Wooden Lathe Toys ~ Varanasi

Introduction:

Usage:

Lathe (Wood Turning) is used to create rounded toys that are made without any joints, often crafted from a single block of wood.  A wide variety of products are crafted using this technique, including Russian dolls, lattu, piggy banks, toran, pencil, spring dolls, keyrings, lamps, coaster set, pen stand and rattle toys. The lattu (spinning top) is one of the popular product, created in various sizes and colours.

These toys are mainly sold at fairs and festivals. During Diwali, Torans are among the most purchased product. Wooden toys are primarily used for gifting and decoration, however, their main purpose is for children to play with them. The toys also serve as educational tools, teaching children numbers, telling them various stories of mythology. 

Certain toys are closely associated with rituals and ceremonies, especially weddings. One of the most abundantly created products using the lathe is the Sindoora (traditional container for storing vermillion that married Hindu women apply in the central parting of the hair)  which is widely used in Indian weddings. Currently, around 1,200 families practise this craft, most of them make Sindoora, while only some families create other toys as well. Such as Russian dolls (a set of differently sized dolls) made using the lathe technique are especially popular, along with piggy banks. 

In earlier times, the turning machine was also used to create functional household tools, such as bowls, kudaiya (wooden rice scooper) used for taking rice out of storage containers. Today, this craft has evolved and expanded into contemporary products such as tables, lamps, children’s furniture, and stools.

A highly popular product that is widely exported to countries like China, Germany, and the UAE is the hand massaging ball, used for reducing stress and tension. Many wooden items such as custom earrings of birds, fruits, insects are also exported. Saudi Arabia is one of the largest importers of Russian dolls.

Significance:

The craft of wooden toys is practised at several places across India, but what makes this craft of Varanasi unique is its strong cultural roots, traditional beliefs and distinctive lacquer finish. Made from locally sourced wood and colourful lac, these toys feature smooth textures, vibrant colours, and sturdy designs, making them a natural alternative to plastic toys. When coated with lac, a toy’s durability increases, and it can last for a long time. Toys finished with a lac coating tend to last longer than hand-painted toys, as the lac layer forms a protective, glossy surface that helps resist moisture and dust. 

While the craft once enjoyed strong demand, it experienced a decline over time. The Government of India has played a significant role in promoting these artisans, especially after the pandemic. Various exhibitions, fairs, and workshops have been organised to support and showcase this craft. The introduction of government initiatives such as ODOP (One District One Product) has greatly benefited artisans. These programs have increased production and encouraged artisans to create new designs and develop new products. Government-led training camps in wooden toy making have also generated employment for many people.

 Earlier in the year, artisan Dharmaraj Singh collaborated with the Indira Gandhi National Centre for the Arts, Delhi, where artisans were invited for three months to develop contemporary products using traditional wooden toy-making techniques i.e. using Lathe (Turning Machine). This initiative, titled “Banaras pe Lattu,” encouraged innovation within the craft. Artisans redefined scale and function, transforming lattus into stools and sindooras into statement furniture blending heritage with sustainable, contemporary design.

The wooden toys of Varanasi received the Geographical Indication (GI) tag in 2015, with its logo featuring the Sindoora, one of the most popular locally produced items. Today, the Sindoora is also embellished with Gota Patti work, creating additional employment opportunities, especially for women. The artisan we met alone has employed around 30–35 other artisans.

Myths & Legends:

This craft of wooden toys plays a pivotal role in the lives of the artisans, since when a child is born, a new lathe is added to the family possessions. In fact, when a marriage is being fixed, the boy’s family makes sure that the bride-to-be is familiar with the lathe.

History:

The wooden toy craft of Varanasi is believed to be around 500 years old. Initially, these toys were made exclusively for royalty, with artisans working in the king’s court created wooden toys for royal children. It is said that the Raj Naresh (Ruler) of Varanasi commissioned these artisans in the royal court. Passed down through generations of artisan families, over time, the craft gained popularity and widespread demand.

The craftsmen who practise this craft mainly belong to the Kunder Kharadi Samaj. The term ‘Kharad’ refers to the traditional lathe used to shape wood, while ‘Kunder’ in the local dialect refers to the person who operates it to turn wood into circular forms. Together, the name denotes a traditional community of artisans in Varanasi, Uttar Pradesh, known for crafting wooden lacquerware and toys. The knowledge and skills of this craft have been passed down through generations within these families.

Originally, these wooden toys were created to provide joy and recreation for children. While their purpose remains the same today, they also reflect the cultural ethos and everyday life of rural India, making them carriers of tradition and heritage. Artisans regard trees as part of the human family, believing they possess a “belly button” just like Humans. Because of this deep connection, trees are treated as sacred and held in great importance by the artisans.

In earlier times,  Keria (or Coraiya) wood was primarily used for making these toys, which was inexpensive and abundantly available. However, it was banned by the government in 1984 because it was often used to conceal the smuggling of expensive woods like rosewood and ebony. Today, Eucalyptus wood is mainly used instead. Keria wood, found in regions such as Chitrakoot, Bihar, Banda, and the Sonbhadra forests, is softer and lighter in colour, resulting in a finer finish compared to Eucalyptus. Artisans continue to advocate for its use due to its superior quality.

Traditionally, artisans worked with manual lathes, where a wooden piece was rotated against a cutting tool to create shapes such as wheels, tops, spindles, and doll parts. This process required two people to operate a single machine and was highly labour-intensive, with only about five pieces produced in a day. Today, this process has evolved into the use of motor-driven turning machines, enabling faster, more efficient, and large-scale production.
In earlier times, the lac used for wooden toys was more authentic, making the toys completely eco-friendly. However, today, due to increasing demand and higher production, the lac is often adulterated.

With time, techniques and raw materials evolve, however, the craft of Wooden toys still holds its timeless artisanal beauty.

Design:

The process of woodturning is used in the creation of these toys. Woodturning involves the use of a lathe to shape objects from wood. As the lathe rotates, the wooden piece is carved and shaped using cutting tools, allowing artisans to create forms ranging from simple to highly intricate designs. The craftsman’s skill lies in forming, hollowing and lacquering on a turning lathe.

These wooden toys are made in a variety of sizes, from as small as 1 inch to as large as 2 feet. The technique produces basic forms such as spherical, cylindrical, and symmetrical shapes, which form the foundation of many products.

Inspired by Varanasi’s rich religious, mythological, and cultural heritage, many toys depict mythological characters. The product range includes lattus, sindooras, Russian dolls, lamps, pencil, key rings, torans, and rattle toys. Russian dolls are sets of wooden figures of decreasing size placed one inside another, often themed around themes like the Ramayana, Hanuman, penguins, minions, and more.

In contemporary times, the craft has expanded to include products such as stools, consoles, lamps, children’s furniture, tables, doll-inspired tables, abacus, tea sets, bangle stand, bangles and even chess tables. While traditionally focused on toys and small objects, modern designs now explore larger, three-dimensional forms with rotational elements and contemporary aesthetics.

Additionally, items such as mementos, badges, and corporate gifts are also produced. Screen printing is often used to add logos to these products. The colour palette typically includes violet, indigo, green, blue, yellow, orange, and red, applied using lac sticks.

Woods like rosewood and ebony are occasionally used to create small boxes (for storing items like cardamom) or chilams.

Challenges:

Earlier, artisans were able to produce nearly 50 toys a day, however, under present conditions, production has reduced to only 15–20 pieces due to inadequate power supply. These challenges have directly affected their income, and many artisans report not receiving fair wages. Additionally, the cost of production has increased over time, further discouraging the artisans from continuing the craft. At one time, this industry supported thousands of households in Varanasi, however, the number is decreasing gradually.

According to the President of the Human Welfare Association, which works to preserve and promote traditional arts and crafts, there were once around 2,500 artisans engaged in wooden toy making across the city. Today, this number has significantly declined, with the craft now limited to only a few households.

Another major challenge emerged after 1984, when Keria (Coraiya) wood was banned. Since then, eucalyptus wood has been used as an alternative, however, it is more expensive and less suitable for fine finishing. Interestingly, Keria trees are still abundantly found in the forests of Bihar. These fast-growing trees require regular cutting, yet are now mostly used as fuel instead of being utilised for craft, highlighting a gap in resource use that continues to affect the industry.

Due to low payments and rising costs, artisans are often unable to fulfil large orders, leading to further financial losses and instability.

There are also health and safety concerns while working on Lathe. Fine wood dust produced from lathe (turning machine) can be harmful if inhaled, and artisans may sustain injuries while working with lathe machines, if not careful.

Additionally, GST is applied to toys made using lathe machines, while hand-carved toys are exempt, as lathe-based production involves the use of electricity.

Introduction Process:

The wooden toys of Varanasi are created using simple yet skillful techniques passed down through generations. The craftsman’s skill lies in forming, hollowing and lacquering on a turning lathe.

The wood rotates steadily on lathe (turning machine), while various tools are carefully used by artisans to carve it into desired forms. Lac is used to add colours. As the lathe spins, friction generates heat, gently melting the lac and allowing it to spread evenly over the surface. This process not only gives the toys their bright, glossy finish but also highlights the tradition of Varanasi’s wooden toy making.

Raw Materials:

The primary raw material used in this craft of Varanasi is wood, selected for its fibre content and ease of shaping on a lathe.
Eucalyptus wood (locally known as liptus) is most commonly used today because of its fibrous nature, which makes it suitable for turning, though less ideal for carving. Earlier, artisans preferred Keria (or Coraiya) wood due to its softness, smooth finish, and light colour. However, after it was banned in the 1980s, eucalyptus became the primary alternative. Other woods such as sagwan (teak), rubberwood, sheesham, and haldu are also used occasionally. The cost of eucalyptus wood typically ranges between ₹25 and ₹30 per kilogram.

Lac is another essential material used in this craft. It is a natural resin produced by the insect Kerria lacca and is mainly sourced from Jharkhand, Chhattisgarh, and West Bengal. The raw lac is processed into chapra and then converted into coloured lac sticks, which are applied to give the toys their characteristic glossy and vibrant finish.

Tools & Tech:

Lathe (Turning Machine) – a rotating shaft powered by a motor, on which the wood is shaped 
Barma  – a sharp tool used for making holes in the wooden piece.
Baki – a C-shaped tool used for chipping or removing wood.
Regmal (sandpaper) – used to smooth and refine the surface.
Rukhnai – used for carving and shaping the wood.
Basulla – an L-shaped axe used to trim and shape the base of the wood.
Mustard oil – applied on hands while polishing or applying lac.
Kewda ka patta (screwpine leaf) – used for polishing the lac applied surface.
Chausi – used for peeling off the outer layer of the wood.
Chisel – used for  shaping and carving.
Chaursa – a flat tool used for trimming and finishing cylindrical shapes
Aari – used for sawing the wood

Rituals:

Lathe Machines (Woodturning workshops) remain closed on Fridays, and the machines are not operated on this day.

process:

The process of making wooden toys on the lathe is locally known as Turning Kala. Workshops are equipped with electric-powered turning machines, where around 5–10 craftsmen work together.

Wooden logs are purchased from nearby markets and cut to the required sizes depending on the product. Any protruding parts are trimmed to make the log even, and one end is shaped slightly to fit onto the lathe. Using a hammer, the log is mounted onto the lathe, which rotates at high speed approximately 4,000 rotations per minute in a counter-clockwise direction.

A chisel is used to shape the wooden log into the desired form. Skilled craftsmen employ various tools to refine the shape. In many cases, the entire toy is made from a single piece of wood, while in some products, different parts are created separately and later joined together.

Shaping is done from the front to the back of the log. After the basic form is created, the surface is smoothed using sandpaper (usually grade 120–150) while the object is still rotating on the lathe. This removes imperfections and achieves a fine finish.

Certain products, such as lamps made from Kema wood or rosewood, involve both lathe work and carving. First, the wood is rounded on the lathe, and then details are carved using chisels. Some toys, like lamps, are partially hand-carved for finer details. Others that are to be hand-painted are set aside for painting. There are different artisan for each process, working on the lathe, carving and painting.

A key stage in the process is applying lac (lacquering). Lac, a natural resin, is processed into chapra and then converted into coloured lac sticks. To prepare lac, chapra is melted over burning charcoal, mixed with colour pigments, and then stretched and shaped into sticks. During lacquering, the sticks are pressed against the rotating wooden surface. The friction generates heat, melting the lac and allowing the colour to coat the object evenly. This gives the toys their characteristic glossy and vibrant finish. Multiple coloured lac sticks can also be used to create patterns directly on the lathe. Mustard oil is applied to the hands to prevent the lac from sticking, while kewda ka patta (screwpine leaf) is used for polishing the lac applied surface.

Some products which were not lac-coated, were decorated with hand-painted designs, such as flowers and leaves, using brushes and acrylic colours. A final layer of transparent lac was then applied to protect the surface and enhance the finish. In cases where something needed to be painted over lac-finished toys, Camel poster colours or watercolours mixed with babul gum were often used to create motifs on lac-coated wooden toys.

Through this combination of mechanical turning and skilled handwork, artisans are able to create a wide range of wooden toys and objects, from simple forms to intricate, decorative designs.

About Lac used in the wooden toys
In Varanasi, lac is primarily produced in the colonies of Kashmir Ganj and is made from Chapra and  sometimes Ranjan is also used. Chapra is sourced from Bengal (Bangalpur village), costs around ₹2,000 per kilogram, while Ranjan, imported from Indonesia, is about ₹300 per kilogram and has a slightly sticky texture.Traditionally, Chapra is obtained from sheesham trees inhabited by lac insects. When the insects die, the resinous dust is collected, washed, melted, and shaped into chapra pellets for further processing. Chapra is used not only for lacquerware but also in painting and medicinal applications. The colours pigments added to lac are purchased locally in Varanasi.

To prepare the lac, a kadhai is filled with coal, and the chapra pellets are heated using an iron rod until melted. Ranjan is often mixed with lac to increase weight. The molten lac is kneaded and beaten in a process called chadhna or phetna, forming log-shaped lac sticks weighing around 1.5 kg each. Each stick, typically 100–150 cm long, takes about an hour to make and is later cut to the required size. They are sold according to their weight, their price ranging from ₹900 per kilogram to ₹1300, depending on the colour.

Only a few families, typically three, continue the traditional business of lac-making in Varanasi. The lac sticks are available in various colours depending on the pigments added, though white, black, and chocolate shades are no longer produced. The major colours are Red (majorly used in Sindoora), yellow, orange, green, blue, pink and violet.

There are two main types of lac, classified on the basis of insect strains are Kusumi, which produces lighter shades, and Baisakhi, which gives darker colours.

Through this meticulous process, artisans create the vibrant, glossy lacquerware for which Varanasi wooden toys are renowned.

Waste:

The main waste generated in the wooden toy craft is the scrap wood left from the lathe turning. This leftover material is not entirely discarded, it is often reused as fuel for burning, and in some cases, it is also utilised in the making of agarbattis.

Cluster Name: Varanasi / Banaras

Introduction:

Varanasi is referred to as the oldest living cities in the world. The land of Varanasi has been the ultimate pilgrimage spot for Hindus for ages. It is believed that one who is graced to die on the land of Varanasi would attain salvation and freedom from the cycle of birth and rebirth. It is also considered to be the holy abode of Lord Shiva and Parvati. The river Ganga that flows through the city of Varanasi is believed to have the power to wash away the sins of mortals.

History:

Mark Twain once said, "Benaras is older than history, older than tradition, older even than legend and looks twice as old as all of them put together".
Known in different eras as Avimukta, Varanasi and Kashi, meaning “where the supreme light shines”, this great north Indian center of Shiva worship has had more than 3000 years of continuous habitation.
To the Hindus, the Ganges is a sacred river and any town or city on its bank is believed to be auspicious. But Varanasi has a special sanctity, for it is believed, this is where Lord Shiva and his consort Parvati stood when time started ticking for the first time. The place also has an intimate connection with a host of legendary figures and mythical characters, who are said to have actually lived here. Varanasi has found place in the Buddhist scriptures as well as the great Hindu epic of Mahabharata. The holy epic poem Shri Ramcharitmanas by Goswami Tulsidas was also written here. All this makes Varanasi a significantly holy place.
Varanasi has been a symbol of Hindu renaissance. Knowledge, philosophy, culture, devotion to Gods, Indian arts and crafts have all flourished here for centuries. Also a pilgrimage place for Jains, Varanasi is believed to be the birthplace of Parsvanath, the twenty-third Tirthankar.
Historians have now ascertained that the Aryans first settled in the middle Ganges valley and by the second millennium BC, Varanasi became the nucleus of Aryan religion and philosophy. The city also flourished as a commercial and industrial center famous for its muslin and silk fabrics, ivory works, perfumery and sculptures.
From 1194, Varanasi went into a destructive phase for three centuries under the Muslim rule. The temples were destroyed and the scholars had to leave. In the 16th century, with the tolerant emperor Akbar's accession to the Mughal throne, some religious respite was restored to the city.
In the 6th century BC, Varanasi became the capital of the kingdom of Kashi. During this time Lord Buddha delivered his first sermon at Sarnath, just 10 km away from Varanasi. Being a center of religious, educational, cultural and artistic activities, Kashi drew many learned men from around the world; the celebrated Chinese traveler Hsüan Tsang, is one of them, who visited India around AD 635.
All that disappeared again in the late 17th century when the tyrannical Mughal ruler Aurangzeb came to power.
Skanda Purana by Kasikanda mentions the Kashi temple of Varanasi as Shiva's abode. It has withstood the onslaught of various invasions by Muslim rulers. The present temple was rebuilt by Rani Ahalya Bai Holkar, the ruler of Indore, in 1776. Then in 1835, the Sikh ruler of Lahore, Maharaja Ranjit Singh had its 15.5 m high spire plated in gold. Since then it is also known as the Golden Temple.
The 18th century again brought back the lost glory to Varanasi. It became an independent kingdom, with Ramnagar as its capital, when the British declared it a new Indian state in 1910. After India's independence in 1947, Varanasi became part of the state of Uttar Pradesh.
The land of Varanasi (Kashi) has been the ultimate pilgrimage spot for Hindus for ages. Often referred to as Benares, Varanasi is the oldest living city in the world.
Ayurveda is said to be originated at Varanasi and is believed to be the basis of modern medical sciences such as Plastic surgery, Cataract and Calculus operations. Maharshi Patanjali, the preceptor of Ayurveda and Yoga, was also affiliated with Varanasi, the holy city. Varanasi is also famous for its trade and commerce, especially for the finest silks and gold and silver brocades, since the early days.
In Hindu Kashi, it is said there are thirty-three hundred million shrines and a half a million images of the deities. Since a pilgrim would need all the years of his or her life to visit each of these shrines, it is considered wise to come to the holy city and never again leave. While this enormous number of shrines is perhaps a trifle exaggerated, Kashi does indeed have many hundreds of beautiful temples. Some of these temples are named after the great tirthas, or pilgrimage centers, in other parts of India - Rameshvaram, Dwarka, Puri, and Kanchipuram, for example - and it is said that merely by visiting Kashi one automatically gains the benefit of visiting all other sacred places. Most pilgrims make only short visits of days or weeks to Kashi, while others come to spend their remaining years in the holy city. Those who come to live in Kashi with the intention of dying there are called jivan muktas meaning those who 'are liberated while still alive'.

Kashi is also traditionally called Mahashamshana, 'the great cremation ground'. Hindus believe that cremation at the holy city insures moksha, or 'final liberation of the soul from the endless cycle of birth, death, and rebirth'.
A city like no other in the world, Varanasi has outstanding universal value, in that its architectural heritage is linked strongly, since centuries, to the living cultural and religious traditions of three of the major religions of the world- Hinduism, Buddhism, Jainism for whom the city is the most important religious pilgrimage destination. There are few cities in the world of greater antiquity and none have so uninterruptedly maintained their ancient celebrity and distinction.
Religious rituals, beliefs and traditional worship are still practised. It was in Banaras that Buddhism was first promulgated and in Banaras that Hinduism has had her home. The city has thus given vigour and support to the two religions that to this day spiritually govern half the world. Ancient meditative practises and studies are still pursued here. From the ceremony of shaving off the hair of the new-born (tonsure) to the immersion of ashes, the city still witnesses the rituals and sacraments that existed in the Vedic period. Varanasi is also considered to be a veritable jungle of fairs and festivals with respect to variety, distinction, time, sacred sites, performers, overseers and side-shows. The popular saying that 13 festivals happen in 7 days of a week, express this richness. "Every day is a great festival in Banaras" so says tradition.

Geography:

The city of Varanasi is located in the middle Ganges valley of North India, in the Eastern part of the state of Uttar Pradesh, along the left crescent-shaped bank of the Ganga, averaging between 50 feet and 70 feet above the river. It has the headquarters of the Varanasi district. Varanasi is located at approximately 25.3045° N latitude and 83.00395° E longitude, situated along the banks of the Ganges River. The city is a major cultural and religious centre. The "Varanasi Urban Agglomeration", an agglomeration of seven urban sub-units, covers an area of 112.26 km².

Being located in the Indo-Gangetic Plains of North India, the land is very fertile because of low-level floods in the Ganga that continually replenish the soil. Varanasi is situated between the Ganga confluences with two rivers: the Varuna and the Assi stream. The distance between the two confluences is around 4 kilometres.

Environment:

Today, a crowded, bustling, noisy, dirty city, Banaras was in antiquity an area of gently rolling hills, lush forests, and natural springs bordered by the magical waters of the river Ganges. A favoured hermitage site for many of India's most venerated sages - Guatama Buddha and Mahavira, Kabir and Tulsi Das, Shankaracharya, Ramanuja and Patanjali all meditated here - Banaras has been and continues to be one of the most visited holy places on the planet.

Varanasi experiences a humid subtropical climate with large variations between summer and winter temperatures. The dry summer starts in April and lasts until June, followed by the monsoon season from July to October. The temperature ranges between 22 and 46°C in summers. Winters in Varanasi see very large diurnal variations, with warm days and downright cold nights. Cold waves from the Himalayan region cause temperatures to dip across the city in the winter from December to February, and temperatures below 5°C are not uncommon. The average annual rainfall is 1,110 mm. Fog is common in the winters, while hot, dry winds, called loo, blow in the summers. In recent years, the water level of the river Ganga has decreased significantly; upstream dams, unregulated water extraction, and dwindling glacial sources due to global warming may be to blame.

Infrastructure:

Varanasi is well-connected by air, rail and road. One of the major factors in Varanasi's sustained existence as an inhabited city is its role as an established transportation hub between cities.

Railway- Varanasi Junction, commonly known as Varanasi Cantt Railway Station, is the city's largest train station; more than 3.6 lakh passengers and 240 trains pass through each day. The other railway stations in Varanasi include- Varanasi city sation and Banaras Station.

Road- Varanasi lies along National Highway 2, which connects it to Kolkata, Kanpur, Agra and Delhi. National Highway 29 connects Varanasi to Gorakhpur via Ghazipur to the northeast. National Highway 56 connects Varanasi to Lucknow via Jaunpur and Sultanpur, to the northwest. National Highway 7, the longest National Highway in India, is the most important road connecting Varanasi to southern India, passing through the cities of Hyderabad, Bangalore, Salem, Madurai, Tirunelveli and Kanyakumari.

Air Travel- Varanasi is served by Lal Bahadur Shastri International Airport, which is approximately 26 km (16 mi) from the city centre in Babatpur.

Due to the high population density and increasing number of tourists, the state government and international NGOs and institutions have expressed grave concern for the pollution and pressures on infrastructure in the city, mainly the sewage, sanitation and drainage components. The sewage problem is exacerbated by the role of the Ganges in bathing and in river traffic, which is very difficult to control. Varanasi's water supply and sewage system is maintained by Jal Nigam, a subsidiary of Nagar Nigam. Power supply is by the Uttar Pradesh Power Corporation Limited.

The city grew as a place for Authentic Ayurveda and Panchkarma treatment. Many Ayurvedic centres are located in Varanasi.

Architecture:

The architecture of Varanasi is a reflection of its ancient spiritual heritage and rich cultural history. As one of the world’s oldest continuously inhabited cities, it offers a unique urban landscape where religion, art, and everyday life merge seamlessly. The ghats along the Ganges River, particularly Dashashwamedh, Manikarnika, and Assi — are the most iconic architectural features, built as a series of steps leading to the sacred river. These ghats are flanked by a variety of temples, shrines, palatial havelis, and ashrams, often constructed in a blend of Rajput, Mughal, and Maratha styles, adorned with intricate carvings, stone latticework, and towering shikharas.
Winding through the heart of the city are narrow, lanes lined with centuries-old houses made of local sandstone, featuring carved wooden balconies, courtyards, and jharokhas (overhanging enclosed windows). Many of these homes serve as both residence and workspace for artisans, priests, and traders. The sacredness of space is deeply embedded in the city’s structure, temples are often tucked into corners, courtyards, and even along walls. Although few standing structures date back before the 16th century — due to waves of destruction by invading armies from the 11th century onward — the spirit of Banaras endured. Qutb-ud-din Aibak's forces alone were said to have destroyed more than a thousand temples in 1194. Over the centuries, the city’s architecture evolved, influenced by rulers, pilgrims, and craftsmen from across regions. Yet one thing remains unchanged — Banaras has never lost its "ras" (essence); no matter how much it transforms, it always remains Banaras.

Culture:

The city of Varanasi has an intimate connection with a host of legendary figures and mythical characters, who are said to have actually lived here. The city has found a place in the Buddhist scriptures as well as the great Hindu epic of the Mahabharata. The holy epic poem Shri Ramcharitmanas by Goswami Tulsidas was also written here. All this makes Varanasi a significantly holy place.

Varanasi has been a symbol of the Hindu Renaissance. Knowledge, philosophy, culture, devotion to Gods, Indian arts and crafts have all flourished here for centuries. Ayurveda is said to have originated in Varanasi and is believed to be the basis of modern medical sciences such as Plastic surgery, Cataract and Calculus operations. Maharshi Patanjali, the preceptor of Ayurveda and Yoga, was also affiliated with Varanasi, the holy city. Varanasi is also famous for its trade and commerce, especially for the finest silks, gold and silver brocades, since the early days.

Varanasi has been a great centre of learning for ages. It is associated with the promotion of spiritualism, mysticism, Sanskrit, yoga and the Hindi language and has honoured authors such as the famous novelist Prem Chand and Tulsi Das, the prominent saint-poet who wrote Ram Charit Manas.

Varanasi is also aptly called the cultural capital of India. The city has provided a platform for all cultural activities to flourish. Many exponents of dance and music have come from Varanasi. Ravi Shankar, the internationally renowned Sitar maestro, was born in this holy city, and Ustad Bismillah Khan (the famous Shehnai player) lived here for a major part of his life.

Vaishnavism and Shaivism have co-existed in Varanasi harmoniously. With a number of temples, Mrs. Annie Besant chose Varanasi as the home for her ‘Theosophical Society’ and Pandit Madan Mohan Malviya, to institute ‘Benares Hindu University, the biggest University in Asia.

Varanasi is also considered to be a veritable jungle of fairs and festivals with respect to variety, distinction, time, sacred sites, performers, overseers and side-shows. The popular saying that 13 festivals happen in 7 days of the week expresses this richness. "Every day is a great festival in Banaras", so says tradition.

People:

Hindus believe that one who is graced to die on the land of Varanasi would attain salvation and freedom from the cycle of birth and re-birth. People of Benaras are known for being the exponents of literature, music, Vedic philosophy, arts, crafts and architecture. Socio-economic aspects of the city are highly influenced by the Ganges and on most of the Hindu festivals people can be seen using the bathing Ghats (river fronts) even before daybreak as an important part of their rituals. In Varanasi, the atmosphere is relaxed in general and we can see people chewing the famous 'paan' and chatting in a laid-back manner. That does not keep Varanasi behind, as is evident from the growing modern industries in the city. Varanasi is also the most ancient seat of education in India (Sarva Vidya ki Rajdhani) and Benaras Hindu University is still famous throughout the world for its scholars. The city is also a seat for Sanskrit and one can still see the Guru-Shishya tradition being followed here at certain places.
Several social and religious customs co-exist in the city and the caste system is still prevalent here. People wear 'Gamcha' (a cotton towel), as they go bathing in Ganga and drink Thandai (a coolant with milk as its base), which have become a part of the cultural identity of traditional ways of Varanasi. Music, drama and entertainment have found a place in the lives of the people. Its dance traditions and vocal and instrumental music is highly developed and one can catch the glimpses of folk drama in the 'Ramlila' organized before Dussehra. Traditional games and sports include 'Akharas', where wrestling or 'kushti' competitions are organized.

Famous For:

Varanasi is famous for its antique temples. The renowned Kashi Vishwanath Temple dedicated to Lord Shiva has a 'lingam' - the phallic icon of Shiva - that goes back to the time of the epics.
Varanasi is a veritable paradise for pilgrims, who throng the 'Ghats' of the Ganges for spiritual rewards like deliverance from sin and attainment of nirvana. The Hindus believe that to die here on the banks of the Ganges is an assurance of heavenly bliss and emancipation from the eternal cycle of birth and death. So, many Hindus travel to Varanasi at the twilight hour of their life.
The 8th century Durga Temple, situated on the Ramnagar Pandav road, is home to hundreds of monkeys that reside in the nearby trees. Another popular temple is the Sankatmochan temple dedicated to the simian-god Hanuman. Varanasi's Bharat Mata Temple is probably the only temple in India that is dedicated to the 'Mother India.' Inaugurated by Mahatma Gandhi in 1936, it has a big relief map of India carved in marble. Another relatively new temple is the Tulsi Manas Temple built in honor of Lord Rama in 1964 at the place where Tulsidas composed the Ramacharitmanas, the vernacular version of the epic of Ramayana. The walls of this temple adorn the scenes and verses depicting the exploits of Lord Rama.
Other significant places of worship include the Sakshi Vinayaka Temple of Lord Ganesha, the Kaal Bhairav Temple, the Nepali Temple, built by the King of Nepal on Lalita Ghat in Nepali style, the Bindu Madhav Temple near the Panchaganga Ghat and the Tailang Swami Math.
Foreign tourists love to ride horse-driven 'Ekkas' and cycle rickshaws that are still in use here.
The Manikarnika Ghat is one of the holiest cremation grounds among the sacred riverfronts, located on the banks of the River Ganga, in the city of Varanasi. Ancient meditative practises and studies are still practised in the city. From the ceremony of shaving off the hair of the newborn to the immersion of ashes, the city still witnesses the rituals and sacraments that existed in the Vedic period.

Gallery

Craftsmen

List of craftsmen.

Documentation by:

Team Gaatha

Process Reference:

https://en.wikipedia.org/wiki/Wooden_Toys_of_Varanasi
https://varanasi.nic.in/district-produce/varanasi-wooden-lacquerware-toys/
https://search.ipindia.gov.in/IPOJournal/Journal/ViewJournal
https://issuu.com/shivangibarwar/docs/brand_manual
Aatamnirbhar Bharat Centre for Design- Product Catalogue

Cluster Reference: