The idea of aesthetics is inherent in every human and it is more prevalent in the feminine because the masculine is more inclined towards the functional aspect of energy. The usual habit among the female person is to appear beautiful before the onlookers, while the male always displayed his physical strength and vigor. The surrounding environment is another factor that facilitates the taste of a particular community, which is distinct in its flavour that can be distinguished from another ambiance. Therefore, the culture of the people particularly the typical rural atmosphere will have a tremendous influence on the local flavour that will be presented as the aesthetic character of the community. The human trait is one distinct characteristic that will be displayed in the artworks and the Khasi features are varied due to the matrilineal custom. The genetic character is always derived out of the male progenitors, and in the matrilineal system, the physical feature will change according to the origin of the male ancestors. Nevertheless, the Khasi features are separate and can be easily identified from the other community in general. The costume designs and patterns, the household tapestry and basketry, the implements and utensils, the jewelry and ornaments, and other folk materials are other factors that will contribute to the visual image-making tradition.
The strength of folk art depends upon the vibrant traditional culture of the community. Although the other aspects of Khasi traditional culture are vibrant; however the philosophy of image creation is prohibited and considered taboo in Khasi culture. Nevertheless, there is a different approach by the present generation of Khasi artists, who have nurtured and cultivated a substantial quantity of images that will encounter the challenge of depicting the identity of Khasi art, if not folk art. However, there is a need for a uniform style of the community that will conform to the distinctive ethnic culture. The onslaught of modern industrial textiles and equipment has drastically affected folk weaving, basketry, metallurgy, and other traditional trading and domestic consumption materials, particularly since the demand for folk materials has declined.
Actually, the occupational activities are compounded with multiple skills of the same person for the feasibility of the profession. The demographic structure is vulnerable to assimilation which has further threatened the prevalence of certain traditional livelihood activities. Yet, few unique folk articles are still in demand for their effective utility functions. The bamboo rain cover or Knup, the shovel or Mohkhiew , and some other utility articles are in demand for the other neighbouring communities due to their effectiveness. The cross-cultural affinity has also influenced the image making tradition and several artistic designs and patterns from the neighborhood are being incorporated in the Khasi ethnic material. The influence of Bengal artisans are common in some of the relics in the southern War region and a few are also found in the highlands. The Mawsngi at Rangsohkham near Mawsynram has a sundial that could relate to Hindu myth, the Mawshyrwat at Nongkrem has intricate designs that indicated the handiwork of artisans from across the border; the Mawkhmie at Syndai is a prominent image of the Hindu deity Ganesh. Likewise, the patronisation of Hindu culture and faith by the Jaintia kings is another factor that has manipulated the tradition of ethnic art among the Khasi Pnar. The carving on wood or stone and some metal work with artistic designs are being done by the artisans from the adjacent region of Bengal, even as they maintained the ethnic purpose related to Khasi culture. The Khasi folk technology is more pronounced in certain ethnic skills of natural craftworks that are native to the people.
The ethnic skills are primarily on bamboo crafts, then there are different types of reeds, leaves, trees, soil, stones, and metals for making various utility articles that are functional and effective for specific purposes. The designs are such that they are more durable and convenient for the usage of different activities. For instance, the Knup or rain cover is convenient for a farmer to shade from a rain shower while they work in the field. It is covered from the head to the ankle and it is comfortable with both hands-free while working and walking also. The Mohkhiew or garden hoes have a dual function while plowing the earth; they could till the soil without much effort while the protruded edges on both sides of the instrument would pick up the weeds simultaneously. The Waitbnoh or hooked machete could cut small branches or bushes and pick the unwanted twigs simultaneously. The Prah and Pdung or the winnowers or sieve separate the husk from the grain with particular techniques and have a variety of purposes. There are a variety of grinding tools, fish traps, potteries, knives, baskets, angling rods; even different musical instruments with wide ranges of tunes and melodies. Moreover, the process and method of making each article are being prepared to suit the particular purpose. The folk architecture is designed with aerodynamics to protect from strong wind and there are folk knowledge systems to prevent harmful insects like termites, mosquitoes, fleas, and house flies or from intrusion by both domestic and wild animals. Some edible plants are not used to be cut with metal tools, lest it loses their nutrients and flavor; likewise, musical instruments are required to be kept on the hanging mantle shelf so that the smoke and soot will refine the instrument in terms of durability and rustic folk melody. These knowledge systems and the techniques of utilities and functions are part of folk science and folk art processes and expressions.
The lack of visual art tradition in the Khasi community does not deter from the inherent knowledge about the vital source of organic colors derived from nature. There are numerous colours and a wide range of shades and tones, but the colour schemes are mostly moderate warm and cool colours, with hardly any bright and vibrant tonal saturation, except for turmeric or the natural colour of the weaving fabric. One of the most important mediums of mixture for various pigments of colours is the lime and the dark shades are derived from certain species of trees in the form of resin or lacquer extracted from the bark or the internal portion of the tree. Essentially, lime is required for several purposes of preparing the colours, the surface of the artwork and removing any external contamination. Lime is elemental stuff – a water-soluble solid – used primarily in the building industry. It is also used as a cleansing agent and as fertilizer. For the Khasis, lime is a cultural marker of tremendous significance. Lime carries a mythic metaphor for blood. It is used for divination purposes and since ancient times, has been highly valued for its curative powers. Hence the literal application of lime for casual purposes is known as Tah or smear and Shun or lime; however, for certain implication, it is termed as Thohshun, usually accompanied by chant. Thoh Shun is a Khasi word of cultural significance for every auspicious occasion. Thoh Shun in Khasi literally means ‘To mark with lime’ or ‘Lime marked’. As a concept, it has highly auspicious connotations that inspire positive and salubrious action.
Thoh Shun is one of the most significant customary performances of the Khasi people. It is an auspicious intervention in any situation of the ordinary or momentous occasion. At the Ïingsad at Smit there is a post where lime is marked to keep the data of offerings brought about by the citizens during the Pom Blang Hima ceremony, which culminates in the popular Nongkrem Dance Festival. When one enters a place of sanctity lime is marked to purify their mind and body. When an infant is taken out or exposed in public, particularly at night lime is marked at the temple of the child to protect them from the cast of evil power. When someone is venturing into a challenging task, lime is marked to divert any obstacle. When a person suffers from any ailment, lime is marked around the infected portion of the body, for example, for a person affected with a stomach ache, lime is marked around the navel to prevent constipation, diarrhea, and dysentery; even a solvent diluted with ash is fed to hinder the disease. A daub of lime is always compulsory for a person to carry for a simple thing like mixing with betel leaf and betel nut for consumption to a severe action of casting away evil. Lime is white in colour- a symbol of purity and a matter to wash away all sorts of impurities. In recent times, lime is being marked at the main entrance entering Sohpetbneng peak during the annual pilgrimage atop the sacred mountain range. The Sohpetbneng peak is believed to be the initial settlement of humans on earth in Khasi mythology, which narrated that the seven clans descended from heaven through the golden vine of a sort of fig tree species. The myth marked the genesis of mankind according to Khasi folklore and the matrilineal system of clan lineage is the metaphoric element of the divine connection between mother earth and the celestial realm of the sun, the moon, the stars, and the entire constellation in the universe. It is narrated that the golden vine creeper is the umbilical cord of the earth that connects with the universe, which corresponds to the umbilical cord of the infant in the womb of the mother that links with the navel of the mother. It is interesting to note that the foundation of the matrilineal system of clan lineage is based on the myth of human ancestry, and substantiated by biological science according to mitochondrial genetic inheritance.
