17/08/2026
Design of the ‘At Home’ Invite to Independence Day (15th August 2026) Guests at Rashtrapati Bhavan.
The National Institute of Design (NID), Ahmedabad, is honoured to have extended its design services for the ceremonial invitation kit commissioned by Rashtrapati Bhavan for the reception of distinguished guests on the occasion of India’s 80th Independence Day, to be celebrated on 15 August, 2026.
The project showcases the traditional crafts of Chhattisgarh, Goa, Madhya Pradesh & Maharashtra, developed through a collaborative dialogue between the artisans and the project team. The project was initiated in mid March 2026, and involved the team of designers and staff at NID Ahmedabad travelling widely through the four states to engage with artisan communities in the region. Over the next month and a half, with the Rashtrapathi Bhavan team working in close collaboration, through extensive iteration and discussion with multiple stakeholders, the dialogue evolved into the artefacts we now see in the invitation.
The invitation showcases some inspiring examples of sustainable environment practices and conservation initiatives located in these four states, highlighting the deep bond between the crafts and the local environment in which they are practiced. Craft, in this sense, is not separate from life; it is embedded within it. Through inherited knowledge and lived experience, individuals shape objects, spaces, and systems that respond to ecological realities, sustain livelihoods, and carry memory forward. Whether working with natural materials, conserving resources, or reimagining habitats, people negotiate a balance between use and preservation, tradition and change. Artistic expression emerges as both a reflection and an extension of this ethos.
Over 220 persons were involved in the design and production of this kit. Nearly 100 artisans collaborated with the design team, working within their home environments in the four states to develop and produce the craft artifacts. From Chhattisgarh, we have Dhokra casting representing the community’s practice of sacred grove protection and the wrought iron Pitwa craft contributing to the display frame and bell. Representing Goa is the painted tile Azulejo craft carrying scenes of the landscape and the centuries old Khajan system of community-managed coastal wetland reclamation. From Madhya Pradesh, we have the representation of the practice of community seed preservation illustrated through Bhil art as well as the block printed Bagh fabric of the Dhar district adorning the fabric envelope. Warli art from Maharashtra commonly represents life along the river and this artifact celebrates the Kham river restoration project as a collaborative effort to restore the natural environment. A ceremonial stole woven in Maheshwar in Madhya Pradesh, brings together motifs of the textile traditions of the four states in a unique border designed for this occasion.
The artifacts were then brought to the NID Ahmedabad campus and assembled into the kit by teams of staff, artisans and students contributing to the process which took approximately a month to complete.
Led by Dr. Ashok Mondal, Director of NID Ahmedabad, and a dedicated team of faculty, alumni, students, and technical staff worked over four months to bring this project to life. The result is a hands-on celebration of the region's rich material culture, offering a glimpse into the master craftsmanship and collective effort behind every kit.
Descriptions of elements in the kit
The Outer Cover (Canvas bag)
The motif on the outer cover of the invitation is inspired by the Kaavi art of the coastal Konkan region. It is distinguished by its use of a single reddish-brown pigment (extracted from local laterite soil) etched into a white, lime-plastered wall. Artisans incise and scrape the top-wet layer of red-tinted plaster to reveal the white plaster base underneath. This creates a breathable wall designed to naturally cool the space.
The wrought iron bell attached to the address slip is handcrafted by skilled tribal ironsmiths in Bastar, Chhattisgarh using recycled scrap iron. Each bell is individually forged, heated, and meticulously beaten into its signature conical shape.
The Fabric Envelope
Used here is a Bagh textile, characterized by its use of hand-carved wooden blocks and natural, vegetable-based dyes. This craft originates and gets its name from the town of Bagh in Dhar district of Madhya Pradesh. It features bold geometric and floral patterns seen here stamped in a rich black (derived from fermented iron rust and jaggery) on an off-white background. The craft is deeply dependent on the local Baghini (Bagh) River. The river water possesses a unique chemical composition high in copper, calcium, and zinc, which acts as a natural mordant to naturally brighten and set the vegetable dyes.
The Display Frame
This frame features figurines handcrafted using ‘Lauh-Shilp’ (or Pitwa art), a world-renowned tribal craft from Bastar, Chhattisgarh. Mirroring the daily life and culture of local tribes, this ecofriendly art form transforms recycled scrap iron into striking, minimalist sculptures and objects of daily use. Each piece is hand-forged from a single rod or sheet of metal without the use of casting.
The Artifacts for the Four States
Chhattisgarh
Dhokra, one of India’s oldest metal-casting traditions, uses the indigenous lost-wax method to create highly textured brass and bell-metal art. In Chhattisgarh, this practice relies on fine-grained anthill mud harvested from the forest floor, which tribal artisans view as a sacred bridge between worlds. Its smooth texture captures the delicate details of the wax models during casting. Common motifs include folklore, nature, and scenes from daily tribal life.
The Dhokra sculpture on the invitation depicts community-led efforts to protect sacred forest groves such as Devkot, which act as vital cultural sanctuaries and biodiversity hotspots. These groves preserve indigenous tree species such as Mahua which is locally regarded as the “tree of life”. Its sweet flowers serve as a vital source of food and income during lean agricultural months, while its seeds provide oil, and its timber and leaves support local livelihoods and traditional rituals.
Goa
Goa’s Azulejo tile tradition has evolved into a living symbol of Goan identity. While the craft first arrived from overseas centuries ago, Goan artisans have infused them with local Indian techniques, vibrant palettes, and regional themes. These unique hand-painted blue and white tiles depict scenes of daily Goan life, traditional Konkani fishermen, rural landscapes, and local flora and fauna, and adorn home entrances, public street signs, and local institution nameplates across Goa.
The Azulejo tile on the invitation depicts Goa’s Khazan lands which are community-managed coastal wetlands, reclaimed from mangrove forests and marshes. Developed centuries ago, this ancient agro-aqua ecosystem uses an intricate network of d***s (bunds), embankments and sluice gates to control tidal river water, preventing saltwater from flooding crops while supporting paddy cultivation, fishing, and salt-panning. The Khazan ecosystem is essentially a nature-based coastal defense system.
Madhya Pradesh
Bhil painting is a vibrant tribal art form from Madhya Pradesh, known for its intricate patterns of dots used to depict nature, mythological figures, and daily life, typically created using neem twigs. The dots are not merely decorative, but are believed by the Bhil community to represent ancestors and elements of the spiritual world. Traditionally painted on the clay walls and mud floors of village homes, Bhil art transitioned to paper and canvas in the late 20th century.
The Bhil artwork on the invitation depicts community-led seed preservation practices in Madhya Pradesh which continue to safeguard indigenous varieties of grains, pulses, and vegetables adapted to local climates and food systems. Rooted in intergenerational knowledge and seed-sharing traditions, these living repositories support ecological resilience while sustaining agricultural diversity through everyday practices of care, storage, and cultivation.
Maharashtra
Warli art is one of the oldest and most distinct tribal art forms in India. Its origins are rooted in the daily lives, spiritual beliefs, and relationship with nature of the Warli tribe, a community residing primarily in mountainous and coastal regions of northern Maharashtra. It features minimalist white figures made with rice paste, set against earthy backgrounds to depict daily life, nature, and rituals.
The Warli painting on the invitation depicts the restoration of the Kham River in Chhatrapati Sambhajinagar, Maharashtra, which is a collaborative effort between local institutions, environmental organisations, and community participants to renew the relationship between people and their natural environment. Through waste management, water treatment, native species plantation, and revitalisation of shared public spaces, the river corridor gradually transformed into a more resilient ecological landscape.
Handwoven Ceremonial Stole
The guests will be welcomed upon their arrival at the reception by traditional draping of a specially designed stole. The stole has been handwoven in Maheshwar using the traditional dual silk and cotton weave of the Maheshwari weaving tradition. This stole celebrates the textile traditions of Chhattisgarh, Goa, Madhya Pradesh and Maharashtra through a combination of unique regional motifs. Drawing from the ‘Kinar’ border of the ‘Karwat Kathi’ saree of Maharashtra, the ‘Rudraksha’ border of Goa’s ‘Kunbi’ saree, the ‘Kangra’ motif of Maheshwari weaving and the ‘Chinta Chowk’ motif of Chhattisgarh’s ‘Panika’ tradition, the design brings together four distinct weaving vocabularies within a single textile expression.
This invitation is a tribute to the skilled artisans and craftspersons who are keeping alive the age old wisdom and diverse traditions of the region.
