One of India's most industrialised states and home to a plethora of craft villages that continue to thrive in their pristine artisanal glory, many of which date back centuries, is Maharashtra. These craft villages are pivotal in the preservation of indigenous knowledge systems and sustainable livelihoods, especially for marginalised rural communities. Ranging from the intricate silver filigree work of Hupari to the extensive handloom traditions of Paithan, each of these villages exhibit the continuity of Maharashtra's craft heritage through local clusters, skill transmission and institutional support.
In the Kolhapur district, Hupari village is well-renowned for its silver filigree work. With a legacy that spans a century, this village is the unsaid hub of silver ornament manufacturing in the region. Artisans in Hupari are masters at crafting anklets, toe rings and numerous other ornamental pieces through a meticulous process that involves smelting, drawing and twisting silver wires before shaping them into delicate patterns.
Over 2,000 families in Hupari are engaged in the craft of silver filigree, making it a formidable economic activity in the area. The production remains manual to this day, with some instances of mechanisation introduced in recent years. However, despite growing competition from machine-made products, Hupari's hand-crafted silver items not only persist but remain in demand owing to their dexterous craftsmanship, which instantly distinguishes them from machine-made goods. These silver items are a common sight in weddings and religious ceremonies across Maharashtra.
Hupari is located about 20 kilometres from Kolhapur, a city well-connected by both road and rail networks to major destinations across Maharashtra.
Situated in Aurangabad, Paithan is a town that has long been synonymous with Paithani sarees, one of the oldest surviving handloom traditions in India. Cherished as much as they are old, the weaving technique of Paithani sarees involves the use of fine silk and pure gold or silver zari to create intricate motifs inspired by birds, flowers and animals. The origins of Paithani go back over 2,000 years to the Satavahana dynasty, with historical records indicating trade links with Roman merchants.
Weaving in Paithan is a family-based occupation, passed down through generations. Each saree can take anywhere between a month to a year to complete, depending on the complexity of the design. The Maharashtra Handloom Corporation supports the craft through training centres and marketing initiatives. However, the survival of the tradition still hinges on local community effort and consumer awareness.
Paithan lies approximately 50 kilometres from Aurangabad, which is well-connected to major cities by rail, road, and air.
Quite close to Mumbai, Bhiwandi is Maharashtra's largest powerloom centre, which retains a significant handloom tradition in its old quarters. The handloom sector is primarily known for the production of cotton fabrics such as gamchas, towels and bed sheets. The weaving is undertaken by communities who have historically been associated with textile production, including the Koshti and Sutar castes.
Although the major chunk of the town was taken over by the powerloom industry, handloom artisans continue to operate through small cooperatives. NGOs and government bodies have made various attempts to revive interest in handloom weaving in Bhiwandi through the creation of direct marketing platforms and exhibitions. The community, nonetheless, faces challenges including low wages, limited access to raw material and competition from mass-produced fabrics.
Bhiwandi is situated about 40 kilometres from Mumbai and is accessible via both road and suburban railway networks.
In the Sindhudurg district near the Goa border lies Sawantwadi, well known for its lac-turned wooden toys and hand-painted Ganjifa playing cards. Historically, these crafts were patronised by the Sawantwadi royal family and date back to the 17th century. While the toys are made using local mango and jackfruit wood, turned on lathes and painted with natural dyes, the art of Ganjifa cards is equally unique.
Although now virtually extinct, Ganjifa card-making survives in a few families. These circular playing cards are painted with mythological scenes and used in traditional games that are rarely played now. Government schemes and private institutions like the Crafts Council of India have taken steps to support these crafts through training programmes and international exhibitions.
Sawantwadi is well-connected by both road and rail, and lies approximately 494 kilometres from Mumbai.
In Nashik district, the old city boasts of a cluster of artisans known as Tambats, skilled in making copper and brass utensils using hand-hammering techniques. The work involves heating the metal sheets, shaping them using wooden and metal hammers and then finishing them with polishing and etching.
Once staples in Maharashtrian households, especially for religious rituals, these utensils are now made mostly for decorative and ceremonial purposes. The Tambat community remains confronted with a declining demand coupled with a lack of apprentices to continue the tradition. On the bright side, however, some design studios have collaborated with them to introduce contemporary designs, making products more appealing to urban buyers.
Nashik is well-connected by road and rail. The nearest airport is Ozar Airport, which handles domestic flights, while a wider range of flight options is available via Mumbai.
Pinguli, a village near Kudal in Sindhudurg district, is the centre of a rare tradition of shadow puppetry known as Chitrakathi. This form of storytelling entails narrative painting, puppetry and music to recount epics like the Ramayana and the Mahabharata. Artisans make use of treated animal hide to create colourful puppets that are manipulated behind a white screen with a lamp as the light source.
Pinguli craftspeople also create painted leather objects like masks and wall hangings in addition to puppetry. They have turned their attention to tourism and museum initiatives as interest in traditional storytelling formats has decreased. One of the practising families operates the Thakar Adivasi Kala Angan Museum, which assists in preserving and showcasing the skill to tourists.
Pinguli is located close to Kudal, which is connected by rail to both Mumbai and Goa. Local transport is available for onward travel to the village.
The folk art form known as Aundh painting is linked to the little village of Aundh in the Satara area. Early in the 20th century, this style evolved under the support of the Aundh State royal family. These paintings, usually created on cloth or wood using natural pigments, were inspired by religious iconography, particularly scenes from Hindu epics and Puranas.
The Aundh Museum, established in 1938 by the then ruler Bhawanrao Pantapratinidhi, houses many original pieces and continues to support local artists. Although the number of practising artists has declined, workshops and art residencies have been conducted in recent years to revive interest among younger generations.
Aundh is situated approximately 45 kilometres from Satara city, which is accessible by both road and rail. The nearest major airport is in Pune.
Thus, it is evident that Maharashtra's craft villages—some of which date back centuries—stand as permanent testaments to the state's rich artisanal heritage. These communities maintain traditional talents and persevere in the face of industrialisation and dwindling demand, preventing them from being lost to the passage of time. Their continued existence highlights for everyone how closely legacy, means of subsistence, and cultural identity are related.
