Portrait of the Mason as Artist

This is a painting on the wall at the entrance of Jhanda Durbar in Dehradun. 

The writing accompanying the painting has this to tell us: 

TulsiRam, Mistry, Tasveer Banane Wala (Tulsi Ram, Mason, Painter of Pictures). 

Lokesh Ohri pointed out this painting when he led a walk to Jhanda Durbar as part of Been There Doon That. 

What does this tell us?

First, that the maker is honoured. He has the confidence, and the leeway to put himself right there - at the entrance. 

Second, a mason can also be an artist. This is a self-portrait of the mason and artist. 

Asserting his identity. Claiming his place. And recording himself and his work for posterity.

This is a render on the wall at the entrance to our flat.

And a photograph of the mason and his helper: Boski Goswami and Shiv Kumar, who made this. 

They collaborated with us in experimenting with applying lime putty on whitewash. This had to be done in a certain way. The lime putty pulled in small strokes to get this interesting and vivid effect. 

In fact, they volunteered to do so. The painters - after much explaining and even demonstration, said that this was beyond them, throwing their hands up - and their brushes and patti down. 

Boski then said he would give it a try. 

The mason and his helper, artists. We asked them to sign their names.

Boski Goswami. Shiv Kumar.

They wrote them on the skirting on the right-hand bottom corner, more proficient in painting than writing. 

Next time, we will plan their signatures centre-stage. I

t is only fitting that the maker is honoured. This is part of the Indian tradition.

As I have written earlier in Attributing Design Identity, Identifying Design Attributes: 

'The Mayamatam states that all building technicians must be honoured. There is an hierarchical order of responsibilities amongst the sthapati, the architect; the sutragrahin, who measures length, height and proportions; the taksaka, who cuts and carves stone, wood and bricks, and the vardaka, who assembles and erects the building. However, there is significant freedom along with responsibility in each category, and it is stated that the taksaka, sutragrahin or vardaka, depending on occasion and ability, can take on the duties and even the designation of the sthapati.

This is what we have to get back in the profession. That architects learn to build on-site with their hands. That masons learn to write, draw, design. 

Lateral and vertical freedom along with responsiblity among all the different players in the craft of building.

An Object a Day - #7: Woven Basket

DAY 7 in the Series on A Handcrafted Object Of Daily Use

Crafted objects that I use on a daily basis, which are beautiful, functional and sustainable.

This beautifully woven basket was bought last December from a crafts fair at Dehradun. I have used it as a chapati box, but it can be also used to store condiments, fruits or anything that requires a breathable container.

This form of weaving is traditionally practised in different parts of Uttarakhand. I found a fascinating article by Suresh Kumar, relating the story of his father, Shilpkar Dev Ram, and how he came to practise this craft in Pithoragarh. Pithoragarh is incidentally the place that my father's family is originally from too.

This is the link to the article by 

Shri Suresh Kumar:

'When is any path in life ever straight?' https://www.voicesofruralindia.org/uttarakhand-ringal-weaving-craft/

Further links:

https://villagesquare.in/tharu-women-revive-their-craft-towards-financial-freedom

https://artsandculture.google.com/story/ringaal-bamboo-weaving-craft-project-fuel/XwVh5nRLhsZKaw?hl=en

An Object a Day - #6: Clay Cooking Pot/ Meenchatti

DAY 6 in the Series on A Handcrafted Object Of Daily Use

Crafted objects that I use on a daily basis, which are beautiful, functional and sustainable.

Today’s object is a clay cooking vessel - Meenchatti. Our friend, Veni Mathew, got it back for me from Kerala several years ago. I use it primarily for cooking rice, though it can also be used for cooking curries. 

Conversations in, and of the City

 Think of a city like a conversation.

Shahjahanabad is a conversation that is vivid and alive, that can take sudden turns, that is absorbing even when uncomfortable and sometimes difficult to comprehend. Despite its seeming chaos and crowds, the city has structured spaces to pause, gather, listen to, and be heard...

https://anishashekharmukherji.substack.com/p/talking-about-shahar-shahjahanabad

An Object a Day - #5

DAY 5 in the Series on A Handcrafted Object Of Daily Use

Crafted objects that I use on a daily basis, which are beautiful, functional and sustainable.

Today’s object is -- something you have to guess!

If you find that difficult, then here's the link for further clues: https://anishashekharmukherji.substack.com/p/an-exercise-in-perception-and-inference

An Object a Day - #4: Sil Batta/ Shil Noda

DAY 4 in the Series on A Handcrafted Object Of Daily Use

Crafted objects that I use on a daily basis, which are beautiful, functional and sustainable.

Today’s object is a Sil Batta 

(or Shil Noda in Bangla)

This Sil Batta belonged to my mother-in-law. It came with her to Delhi from Kolkata when she moved here after her marriage, more than half a century ago. 

She used it, and now I do. 

As I have written earlier in 'Who Designed the Sil Batta - and why should we care?' http://anishashekhar.blogspot.com/2010/06/who-designed-sil-batta.html

'If you pause to think about what the sil-batta does for and to you, it seems that it may actually be far more progressive and modern to use it rather than the mixie. The energy and resources consumed in its design and production are minimal – the design is well-disseminated, familiar to both maker and user, does not require fancy 3D mock-ups or scale-models, and contains no high energy parts such as steel or plastic. The stone may require high-energy resources in quarrying but further shaping is primarily by hand tools wielded by skilled stone-workers, and causes practically no pollution in production. 

The stone for the sil-batta in my family must have been quarried half a century ago. Unless I drop it on the floor and break it, there is no reason why it will not give service for another half a century more and be used by my daughter to pass on to whoever she wishes. Whenever my cook or I use it, the only energy we expend is ours. The taste is fresher, I believe the nutrients are retained, and I do not need to go to a gym to get exercise for my arms!'

An Object a Day - #3: Clay Roasting Vessel

DAY 3  A Handcrafted Object of Daily Use

This is a series on crafted objects that I use on a daily basis, which are beautiful, functional and sustainable. 

This clay cooking vessel works well to roast brinjal and sweet potatoes, and as a mini 'tandoor'. I bought it some years ago at the Dastkar Nature Bazaar at Andheria More.

An Object a Day - #2: Bamboo Strainer

 DAY 2 in the Series on A Handcrafted Object of Daily Use

Craft is not just about souvenirs or artefacts for display. 

Many hand-crafted objects have a real functional use, and contain the lakshana or characteristic of sustainablity. 

As I have written earlier about craft in India: ‘Since nothing was designed as simply utilitarian or purely decorative, most objects had a continuing use, and were thought of in their entirety, to form a way of life that was a celebration of all the senses.’ (Is there something called ‘Indian Design’?)

This is a series on crafted objects that I use on a daily basis, which are beautiful, functional and sustainable. 

Today’s object is a Bamboo Strainer.

This was bought from a seller of Darjeeling and Assam Tea at the Kashmiri Gate Durga Puja, Delhi on MahaSaptami, 30 September 2025