This intricate craft involves hand-cutting or etching detailed patterns into sheets of brass to create ornate screens or perforated panels. Often used in architectural facades, furniture, and lighting, the jali plays with light and ventilation while drawing from centuries-old Islamic and Rajasthani design vocabulary.

Copper enamelling, or meenakari, involves fusing powdered glass onto copper surfaces through high-temperature kiln firing. The process produces vivid, jewel-like colours that are both durable and luminous. Traditionally used in jewellery and ritual objects, this technique has evolved into contemporary art panels, where detailed patterns and gradient tones are layered to create a glossy, tactile finish.

Gold leafing is the luxurious application of wafer-thin sheets of gold onto a prepared surface, traditionally used in architecture, sculpture, and manuscript illumination. In this delicate process, artisans use natural adhesives to affix the gold, often burnishing it to enhance its luster.

The vibrant, imaginative tribal paintings of Madhya Pradesh expressions of rituals and folklore deeply linked with the day-to-day lives, religious sentiments, and beliefs of the people. Themes often explore local festivals, such as Karwa Chauth, Deepavali, Ahoi Ashtami, and Nag Panchami. Multi-coloured, bright hues light up paintings of forests, animals, birds, objects of daily life, and gods and humans.

This painting  style was developed in the 19th century, near the Kalighat temple in Kolkata, West Bengal. Initially, the paintings depicted mythological tales. Over time, however, the oeuvre grew to include social themes, day-to-day events, and popular lore. The paintings are characterized by line drawings, with outlines in bold and elegant brush strokes. Shaded contours lend these sought-after paintings their distinct plaque-like effect.

Bhunga, the circular huts found throughout Kutch, are made of clay or bamboo chips plastered with “Lippan” a mixture of clay and dung. The Lippan on the walls, partitions, doorways, lintels, niches, and floors of the Bhunga have elaborate decorations with textures created by finger and palm impressions and sculpted forms inlaid with gleaming mirrors.

Nathdwara Pichwai paintings present a highly-refined style of cloth painting that was originally used to adorn the walls of temples behind where the idol was placed. The artworks are strongly influenced by stories of Lord Krishna and his timeless love for Radha. Characteristic features include large eyes, delicate line work, and intricate detailing.

The craft involves embossing sheets of metal by hammering over patterned dyes. These are then used as surface ornamentation on wooden artefacts. Originally made to decorate large trunks and boxes, the art came to be known as “Pitara”. It is practised in Jaipur and some other regions of Rajasthan and Gujarat.

This skillful technique of inlaying fine flattened wires of brass, copper or silver in wood was practised by the Jangid community which migrated from Mainpuri, in Uttar Pradesh, to Jaipur, Rajasthan. Seasoned Sheesham wood is used, its high oil content allowing the inlaid metal to be held securely. Patterns are usually geometric or florals of Mughal inspiration.

The ancient craft of Terracotta literally, “burnt earth” or “baked earth” shows an understanding of various art forms in India. The craft has not only stood the test of time, but also evolved over the years. Natural terracotta comes in shades ranging from beige to rust red. When treated with an infusion of different minerals, it results in colour variations. However, when fired in the furnace through a process called reduction firing, it turns black.

A richly diverse craft, embroidery in India varies widely in technique, motif, and material depending on region and community. From the fine silk threads of Kashmiri sozni to the mirror-studded Kutchhi stitchwork, embroidery transforms plain fabric into narrative and ornamental textile art. Needles, beads, and threads are used to depict flora, fauna, deities, and abstract patterns, often echoing centuries-old traditions.

The art of inlaying spherical, hand-cut pieces of mirror onto ceilings and walls to form a mosaic is known as ‘Thikri’ or mirror inlay. An ancient art form, it has been practiced and passed down for generations in Rajasthan. Thikri is found in many homes, temples, and palaces even today.

Veneer inlay is the meticulous art of layering thin slices of natural wood onto surfaces to create intricate designs. Popular across India’s decorative traditions, this technique combines craftsmanship and geometry, often using contrasting grains, shades, and finishes. Floral patterns, lattice motifs, and contemporary abstractions are carefully composed.

Wood carving is one of the oldest and most expressive sculptural traditions of India. Using chisels, mallets, and blades, artisans shape solid blocks of timber, usually teak, mango, or Sheesham, into reliefs, figurative forms, or ornamental panels. Motifs often draw from mythology, architecture, and nature, with techniques ranging from deep carving to surface etching.