Table of Contents
Introduction
Home to a myriad of cultures, ethnic groups, tribes and languages, the North eastern part of India is truly one of the most breathtaking and diverse regions of the country. Comprising eight states, commonly known as the Seven Sisters and their brother, this region includes Arunachal Pradesh, Assam, Manipur, Meghalaya, Mizoram, Nagaland and Tripura as the Sisters, with Sikkim being the brother.
Although the North East is discussed as a single region, its cultural landscape is diverse, encompassing hundreds of communities, languages, belief systems and artistic traditions. Most of which have remained underrepresented in mainstream discussions of Indian art and culture.
Through this blog, we explore a small section of the distinctive handicrafts, textiles and artistic traditions of the North east, tracing the relationship between material, community, identity and everyday life. We hope it encourages you to look beyond familiar representations of the North east and discover the remarkable cultural traditions across the region.
A Glimpse into the Seven Sisters
Before exploring the states individually, it is important to remember that the artistic traditions discussed here belong to particular communities, regions, and histories. A craft associated with a state should therefore not be understood as representing every person who lives within its boundaries.
The Seven Sisters are connected by geography and history, but their cultural landscapes are diverse. Bamboo, cane, wood, clay, metal and textiles recur across the region, yet communities have developed distinctive techniques, visual landscapes and social meanings around these materials.
Arunachal Pradesh: Land of the Dawn-Lit Mountains
Arunachal Pradesh, home to the Tawang Monastery and the Ziro Valley, is the first state in India to receive the sunrise, hence its name. With bustling tribal cultures, breathtaking biodiversity and natural serenity, Arunachal Pradesh is also home to a number of arts, crafts and textiles, stemming from its rich history.
Thangka painting is a Tibetan Buddhist painting tradition traditionally done on cloth, including cotton and silk. They depict Buddhist deities like Buddha, Bodhisattvas such as Avalokiteshwara, as well as Jataka tales and mandalas, these travelled from the Tibetan region to areas like Nepal, Sikkim and Arunachal Pradesh, where it has been preserved and is practiced even today. The Monpa tribe artisans in the Tawang district of Arunachal Pradesh are one such group that has kept the tradition alive. Amongst the Monpas, it is believed that painting these religious themes and figures is a pious act which helps them accrue merit, and is also a form of expressing the Buddhist beliefs and philosophy.
Shakyamuni in Thangka painting by Gyaltsen Zimba
Apart from paintings, a lot of different crafts also find their place in Arunachal’s cultural landscape, with different tribes specialising in different materials and industries. Bamboo, wood, bone and ivory are common materials used by tribes like the Khamptis to make utilitarian items like bags, hats, baskets, as well as objects like smoking pipes, musical instruments, such as drums and cymbals, and weapons, such as the Pha-nap swords, Uyi bows, Nyibu spears and Sotam shields. The women of the Dafla tribe (Nyishi communities) are known for their handmade clay pottery that is used for storage and cooking, while the Monpa tribe are renowned for practicing a handmade paper making technique that is a thousand years old. This handmade paper, which is called Mon Shugu, is not only used for everyday purposes, but also for writing sacred Buddhist scriptures and hymns that form a part of their religious ceremonies.
Maling Gombu, a Tawang-based social worker and lawyer
Ornaments are another major craft practiced by the different tribes and communities of Arunachal Pradesh. Beads, blue bird wings, green beetle wings, glass, seeds, cane, bamboo and leaves are commonly used to make the jewellery of the Nocte, Idu Mishmi and Wancho tribes, as well as the Gallong women. Silver jewellery is also common amongst the women of the Aka tribe, who turn these into Melu (chest ornament), Gichli (earrings), Gejjui (wristlets), Lenchhi (chains) and Aesheri (ancestral necklaces) among others.
The Wancho tribe is also known for its wood carving, which has recently also received the GI (Geographical Indication) tag in 2024. It includes objects like log drums, animal figurines and ritualistic items like masks, which are used during festivals and dances. Apart from the Wancho tribe, amongst the tribes of Sherdukpen, Monpa and Khamptis, masks of demons, animals, figurines and warriors, some of which are inspired by Hinduism and Buddhism, are integral parts of dances like Thutotdam, Arpos and Yak and festivals like Torgyap.
Textile and weaving are also an important aspect of Arunachali culture, with colour and designs differing with symbolic meanings. Each tribe has different garments, with clothing often acting as a symbol of social status, position and achievements. The Khampti tribe is known for making multi coloured lower garments called Pha-noi and skirts called Sui, while the bags of the Wancho tribe tend to use zigzag patterns associated with headhunting and the Tuensung tribe decorate their shawls with cowries and red goats’ hair to signify social standing. The woven textiles of the Adi and Apatani tribes, both of which have been GI tagged, use simple arrangements of lines and colours to differentiate the people wearing, with Apatani textile also using curvilinear designs and spirals for priestly clothes. Mishmi shawls, which use geometric patterns, contrasting colours and diamond designs have also been GI tagged.
Lastly, one of the most fascinating GI tagged weaving craft of the state is carpet weaving, primarily practiced by the Monpa tribe. Usually made out of wool, these carpets are woven with designs of dragons, birds, flowers and snow lions and other mythological creatures and motifs, and are almost exclusively done by women. With categories like Khatan, Thrisu-tan and Maksu-maktan, these were intended to symbolise the social status of the owner.
Assam: The Gateway into the North East
The most densely populated amongst the North eastern states, Assam holds the important position of being the gateway for the mainland of India into the North east of India. But what it is also known for is its diverse crafting and textile traditions, stemming from the tribal culture as well as its rich and deep history.
Majuli island in Assam is world renowned for being the world’s largest riverine island, situated in the Brahmaputra river. Apart from being an ecological marvel, Majuli is also recognized as one of the foremost centres of Assam’s neo Vaishnavite culture, which has given rise to two GI tagged arts and crafts traditions, Majuli masks and Majuli manuscript painting. Majuli masks are made using natural materials such as bamboo, jute, clay, cow dung, water hyacinths to name a few, and are painted using vegetable and mineral dyes. Used for ritualistic performances and storytelling, these masks are generally based on characters and deities from Hindu mythology and used in Bhaona theatre and performances, which date back to the 16th century CE. Supplementing these is the manuscript painting tradition of Majuli which also depicts stories from Hindu mythology, primarily narratives of Lord Krishna from the Bhagavata Purana and date back to the 16th century CE as well. These are unique due to the use of stylised and artistic Assamese scripts like Gargayan, Bamunia and Kaithall.
Garuda In Majuli mask by Jyoti
Other crafts traditions include the making of musical instruments of the Bodo tribe, including kham, serja, sifung, gongona and jotha, as well the Bihu dhol which accompanies Bihu dance performances, all of which have received GI tags. The GI tagged bell metal industry of Sarthebari, dating back to the 7th century CE, is also known for its array of utilitarian, musical and religious items, while items made of bamboo and cane, such as Sitalpati or woven mats are some other household industries in Assam. The GI tagged terracotta craft of Asharikandi is known for making various objects like pottery, toys, figurines, ritualistic items and dolls called Hatima Putul, all made out of special Hiramati soil. Pani mateka craft, another GI tagged craft, made out of the water hyacinth plant, is used to make paper, bags, wallets and more. It counteracts the invasive nature of the plant by removing it from the wetlands but also provides a sustainable living for artisans.
Apart from crafts, the other thing Assam is known for is textile, specifically its silk. The two most popular GI tagged silks are the Muga silk and Eri silk, with Pat silk also gaining prominence now. Eri silk is also known as the ‘Peace silk’ due to its production without killing the silkworm. Durable silk which gets softer with each use, Eri silk is usually found in cream, beige, gold and brown. Muga silk, also known as ‘Golden silk’ is a symbol of Assamese history and culture. Made only to handwashed, it is used to make the traditional Assamese ensemble for women, called the Mekhala Chador. Pat silk, made from mulberry worm silk, is known for its bright white silver colour, which makes it a popular choice for fashion industries across the world. These silks, and sometimes cotton, are used to make the different traditional clothing pieces of the Bodo tribe as well, such as the gamosa, dokhona and jwymgra, all of which are also GI tagged.
Manipur: The Land of Jewels
Manipur, literally translating to the ‘City of Jewels’ is one of the the places in the North eastern part of India that shares its name with a kingdom in one of the most important epics in Hinduism, the Mahabharata. Home to the Manipuri classical dance and the Meitei people, Manipur is generally known for its textile tradition. However, it does have a fascinating pottery and crafts tradition that speaks to the diversity of the state.
Pottery is practiced in different areas of Manipur such as Thongjao village, where pots are made by women by hand, mixing red and black clay. Another handmade pottery tradition comes from Ukhrul, known as the Longpi ham pottery which uses black serpentine stone along with a reddish brown rock called salla nali. The Meiteis, among other tribes, are also known for their bamboo products, used for everyday purposes, religious and ceremonial rites, including baskets like Phingaruk and Long. Bell metal craft, called senjeng, is another specialisation of the Meitei tribe, who make objects like bowls and dishes for domestic and ceremonial uses.
Manipur also has its own doll making craft, called Laiphadibi, which literally translates to feminine images of god made using clothes. Kauna Phak are reed mats that are made out of the local weed called kauna, forming unique textured mats with detailed edges. Wood carving is also used by artisans to carve traditional Manipuri symbols into two types of wood: wang or lightweight wood and heijuga or heavy wood.
Cup in Black Pottery by Hanmichon Horam
In terms of textile, Manipur has a fascinating array of weaves and embroideries, as well as a very unique silk that it has started making. This silk, known as the Loktak lotus silk, is made by spinning yarns from the stems of the lotuses that grow in the Loktak lake of Manipur. This silk, which can be used to make scarves, sarees and shawls, are only found in certain places in the world, including parts of Cambodia, Vietnam, Myanmar and in Manipur. In terms of weaving and embroidery, Manipur is known for having a distinct and well embedded weaving system that is monopolised by women, due to social customs. Embroideries and weaves are different for different people, such as the lamphie shawl for warriors, the saijounba long coat for trusted courtiers and the namthang-khut-hut for use by royal ladies. One of the GI tagged designs from Manipur is Moirangphee or temple design, usually in red, green, black and blue, and woven on the borders of clothes.Wangkhei phee, another GI tagged fabric, is a transparent cotton fabric popularly worn during marriages and festivals, but was originally meant for the royal family. Another GI tagged textile is Saphee Lanphee, a needlework fabric made without a frame, was used as a reward by kings for brave soldiers. These usually have 10 stylized motifs including: Shamu (elephant), Shagol (horse), Iroichi (buffalo horn), Nga (fish), Numit (sun), Tha (moon), Thawanmichak (star), Phantup (seat), Ta(spear) and Wahong (peacock).
(Source: Proudly Made in India)
Meghalaya: The Abode of Clouds
Meghalaya, known for its lush scenery, is known as the home of three ancient hill tribes, the Garos, the Khasis and the Jaintias. The arts, crafts and textiles are rooted in the culture and history of these tribes, and serve as a form of expression for them. Amongst these, bamboo and cane work, pineapple fibre, pottery, textile and woodcarving come to the forefront.
Bamboo and cane work take precedence amongst all three major tribes of Meghalaya, due to the amount and variety of bamboo found in the state. Objects made from bamboo and cane include baskets like Khoh and Shang, winnowing trays, fish traps, combs, pipes, rainshields called Knups and headgears. The Garo tribe also excels in a technique called poker work, where designs are burnt onto bamboo using heated metal rods and the Jaintia tribe, is known for Tlieng mats, which are finely woven durable mats for everyday use.
Meghalayan women using Knups while harvesting
Larnai clay pottery, one of the GI tagged crafts, is locally known as Khiew Ranei and belongs to the Larnai village in the Jaintia hills of Meghalaya. This pottery is made using clay and crushed black serpentine stone and then hand sculpted into its final shape. Aminda Rangsagare village in the West Garo hills of Meghalaya serves as a unique living woodcraft museum aligning environmental preservation and sustainability with culture and craft. However, one of the most unique crafts that comes from the state is the production of pineapple fibres. Initially being cultivated for fruit, the demand for sustainability has led to the development of sustainable fibres such as those extracted from the leaf of the pineapple plant, to be made into mats, paper, textiles and handicrafts.
(Source: Arts and Craft Meghalaya)
Textile is another important industry in Meghalaya, with the Dakmanda textile of the Garo tribe also getting GI tagged in 2024. The dakmanda is a handwoven unstitched piece of cloth that is wrapped around the waist and features a six to ten inch border with floral motifs and designs, dyed using local natural pigments. The Khasi tribe also uses an unstitched draped cloth called Jainsem, with older women using a woolen version called Jainkup. The Khasi tribe is also known to cultivate Eri silk, which is locally known as Ryndia, using natural dyes to complete the sustainable setup.
Creation of the Dakmanda textile
(Source: The Voice of Fashion)
Mizoram: The Habitat of the Highlanders
Home to the Phawngpui (Blue Mountain) and with one of the highest literacy rates in India, Mizoram is another North eastern state with a strong textile culture, attributed to the Mizo tribe, after whom the state is named. Although textile is one of its mainstays, Mizoram is also known for its bamboo and cane craft, gourd craft and wood carving.
Wicker work and basketry, made out of bamboo and cane, are a major source of income for the artisans of the Mizo tribe. Baskets such as Dawrawn, Thulte, Paikawng and Bontong, among others, are used for storing different items and are made using various bamboo techniques. Other objects include Herhsawp (bamboo stool), Aiawt (fish or crab trap), Thlangra (winnowing trays), Sairawkherh (bow) and Vaibel (smoking pipes). Traditional Mizo hats and ornaments also use bamboo, along with feathers, beetles and beads.
Weaving of Bamboo into Baskets
(Source: Indian Textiles and Crafts Repository)
Traditional households of the Mizo tribe have been using bottle gourds to make water containers, ritualistic objects and storage vessels. Over time, the use of gourds for utilitarian items has turned into a craft, with gourds being turned into ornaments, musical instruments, lampshades and masks. These are decorated using geometric patterns, natural motifs and traditional Mizo symbols, using carving, burning and painting.
Textile, however, is inarguably the most popular aspect of Mizo handicrafts, with five textile traditions, namely, Puanchei, Pawndum, Hmaram, Ngotekherh and Tawlhlohpuan, having received GI tags. Considered a symbol of status and identity, Puanchei, the traditional attire of Mizo women, is a handmade shawl that is wrapped around the waist and is usually worn for special occasions like weddings, ceremonies and festivals. Literally translating to ‘decorated cloth,’ the Puanchei is primarily woven on cotton and dyed using natural pigments. Geometric outlines, floral and animal motifs, tribal symbols and traditional motifs like Siniar, made out of triangles, diamonds and zigzags; Hruih, plain black stripe and Sakri Zangzia, symbolising the back of the tiger, are common motifs that are used in the making of the Puanchei.
Pawndum, literally translating to ‘black cloth’ is a textile that is wrapped like a skirt by both men and women of the Lushai Mizo tribe. Holding deep cultural symbolism for the Lushai Mizo tribe, the Pawndum is not only worn as a casual garment but is also a part of death and mourning rituals, special occasions, festive dances like the Khuallam and as a part of the dowries of young girls, which is called Zawlpuan. The Pawndum can be recognised by use of red and grey stripes on the black background of the textile.
Hmaram, considered to be the oldest textile of the Mizo tribe, is another handwoven short skirt worn by Mizo women during festive dances and ceremonies. Usually made using natural white and indigo dyed cotton, the Hmaram is known for its use of intricate motifs inspired by local flora, such as, Kawkzialpui (curled new shoot of a fern), Lenbuangthuam (the Lenbuang tree at a junction of paths) and Disul (grass that bends when someone brushes against it). The weaving process to make the Hmaram is highly complex with the weavers trying to cover the white part of the cloth, except for its use in the motifs.
The Ngotekherh is a delicately woven shawl that is draped around the waist by Mizo women, Originally rectangular in shape with two black stripes, it now also uses small squares called Mangpuantial, which helps in hiding the white background of the shawl.
Lastly, the Tawlhlohpuan, which translates to ‘standing firm,’ is a symbol of bravery that holds deep significance amongst the Mizo tribe. Initially worn by warriors before they went out to war, as a mark of chivalry and sacrifice, the Tawlhlohpuan is considered to be the highest award for bravery amongst the Mizo tribes today. Using a combination of red, white, blue and black, the Tawlhlohpuan uses stitches like Puanpuizing Thui and Bahrangulzem to add to the visual harmony of the textile.
Tawlhlohpuan textile
(Source: Incredible India)
Nagaland: The Home of the Hornbill Festival
Home to one of the most fascinating festivals, the Hornbill festivals, a thriving food culture, diverse tribes and scenic landscapes, Nagaland, as the name suggests is the abode of the Naga tribes, which also find mention in a lot of scriptures in Hinduism and epics like the Mahabharata. Known for its distinct and diverse tribal culture which is expressed in the form of food, textile and traditions, each tribe also specialises in certain crafts, embedded in their customs and local beliefs.
Like most other North eastern states, Nagaland is also known for its bamboo and cane, however most of their objects are meant for personal and domestic use, rather than commercial purposes, and are handled by men. Basketry amongst the tribes of Nagaland is highly developed, with tribes like the Angamis producing several varieties of products in bamboo and cane. Pottery, similarly, is not widely commercialised and is dominated by Naga women who make specialised hand made pottery for various purposes.
However, woodcarving amongst the tribes of the Angamis, Konyaks and Phom is very specialised amongst the men of the communities. Each tribe differs in their use of designs and symbols such as bison motifs called mithun, fertility symbols, hornbills and human heads. Some symbols also symbolise the status or position of the person, such as the hornbill being used for the village chief or Ang, who holds divine status amongst the Konyak tribe. Although predominantly featured in architecture, objects of everyday importance such as machetes (daos), stools, mugs, spoons among other things, are also made from wood.
Woodcarving from Nagaland showing bisons or mithuna symbols
Ornaments are also worn by men and women of the different Naga tribes, and are made using beads of materials like glass, cowrie shells, ivory and coins, along with natural materials like feathers and leaves. One such interesting ornament is the miniature trophy mask worn by warriors of the Naga tribes as pendants. The Nagas believe that the spiritual aspect of the soul called mio resides in the head, which is why they should be preserved and displayed with pride. The pendants represent the mio and the bravery of the warriors as headhunters.
Textile, like in most other tribal communities, is also at the forefront in Naga tribal communities. Some tribes such as the Lothas, Aos and Rengmas are also known to paint on their cloth, depicting motifs like elephants, tigers, mithun, cock, Dao and human heads. Other motifs on Naga textiles include straight lines, stripes, squares, bands, which differ from tribe to tribe based on colour and combination. The Angami tribe uses red and yellow bands on black cloth, called Lohe, while the Sangtam tribe have a shawl reserved for warriors called Rongsu, which has four grey bands at the top and at the bottom on a black base. The Yimchunger tribe has warrior shawls called the rongkhim, which incorporates red colour to signify the blood of the enemies. The Chakshesang shawl, one of the only Naga textiles to have been given the GI tag, are a mark of important events like feasts of peace and reconciliation amongst the Chakshesang tribe. Using colours like white, green and red, along with motifs like elephants, mithun, flower or sun, these shawls indicate the various achievements and characteristics such as happiness and prosperity.
A Chakshesang Naga man wearing the Chakshesang Shawl
Tripura: The Smallest of the Sisters
Said to have been named after the Hindu Shakta goddess Tripura Sundari, Tripura is the smallest state amongst the seven sisters, and the second smallest state in the North eastern part of India, behind Sikkim. Home to the 1,400-years-old Unakoti caves, diverse tribes, delicious food and exquisite scenery, Tripura is also known for having multiple handicraft and textile traditions, inspired by its tribal history as well as the influence of the neighbouring Bengali culture.
The abundance of bamboo and cane has led to the establishment of a thriving bamboo and cane industry which is used to make baskets, trays, containers, traps as well as fans, lampshades, mats and bags. Smoking pipes called Riang Hookah, rain shields called Pathla as well as bamboo whistles are also made by tribal artisans using various different species of the bamboo and cane plants. The Bengali community in Tripura is also known to make baskets like Tukri, Laii and Sempa Khari using the same materials. Like in Assam, Sitalpati mat weaving is also popular in Tripura due to the abundance of the Murta reed plants as well as its cooling properties, which make it a good choice for the summers.
Pressed clay art, which is a craft belonging to the West Tripura districts of Melaghar and Palpada involves the pressing of moulded clay into Plaster of Paris moulds to make items like oil lamps, decorative vases, wall and roof tiles, dies, and the sculptures of prominent gods and goddesses during festivals. Woodcarving is another notable craft where artisans make wooden decorative items, sculptures and masks which are inspired by elements of nature, tribal culture and local legends and folklore.
Weaving and textile are also prominent industries in Tripura, with two textiles, Risa and Rignai, having received GI tags. The Risa is a handwoven vibrant upper body garment that can also be used as a headgear or stole and the Rignai is a colourful skirt that is draped around the waist. These along with the Rikutu, a full body drape, complete the traditional attire of Tripuri women, and is said to date back to the 15th century CE. These garments have distinctive designs and patterns, including horizontal lines, geometric motifs and various colours, which differ based on social status and hold importance in their socio-cultural life.
Conclusion
The North eastern part of the country is a treasure trove of cultures, people, crafts, textiles and food. The current knowledge barely scratches the surface of the knowledge and diversity that this region holds due to its relative isolation from the mainland. Although vastly different from the practices, beliefs and traditions of the mainland of India, due to the strong presence of tribal culture, it is this distinctiveness that makes it an integral part of India, with each state which is usually just generalised into the “North east” bringing fascinating arts, handicrafts and textiles to the table. Maybe it is time that people finally learn more about this untapped aspect of the country and respect the diversity that makes these states a part of this country. If nothing else, we hope this blog inspires you to take a trip to one of these states and experience the people and their cultures firsthand or to contribute to these crafts by buying from authentic sites like MeMeraki which connect you to the artisans directly.
References
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Frequently Asked Questions (FAQs)
Q1) What are the Seven Sisters?
The Seven Sisters refer to the seven states that make up North East India, along with Sikkim. These are Arunachal Pradesh, Assam, Manipur, Meghalaya, Mizoram, Nagaland and Tripura.
Q2) What is Arunachal Pradesh known for?
Arunachal Pradesh is known for Thangka paintings, bamboo craft, Dafla pottery, handmade paper called Mon Shugu, wood carving, jewellery textiles like Adi and Apatani and woven carpets.
Q3) What is Assam known for?
Assam is known for its Majuli masks, Majuli manuscript paintings, Sarthebari bell metal, musical instruments, terracotta craft, Pani Meteka craft and most importantly its silk textile, which includes Muga silk, Eri silk and Pat silk.
Q4) What is Manipur known for?
Manipur is known for its pottery traditions such as Thongjao and Longpi ham, Laiphadibi cloth dolls, Kauna phak mats, woodwork, loktak lotus silk and textiles such as Moirangphee, Wangkhei phee and Saphee Lanphee.
Q5) What is Meghalaya known for?
Meghalaya is known for its bamboo and cane work, poker work, Larnai clay pottery, the Aminda Rangsagare wood village, fascinating pineapple fibre craft and textiles like Dakmanda, Jainsem and Jainkup.
Q6) What is Mizoram known for?
Mizoram is known for its bamboo and cane wicker work, unique gourd craft, and its strong textile traditions which include Puanchei, Pawndum, Hmaram, Ngotekherh and Tawlhlohpuan.
Q7) What is Nagaland known for?
Nagaland is also known for its bamboo and cane work, basketry, woodcarving, ornaments such as miniature trophy mask pendants, and textiles such as the Yimchunger shawl and Chakshesang shawls.
Q8) What is Tripura known for?
Tripura is known for its bamboo craft, Sitalpati mats, pressed clay art and textiles like Lasingphee and the Rignai, Risa and Rikutu, which are the traditional attire of a Tripuri woman.
