Chhattisgarh is a treasure trove of exquisite handicrafts, renowned for its intricate craftsmanship and deep cultural significance. A visit to this vibrant state remains incomplete without bringing home a Chhattisgarh handicraft memento, as these art forms are an indispensable part of the people’s lives.

The state is particularly known for its mastery in metal crafts, paintings, and silk weaves. The artisans skillfully utilize locally available materials to create stunning handicrafts that truly showcase their craftsmanship. Among the most celebrated crafts are Dhokra, iron, Bamboo and tribal jewellery. The intricate figures of terracotta, and vibrant paintings further add to the artistic splendor of Chhattisgarh. These authentic handicrafts, much like the state's cultural legacy, are a testament to the creativity and expertise of its artisans. here is the lost of 10 famous crafts of Chattisgarh


1. Clay relief of Sarguja

The clay relief art of Surguja, Chhattisgarh, is a distinctive tribal craft practiced by the Rajwar community, known for its intricate, raised clay designs adorning house walls and everyday objects like shelves and jars. This art form, deeply rooted in the region’s cultural heritage, involves using a mixture of unfired clay and cow dung, called "lipan," which is molded into elaborate motifs depicting deities, animals, trees, and scenes from daily life. Vibrantly painted in hues of red, blue, yellow, and green, these reliefs create a striking visual appeal. The art gained recognition through Sonabai Rajwar, a craftswoman from the village of Puhputra, who, during a period of isolation, began decorating her home walls with these intricate clay reliefs, unknowingly pioneering a unique artistic tradition. Beyond its aesthetic charm, this craft serves as a vital expression of the Rajwar community’s identity, storytelling, and way of life, preserving their traditions through generations.



2. Dhokra art of Bastar

Dhokra, or bell metal art, is a traditional metal casting craft of Chhattisgarh, primarily practiced by the Ghasia community of Bastar and the Jhara community of Raigad. The Dhokra art of Bastar, with a legacy spanning over 500 years, was originally created for royal families and tribal communities, producing idols for worship, ceremonial artifacts, and utility objects. The craft witnessed a transformation in the 1960s due to the Bangla-refugee rehabilitation program, which brought renewed attention to this ancient tradition. Government initiatives and media exposure further promoted its cultural and artistic significance. Bastar's Dhokra art is distinguished by its unique aesthetic, drawing inspiration from the environment, tribal lifestyle, and rituals. The craft encompasses various categories, including animal figures, utility objects, and body adornments. Characterized by elongated human forms, exaggerated features, and intricate geometric patterns made with wax threads, it often includes depictions of animals, insects, and headgear adorned with horns. This intricate lost-wax casting technique continues to serve as a testament to the region’s rich artistic heritage and the craftsmanship of its tribal artisans.

Dhokra Art, also known as Bell Metal Craft, is a traditional kind of metal casting that originated in India. Metal art is an indigenous form of artistic expression originating in the Bastar area of the Chhattisgarh state.



3. Bamboo Basketry

Bamboo basketry is a widely practiced tribal craft in Chhattisgarh, deeply rooted in the region's cultural and economic life. With an abundance of bamboo, the craft serves various purposes, including construction, fishing, and the creation of musical instruments. The Bansods of Chhattisgarh are skilled artisans, producing over 200 types of bamboo products, with Dhurvas, Dhamini Marias, and Murias recognized as the most proficient basket makers. The Kamar tribe of Raipur specializes in crafting items like fish traps and mats. Essential tools used in the craft include the Tangia (big axe), Ghoda (splitting tool), Churi (knife), and a sickle. Basketry is predominantly practiced during the harvest season when bamboo is readily available at a lower cost. The Bansods, considered a sub-caste of the Birchors, meticulously slice bamboo into fine splits known as rikas and worship the deity Dasha. Their signature baskets, Phooldatia, feature a square base with a circular top and are commonly used for carrying mahua flowers. This traditional craft not only reflects the resourcefulness of tribal artisans but also continues to be an integral part of their livelihood and cultural heritage.



4. Wrought Iron of Bastar

Wrought iron craft, also known as Bastar iron craft, is a traditional art form of Chhattisgarh, practiced primarily in the Bastar district, with key centers in Kondagaon, Umargaon, and Gunagaon. Originating from the ironsmith community, this craft was initially developed to create farming and hunting tools for local tribes. It involves a process of heating and hammering recycled iron scrap to shape intricate designs, followed by cutting away excess metal. The artisans employ tools such as chisels, hammers, forceps, tongs, and furnaces to mould the iron into both solid and hollow forms, often depicting animals in various poses and sizes. This eco-friendly craft is deeply rooted in sustainability, as it repurposes iron scrap from households and markets, minimizing waste. Recognized for its cultural significance, Bastar iron craft has been awarded a Geographical Indication (GI) tag, ensuring its authenticity and heritage protection. The skill is traditionally passed down through generations, preserving this ancient art form as an integral part of Chhattisgarh's artistic and economic landscape.



5. Terracotta of Bastar

Terracotta, meaning "baked earth," is a craft made from natural clay, known for its characteristic reddish-brown color, durability, and affordability, widely used in decorative arts. In Bastar, the tradition of votive terracotta has existed for generations, deeply rooted in the tribal way of life, where nature and its elements—trees, stones, animals, water, and fire—are revered. The potter community creates votive clay figures as offerings to Mother Nature, while Devgudi, the village temple dedicated to the Goddess (Mata), houses terracotta animal figures like elephants and horses, along with the ever-burning ‘Mata Diya’ lamp. Edka, a small village in the Narayanpur tehsil, is home to the Muria tribe (a sub-tribe of the Gonds) and is known for its potters who utilize the highly plastic and strong clay of the Bastar region to create large pots. Initially, only handis, pitchers, and pots were made for local markets, but over time, artisans expanded their repertoire to masks, animal figures, and sculptures, and now also produce contemporary forms like penholders, lamps, and paperweights. The most famous pieces from Bastar are the intricately ornamented terracotta elephant and horse figures, renowned for their distinctive style and craftsmanship.



6. Pata weaving

According to the beliefs of the weaving communities in Chhattisgarh, the Devangans were blessed with the knowledge of weaving by Goddess Durga, who taught them to extract fiber from a lotus stem and instructed Lord Vishwakarma to craft the shuttle from the bones of Maikasur Danav. The asura’s hair was transformed into a brush for sizing yarn, his ribs served as a base to hold the warp apart, and every part of his body was repurposed for the craft. Villages like Tokapal, Nagarnar, and Kondagaon in Bastar were known for their skilled weavers, particularly in dyeing and weaving aal-dyed fabrics. Traditionally, each village cultivated its own cotton for weaving, using natural or unbleached cotton yarn for the body of the pata, a sari-like drape worn by Muria and Maria women. The woven cloth, known as phatai, is crafted manually on pit looms, and the traditional process of weaving pata is called phatai bunana. Until recently, tribals would commission weavers to create lugda or pata for special occasions, compensating them with cash, grains, or produce from their fields. Historically, the tribals valued a sari based on its weight, density, and workmanship, assessing its strength and fabric quality with great care.



7. Champa silk

Champa silk, a high-quality variety of tussar silk cultivated in Chhattisgarh’s Raigarh, Bilaspur, and Janjgir-Champa regions, is known for its natural shades of brown, cream, and dull gold. Derived from the tussar cocoon, locally called kosa fal, the woven fabric is known as kosa silk and is internationally recognized for its rich texture and vibrant colors. The silkworms producing this silk are reared on the bark of Arjun (Terminalia arjuna) and Saj (Terminalia tomentosa) trees. Champa silk sarees come in three distinct types: the phera saree, featuring a plain body with a kumbha (temple) motif border; the jala saree, woven using the intricate jala technique for floral, foliate, and geometric patterns; and the khapa or patiya saree, characterized by a ribbed pallu with continuous line and dash motifs created using supplementary weft threads. Extra weft techniques add ornamentation to these sarees, enhancing their decorative appeal. Recognizing their unique territorial craftsmanship, Champa silk sarees and fabrics were granted Geographical Indication (GI) status by the Government of India in 2011.


8. Wood Carving

Chhattisgarh’s wood carving tradition, particularly known as Bastar woodcraft, is an ancient tribal art form practiced in the Bastar district by communities like the Muria and Badais. Using locally available woods such as teak, sheshum, sagon, and shivna, artisans create intricate carvings with traditional hand tools like chisels, axes, and scrapers. The motifs in these carvings often feature geometric patterns, animals like snakes, birds, and elephants, deities, and depictions of tribal life, symbolizing their deep connection with nature, mythology, and cultural beliefs. The Badais community is especially known for crafting decorative pillars, temple doors, intricately carved furniture like the "Deewan" (cot with a storage box), wooden panels, statues, and ritual objects. Beyond its artistic and cultural value, wood carving also contributes to the local economy, providing livelihoods to artisans, though they face challenges like limited market access, commercialization pressures, and resource depletion due to deforestation. The craft is at risk due to the diminishing availability of quality wood, making sustainability a growing concern. 



9. Muria Ghotkul Painting

Muria Ghotul painting is a distinct style that emerged from the Muria tribal community of Bastar, Chhattisgarh. While the region’s tribal groups did not have a significant painting tradition, a shift occurred after the 1970s with the decoration of wooden and stone memorial pillars, later extending to plastered brick structures (Matth). The first recognized Muria painters—Belgur Muria, Shankar Muria, and Pishadu Muria—came to prominence in 1982 when Roopankar, Bharat Bhawan, Bhopal, showcased their works. Their paintings were later published in a 1987 catalogue of Roopankar. Around 2010, a new form of Muria painting began appearing in urban markets, created by young Muria tribal artists. These paintings, while not part of traditional or ritual practices, depict Muria life, culture, and traditions, maintaining a deep connection to their heritage through symbolic motifs, earthy colors, and representations of their social institutions, including the Ghotul—a communal space for Muria youth to learn social customs, dance, and music.


10. Jewellery

Chhattisgarh, a land of dense forests and vibrant tribal culture, holds within its heart a legacy of exquisite jewellery—pieces not just meant for adornment, but infused with meaning, protection, and heritage. For centuries, the skilled Ghadwa artisans of Bastar, Kondagaon, Barkai, and Jagdalpur have shaped metal into intricate treasures, each piece an echo of the past. The bronze jewellery—penjna, perri—once abundant, is now a rare sight, a vanishing art that still lingers in the hands of those who refuse to let history slip away.

In the olden days, a woman’s jewellery was more than a mark of beauty—it was a silent protector, a healer. The charpatta or kardhan, a waistband delicately crafted in silver, was not just an ornament but a companion for young mothers, believed to help their bodies regain strength after childbirth. The painjna, an anklet that chimed with every step, was not just a symbol of grace but a reminder of presence, of movement, of life itself.

The marketplaces of Chhattisgarh once brimmed with the shimmer of phully (nose rings), bidhu (armlets), tora (necklaces), and maldar (chest ornaments), each telling a tale of its own. Every tribe had its distinct style—some with heavy, rustic designs, others with delicate silver filigree, but all crafted with the same reverence for nature and tradition.