Savannah morning news. [volume] (Savannah) 1868-1887, 1884-01-27
EASTERN ART.
Certain Crafts in Hindoo and NOLAN
medan Hands.
Harper's Magazine.

HdTNeF HGgdztNe.
Tie distinction between HindOO and
AOhammedan remains in art and crafts
manship-as also, unhappily, in race an
tipathy-the most striking feature Of the
subject. Certain crafts in the hands Of
the latter are treated IN accordance with
BOgul or Persian tradition, while others,
preserved by the curious caste system Of
the HndOos, can claim kinship TO older
Turahian or Indo-Aryan originals.
These distinctions, however though it is
necessary to bear them in mind, are not
inVariable, and are not always easily
traced.
The potters who make glazed ware are
AOhammedan, for their craft was Origi-
naily an accessory Of that MOgul magniti-
cence which covered the dOmes and lined
the walls Of tOmbs and mosques with
splendid mosaic of enameled tile-wOrk.
The village potter, WHO forms one of the
units Of the Hindoo commune, each Of
whom has fixed duties and claims, and
who only makes unglazed ware, is a Hin
doc. The pOtteT's craft is in some respects
an exception TO the rule of decay, and a
distinct revival and extension of the art
OF making glazed ware is taking place.
Carpet weaving, where it subsIsts as an
independent craft, is Mohammedan, and
the Wedvers Of Wurrungal and other
places in Southern india-little colonies
among populations of HindOOs-claim
Persian descent, which certainly can be
allowed to their patterns. ArmOrers, da-
masceners, sword cutters, and gunmakers
are MOhammedan, but the village black
smith who makes the hoe and the reaping
hook is generally a HindOO. The gold en-
brOiderers- gilt wire and gold lace makers
Of the prosperous northern cities OF Am
rita ana Delhi are usually MOhammedan,
as also are shaw WeaVers and kindred
embroidery crafts of Persian descent. In
Madras also and the central provinces,
where this beautiful art is waning, poor
hobammedaus feebly keep alive the ira
ditl0ns Of splendid stutfs once wrought
for luxurious M0hammedan princes.
stone masOnS and carYerS in GuZevat,
Central India, Rajputana, and in some
districts Of the northwest provinces.
where purely Hindoo buildings are still
raised, are HindOOs. There are a few Mo
nammedan st00e-carYers in Delhi and
Northern India who preserve MOgul
canOns, which also greatly modify modern
HindOo styles. such as the Jain architec-
tuTe of Raiputana. The INLAY wrought at
Agra, Of agate, jasper, carnelian, blood
stone, etc, n white Jeyp0Or marble, is
now IN the hands of Hindoos chiefly. NJ
though an art OF MUssulman origin. The
miniature painters of Delhi are all No.
hammadan, as lax in their respect for the
pFecepts OF Islam as their Persian pro
geuitOTs.
Many ordinary handicrafts are prac-
IIced by both creeds, such as carpentry,
ordinary weaving Tin silk weaving Mus
sulmans prepOnderate) J, the cOppersmth's
and brazier's trades, wherein HinGOO are
in the majority. The comparatively re-
Gently introduced tinsmith's trade seems
TO be reserved To MOhammedans-p perhaps
because OF the necessity of handling YES
sells unclean from cooking, which is re-
pugnant to the HindOO. Seal engraving
an important craft in India, is particU,
lar Mohammedan art. Even in ordinary
trades, practiced by both, distinctions
may be traced. Thus a copper or brazer
water vessel in the hands Of a Moslen
artiticer becomes Persian in name and
character-Af aba, graceful and elegant,
while the HindOO braZier makes il useful
ana quaint, and pi0usIy calls it Gunga
Sugar, after the sacred river. Brass is in,
variably used by Hindoos, while Moham
zuedaHs affect timed copper