Mysore Crafts : An artistic journey

CERTIFICATE This is to certify that the Craft Cluster Project titled “KALAVEDA’’ is a record of the work done by the students Aarushi Saxena (No. 061275500001), Aishwarya Singh Katoch (No. 061275500002) Aparna Remesh (No. 0612700005), Apoorva Sriprasad (No. 061275500006 ) Divya R V (No. 061275500013 ), Samhita Sharma (No. 061275500027 ) as regular students for the degree of B.Des Fashion Communication during the period of July 2014, which represents as independant work and does not form the base for any previous work.

PLACE : Bangalore DATE :

(External Jury Member)

Under the guidance Ms. Dilnaz Banu Assistant Professor Department of Fashion Communication National Institute of Fashion Technology Bangalore - 560102

(External Jury Member)

(External Jury Member)

(External Jury Member)

ACKNOWLEDGEMENT This document is the cumulative effort of many people and organisations that have been instrumental in guiding us throughout the journey.

First and foremost, we would like to express our gratitude to the Director, NIFT Bangalore, Mr. Shivalingam for providing us with this wonderful opportunity to study some of Karnataka’s most enchanting and eternal crafts and create an unforgettable experience in our lives.

We are obliged to our mentor, Ms. Dilnaz Banu who has been there for us with her constant encouragement and guidance.

Also we would like to thank the artisans who cooperated with us, and welcomed us into their environment, were patient with us throughout our study.

We owe our gratitude to the various organisations, institutions that are behind the content of this document.

Our families have been supportive and encouraging throughout our experiental and educative journey. For this, we are grateful.

Last but not the least, this document would not have been possible without the effoert of all the group members.

fOREWORD Being a part of the craft cluster initiative is a privelage as it enabled us to learn, experience and create unforgettable memories and associations.

In our journey, we were able to experience two different aspects of Mysore; the grand city of palaces, rich in heritage and beauty. and the humble towns and villages where the artisans work to recreate this heritage, through time less treasures that have now begun to fade away.

Our stay at mysore was so much more than just the palaces and temples and other tourist attractions. It gave us an insight to the core of the city.

The villages of Mandi Mohalla, Karakusalanagar and Bannimantap, housing humble artisans and craftsmen working on creating beautiful rosewood inlay products with such dedication, skill and precision left us mesmerised. Their welcoming nature and hospitality, patience to bear with our inquisitive nature and curiosity was very apparent.

This document, not only talks about Mysore as a city, but goes indepth into the rosewood inlay handicrafts- what it is? how it’s done? what it means to the artisans of mysore.

Apart from this, there is a brief study of the other eternal crafts of Mysore, that we have been lucky enough to learn about, such as Ganjifa Cards, Mysore Traditional Paintings and Silk Sarees.

An unforgettable experience, a journey that we hope you can live through, via this document.

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Introduction

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Process Raw Materials, Tools, Machinery

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Steps of production Pre - production Production Post - production

Basic Information Geography, Demographics, Shopping, Languages, Cuisine, Destination Cultural Capital of Karnataka

ARTISANS

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Case Studies Mr. K P Pratik Mrs. Sofia Rani Mr . Majeed and Mr. Lukhman

Diagnostic Studies Education Level Skill level Health Insurance Sex Ratio Income

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Introduction History and Etymology

CONTENT

HANDICRAFTS: ROSEWOOD INLAY

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SWOT ANALYSIS

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SWOT Analysis

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DESIGN

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Procurement Sourcing of designs

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Design and Inspirational aspects of the themes and motifs that are inlaid on rosewood products

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Inspiration Themes and Motifs

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Then and Now Change in Design and Technology

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Patrons of the craft over time

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PATRONS

TEAM SPEAKS

MISCELLANEOUS

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Ganjifa Cards

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Mysore Traditional Painting

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Mysore Silk Sarees

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The Team speaks about their experience and learning at Mysore

Certificate Acknowledgement Foreward Glosssary

MYSORE

A BRIEF INTRODUCTION TO THE

CITY OF PALACES

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An abode of historic grandeur and glory, Mysore, the capital city of the Wodeyars has always enchanted visitors with its old-world charm.

Mysore or Mahishur as it was once called, has roots tracing back to the mythological past; when Goddess Chamundeshwari of Chamundi killed the wicked buffalo-headed demon, Mahishasura. The city pays homage to its oh so rich heritage with magnificent palaces, beautifully landscaped gardens, and sacred temples. Mysore is the second largest city in Karnataka, renowned for its exotic sandalwood and rich silks. It has a temperate climate throughout the year; welcoming visitors to behold its numerous ancient treasures.

HISTORY AND ETYMOLOGY The name Mysore is the Anglicized version of ‘Mysuru’, which is derived from the word ‘Mahishur’ or ‘Mahishasurana Ooru’, which translates to ‘The Town of Mahishasura’. According to the story in the Devi Purana, Mysore was ruled by the demon King Mahishasura.

Mahishasura was a buffalo headed monster. Acknowledging the prayer by the Gods and Goddesses to save them from the demon, Goddess Parvati took birth as Chamundeshwari and killed the monster on top of the Chamundi hill near Mysore. Hence the hill and the city have the names Chamundi Hill and Mysore respectively.

Before the rise of the Gangas in the 10th century, there is little historical evidence relating to Mysore. The Gangas established their supremacy in the 2nd century and ruled over a large part of Mysore till about 1004 AD. In the 3rd century, they established their capital at Talakad on the banks of the river Cauvery. The Cholas ruled Mysore for over a century after the Gangas, followed by the Chalukyas. The Hoysalas drove the Cholas from the remaining part of the Mysore region in the 12th century. The Hoysalas are known for the beautiful temples they built during their reign. It is said that they built and expanded the existing temples in Mysore and on Chamundi Hills.

After the Hoysalas came the Vijayanagar Kings, floolowed then by the rivaling Yadu dynasty which came into power in 1399A.D. This dynasty also contributed to the further construction of temples in Mysore. Bettada Chamaraja Wodeyar, the raja of Mysore, rebuilt the fort and made it his headquarters, calling the city ‘Mahishura Nagara’ the city of Mahishur. Many inscriptions done in the 17th century and later refer to Mysore as ‘Mahishuru’. However, Raja Wodeyar moved the capital from Mysore to Srirangapatna. After the death of Tipu Sultan in 1799, Mysore became the capital of the Wodeyars once again.

During the reign of Krishnaraja Wodeyar III, the town of Mysore expanded. Krishnaraja Wodeyar IV developed Mysore into a beautiful city with excellent planning. Under his reign Mysore became famous for its wide roads, magnificent building and elegant parks.

Today Mysore is a modern city that has managed to retain its quaint, old-world charm.

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DEMOGRAPHICS

GEOGRAPHY Mysore is located at 12.30째N 74.65째E and has an average altitude of 770 meters (2,526 ft). It is spread across an area of 128.42 km2 (50 sq mi) at the base of the Chamundi Hills in the southern region of Karnataka. Being the southernmost city of Karnataka, it is a neighboring city of the states of Kerala and Tamil Nadu in the south, flanked by the cities Mercara, Chamarajanagara, and Mandya.

Mysore district has a population of 2,641,027 (2001 census), of which 1,344,670 (50.91%) are males and 1296357 (49.09%) are females . The district population is 37.19% urban and 62.81% rural. The literacy rate of the district is 63.5% with 71% of males and 56% of females being literate. 82.8% of urban population and 51.8% of rural population are literate. Hindus constitute 87.44% of the population with Muslims making up 8.87% of the population; the remaining part of the population is made up by Christians, Buddhists and other religious groups.

SHOPPING

Mysore is famous for carved sandalwood, silk sarees, incense. The major art forms are rosewood inlay work and Mysore paintings. The most popular shopping hub is at the Sayyaji Rao Road, as well as the craft shops on Dhanvantari Road.

LANGUAGES People in Mysore city extensively use Kannada as a medium of language.

However, due to its close vicinity to Tamil Nadu and Kerala, Tamil can be heard, commonly spoken around in the city, as well as Malayalam and English.

CUISINE Mysore Cuisine includes a delicious palate of food items all of which have rice as the main ingredient. The cuisine of Mysore resembles to a large extent the Udupi cuisine. A traditional lunch of Mysore generally includes kosambri (cereal salads), huli (a thick broth of lentils and vegetables cooked together with ground coconut, spices, tamarind and chilli powder), gojju (a vegetable cooked in tamarind juice with chilli powder) etc. opular sweet dishes are Mysore Pak (gram flour fudge), rave unde (sweet balls made of semolina and coconut scrapes) etc.

DESTINATIONS Mysore Palace The Maharaja’s Palace is one of the most astonishing sights of Mysore. Built in the splendor of the Indo-Saracenic style with its magnificent domes, turrets, arches and colonnades, the Palace is a treasure house of exquisite carvings and works of art from all over the world.

Brindavan Gardens Located at the Krishnasagar Dam, the Brindavan Gardens is one of the finest gardens in South India. The ‘Dancing fountains’ is one of the main attractions.

Chamundi Hill Chamundi Hill can be reached by climbing up the thousand steps laid out by the Mysore Maharaja in the 17th century. The majestic monolith of Nandi, Lord Shiva’s bull, can be seen from the journey up the stairs.

St. Philomena’s Church A beautiful Cathedral, suggestive of a very medieval architectural style, is one of the largest churches in the country.

The Mysore Zoo Chamarajendra Zoological Gardens was set up under royal patronage in the nineteenth century. The zoo is one of the oldest and most popular in all of India, featuring rare and exotic species which are housed in lush, green surroundings.

HOW TO GET THERE ?

From Bangalore:

140kms from Bangalore, Mysore is accessible by road, air, and rail. The state highway is well-maintained and allows for easy access to the city.

Road journeys take about 3 hours. Buses are available, operated by the Karnataka Road Transportation Corporation.

Trains to Mysore are available daily, both passenger and express. Shatabdi Express is one of the most popular train services.

From the Rest of India:

The Indian railway service provides trains in most stations from cities such as Chennai, Pune, Kolkata, and Delhi.

Daily flights are operated via carriers like SpiceJet, Indigo, and GoAir, with connecting flights from Bangalore.

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CULTURAL CAPITAL OF KARNATAKA

Owing to a heritage of art and culture that dates back centuries, Mysore is also known as the 'Cultural Capital of Karnataka'. The history of the Wodeyar dynasty and Tipu Sultan has catapulted the city to its cultural status and has helped in achieving the respect for art and crafts that it has today. It was under the reign of the Wodeyars that Mysore developed as a structured city, and it has recently been named the second cleanest city in India.

The Dasara festivities that take place are some of the most famous traditions of the city. Apart from the festivities, Mysore is also famous for Mysore Silk, Mysore Pak (a sweet dish), Mysore style of painting, Mysore Jasmine flower, Mysore Sandalwood Oil and Soaps, Mysore Peta (traditional turban).

Mysore is famously known as the ‘City of Palaces’. The iconic ‘Amba Vilas’, or Mysore Palace, along with Jagmohan Palace and Lalith Mahal, are the exemplified testimonies to this well-earned title.

ARTS AND CRAFTS Mysore is renowned for its rosewood inlay work. Approximately 4,000 craftsmen were estimated to be involved in this art in 2002 and the number still remains high. Another highly sought-after indigenous product is the Mysore silk sari, a garment made with pure silk and gold zari work. Mysore Peta, the traditional turban, once worn by the rulers

of the city, is still worn by men in some traditional ceremonies. The traditional paintings are a work of art, that are admired by all who visit the city.

Mysore is the location of the International Ganjifa Research Centre, which researches the ancient card game Ganjifa and the art associated with it. The Chamarajendra Academy of Visual Arts (CAVA) offers an education in visual art forms such as painting, graphics, sculpture, applied art, photography, photojournalism and art history.

Mysore is famous for its grand Dasara celebrations. People from all over India come to witness and enjoy the festivities in action.

Dasara is the Nadahabba (state-festival) of the state of Karnataka. The Dasara festivities were first started by the Wodeyar King, Raja Wodeyar I (1578–1617 CE) in 1610.

The Mysore Palace is lit up on all the 10 days of Dasara. The festivities begin by performing a special puja to Goddess Chamundeshwari in the Temple located on the top of Chamundi Hill at Mysore. The traditional Dasara procession (locally known as Jumboo Savari) is held on the streets of Mysore city and is something not to be missed if u are fortunate enough to find yourself in the city at this time. The main attraction of this procession is the idol of the Goddess Chamundeshwari which is placed on a golden mantapa on the top of a decorated elephant. It starts from the Mysore Palace and culminates at a place called Bannimantap where the banni tree is worshipped.

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HANDICRAFTS

Rosewood inlay is a craft sought after largely due to the depth it achieves, the perspective it offers and the texture it presents. Inlay work is a craft practiced as early as thousands of years ago. Its detailed and intricate design shows a remarkable refinement in workmanship; coveted by the royalty who enjoyed ownership of these works.

In earlier times, the detailing on the Rosewood was filled in with ivory; but today, due to the ban on ivory, different types of wood and material such as acrylic is used instead. The designs and scenes used in the inlay work were those of flora and fauna. The artisans also crafted scenes from the Dasara procession held annually.

Evidence of inlay work is seen dating back to the Ming Dynasty of China around one thousand years ago. Rosewood Inlay in particular is said to have originated in the town of Srirangapatna during the 18th century, during the period of Tipu Sultan and Hyder Ali. The craft was later encouraged by the Wodeyars of Mysore.

The Handicrafts Marketing and Service Extension Centre of Mysore conducted a study on Rosewood inlay and discovered that previously, Rosewood inlay was crafted using Deer horn. Proof of this exists in the Dariya Daulat Bagh in Srirangapatna.

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ROSEWOOD INLAY In visual arts, inlay offers the craftsman the liberty to engrave designs ranging from traditional motifs to simple flowers to animals seen in nature, without the medium of paint. The artisan makes the designs out of closely cut wood pieces or other materials such as metal and acrylic, and inserts them into slits carved out on the Rosewood, which are carved out beforehand using the same pieces as stencils. Like so, the inlay is created.

However, it is not as simple as it sounds. A lot of arduous detail and hard work goes into making an inlay piece. A product can take from days, to months, to even years to be completed.

A current patron of the Rosewood Inlay business is the firm ‘Yusuf Ali and Sons’, a business which has thrived as early as 1870. The craft was at its peak decades after it had begun, as caskets and wooden frames were in high demand to the Royals.

The craft’s popularity then declined and rose up again in the 1900’s when Chamaraja Technical Institute introduced the subject of mythology as well as geometric patterns in the craft.

Artisan Mir Showkat Ali is said to have introduced country scenes into the craft, thereby increasing its public demand.

Recent surveys have shown that production units of Rosewood inlay have increased from 2 units in the 1940s, to 65 in the 1960s. The numbers continued to rise till the craft hit its peak in the 1980s and 1990s, with 300 Rosewood Inlay production units in and around the city of Mysore.

In recent years, the inlay craft, alongside many others, is facing a decline in production rates - simply because of the scarcity of Rose wood. With the raw material endangered, artisans are forced to use other types of wood. While it is the only possible alternative, the use of other wood diminishes the art as its aesthetic appeal declines. The production houses have reduced again by 50%; a deplorable figure. With these ever dwindling numbers, the future looks bleak for the longevity of this art form; leaving patrons to wonder if rosewood inlay will soon become a thing of the past.

PROCESS

TOOLS MACHINERY RAW MATERIALS STEPS OF PRODUCTION

The artisans of Mysore employ several varieties of wood in their inlay works. With products ranging from dining tables to decorative elephants, rosewood is the primary material used. The rosewood is mainly procured by the artisans by means of the Forest Department in the Mysore district. The district is abundant with resources from the forest, which covers a total area of about 628 sq.Km. Many local timber merchants do supply wood solely to the artisan community. Due to financial obstructions, however, a small percentage of artisans use mango wood or MDF as a substitute for rosewood. While the original rosewood works featured ivory, bone, and horn as the inlay pieces and detailing, today the substance has been banned giving way to a much more inexpensive and appropriate substitute, plastic.

RAW MATERIALS • • • • • • • • • • • • •

MATERIALS USED :

PRICES :

Rosewood Blue Ash Red Wood Yellow Teak Ebony Silver Wood Mango Wood Plastic/Acrylic (white or ivory) Brass Mother of Pearl Polish & Varnish Turpentine Sandpaper

The artisans in mysore have been working in this field of profession over decades. In the recent years, apart from private businesses, the Government of Karnataka has taken an initiative to train the locals in this craft and make provisions for their livelihood.

The government sustained artisans receive the wood at lower prices from the forest department, as opposed to private business artisans who purchase the wood fat forest auctions.

The price of a trunk of rose wood estimates to around Rs. 90,000/- to a lakh. Where as, te various coloured wood for creating the design, can be bought at Rs. 6-15 for a plank of 3*8 feet, sold at Rs. 60-120 for a bundle of 20-25 planks.

MANGO WOOD OVER ROSEWOOD ?

Mango wood is as strong and durable as rosewood, but it has the added quality of being highly resistant to water. It’s not as heavy as rosewood, which is a benefit for those wishing to move furniture occasionally. It is also available at lower prices than rosewood.

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The production of inlay works is a multi-step process. From the sourcing of raw materials to the finishing of the final product, a number of multipurpose tools are used in between. Many of the tools used by the artisans are common also to carpenters, though many on a smaller scale.

Initially, a design is created and finalized on paper, with specific color markings and outlines. Stencils are made and used to create markings on the wood surface, and the surface is then cut away to provide recesses which are to be filled. The designs are filled with pieces of colored wood and plastic, and stuck using glue. After the pieces have been properly installed, the surface is scraped down using flint paper in order to bring all the inlay pieces to the same level, ensuring uniformity.

A chisel is then used to scrape out smaller details for each figure, which are then applied with a formula of molten wax and charcoal.

It is again scraped off with the chisel, so that the wax cleanly remains only in the grooves of the design. After assembling all the parts of the object, the product is then smoothed and polished as a finished product.

EQUIPMENT

The rosewood inlay work involves a meticulous process. Artisans pay close attention to detail and intricacies that come with the task. The designs that are produced are the handiwork of such skill, by craftsmen who have spent years honing their skills, or been impeccably trained for their vocation.

PRE PRODUCTION

The rosewood, among other specimens, are obtained via the Forest Department auctions. “90,000- 1 lakh is spent on one log of a 20ft tall tree. We buy maybe 5 to 6 logs annually.” says Pratik, private owner and manufacturer of a rosewood inlay handicraft shop. However, artisans in the area of Karakusalanagar, are provided with pre-cut planks at cheap rates from the government.

The colored wood specimens are cut into planks (1/4” thick) while the rosewood is cut into planks (3/4’’ thick) from the logs and left to dry out in the sun. In many cases, depending on the use required, the colored wood is dyed a bright green or bright orange using various fabric dyes.

Once the planks are cut, their edges are smoothened based on the final shape of the surface that the design requires; which is typically a basic shape such as a square, rectangle, oval, or circle. A hand saw or band saw is used to cut the edged shapes, whereas a chisel and mallet is used for the rounded shapes. After it has been cut to shape and smoothened, the surface is ready to for work and the design process is initiated.

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The template for the inlay design is provided by freelance artists or students from CAVA. Some have even been handed down through generations passed. The template is photocopied multiple times, after which the design is pasted on the required wood pieces so that it can be cut out. During this initial process, the wood must be fixed in a vice. To create a single design, many different shapes and sizes of wood are required. This stage requires high levels of patience and skill - it is quite a difficult and tedious process.

Once all the design pieces have been cut, they are placed on the rosewood base and their outline is created using a pencil, in the necessary location. Following this, the design is etched on the rosewood. Using a chisel (chirana) and hammer, the wood surface is chipped off within the outlines of the design drawn. Different widths of chisels are used for this process.

The coloured wood pieces that have been cut to the appropriate design are placed in the slots that are fashioned on the etched surface of the rosewood. They are fixed in place, using a mixture of araldite and water or fevicol.

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Nowadays, the artisans create more patchwork art rather than inlay. The patch work technique allows for the wood and acrylic pieces to stick to each other to form the design. This is done by applying glue to their peripheral edges, and assembling them like a jigsaw puzzle. Every so often, this completed design is placed in the etched surface of the rosewood as a singular piece.

Sometimes, a gap or crevice is left unfilled.

A mixture of rose wood sawdust and glue is rubbed over the surface so that it settles into the crevices and the gaps are eliminated. The piece is left to dry for a few hours.

Smoothing the inlay surface is the next step, done by scraping with tools and then using fine-grade sandpaper.

The elaborate details such as features of the face, details in the dresses, veins of the leaves and flowers are engraved or punched. Then ivory black (black mome) is applied on the surface such that it occupies the grooves. It is then wiped off using a dry cloth, leaving behind the residue as detail outlines. The design of the final product is thus completed.

The post-production process involves measures to ensure that the finished product meets the standards of quality, packaging, export, pricing, and marketing.

Given the historic significance and timeless appeal of the inlay craft, its presence in the market is irreplaceable.

Considered a work of art in all its varied forms, it is sought after by not only collectors but by all classes of people; from curious visitors to natives who have an underlying pride in their heritage. Be it patchwork paintings or dining sets, or ornamental boxes and elephants, the rosewood inlay industry covers all bases of home dĂŠcor, furnishings, and wares.

However, the industry has recently been waning due to shortage of raw material and government support, and its longevity has since been under speculation. Due to sustainability issues, the future of the craft remains in doubt. But, Rosewood inlay work is the most famous handicraft of mysore and has received the Geographical Indication (GI) tag in 2005 to give it legal protection while reinforcing the product’s uniqueness.

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FINISHING After the full construction of the product, several tools are used in order to give it the final finishing. This includes rough scraping and buffing with sandpaper, and applying varnish and lacquer polish using a linen cloth. In some instances, color is mixed in with the polish to lend the rosewood a deeper sheen and richness. In most workshops, stringent quality control measures are maintained, overseen by department experts who ascertain the standards of the wood products.

•Do not allow any type of moisture to accumulate on any type of Rose wood furniture. If water spills on rosewood furniture, dry and clean the water right away. Never put any kind of rosewood furniture which is open to moisture or steam like bathroom or laundry room.

QUALITY ASSURANCE Rosewood is popular for its density, durability, deep grain and rich hue. Rosewood furniture will vary slightly in overall grain, texture, tone, and size. Though Rosewood is natural and long lasting, damage can frequently occur due to negligence.

•When shopping new Rosewood furniture ensure it had been finished properly, if not get it done before you shop.

•Avoid Sun light on Rosewood furniture. This will fade the color of the wood. Sunlight damages the finish of the Rosewood and results in crackled appearance.

•Avoid direct contact with plastic and rubber material. Chemicals in plastic and some rubber may damage the finish of wood when left in contact with the wood for long time. Rosewood is very sensitive to chemicals. Keep the chemicals in good distance from Rosewood.

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Scraping the inlaid surface and furniture to smoothen uneven surfaces

There are fears that the day is not far when wood-based inlay works will face the prospects of terminal decline and the art form disappear from the region, are real. The crisis has been aggravated by the steep increase in the cost of rosewood in present times.

The Cauvery Emporium, Mysore, that exported inlay wood products has registered a drastic fall in orders. Also, private exporters of rosewood inlay products have complained about reduced exports demand.

PRICE RANGE The product range includes paintings of various dimensions, home decor and furniture ( dining tables, stools, side tables, tea tables, swings), mantaps, jewellery boxes, chests, decorative elephants etc.

Price ranges from Rs. 1500 (a wall painting of around 18’’ * 18’’) to Rs. 3- 4 lakhs (highly ornamental 8 seater dining table).

MARKETING Since, mysore is the hub of rosewood inlay work, most of the handicraft shops, manufacturers and exporters gain their popularity by word of mouth communication, usually through satisfied customers or people who live in and around these craft villages. In Mysore, Mandi Mohalla, Karakusalanagar and Bannimantap are areas that have gained their popularity as craft oriented villages over the years.

Many of the private businesses of inlay work, have their own identities, some of them which are exceptionally well to do, advertise in news papers too.

Pratik, a 29 year old man in the rosewood inlay business says, “I have finally learnt how to use the computer and now my father’s company has an online business, as i have got a website designed. It will help increase the number of customers we get”.

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PROCUREMENT

The artisans create beautiful inlaid designs, gaining inspiration from the flora and fauna of the region, widlife in the surrounding jungles,rural scenes, mysore dasara festivities, social traditional themes. These designs are obtained from the following sources: • • • •

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Designs can be passed on over the generations.

Government provides design templates to the craft villages.

Artisans buy designs from students studying at CAVA, Mysore.

Many a time, designs are provided by customers who want their own unique products .

THEMES AND MOTIFS

DESIGN

The rosewood inlay artisans derive their themes and motifs mainly from the flora and fauna with which they are familiar – mainly, those which surround them. In addition to these nature-centric themes are many stories from the Hindu mythology. Mysore’s legendary Dussera festival procession makes its way into many of these beautifully chiseled rosewood pieces. Steeped in culture, the city of Mysore has had a profound influence on these artisans; which ends up translating directly into their works.

Among other features, one can find: Figures such as miniature men on horses, with a chathri on top skillfully cut out of different types of wood and plastic, stuck together to form the figure along with many mythological characters - from the famous Krishna Radha, Ramayana, Shiv Parvathi, and Ganesha. Other common patterns found in the inlay works are the Islamic calligraphic teachings and foliate motifs adorning the sizeable rosewood elephants. The rose wood elephants are particularly high in demand during the dussera season.

THEN AND NOW:

CHANGE IN DESIGN AND TECHNOLOGY

A lot of the motifs and patterns seen in the inlay work at the Mysore palace retain vestiges of Islamic art, such as the repetitive geometric and foliate motifs. These elements were likely to have trickled in during the reign of Hyder Ali and Tipu Sultan. Before the wildlife protection act of 1972, ivory and ebony were extensively used for the inlay works which are still found on the Mysore palace door frames. After the law was passed, artisans were left with no other choice but to experiment with alternatives like colored plastic or acrylic. Typically, white plastic is used to set the contrast between the dark rosewood and the inlay pattern. They also use various wood forms, with colors ranging from naturally gray-blue, to fabric-dyed yellow and orange. Different dyes are used to achieve the desired effect. The use of brass and other semi reflective plastics have also become popular today.

In addition to the deviation in materials, some artists today stick to

the traditional inlay themes such as the characters from the Hindu mythology, sceries and Dussera, while others choose to move away from the customary styles and take to experimenting with contemporary designs and patterns. Some even experiment in portrait making, by means of the patchwork method.

Patchwork is created using a different method in which the entire picture is formed by sticking different shades of wood together, similar to a jigsaw puzzle. These artists also get commissioned to convert photo graphs (provided by the customer) into artworks. Bright young minds such as the 20-year-old apprentice Lukhman from Majeed fine arts (a privately owned inlay production unit) experiments with incorporating the inlay technique in different lifestyle products such as flower vases, pen stands etc. while some other artists take to recreating the palace inlay patterns.

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PATRONS OF THE CRAFT OVER TIME ...

Initially, the artists living around Sriangapatanam were patronized by the maharajas during the reign of Hyder Ali and Tipu Sultan. Later down the line, the Wodeyars too continued to encourage them.

Today, the government has come up with various strategies to keep this beautiful craft alive. One of the most prominent among these was the introduction of a Multicraft complex, which includes houses built with the help of central and state governments. This government-supported setup provides living and working spaces for nearly 2000 crafts artisans and their families. A unit of Cauvery, Karnataka State Arts & Crafts Emporium provides the artisans with raw material and purchases craft objects from the artisans in order to market them through their own outlets in different parts of the state.

This organization conducts sponsored training programs by the Development Commissioner of Handicrafts in partnership with design centers as well as the Chamraja Technical Institute of Mysore. It also provides insurance to enrolled artisans, and organizes health camps for their families.

Other initiatives include the Cluster Development Initiative (CDI), a special project under the aegis of the Swaranjayanti Gram Swarojgar Yojna of the Ministry of Rural Development. The CDI is the only initiative of its kind to have been undertaken by a fashion institute. NIFT, which is under the Ministry of Textiles, it has also collaborated with the offices of the Development Commissioner, for showcasing and marketing products created under this initiative.

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CASE STUDIES AND DIAGNOSTIC STUDY

ARTISANS AND LIFESTYLE LIVELIHOOD HEALTHCARE AND SAFETY

In Mysore, there are two divisions of the Rosewood Inlay industry: Private owned and Government sponsored. The artisans working within each category are gratified and sustained in different ways. Government establishments such as Karakusalnagar, Banimantap and Metagalli provide the artisans with living and work spaces. Health insurance and education are the prime benfits that these crafts people are given. In Karakushalnagar, the secondary education of artisan’s children is taken care of. The benefit of healthcare is especially vital, because the artisans are regularly exposed to saw dust and irritants that cause allergies and breathing problems. The nature of their work is such that many health factors are compromised, be it theor lung capacity, lumbar support or vision. Private establishments like Majeed Fine Arts, however, are not provided with such benefits.

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CASE STUDY

1 NAME: P K PRATIK AGE: 29 years PROFESSION: Manager/ Marketing Head of Sri KrishnaMoorthy Fine Arts

Pratik, is a proud son who has carried on his late father’s business of rosewood handicrafts which has now become a profitable source of livelihood for him. He was solely responsible for the growth of the business.

Though the workshop, based in the streets of Mandi Mohalla, consists of two semi pakka houses filled with raw materials, tools and finished products, it is now Pratik’s pride. He talks about the time when his father started the business with two others, and where it has reached now.

“I was taught the craft by my father, but I have no interest in it. I just wanted to carry on the business after my father passed away” he says.

I employed around 10-12 artisans who are well versed in the craft. But, I manage the business and take care of the marketing,” .

Sri Krishna Moorthy fine arts, a small emporium plus workshop in the streets of Mandi Mohalla, may look like a cramped run down place, but does good business.

They supply products to the Cauvery Emporium, Mysore. Also, artisans create unique custom made products for customers who approach them directly.

“I have also learnt to use the computer and we have our own website. So online business feeds us too.”, he says.

Though there is not much demand for rosewood inlaid products nowadays, Pratik manages to live a sustained life and is happy with his accomplishments.

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NAME: SOFIA AGE: 23 years PROFESSION: Artisan at Crafts Village, Karakusalnagar

NAME: LUKHMAN AND MAJEED Sofia, a newly wed young woman residing at Karkusalanagar, the government sustained crafts village in Mysore talks about her work and livelihood. She lives among 400 other artisans/families that have all been provided with training by the state government of Karnataka.

“We get minimal health insurance and our kids are provided with primary and secondary education”, she says.

Living in the end of a row of brightly coloured semi pakka houses with basic furnishing and amenities, she talks about her work as an artisan. Each person has been trained in only one particular process, be it etching, cutting, inlaying, finishing etc.

“My husband does the inlay work but I only know how to cut”, she answers when asked about the finished products.

Living in the village, with basic provisions, assured work provides her with a sense of security and she sees no life for herself apart from this.

AGE: 19 years & 57 years PROFESSION: Father and son (own private handicraft emporium)

A story of success that has been passed on from generation to generation. Mr. Majeed has been working in the handicrafts industry for the past 40 years, having been taught the craft by his father.

Back then it was a small premises with 4-5 artisans, now, it has expanded to house an emporium with a large workshop and another factory, a few minutes walk from the emporium, employing 30-40 artisans.

It is a private business, however they do supply Cauvery Emporium and do an export business.

Majeed fine arts has won many awards over the years during the time of Majeed Sr and Jr..

DIAGNOSTIC STUDY

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EDUCATIONAL LEVEL The primary level of education accounts to 42% of the total educational level of the artisans in Mysore, whereas illiteracy accounts for 36% of the same. Only 22% of the artisans prefer or have gotten the opportunity to study a little higher, i.e secondary education.

SKILL LEVEL Maximum number of artisans fall under the category skilled and highly skilled in their profession (34% and 26%).

The averagely skilled artisans add up to 16% and the rest 24% are under the training for the same, as they are mostly young workers.

INCOME LEVEL A majority of 36% of the total artisans earn between Rs.2,500- Rs.5,000 per month, whereas 30% of them earn more than Rs.10,000. 20% of the same earn between Rs.5,000- Rs.7,500 and the rest 14%, between Rs. 7,500- Rs.10,000.

Their income level depends on whether they are private owners/workers at a handicraft manufacturing unit that has gained recognition, or whether they work at small handicraft shops, or whether they stay at craft villages and receive minimum wages.

HEALTH INSURANCE The government provides health insurance to hardly 36% of the local rosewood inlay artisans, while the rest 64% of them suffer without any health insurance, mainly because they work at private firms.

GENDER

Around 64% of the total rosewood inlay artisans and workers are male (varying ages, from 14 to 65), where as the rest 36%, are female.

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STRENGTH WEAKNESS 33

• • • • •

Skilled artisans Rich history Adaptive with materials Dedication to the craft Innovative techniques

• • • •

Lack of marketing strategies Diminishing natural resources Long time periods required to finish products No diversity in sales approaches (mainly limited to local owners and cauvery emporiums)

OPPORTUNITY

THREATS

• • • •

Experimentation with themes and motifs Potential for export marketing Employment for women in rural areas Living conditions and working spaces provided by the government • Continued training to pass on the craft to each generation

• Modern forms of local woodwork which may appeal more to consumers • Competition from global markets • Artisan dissatisfaction • Design limitations due to lack of artistic license and sole reliance on traditional themes.

HANDICRAFTS

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The Persian word Ganjifeh, or Ganjifa, is the term for playing cards, and was the name given to the game played by the Royals of India. It is said to have been popularised by the Mughals. The game was diversified in different regions of India, some examples being the Sawantwadi Ganjifa from Maharashtra, and the Navadurga Ganjifa from Orissa.

Nevertheless, the Mysore Ganjifa version was highly patronised by the Mysore Royals, namely The Wodeyars, during their reign.

Ms. Chandrika, a resident of Mysore (since 2004) has been creating master pieces of Traditional Mysore Painting and Ganjifa cards for the past 15-20 years. She developed a keen interest in the art at a tender age, and her passion for it has brought her where she is now.

GANJIFA CARDS: Designed and created by Ms. Chandrika

GANJIFA CARDS The Ganjifa technique of executing round playing cards is believed to have been invented by the Malla Kings of Bishnupur (Bengal) in the 8th Century AD. Even the iconographical illustrations were varied in each place, such as the Navagraha in the north and the Dashavatara in the south.

The primary objective of Ganjifa cards was to teach and tell stories of the ancient scriptures from the holy books. The cards depicted stories from the Mahabharata and the Ramayana. There were supposedly 18 Ganjifa games, one of which was Dashavatara, which was based on the 10 incarnations of Lord Vishnu. It was the most popular of the 18 games.

The speciality of these cards is that they are hand-made and circular.

This craft was practiced on tortoise shells, ivory, engraved brass discs, and mother of pearl; which made it an expensive affair and was there fore only played by the Royals.

As, as time went on, Ganjifa cards were introduced in leather, paper, palm leaves and fish scales. Natural dyes were used to paint upon them, and they often feature gesso work. Also, gold dust was used to give the cards an opulent look.

However, due to the limited supply of dye colours, the composition was compromised in certain circumstances. Yellow ochre was used for the colour of the dhotis and red for the colour of the saris.

Initially, the images featured on the cards were primarily mythological characters. Today, landscapes and the portraits of kings are also painted.

Unfortunately, this ancient and distinguished art is diminishing and its future remains endangered. A few artists who are trying to revive the art include Shri Raghupati Bhatta and Ms. Chandrika, the daughter of famous Palace artist Ramanarasaiah. Today, the cards are no longer used as a game form, but as wall hangings, souvenirs, and gifts.

Another form of art patronized by the Wodeyar family is the Mysore Traditional Painting.

The traditional method of Mysore painting is on paper, upon which a sketch is made and then stuck to a cloth or wooden surface. On the areas where ornaments are drawn, relief work is done and later filled with gold leaves – a technique also known as gesso work. On completion of the painting, a paper is placed over it and rubbed with a soft stone in order to enhance it. These paintings usually depict Hindu gods and mythological figures. Therefore, the ornamentation was grand in order to further emphasize the greatness of the Gods. Today, instead of Gold Leaves, Gold foil is used to fill in the reliefs.

The architecture and designs seen in them closely resemble that of the palaces of the Wodeyars. A slight form of societal preconception can be seen in these works: the faces of commoners were always portrayed round, whereas the faces of deities and royals were shown gracefully elongated.

Mysore paintings are characterised by delicate lines and brush strokes.

The principal colours that could be seen in these paintings were red, green and blue. Earlier, the dyes were natural and made through vegetable leaves and flowers; hence the selection of colours was limited. Traditionally, Gesso work was done using gold foil over Gesso paste and yellow paint. The tools included charcoal to sketch and brushes made of squirrel, camel, or goat hair.

Renowned artists of this art form include Mr. BP Ramakrishna, Ms. Chandrika and Mr. R G Singh.

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What is needed: Materials for the process - Ms. Chandrika’s workshop

Work in Progress - Ms. Chandrika’s passion evident in the intricate details

TRADITIONAL PAINTING

Ms. Chandrika points out the difference between traditional Mysore painting and Tanjore painting: Tanjore painting is more like a craft, using heavy gesso work, stones and decorative elements, whereas Mysore painting is a subdues more intricate take on it, with lesser amount of goild foiling.

Also, Mysore paintings have more proportionately sized figurines whereas Tanjore painting involve exaggeration, especially of the eyes.

Ms. Chandrika was affiliated with the art since childhood as her grandfather was a collector of the paintings and her father learnt the art, passing on the sacred knowledge to her too. She perfected her sills at Karnataka Chitrakala Parishad, taking up a five year course. She has been selling her paintings for the past 25 years also caters to The Cauvery Emporium, Mysore.

Mysore Painting created by Ms. Chandrika, using a technique called Makki Safed (white gesso work instead of gold)

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Mysore’s history with silk has been tempestuous. In the 18th century, Emperor Tipu Sultan is said to have established sericulture in the Kingdom, but in the 19th century, the industry faced a decline and was terminated.

Years later, the art of silk weaving in Mysore was revived just to supply silk fabric to the Royals, who were said to have imported 32 handlooms from Switzerland just to produce the luxurious material. Later, after India’s independence, the machinery was brought to India and the manufacturing commenced in Mysore. Today, the silk weaving factory is owned by the Karnataka Silk Industries Corporation Limited, consisting of about 159 handlooms. It is located in the heart of Mysore, spreading over 17 acres long. The products are well appreciated in the market due to the purity and exquisite quality of the silk.

A single cocoon is said to produce only 400m of usable yarn. The remaining material is used to make Kashmiri carpets; and due to its protein content, the dead pupa remains are indirectly used to make dog biscuits and lipstick.

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The material that is collected at the manufacturing structures is sent to the weaving factory in Mysore. It is then soaked, twisted and wefted to form silk threads or yarns, followed by warping, weaving, and finally colouring the products, before packing them to be sold.

Mysore silk is said to be the trademark of silk saris produced by KSIC. Its unique selling proposition is the use of pure silk and pure zari, which is a golden thread containing 65% silver and 0.65% gold. The zari does not fade away with time, and remains in its original state. Every sari produced by the KSIC comes with an embroidered number, so as to signify its individuality.

The Mysore Sari is an elegant and timeless piece of heritage, sought after by women who appreciate the quality of this unique fabric and the grace it gives the wearer.

The traditional saris are currently undergoing a design revolution, with the use of Kasuti embroidery and lighter colours. In 2012, the silk industry completed a successful century.

MYSORE SILKS

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THE TEAM SPEAKS AARUSHI SAXENA Living in the city of palaces for a week, gave me an opportunity to experience not only the rich cultural heritage that the city boasts of but also the humble abode of forgotten artists who have been creating items of exquisite beauty since time immemorial.

Living and breathing the same air, experiencing their lifestyle, learning their profession, having a chance to gain an insight into the various crafts that gave Mysore the title of ‘Cultural Capital of Karnataka, was an overwhelming and inspiring experience. I left the city, hoping that the treasures they create remain immortal.

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AISHWARYA SINGH KATOCH My experience in Mysore was an enriching experience. Learning about th e a r ts a n d hand i craf ts was ed u cational as well as spending time with the artisans and their families. Rosewood Inlay is a handicraft that has a lot of hard work and intricacy carved in. It is definitely a craft that needs recognition and appreciation. As well as other crafts as Mysore Paintings, Ganjifa Arts etc. Mysore is a rich centre of heritage and I can see why it is known as the "Cultural Capital of Karnataka."

APARNA REMESH I’ve never seen a more colourful city, colourful houses, different shades in wood and of course colourful minds. There are hundreds of skilled hands carving wood and inlaying intricate patterns every day each a masterpiece, valued much much less than all the effort and thought put into creating it.

APOORVA SRIPRASAD Mysore is a modern city that lives and breathes its heritage. Our visit exposed us to antique temples and magnificent palaces, but also to the dedicated spirit of the craftspeople who dwell there. The process of creating rosewood inlay products is thorough and intensive, and it was an educational experience to see how flawlessly the artists worked. The craft cluster program brought to light the painstaking work that goes into every piece that is created. It was truly inspiring to gain a firsthand account of the lives of those gifted artisans who, with their patience and skill, are still able to keep such a remarkable art form alive.

DIVYA R VANDAL Mysore, being the cultural capital of Karnataka, really lived up to its name.

The visit was overwhelming, but mostly inspiring. The process of Rose wood Inlay was thought to be simpler, but only on observing did we get to know that it is not so. A lot of detailing and intricacy goes into it. Overall, it was an eye opening experience that I am truly grateful for.

SAMHITA SHARMA My Experience about the trip to Mysore on the handicrafts project was truly educational as we got to know about the different arts and crafts of Karnataka, Mysore is truly a cultural capital with it’s architecture, and people. Tradition and culture is deeply involved in the lifestyle of the people. As for Rosewood Inlay, it has the artisan’s skill and hard work carved deeply in it, the paintings, the Ganjifa art, has such intricacy and precision involved. Mysore was a rich experience with their love of art and crafts and I hope it goes a long way.

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REFERENCES http://www.craftclustersofindia.in/site/index.aspx?Clid=657 http://www.dsource.in/resource/mysore-rose-wood/raw-materials/raw-materials.html http://www.indiaenvironmentportal.org.in/content/176/artisans-the-untold-story/ http://www.craftrevival.org/CraftArtDetails.asp?CountryCode=India&CraftCode=001313 http://ipindiaservices.gov.in/GI_DOC/24/24%20-%20Form%20GI-1%20-%2007-02-2005.pdf http://www.cauveryhandicrafts.net/pages/Rosewood-Products/pgid-119009.aspx http://en.wikipedia.org/wiki/Culture_of_Mysore http://mysore.nic.in/Mysore.htm

FEW CONTACTS The artisans at the handicraft shops and manufacturing units we visited, were kind enough to share their contacts with us, few of them have been mentioned below: Sri Geetha Fine Arts Mr. Raman Ph: 0821 244 6829

Sri Sathya Mohan Handicrafts Mr. Krishna Ph: 0821 244 8797

Sri Krishna Moorthy Fine arts Mr. K P Pratik Ph: +91 7899873363

Majeed Fine Arts Mr. Lukhman Ph: +91 8792407482

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GLOSSARY

I • Indo-saracenic – an architecture movement introduced

B

by british architects in India. It combines elements from Islamic, indian, and gothic revival architecture.

• Black Mome - Charcoal based Paste (Ivory Black)

C • Chadd – native speak for ‘god’s play’ • Chathri – elevated, dome-shaped pavilions seen in Indian architecture • Chirana – chisel

D • Dasara – a Sanskrit term meaning ‘remover of bad fate’,

dasara is a ten-day indian festival to celebrate the triumph of truth over evil

• Dashavatara – the ten avatars of the Hindu god Lord Vishnu

• Dhoti – a traditional Indian men’s garment; an unstitched piece of cloth wrapped around the waist and legs

G • Ganjifa – the Persian term for playing cards • Gesso – a compound mixture of plaster of Paris or whiting in glue, used as a base for painting on wood

K • Kasuti – a traditional form of embroidery native to Karnataka

M • Mahal – an urdu word meaning ‘palace’ • Maharaja – Sanskrit term for ‘great king’

S • Sari – a traditional indian women’s garment; fabric which is draped over the body

T • Tanjore painting – a classical south indian style of painting originating in the town of Tanjavur

Z • Zari – a thread made of fine gold or silver, used in embroidery work on garments

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