For an urban audience addicted to instant air cooling, a trans-national collection of hand-made fans might be of little interest, until you visit an exhibition showcasing artefacts belonging to a rare and dying tradition. The exhibition has been curated by Indian visual artist Jatin Das, a well-known researcher and archivist of the craft of hand-made fan.

Odisha-born Das, who has many paintings, murals, sculptures and other visual art forms to his credit, has been collecting hand-made fans of different shapes and sizes for the past 40 years. It all began one summer afternoon, when he had a friend over to his Delhi studio. His friend was unhappy for some reason, and as he picked up a hand-fan to lighten the mood he said in jest, “let me stir the still air.” Little did he know the phrase would be the title of a book on Pankhas, which is due to be released soon.

Since then, Das’ abiding interest in hand-made pankhas has not only taken him to the length and breadth of the Indian subcontinent, but also to regions as far and wide as Africa, Middle East and East Asia. His collection, which comprises of thousands of fans created with all kinds of organic materials (bamboo, cane, date palm), was recently mounted at New Delhi’s Indira Gandhi National Centre for the Arts (IGNCA).

His archive also includes, paintings, prints, miniatures, photographs, poems and films on the subject. Entirely funded by money received from the sale of his paintings, the archive is the result of a full-fledged project that has involved documentation, research and archiving of this dying form. Over the years, the artist’s collection of fans has grown because of gifts received from friends all over the world.

These objects have had a worldwide audience, beginning with their maiden exhibition at New Delhi’s Crafts Museum in 2004, followed by shows in Kolkata, Kuala Lumpur, Manila, Zurich, London and Washington DC.

“Although the cost of making the pankha is minimal, the workmanship, effort and personal touch make these delicate objects invaluable. I feel sad when a beautiful craft of India disappears due to lack of interest, utility or outlet,” said Das.

Seen together, the fans made of zardozi, applique, mirrors; carvings from woods; some of them designed from feathers, bamboo, cane, palm leaves, paper, natural fibre and batik cloth transform a forgotten art into an alluring craft, the IGNCA exhibition shows.

The exhibition offers a historical and artistic insight into an art form that was once popular in hot and tropical countries of the world. As electricity came into our homes, the use of this art form has become largely redundant, even though people in Indian villages still use it.

Mainly sold in village markets during summer, the hand-fan is seen as a symbol of communal and personal engagement. The sight of a man fanning himself to sleep on a charpoy, or a woman fanning her husband as he eats his meal are common instances of the role of a fan in rural life. The hand-fan, Das notes, could be a tool for seduction and romance as well.

Of course, the hand-fan has been deployed for grander purposes, such as in the courts and offices of Mughals and colonial rulers; and during large congregations at temples. Costing millions of rupees, the royal fans have silver and gold handles, embroidered with silver thread or zari. Personalised and ceremonial fans are also part of the archive, with many of them being centuries old and regarded as a “priceless antiques.”

During his search for hand-fans and traditional crafts, Das found a group of monks in his home state devoted to the traditional art of crafting large circular fans made of palm leaves and stems. The collection has several fans from the monastery, one of them is more than a hundred years old. Other present-day examples include a large but neglected hand-made fan at Kochi’s St. Francis Church, the first church built by the Europeans in India. The Mayurbhanj palace, also in Odisha, in another landmark where this dying art form is still being preserved.

The craft of fan-making has been primarily done by women and girls in India, and at the heart of India’s pankha art history are stories of India’s rural folk who, for generations, have made this art form a source of livelihood. As India aims for full electrification of its villages, the pankha faces the onslaught of being completely switched off.