184 The Nagas of Northeast India are identified by the distinctive use of black, white and red stripes along with animal motifs in their fabrics. Dominant color map of Northeast India as derived from the above findings of all states.
Overview of Design
How design comes about and where it stands now is a question that needs to be answered. However, it is the use value that is present to the extent that we collectively assess a creation as beautiful.
Motivation
Aim and objectives
To study design elements through documenting (and compiling relevant information) widespread design practices and artifacts in the Northeast region. A study can be made through the collection and compilation of these design elements to see their specificity.
Organisation of the thesis
Northeast with its countless traditional design practices has not been analyzed to get its essence of design elements. Chapter V includes Tradition and Common Design Elements, which covers traditional symbology and common design elements.
Introduction
Early age experience
One of the interesting aspects of these works is that they used different color palettes to represent different moods related to their themes. Some cave paintings may even provide a clue to the origins of this tradition of fertility magic (Jean, 1998).
Western Experiments in Design
The members of The Style tried in their work to reflect what could not be achieved in the whole of social development, i.e. the ideal harmony. A new thought using straight and parallel lines used in the 'New Design' style; Experiments were also carried out with colors depicting different themes, time, mood, etc.
Indian design ideology
In the Indian tradition, color affects life, it is used as a symbol (Mookerjee, 1998), e.g. during the performance of rituals, such as the color red symbolizes Shakti (the generative principle), and green is a symbol of fertility, fig. 29 (Mukharjee. Ajit, 1998) Three specific states of human characteristics and driving forces viz. (1) sattva, the cohesive or unifying force, (2) rajas, creative energy, and (3) tamas, the opposite force of mass or inertia, were expressed by specific color coding. Sattva, rajas and tamas are also traditionally represented by red, green, yellow, Figure 30 (Mukharjee. Ajit, 1998), as evidence of the work being of Rajasthani origin.
Design elements for understanding identity
The emergence of symbolic forms – visual and verbal, artistic, mathematical or any other form of expression – is the odyssey of the mind (Jean, 1998). It can be said that an exploration of traditional elements with a refined and contemporary application in a relevant design theme would blend with the ethos and identity of the society.
Contemporary design movement in India
The National Institute of Design is internationally acclaimed as one of the premier multidisciplinary institutions in design education. When formal design education took shape in India and consciousness developed in the minds of common people, the Northeast was completely unaware of the entire event and was left behind. The reason may be due to the geographical or socio-political conditions of this region.
Design elements from Northeast
The first is the design of various items used by common people in everyday context is also a part of Indian design. So far no attempt has been made to transform these traditional design elements in the context of contemporary thinking.
Introduction
41, (The Telegraph Magazine, Graphiti, 2005) can be cited as typically Indian in terms of its ornamented appearance. The mascot of the national match (scheduled for 2006 to be held in Assam) featuring a man with a rhinoceros carrying a match torch (source: Sports Authority of India, Guwahati) and Mithun's headgear can also be said to be a crude transformation, Fig.
Survey methodology and field studies
Still, it is believed that a state survey would be good to get a general idea of the entire Northeast, regardless of the variations in different tribes. As a general approach, community specific artifacts have been observed to get the general idea and understand what would be the basis of the thesis.
Introduction
All the items related to the culture of this country are not available to document in a survey, therefore some of the items are described here. Rare and scattered documentation of lives of some of the communities of the North East has been reported and published material is available.
Assam
Crafts and Artifacts
An idea about the flourishing state of sugarcane and bamboo products of Assam was even found in the time of Bhaskara Varman (early 7th century AD), the king of Assam, (reference excerpt from “The History of Civilization of the People of the People of Assam”). Assam” by Dr. P.C. Choudhury,
Baskets
Dhol (big beat) - The process of preparation of 'dhol' is just like that of the doon. It is prepared from small bamboo strips tied with fine and flexible cane strips.
Textile
Another chador, also very beautifully designed, known as Rikhaosa, is used during dances or ceremonial occasions. The main colors they use for their textiles are green, black and red, yellow with geometric and animal motifs. Taking heads was considered “capturing souls to add to the village of life,” which brought good health and an abundance of crops.
Crafts and Artifacts
Most of the ornaments are made of beads, as the tribes seem to be very fond of them. The Apatani women wear cane nose plugs which are an exception among the other people of the area, Fig.
Baskets
The outer surface of some Adi backpacks, such as the Nara, is slightly concave. The social significance of basketry items depends primarily on their symbolic value.
Textile
One of the typical designs of the Hrussos is the sun surrounded by its corona (specimen not available). The lines sticking out from the main design are said to be the thorns of the plant.
Nagaland
Crafts and artifacts
The work tools are of primitive types consisting of dao, axe, adze and chisel. The Wanchos, Konyaks and Phom tribes are some of the finest woodcarvers in the entire border area.
Baskets
The outer layer is made of colored strips of bamboo or sugarcane and decorated with yellow and black strips. Baskets are of all shapes and sizes from the crude small simple designs prepared in minutes to intricately patterned, elaborately woven baskets for carrying rice or storing wine in bottles, etc.
Textile
In some of the Sema villages, a beautiful cloth of wide black and white strips called nisuphi is worn. Another aristocratic shawl generally worn by the Konyak chiefs (Ang) and village elders is called the meyni.
Manipur
Crafts and Artifacts
The hill tribe people use a wide range of wind musical instruments made of bamboo. The Lambang tribe uses a special musical wind instrument called Relru, which is a hollow bamboo tube one meter long with a projection attached in the middle, through which one blows with the mouth to produce musical notes.
Baskets
It is part of the customary gift to the bride's parents, in addition to the bride price. This, like the Thiam Phai, is also an item usually used to be presented to the bride's parents.
Mizoram
Crafts and Artifacts
The cavity of the bowl is drilled in the middle and passes through the knot in a small hole. It is formed in two layers, each made of strips of bamboo woven into an open-hexagonal weave.
Baskets
The diagonal of the base square is 20 cm; the rim diameter is 42 cm and its height 75 cm. The diagonal measurement of both base and rim appears to be approximately 40 cm and the height of the basket is 16 cm.
Textile
The Jawl Puon design consists of nine red stripes and eight black stripes alternately arranged vertically along the entire body against a black background, Fig. Riang also wears the same dresses as people in the other communities in Mizoram.
Tripura
Crafts and Artifacts
Besides the fineness of handicrafts, handloom weaving is also an important craft in the state. The handloom industry plays a crucial role in the state's economy and provides a secondary source of employment and income to tribal cultivators.
Baskets
The tukri has an edge diameter of around 40 cm, and the diagonal of the base square measures 20-25 cm. Fish that swim into the net are scooped out of the water and stored in the basket.
Textile
The strips extend outwards from all sides of the base so that they can be turned up to form the posts for the body of the basket. This is the breast cloth called the Risa that passes under the arms and is pulled tight over the chest, Fig.153.
Meghalaya
Crafts and Artifacts
Cane and bamboo crafts occupy an important place in the country's economy, second only to agriculture. Weaving is an ancient craft of the Meghalaya tribes - be it weaving cane or cloth.
Baskets
The diameter of the basket at the rim is about 30 cm and it is 50 cm high. In the weave, the outer layer of bamboo faces the outer surface of the basket.
Textile
The loops of split cane are tied to the edge of the lid and these loops act as hinges connecting the lid to the container, Fig. A hasp made of split cane, which is wound around by split cane binding, is attached to the edge of the lid in front of the basket and a staple of similar construction is attached to the side wall of the container in a corresponding position.
Sikkim
Crafts and Artifacts
Choktse, the folding table of Sikkim is one of the famous products in India and abroad. The third type of thangka consists of paintings that are often used as an aid to meditation or as offerings to the gods.
Baskets
It can be seen that the angular and cross-shaped, sometimes hexagonal weave patterns are popular among Sikkimese. The edge of the bamboo stirrups is beautifully woven with a small bamboo rope, creating a round shape.
Textile
Handloom items were specifically studied to understand the design elements relevant to the local identity. Fig.108 Yongzujangau or cucumber seed dress is woven in red on a black background.(Kohima, Nagaland).
Introduction
Its essence is still alive in the works and practices of the contemporary life of the region. Rites and other rituals of communities are distinct without being really separate and they provide connections.
Traditional symbology
The maroon yellow of the Buddhists is not only a pan-Indian phenomenon but also a global Buddhist reality. This is further proof of the claim that man cannot live long without meaning.
Common design elements
The elements from which these items are extracted are tried to explore in terms of new applications to understand the regional identity for new design thoughts. The idea is that looking for regional design elements would help to facilitate their translation into contemporary design in the regional and national context.
