• Anjali Pandey HOD, Drawing and Painting Maharani Lakshmi Bai Govt. Girls PG Autonomous College Bhopal, Madhya Pradesh, India



Jewellery, Ritualistic Materials, Decorative Materials, Gabo, Mould, Kapo, Resin, 'Piswan Wax', Chanwa Wax, 'Garma' And 'Sunti', 'Barauli Soil', 'Gaarn Ki Mitti'

Abstract [English]

The tradition of Bell-metal art has a vast historical background since the time of Indus Valley Civilization. Kumud (1995). Excavation at Mohenjo -Daro, Harappa unfurled the technique of Lost wax process 'Cire-perdue Majumdar (1996). It was the great turning point in the history of art. The analytical study defines that the craftsmen who were pursuing the bell metal craft as a traditional occupation and doing this work as a religious domestic work are regenerating their interest in creative art Shukla (1998). The prime centres of Bell metal Craft in Madhya Pradesh are Tikamgarh, Datiya and Betul the Bell-metal craftsmen of Tikamgarh infused their experiences and creativity to develop a new-fashioned form. They evolved their creations from jewellery artwork.
"The growth of crafts in society was the sign of cultivation of sensitivity and the steering and mellowing the humanism". Chattopadhyay (1975).


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Chattopadhyay, K. D. (1975). Handicrafts of India. New Delhi, 1, 2.

Kumud (1995). Handicrafts in Indus Valley Civilization, 80.

Majumdar, A. (1996). Folk Art of India. New Delhi, 77.

Shukla, N. (1998). Parampara : Metal Craft of Madhya Pradesh, Bhopal, 53.

Shukla, N. (2010). Madhya Pradesh ke Dhaatu Shilp. Bhopal, 59-66.




How to Cite

Pandey, A. (2023). METAL ART OF TIKAMGARH. International Journal of Research -GRANTHAALAYAH, 11(3), 9–15.

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