Tradition rules: Terracotta pieces on display at CIMA gallery (Pic: D.P. Sinha)

Tutored by tradition, how unerring the eye of the village craftsman is and how skilled his fingers are can be seen once more at CIMA gallery till October 8. For the current show has on view things of beauty that are blended into daily living. As objects of utility, rituals or d?cor. There are woven, printed and painted fabric, metal ware, wood carving, terracotta heads, rugs, bags, mirror frames, baskets and so forth. Shows such as this reinstate the anonymous artisan as an artist and recall a past when tradition took precedence over signature.

A largish dhokra elephant, made up of many small figures, boasts quite a technical feat. No less rivetting is the bus with passengers seated on the roof, a common sight in rural areas, while baskets hang from windows and luggage is lugged up the rear ladder to the top. The goddess Durga is a frequent theme for Bengal craftsmen, as are rural cameos. Like tumbling wheels, for example, or rickshaws. Which shows experience permeating the art tradition.

By contrast, the dhokras of Madhya Pradesh seem to be truer to the traditional dialect which may, however, have been extended under external influences. Lean, long figures with an amazing simplification of lines ? declaring an approach somewhat different from the elaboration seen in the Bengal pieces ? holds viewer attention. A seated Ganesh is particularly amusing for the quirky mismatch of its proportions.

The brassware from Karnataka and Andhra Pradesh is dominated by ritual objects like oil lamps. Interestingly, temple sculpture is echoed in one small piece: a woman looking at a hand mirror. But it is the section on Bidri work that stands out for the way a traditional technique has been exploited to update design for sophisticated urban tastes. The Bidri pieces, containers combining basket weaving with wood and some sleek dishes that wed stone and metal make statements of an off-beat style.

A vertical wall panel possibly of iron with smaller horizontal sections is a striking item. Tiny, 2-D figures ? like summary cutouts in silhouette ? seem to leap and with agile brio.

Terracotta pieces, including a take on a Mohenjodaro bust, take up one section, while wood carving is generously represented. Carved tribal masks on walls command a certain presence. Two of them hint at totem pole forms by importing bird/animal features. Sharing their earthy ruggedness are a few dhurries made from banana fibre. Teamed with the intricately embroidered floor cushion covers that are on view at the other end of the gallery, these could figure as seductive highlights of a lounging den for young people.

The fabrics hung along the walls narrate the glory of Indian weaves. The breathtaking variations in design, colour and texture, make the weaver/printer no mean creator. Wraps of sheer tissue Benarasi with delicate floral motifs in hushed shades and heavier material in rich radiant colours ? a warm burgundy, for example, or a brilliant blue ? with the accent on a fluent range of paisleys would do any wardrobe proud.

While the well-known kalamkari is present, the pride of place in printed cloth is appropriated by Ajrakh, a technique of block-printing both sides of items. A couple of bird studies and a Roghan painting would also interest the casual collector.