be called out : the maidens wearing a ghaghara (skirt) and a kamkha (blouse) and grown up ladies wearing jimee and a flowing odhani, or chunari resting on the head and falling along the back. The typical, capturing scene associated with women is churning of curd, a scene of common occurrence in old embroidery as well. Young girls may be seen swinging the child in a palana or ghodiya (cradle). The male figures are seen engaged in more vigorous pursuits such as driving a plough with a pair of bullocks or as horsemen, charioteers, tram car drivers or as guiding or driving various animals.

• Animal Motifs

The portrayal of animals is of sterling importance in bead work. It infuses life and movement in the design. The animal motifs normally fill up vacant spaces in large specimens. Among the animals, the hathi (elephant) seems to be the most favored of all. The mare motif (ghodi) is met with equal frequency, but its use is confined to certain specific regions. But by far the loveliest motifs in the animal lore of bead work is the sandhani (she-camel). The she-camel is sometimes depicted with a decorated saddle. This beast, endowed with a pronounced corporeal angularity, adapts itself perfectly to the basic angular conception so typical of the tri-bead system in bead work. The triple flexure of its long neck as if a bent up pipe and slender incurved legs at once give it an expression of torsion and mobility. The fawn yellow color of its body is vividly picked out by the use of yellow beads contrasting with the colored saddle. Besides animals, the bead work shows in its repertoire some very fine depictions of birds. The most frequent is undoubtedly the peacock (mor). This beautiful bird is represented in six different forms. 

• Plant and floral Motifs:

  

The vegetal motif are the essential components of any pattern scheme in bead work. Their function, it would seem, is circumvented by their nature to furnishing merely the proper setting for birds and miniature animal forms which would otherwise look as if lost in desolation. But that is not all. By and large, they are capable of existing in their own might. 

• Inanimate Objects:

Bead work could have lost quite a large fraction of its allurement without the inclusion of inanimate objects such as the chariots which were inseparable from mediaeval pageantry. Kathi ladies still travel by chariots escorted by cavaliers in Babariawad area of Saurashtra. Normally, two types of chariots — one with the sayban (hood) projected above the head of the chariot and the other one devoid of it (weldum) are found in local embroidery as well as bead work. Sometimes a large mansion like chariot with compartments carrying human or animal figures and driven by a camel or wooden horse is also observed.

• Geometric Forms:

The geometric patterns are as essential in forming the composition in bead work as the depiction of living beings. The simplest representation of geometric motif is provided by a three-bead composition called ‘ardha-chandla’, a continuous series of which forms a string course dori. When five beads are used a complete ‘chandla’ takes shape.  Chain of different colored squares sandwiched between two string courses, forms a border known as ‘aka-paka’. Where wider borders are not permissible, the ‘aka-paka‘ border is used to realize the same effect. Chevron bands of all sizes and color combinations are equally popular. 

Another mention may be made of a cross like form embodying a triangle in each of its four arms and known as ‘kohful’. This peculiar motif is likewise omnipresent in the embroidery of Kathi, Mahajan and several other urban and peasant schools of Saurashtra. It is an antique motif. Perhaps it is symptomatic of the game board (chopal) so popular up to the last decade and itself fairly ancient in origin. 

Custodians of the craft

Talented craftspeople, many of whom have been engaged in the skill for generations, continue Gujarat’s beading history. Even while working on tiniest of products and designs, the craftsmen are renounced to be accurate and inventive. The majority of these craftsmen belong to tribal communities or have tribal origins. The craft is frequently a family tradition, with parents teaching their children new skills. Being gender neutral, the craft is practiced by both men and women with equal regard. It is only due the gleaming skill of the craftsmen that basic tiny beads can be turned into pieces of beauty.

Expanding Horizons

Gujarati artists produce a vast array of items, making their beading extremely adaptable. The most loved products include beaded jewelry. Items like necklaces, bracelets, earrings and anklets are highly sought after due to their unique designs. Beaded handbags, belts and similar accessories are also sold in addition to jewelry. Home decor is another category which the beadworks produce. products ranging from table runners, cushion covers, door hangings (Torans), wall hangings and other soft furnishings items are utilized to give a pop of color and texture. The beadwork products originated as decoration for religious purposes and they continue to do so. Objects like beaded garlands, idol and temple decorations are used to enhance the spiritual atmosphere. Toys and other objects for storage are also crafted showcasing the adaptability and eager reception of the craft by the masses.

The Fate of Moti Bharat

Both men and women continue to participate in the thriving art form of bead weaving. In addition to being an essential part of regional traditions, the craft now provides many craftspeople around the state with a living. Support for the artisans and the promotion of their work in wider markets are being attempted as a result of programs such as Hastkala Setu Yojana. Programs like these provide a financial anchor to the artisans associated with the craft while also maintaining the popularity and authenticity of it. 

This unique craft has been a major contributor in the culture and economy of the state of Gujarat. The craft has also evolved with time and incorporated the contemporary preferences while also retaining its rich legacy. Beadwork is still relevant after centuries of its inception only because of the constant experimentations by the artisans to keep the craft relevant in changing times.

Sustaining a Cultural Treasure

Gujarati beadwork has a long history and cultural significance. In addition, it fulfills the function of being a sustainable craft. Compared to using synthetic or imported materials, traditional beading frequently uses natural and locally obtained materials, which can be more sustainable. This lessens the craft’s negative environmental effects. Since glass is recyclable and used to make the majority of the beads, it can be melted and molded into various shapes depending on our needs.

Adopting sustainable practices in beadwork, such as paying fair salaries and providing safe working conditions, could be a step forward and improve the well-being of craftsmen. Fair treatment of artisans enhances their quality of life and job satisfaction, which promotes the long-term viability of the trade.