Aranmulakannadi by Amrapali Satpudke

Mirror-mirror on the wall show me what you see if you really reflect it all show every piece of me behind my eyes, behind my smile deep into my soul linger for a little while show me all you know not just a figure standing here reveal all that’s inside show me, even though I fear here and now, it’s time….. by Leslie Callejas

Documentation by Amrapali Satpudke (PGDPD, Product Design) Annie K. Philip (PGDPD, Furniture and Interior Design)

Prologue

Our journey to unravel the mystery of this age old craft brought us to this beautiful village, Aranmula which is situated on the banks of river Pamba in the southern part of Kerala. ‘Aranmula Kannadi’ or the bronze mirrors of Aranmula is a craft that still stands out in the traditional crafts of Kerala. This unique craft is significant to Aranmula and hence the name ‘Aranmula Kannadi’. Our curiosity was met with open arms by the chief craftsman who took out his time to educate us about the craft. This craft documentation is a sincere attempt to understand the myth regarding the origin and various processes involved in the making of this enigmatic mirror. The metal mirror, a marvel in the annals of metallurgy, mysterious in its creation, unequalled in its beauty has intrigued us and will continue to do so.

Contents

1 Region

2 Range and variety of crafts in the region

3 ‘Aranmula’- A gem from the treasure cove

4 ‘Aranmula Kannadi’ or ‘Aranmula’ mirror

5 The craftsmen and their origin

6 ‘Aranmula Kannadi’ Accidental discovery or a divine 19 intervention The uniqueness of ‘Aranmula Kannadi’ . . . . . . . . . 20 7 ‘Vaal kannadi’ (Hand held mirror)

8 Tools

Traditional tools of the craftsmen. . . . . . . . . . . . 23 9

Basic raw materials 29 Traditional materials used. . . . . . . . . . . . . . . 29

10 Manufacturing process

Making of the bronze mirror . . . . . . . . . . . . . . 31 Casting of the bronze mirror . . . . . . . . . . . . . . 33 Polishing of the bronze mirror . . . . . . . . . . . . . 37 Casting of the brass frame . . . . . . . . . . . . . . . 40 Making of the mould . . . . . . . . . . . . . . . . . 41 Finishing of the brass frame . . . . . . . . . . . . . . 44 Mounting of mirror on the brass frame . . . . . . . . . 51 11 Design and evolution 53 Present day uses of ‘Aranmula Kannadi’. . . . . . . . . 55 12 Case study

13 G.I. (Geographical indication) tag and its importance

14 Role of promotional agencies

15 Suggestion for design development

16 Policies

Support from the Tourism Ministry. . . . . . . . . . . 64 Future craftsmen and craft revival . . . . . . . . . . . 65 17 Glossary

18 References

19 Acknowledgements

The Region

Kerala Kerala (Malayalam: േകരളം; Kēralaṁ) is a state located in southwestern India. Neighbouring states include Karnataka to the north and Tamil Nadu to the south and east; to the west is the Sea. Also known as Gods own country, it’s a land of coconut groves, lush vegetation, rivers, labyrinthine backwaters, verdant hills and wide beaches. The abundance of natural materials such as wood fiber, coir, bamboo, metal and stone has resulted in long established craft practices that, unlike the highly decorative crafts of most of India exhibit a simplicity and minimalism.

KERALA

Map of Kerala showing the craft clusters |

Physical features Hills and valleys Midland plains Coastal belts Backwaters and rivers Achenkovil, Bharatapuzha, Periyar, Pamba, Manimala, Meenachil, Moovatupuzha. Biodiversity Flora Indian rosewood, Malabar Kino, teak, Coconut, rubber, Sandalwood, Mango, Bamboo, orchid, Rice, tapioca, cashew, banana. Fauna Elephants, wild bears, lion tailed monkeys, lions, tigers, leopards, great Indian hornbills, brahminy kites, pied kingfishers. Languages Malayalam, Tamil, Hindi, English.

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Range and variety of crafts in the region

Bell metal casting

Tookavilakku |

Production clusters Thiruvananthapuram, Thrissur district- Nadavaramba, Irinjalakuda, Kunnamkulam, Kadavallur; Ernakulam district- Manjapara; Kannur district -Payyanur and Kasargod district. Raw materials used Brass, copper, tin, zinc, beeswax, coal and coconut husk Products Urli- domestic serving vessel, Varpu- large domestic cooking vessel, Charakku –large vessel used in temples

Bronze casting Production clusters Thrissur district-Nadavaramba, Kunnamkulam, Kadavallur

Kindi |

Urli: Domestic serving vessel |

Betelnut container |

Products Ritual articles Kunnimangalam- traditional lamp, Teertavalli- lamp with a yoni or vulva like receptacle and a spout, Annapakshi – named after the motif of the bird of abundance, Kavaravilakku- lamp with three receptacles, Kurishivilakku – lamp with stylized Christian cross, Nagaradhana vilakku – snake shaped lamp, Kuttavilakku – lamp for temple processions, Tookavilakku- hanging lamp, Koddivilakku- lamp to lit the temple lamp, Deepastambha – pillar lamp, Tiripazhada kacheri - lamp with spout for wicks, Kadaplava – lamp form derived from a small jack fruit, Karpooratatta – vessel to burn camphor, Dhoopakal – vessel for burning incense, Appakava – vessel for cooking unniappam, Kollambi – spittoon, Domestic utensils, Cooja – container used for milk and water, Monda – container used for milk and water, Kindi – vessel used to pour water during ablutions or ceremonies Ritual objects used by the velichappad Chilambu – leg or arm ornament, Vaal – sword with scimitar like blade.

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Temple idol |

Stone carving

Dyed coir mat |

Production clusters Thrissur district-Kurukkan Para; Palakkad district-Ottapalam; Ernakulam district-Paravur near Alwaye; Alappuzha district –Chengannur; Thiruvananthapuram district Products Temple idols, Fence stones, Tomb stones, Multi-tiered lamps, Temple lamps, Stone grinders, Naga stones, Name plates. Horn carving

Carved horn birds |

Coconut shell product |

Production clusters Ernakulam district- Cherai; Kottayam district –Vaikom, Irumbuzhikara; Alapuzha district-Alappuzha; Kozhikode district- Koyilandi, Kozhikode;Thiruvananthapuram district-Attingal,Neyyattinkara. Raw materials used Coconut shell, stem and husk Products Turned tables & chairs,banisters Vases,Incense stick stands,paper weights,carved figurines,cups,bowls, spoons,ladles,hookah.

Wood carving (Marapani)

Carved wooden brackets |

Product clusters Alappuzha district- Chertala; Thiruvanthapuram district – Anavoor, Sree Kariyam, Neyattinkara, Nediyamcode, Perumkadavila, Parassala. Raw materials used Hemp, sisal, banana stem, pineapple leaves, screw pine, kora grass, coconut palm, Palmyra, rush grass. Products Rush mats, table mats, floor matting, door mats, window and wall mats, letter boxes, bags, baskets. Coconut based crafts

Production clusters Thiruvanthapuram district- Anayara; Thrissur district - Avittathur Raw materials used Buffalo, bullock and bull horns Products Birds and animal figures, peacocks, fish, trees, vases, cigarette cases

Production clusters Thiruvananthapuram district-Chakai, Muttathahara, Manacaud, Palkulangara, Poonthura, Kulathoor, Karamana, Kunnampura, Vazhutacaud, Vellanad. Products Fluted columns, wooden lintels, window shutters, brackets, capitals, statuary, relief carved panels, idols.

Natural fibre crafts

Coir door-mat weaving |

Coir work Production clusters Allapuzha district – Chertala. Products Coir yarn, rope mats, rugs, carpets.

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Bamboo basket |

Bamboo work

Palmyra mat |

Production clusters Ernakulam district-Angamally; Thiruvananthapuram district –Nedgada, Aryanad; Malapuram district Raw materials used Bamboo and bamboo weeds Products Bamboo reed mats, fruit baskets, storage and packaging containers, table mats, screens, wall hangings, table top products. Rattan and cane products

Cane furniture |

Production clusters Thrissur district – Kodali; Ernakulam district- Angamally; Thiruvananthapuram district- Nedungada, Aryanad; Kasargod districtNileswaram; Malapuram district. Products Bamboo reed mats, fruit baskets, storage and packaging containers, table mates, wall hangings, table top products. Kora mat weaving

Kora floor mats |

Production clusters Palakkad district –Chittur, Malampuzha; Thrissur district –Kilimangalam. Raw materials used Sedge grass or Kora. Products Sleeping mats, prayer mats, table mats, panthi mats-floor seating for meals, bags, runners.

Palmyra craft Production clusters Thiruvananthapuram Screw pine craft

Screw pine boxes |

Production clusters Thrissur district –Lokamaneswaram; Malapuram district-malapuram. Products Leaf fibre products –Thazhapaya –traditional mats, Methapaya –two sided mats, fishing nets, cordage, hut coverings, bags Root fibre products-Coarse paint brushes. Ramacham (Root products)

Laminated woodwork inlay |

Production clusters Thiruvananthapuram and Palakkad district Products Ramacha vishari- hand held fan, Thailam- aromatic liquid, chappal-slippers, blinds, mats, hats, pen stand and boxes. Laminated wood work and inlay Production clusters Ernakulam district- Maradu; Kottayam district– Thalayolaparambu. Products Kathakali masks, candle stands, peacock, star wheel, key stand, wall hangings, wall panel, boxes.

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Nettur petti |

Jewellery boxes (Nettur petti) Wooden boxes with brass inlays.

Pooram festival |

Production clusters Thrissur district – Kunnamkulam, Thrissur Products Koda- decorative parasols. Nettipattam- elephant head dress, Aalavattam- circular peacock feather fans, Venchamaram-flywisks, and Tidambu – ceremonial shield.

Production clusters Kannur district – Nettur; Thiruvanthapuram district- Chakai Raw materials Locally available - Anjili or rose wood. Products Nettur petti- jewellery boxes, Chithrathazhu- large brass locks. Symmetric wood stringing |

Symmetric wood stringing Production clusters Kozhikode district-Koyilandi. Product Table mats, wall hangings, Coasters. Raw materials used Pieces of wood, nylon thread.

Payyanur Pavithra Mothiram (Payyanur sacred ring) Production cluster Kannur district- Payyanur Raw materials used Gold and silver Payyanur sacred ring |

Kathakali and Theyyam headgear Kathakali headgear |

Production clusters Kannur district- Payyanur Raw materials Areca nut wood palm wood, coconut tree wood, cane, velvet paper, peacock feathers, Kumizhu wood. Products Kathakali and Theyyam head gear

Aranmula Kannadi (Metal mirrors of Aranmula) Production cluster Pathanamthita district- Aranmula. Raw materials used Alloys of tin copper and zinc

Aranmula Kannadi | Theyyam |

Pooram crafts

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Uru or ship building, Beypore |

House boat building, Allepy |

Ship building Production clusters Kozhikode district- Beypore. Raw materials used Karimarathu and pilavu wood, Modakku tree, coconut fibers. Products. Ships and boats. Boat making (Vallam) Production clusters Alappuzha district- Alappuzha, Tattampally Products Kettuvallam-boats constructed by tying planks together, Taravallam-boats constructed by nailing planks together, House boats. Snake boat making (Chundan Vallam) Production clusters Pathanamthitta District -Aranmula; Alappuzha district- Kuttanad, Kottayam District-Champakara Ambalapuzha. Snakeboat making at Aranmula |

House boat, Allepy |

Snakeboat making, Aranmula |

Snakeboat race, Aranmula |

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Aranmula A gem from the treasure trove Aranmula is a traditional village situated on the banks of river Pamba. It lies in Pathanamthitta district which is in the southern part of Kerala, India. It is about 110KM North from Thiruvananthapuram, the State Capital and 125 km. South from Cochin, the commercial capital. The nearest town is Kozhencheri which is famous for its rich Christian culture. In this town an annual convention,‘Maramon Convention’, is held by the Christian community. Also another convention known as‘Cherukovilpuzha convention’is held by the Hindus. Both these conventions are held on the dry river bed of river Pamba. Aranmula is famous as one of the five temple towns like Guruvayur, Aranmula Parthasarathy temple being the most famous. The temple has fine murals from18th century. The temple dates back to the time of Mahabharata, when war between Pandavas and Kauravas took place in the Kurukshetra battlefield. It is one of the oldest temples in south India. Aranmula is considered as the birth place of Lord Ayyapan. It has been declared as the heritage village of India by the India national trust for Art and Cultural Heritage (INTACH). During Onam, the most celebrated event of the region is ‘Aranmula Vallamkalli’ or the boat race. People come from all over the country and the world to witness the magnificent race. The whole river is filled with snake boats from different villages and the banks are charged with thrill of the event.

The district is rich in forests and rubber plantations. It is in this district that the holiest of shrines dedicated to the Lord Ayyapa, Sabarimala lies. Here millions of devotees throng annually when the gates of the temples are open to the public. About 45% of the district is covered with dense forests that are protected by the Government of Kerala. The eastern part of the district is bound by the Annaimudi hills which run through the eastern border of Kerala. These hills offer a majestic background along the banks of river Pamba.

Aranmula village overlooking river Pamba |

Pathanamthitta district map |

The ‘Vijana Kala Vedi ‘Cultural Centre was, founded by Ms. Louba Schild, a French scholar under the Indo- French Cultural Exchange Programme in Aranmula. This centre was started with UNESCO support and it offers residential training courses in Kerala’s traditional arts and crafts like ‘Kathakali’, ‘Mohiniattam’,’ Bharatanatyam’, Kalaripayattu, music, wood carving etc. The Vastu Vidhya Gurukulam is another centre which has specialized in traditional architecture and mural painting. At the gallery in Aranmula, one can appreciate this ancient art as well as understand the processes by which it has come to fruition. Last but not the least Aranmula is also famed for its expensive hand-made mirrors of polished metal called the ‘Aranmula Kannadi’ or Aranmula Mirror. The place where the ‘Kannadi’ is made is in two areas, the first is Malakkara (where the brass frame of the mirror is made) which is 3 km. from Aranmula. The second place is (where the metal mirror is made and mounted on to the brass frame) just 1km from the famous Lord Parthasarathy temple in Aranmula. Both these places lie close to the Mavelikara- Kozhencheri highway (SH-6).

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‘Aranmula Kannadi’ or Aranmula mirror

‘Kannadi’ in Malayalam means mirror, as the origin and discovery of these fascinating mirrors were made by some gifted craftsmen in Aranmula the mirror was called ‘Aranmula Kannadi’. Aranmula is still the only place where this metal mirror is made and is highly impossible to replicate. The production of Aranmula Metal Mirror was commenced during the reign of Shree Anizham Tirunal Marthanda Varma, the King of erstwhile state of Travancore from 1729 - 58 M.E. ‘Aranmula Kannadi’ has a long and reflective history. The forerunners of present day glass mirror can be traced back to 1400 BC when bronzes containing up to 30 % tin by weight were cast into mirrors which rendered highly polished surfaces and clearly reflected images. Ancient Indian civilization was proud of its foundries which made metal mirrors of copper-tin bronzes; Rig Veda mentions the metal mirror. Archaeological excavation at Harrappa uncovered the likes of it. Temple sculptures at Khajuraho depict them. A sculpture from the Hoysala temple at Belur, Karnataka (12th century) depicts a ‘Madanika’ or dancer looking at a mirror and admiring herself. Intriguingly, her mirror resembles the thick wooden polishing mount with a rear handle from Aranmula onto which the mirror blank is fixed. Today unfortunately the phenomenon has been reduced to a fact of history except in the hands of seven skilled master craftsmen in this humble village of Aranmula. The popularity of ‘Aranmula Kannadi’ has taken Aranmula, this small hamlet on the banks of the river Pamba, to the world rural tourism map.

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Mural painting depicting a dancer looking at a mirror and admiring herself.

The craftsmen and their origin

Tamil Vishwakarma The temple craftsmen from Tamil Nadu. The crafts of Kerala are the flag bearers of their inimitable and glorious cultural heritage. It also reflects a society that is deeply religious. Most of the crafts are connected to rituals and were practiced by craftsmen who were masters of temple art and architecture. During the reign of the Pandian dynasty ,a community of artisans flourished in Shankarankovil near Tirunelveli in Tamil Nadu. They built stone temples in Dravidian style and their style became popular all over south India. Many kings in Kerala, especially from the former Travancore state were fascinated by these stone temples and invited these artisans to build stone temples in Kerala. Few of these craftsmen were involved in the construction of the famous ‘Padmanabha’ temple in Thiruvananthapuram, the Chengannur Mahadeva temple, Aranmula Parthasarathy temple, and the Haripad Shree Muruga temple. On the request of the King of Pandalam few of these craftsmen were brought in to build the Parthasarathy temple in Aranmula and also to consecrate bronze idols in them. These groups of artisans were specialized in various crafts; some were goldsmiths (Thattans), stone smiths (Kallu Assari), blacksmiths (Kollan), carpenters (Thadi Assari) and bronze smith (Moosari). The king offered them gold jewels, land and various properties for their work. The temple work was carried on through generations.

The Tamil Vishwakarmas are basically Vishwabrahmins and consider themselves a step higher than the rest of the Vishwakarma . The Vishwakarma community claims to have descended from the celestial architect who is said to be the builder of the palaces of the gods. Since they performed such an exalted function in society, these craftsmen were greatly respected in the past. They build their own temples and usually worship the mother Goddess ‘Parvati’. In fact they even built their own temples dedicated to their Goddess Mutharamma. ‘Mutharam Visvakarman, “The celestial Architect” or ‘Devashilpi’ |

man Kovil’ or more popularly known as ‘Amman Kovil’ were built in areas where there was a concentration of Tamil Vishwakarma. They celebrate the annual ‘Amma Thalikettu’ or the marriage of the Goddess Parvati to Lord Shiva. This festival full of rituals like ‘Manjaneerattu’ which is a dance performed by the devotees in which they spray boiled turmeric solution on their body using neem leaves. All these rituals including their marriage ceremonies are of Tamil origins and these are followed even now.

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‘Aranmula Kannadi’Accidental discovery or a divine intervention

The legend behind the discovery of this precious metal are as intriguing as the mirror itself. Accidental discovery The legend has it that eight families of experts in temple arts and craft had been brought by the local Royal Chief of Aranmula from Sankarankoil situated in the present day Tirunelveli, District of Tamil Nadu in connection with certain works in the Parthasarathy Temple centuries ago. The Viswakarmas were given land to settle down near the temple. The artisans settled at Aranmula even after the completion of the temple. Their descendants became lazy and a public nuisance, inviting the ire of the king who ordered their eviction. The king was miffed and the craftsmen had to do something worthwhile to appease him. Hence they decided to make a crown using an alloy of copper and tin. The crown when being polished led to an accidental discovery, the crown showed extraordinary mirror like reflection and this pleased the King .The crown was the first form taken by the metal mirror and was known as the ‘Kannadi Bhimbom’. The craftsmen used the same technique to design mirrors. As time went by alterations in design happened and the hugely popular ‘Vaal Kannadi’ took its shape. Divine intervention Another legend goes that the high priest of Aranmula Parthasarathy temple found that the crown made for the deity was cracked. The local king then summoned the head of the bronze smith clan and ordered him to make a new crown within three days. The chief got worried, as he

did not have sufficient materials. Further there was not sufficient time to get the material from other places. He came home and told his wife about his worries. It is claimed that while they were sleeping, the Goddess appeared in her dreams and told her the proportions for a bronze alloy that shone like a mirror and asked her to tell all the ladies of the community to surrender their gold ornaments. All the gold were collected and sold to buy sufficient tin and copper. That night she went and told all the ladies to do as per the orders of the Devi. The crown made out of the combination of copper and tin turned out to be a marvel of art and craft. It was silver like colour, brittle like glass, shone with rare brilliance, and when cleaned acquired the quality of reflection. The ‘Makudam’ or crown known as ‘Kannadi Bhimbom’ (mirror image) was preserved in the Aranmula temple till 1946. The casters soon worked out the ratios of different metals used. There is also a story in the Puranas, that, the mirror of Goddess Parvathi is a Divya Vasthu which symbolizes a pact with God. Although both the stories have been orally told from generation to generation, the legend of the accidental discovery is more widely accepted. The king of Aranmula has said to have liberally patronized the craft persons and even laid down an order that the mirror should form one of the eight auspicious articles used in all Hindu religious rites including marriages. They started introducing the metal mirror in their various other products like the small ‘Kumkuma Cheppu’ or vermilion container, which was made in bronze and the metal mirror was placed on the cover. This became

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very popular among the elite of Malayali society. Under the patronage of a few aristocratic ladies the Vaalkannadi (hand held mirror) flourished. The uniqueness of ‘Aranmula Kannadi’ Handmade ‘Aranmula Kannadi’ is famous for bringing prosperity, luck and wealth to home. Producing distortion free images the ‘Aranmula Kannadi’ is famous for its secretive construction method and uniqueness in the make which is patent protected with a Geographical Indication (G.I.) tag. The specialty of Aranmula Kannadi is that though it resembles the ordinary glass mirror in its looks, the clarity of the image gives it a distinguishing edge .Unlike ordinary glass mirror the image is reflected from the top surface rather than the bottom. The ‘Aranmula kannadi’ being a front surface reflection mirror eliminates secondary reflections and aberrations typical of back surface mirrors. It’s the only mirror that has zero refraction. The British Museum in London keeps an 18” tall Aranmula Metal Mirror, which speaks of its uniqueness. It is that intriguing mix of alloys used about which the world has no real clues. Perhaps the enigma that surrounds the closely guarded secret, which only the family inherits, has only added to its fame. Even for others who are not aware of the mystery surrounding mainly the contents used in its making, the elegance of the metal mirror from Aranmula, “Aranmula Kannadi” as it is popularly known has been luring for quite a long time now. The reflections of the Kannadi had enthralled all its beholders. It mesmerizes everyone and shall continue to do so.

‘Vaal kannadi’ Hand held mirror

Vaal Kannadi or Hand held mirror |

There has been the mentioning of metal mirror in many Puranas including the RigVeda. Even in the carvings of Khajuraho there has been depiction of hand held mirrors. The mirror is oval in shape or as per the ancient belief it is shaped as the ‘Yoni Mukh’ or vaginal face. It depicts feminity, just as Shiva Linga depicts masculinity. There are many temples in which the Vaalkannadi is used to symbolize Goddesses, i.e. Goddesses without form. If it is a temple dedicated to Goddess Saraswathi, Veena is placed next to the mirror. The mirror has a lot of ritualistic importance.

Brass plate holding auspicious items |

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‘Ashtamangalyam’, in Hindu religious terminology, is a group of eight auspicious things. ‘Ashta’ means eight and ’Mangalyam’ denotes auspicious things. The auspicious things used are gold, rice, sandalwood, small casket containing vermilion, small lamp, ‘Kindi’ (metal water pot with a spout), ‘Kasavu Mundu’ (dhoti with a gold brocade border) and the ’Vaal Kannadi.’ Hence the ’Vaal Kannadi’ is used in the wedding ceremonies. Girls from the bride’s family go around with brass plates containing ‘Ashtamangalyam’. This is done to honour the bridegroom and his family. The ’Vaal kannadi‘ has been used by the ladies of wealthy families to apply makeup and to admire themselves. It is also an item of social symbol. This had its popularity until the advent of the commercially manufactured glass mirrors which proved much cheaper and also served the purpose more efficiently.

Tools

Traditional tools of the craftsmen

Achu (Punch) |

Achu (Punch) The punch is made from mild steel. A head and a hollow conical end is formed by hot working. Then punch is hardened and tempered. The punch is used to punch holes or form impressions on the brass frame. Ada Kallu (Anvil) It consists of a small steel anvil embedded in a block of wood. Most of the hammering is done on the Ada Kallu.

Arram (File) |

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Ara Kallu (Grinding stone), Kozhavi |

Ara Kallu (Grinding stone) The grinding stone consists of a ‘Kozhavi’ or roller and an Ara kallu or grinding stone. Both are made from stone. They are chipped using a chisel and hammer. The material to be ground is placed on the Ara kallu and pressure is applied on to by moving the Kozhavi to and fro.

Chuttika (Hammer), punch and pliers |

Chuttika (Hammer) The chuttika or hammer is used mainly for shaping the sheet metal, for punching, to break the cast etc. Depending on the purpose the shape and size of the chuttika varies.

Arram (File) This file is made of square cross-section mild steel bar. This bar is forged to the required shape and size by the local black smith. Teeth are formed using a chisel and a hammer. Then it is hardened and tempered. The Arram is used to file and finish the mirror, frame and other parts.

Uly (Chisel) The uly or the chisel is a broad term used for all types of chisel and punches. The uly mostly used in this craft are small ones. These are used to make the patterns on the frame and also to cut brass rods. Punch, scrape chisel, chisel (Uly) |

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Cheek Uly (Scrape chisel) |

Kovva (Crucible) |

Cheek Uly (Scrape chisel) The cheek uly is a special uly used to clean and straighten the surface of the frame. It consists of a bent end, which acts as a scraper.

Pichhathi (Small knife) |

Kathriga (Pincers) There is variety of sizes and is used according to the requirements. The pincers are used to cut the brass sheet metal (pichela thakudu)

Kovva (Crucible) The kovva or the crucible is usually made of wrought iron. It is used to melt the metals to form the alloys. Vettu Kathi (Cut knife) The vettu kathi or cut knife is a large knife that is used to cut thick layers of wax, to break coconut husks etc.

Pichhathi (Small knife) The pichhathi is a small knife that is used to make the wax patterns. It is also used to remove excess wax.

Kathriga (Pincers) |

Hand made tool used for hammering |

Vettu Kathi (Cut knife) | Hand blower |

Hand blower The blower is used to supply a steady airflow to the pit furnace.

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Clamps, Navasaram, Stirrer, Various Tongs |

Lifting ‘Thondu’ (coconut husk) with tongs |

Lifting mould with tongs |

Tilting the mould using tongs |

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Basic raw materials

Traditional materials used The chief materials used are ‘chembu’ (copper), ‘eeyam’ (tin) , ‘nagam’ (zinc) and lead. The metals (copper and tin) are bought from the metal market in Mannar, which is about 22km from the workshop. During the chemical analysis study done by the university of Pennsylvania there were small traces of zinc, iron, nickel and phosphorous. The proportions of these metals are as per the discretion of the Assari (craftsman). This proportion is the closely guarded secret of the community.

Chanchaliyam (Frankincense) |

Natural gum |

Eeyam (tin) and Chembu (copper) |

Traditionally the metals used to be purified using the Ayurvedic techniques. The materials used for the purification process were paddy husks, cow dung, cow urine or ‘Gomuthra’ and tamarind leaves. For a few days the metal is immersed in ’Gomuthra’. It is then immersed in boiling water filled with tamarind leaves. Then a vessel about 2 ½ feet high is filled with paddy husks. The metal is then melted and poured into this vessel. The metal obtained after its flow through this paddy husks is claimed to be pure. Also the scales formed on the surface of copper were removed by applying a solution of brine and tamarind juice and then it is heated. The scales then easily peel off.

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Presently the purity of the metals is high and the traditional process is no longer followed. The metals are inspected for any defects at the time of purchase from the markets. The copper chosen are of the purest quality (98%) and are bought as copper wires. These are then cut into small pieces before melting. Tin is bought in chunks and is also broken into small pieces. The other metals are not added directly but during the process of melting. The clay used to make the mould is taken from the paddy fields and is rich in nickel, phosphorus, zinc and iron. This may be the reason for the presence of these metals. The other raw materials used are clay, gum from the trees, baked clay powder (tile powder), cow dung, wax, chanchaliyam (frankincense), edible oil (mostly gingili oil), coconut husks, navasaram or ammonium chloride and charcoal. Zinc is used in mixture with copper and tin to make the frame. Composition of Aranmula Mirror Metal Element Weight percentage Cu 70.4 Sn 29.4 Pb Not detected Zn 0.06 P 0.02 Fe 0.034 Si Not detected Al Not detected Ni 0.052 Bi Not detected Sb Not detected CSIR/ RRL/ Thiruvananthapuram

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Manufacturing process

Making of the Bronze Mirror Making of the alloy To understand the ancient mirror-making process and the composition of the bronze employed, we analyzed the metallurgical techniques that are still practiced by Aranmula artisans. The process begins with melting of the copper and tin alloy in the crucible using a furnace fired with coconut shell charcoal. When the copper and tin has started to melt, the craftsmen then removes a small quantity of melt from the crucible and allows it to solidify on the ground. Once it cools, a sample is broken using a hammer, and the surface is inspected visually to check the alloys quality and composition. This inspection helps in maintaining the adequate amount of copper or tin needed to make the metal mirror. Thus necessary amount of copper and tin is added to the melt. Then this alloy is cast into an open, preheated mould that was prepared on the ground. Once cast, the disk is broken into pieces and these bronze pieces will be re-melted and cast as the mirror.

Carrying alloy in a crucible |

Making of alloy |

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Casting of Bronze Mirror

Clay disks |

Bronze pieces |

Mould crucible assembly | Burnt clay disk

Spacers kept 120˚ apart

Wax plug ingate

First investment mix of finely ground clay and cowdung

Iron clamps spaced 120˚ apart

Second investment mix containing roof tile powder and clay Crucible Charge (Cu, Sn alloy)

Before beginning the mould making and casting the tile clay is ground to fine powder and later mixed with clay. The mould is made from two baked clay disks. The disks size varies with the sizes of the mirrors and the size of the disc is slightly bigger than the mirror which is to be cast. One side of the disks is coated with coal or ‘kari’ which is first mixed with water and applied on the surface on which the mirror will be cast. A gap is maintained between the two disks using small scrap alloy pieces as per the thickness of the mirror required which is formed by the metal flowing in through this gap. A wax plug is placed between the gaps, for the molten metal to enter into the mould from the crucible. The sides of the disks are sealed using paper on top of which a layer of cow dung and clay mixture is applied. As this layer, doesn’t adhere to the mould very efficiently, it is applied first. Then second layer of ground tile clay and raw earth clay is applied to the mould. It is let to dry for a while and then the crucible is fixed to the mould by applying clay to it just above the wax plug. A small orifice is provided in the crucible in order to provide a vent. The wax plug is removed by heating. Metal clamps are attached to the circular discs to ensure that the discs dont seperate during the casting process.The clamps are covered with clay. The crucible is then filled with the bronze pieces which then covered using raw earth. The mould is then left to dry.

Applying ‘kari’ on the disks |

Covering the disks with paper |

Securing disks with clamps |

Filling crucible with bronze pieces |

Moulds ready for casting |

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Arranging the moulds in an array |

A B

After the moulds are thoroughly dried they are arranged in an array and are covered with coconut husks, shells and also coal. They are placed crucible down into the oven. The coconut husks are lit and it acts as an open oven. When the required temperature is reached, they are tilted so that the mould facing down. When the numbers of moulds are less then the moulds are placed in and open pit furnace. With the charge in place, the mould- crucible is positioned (crucible down, mould up) in a pit furnace fitted with a manual blower. This orientation allows the charge to be melted quickly. The artisan from prior experience knows when the charge has melted . When the charge has completely melted and is ready for casting, the mould-crucible is removed from the furnace and given a little shake to mix the melt. Gradually and carefully the assembly is tilted to fill the mould smoothly. It is left to cool in pre dug sand pits with the crucible facing upwards. Once the mould is filled, the crucible is separated. The gate is removed using a ‘chuttika’ or hammer. During solidification, the mould is gently tapped. After the casting solidifies outer layer and the clamps are removed. Breaking the crucible |

D E

The position of the mould- crucible assembly the crucible is heated in the furnace (A) and the positioning of the assembly as the casting is slowly poured (B-E)

Taking of the outer layers using pichathi |

Mirror removed from the disks |

Filing of the mirror |

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The casting is completely removed from the mould by scraping away the outer layers. The cast disk is then placed against the brass frame and the outline of the shape of the frame is drawn on it using a pencil. The cast metal plank is then cut in that shape using the ‘arram’ or file. Since the cast metal is very hard and brittle, slight pressure is sufficient to break it. It is filed to get a perfect on the brass frame. It is then placed in the frame and checked for correctness. Then using a piece of charcoal a line is drawn on the surface of the cast along the vertical axis of the frame. It is along this line that the polishing is done. Now the cast is removed from the frame and it is ready for polishing.

Polishing of bronze mirror Mounting of mirror on a wooden plank The cast disc after filing and cutting is mounted on a wooden plank. The square wooden plank comes in various sizes depending on the size of the mirror cast. The wooden plank has a handle on one side and a raised circular surface on the other on which the mirror is mounted using gluing wax. This is done to facilitate easy handling of this brittle disk while polishing.

Mounting of mirror on wooden plank |

Polishing mirror on wooden plank |

Heating a mixture of wax and chanchaliyam in the ratio 2:1 makes the gluing wax. Edible oil is also added as required. The wax mixture is heated and evenly spread on the wooden plank which has a circular raised surface. It is then allowed to cool. The cast metal disc is then heated slightly and then placed on the wax. The excess gluing wax is removed using a ‘pichathi’ or small knife. The polishing of the mirror is a tedious process and takes few days to get the required reflection. Discs are polished using well-ground, burnt clay powder (made from the mould waste) and castor oil or gingili oil on a jute or cotton cloth. Initially ‘punnakka’ seed oil and ‘chaulmoogra’ or ‘marouti’ oil was used. These oils are used with tile powder to give a better finish. But due to prolonged use the fingers of the craftsmen get deformed. Firstly jute is fixed onto a wooden plank. The burnt mould powder or ‘moosha podi’ is placed in a cotton cloth and is made into a ‘kizhi’ or bundle. The ‘moosha podi’ is applied onto the ‘chak’ or jute using the ‘kizhi’.

The ‘kizhi’ acts as a powder puff. The mirror is then rubbed on the surface of the ‘chak’ or the jute. It is done till the mirrors get hot, after which it is allowed to cool. After which it is polished on fine grade emery paper. Usually the master craftsman prepares four to five mirrors and polishes them at a stretch. When one gets heated he does polishing for the next one while the other cools. To achieve high quality reflective surface the polishing can go on from one to two days. Secondly when the required polished surface is achieved it is then

further polished using a piece of cotton cloth. Then final polishing is done using a velvet cloth, as velvet tends to absorb the oil that was applied earlier on to the mirror. Hence further polishing is continued on another dry piece of velvet. The velvet cloth is placed on the ground and the mirror along with wooden blank is moved in the desired direction. This is done till the fogginess of the mirror is gone and the reflection is perfect. Polishing mirror on emery paper |

Polishing mirror on jute |

Polishing mirror on velvet cloth |

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Demounting the polished mirror from wooden frame Once the disk is perfectly polished to the desired level . The mirror is demounted by slightly heating it. The wax melts and the mirror slides down from the wooden plank into boxes where it waits to be mounted on the brass frame.

Making of alloy in crucible |

Casting of the brass frame Making of the alloy for the brass frame A ‘kovva’ or crucible made of wrought iron having an approximate capacity of holding 9kg of molten metal is cleaned. The pieces of pure ‘chembu’ (copper), ‘eeyam’ (tin) and ‘nagam’ (zinc) are added in proportion into the crucible. The kovva is then placed in an open pit furnace charged with burning charcoal. It is then surrounded with pieces of ‘thondu’ or coconut husk, as ‘thondu’ retains the heat. It is heated to about 400°c (approximate melting point of brass). The molten metal is poured onto flat surface (usually the ground itself). Once cooled, the alloy is then broken into pieces using a chuttika (hammer). The broken pieces are then inspected for the quality of the alloy. If found satisfactory then it is re-melted. Else more amounts of the alloying elements are added. The molten metal is then poured into the preheated moulds. It is then left for cooling. Once cooled, the clay mould is broken and the casting is removed. The casting is checked for any deformities.

Demounting the polished mirror |

Mirror in the various stages of polishing |

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Copper and zinc in furnace |

Checking for deformities by pouring |

Making of mould Two processes used 1.Lost wax process 2.Sand casting process Lost wax process The mould for the master model for the brass frame is cast using the lost wax process. The wax used is composed of chanchaliyam, ordinary wax and edible oil. The wax is heated and is then rolled to uniform thickness using a roller. The required pattern of the frame is first drawn on a piece of paper and is then cut. This paper is then placed on the rolled wax. The wax is cut along the contour of the pattern. To get different contours on the surface of the mirror that many layers of wax is placed or spread on the base layer. A plug made of wax is vertically placed on top of wax pattern. Once this is done, finely ground soft clay is prepared by grinding it on the ‘Ara kallu’. This soft clay is first applied on the wax pattern and is compacted to get the exact contour of the pattern. It is left to dry. Then coarser clay is applied on the surface of this clay. A ‘thaalu’ (or pouring hole) is made on the mould just above the wax plug. It is again left to dry for a day. The mould is then placed inclined near a pit, with the plug facing downwards. Pieces of ‘thondu’ are placed on top of the mould and are then set to fire. Once heated to the suitable temperature, the wax pattern along with the plug melts and flows down into the pit. The hollow cavity formed inside is the exact replica of the pattern. The mould is now ready for casting.

After the master mould has been made and the master model has been made it is used to cast more frames using the sand casting process as it is much easier and the chances of the design to retain its form is more in this process. Unlike the lost wax process where the wax has to be remoulded here the master model can be used many times to make the patterns of the frame.

Master frame placed in the drag |

Path made for the metal to flow |

Finishing touches applied to the cope |

Sand casting process The master metal model which has been cast is used to make the pattern in the wooden boxes. The cope and drag are two wooden boxes and is used in the sand casting process. The drag which is the lower half is filled with sand (mixed with clay which acts as the binder) and compacted by ramming manually. The master metal pattern is centrally placed inside the drag and compacted, the extra sand is removed. The path for the metal to flow is made. Parting material which is tile powder is spread over the drag using kizhi, two plugs are placed so as the guide the molten metal in the core. The cope is placed over the drag and again sand mixed with clay is compacted manually. The two plugs which are later removed act as the gate and the vent. Finally the two boxes are opened and the master metal model which is used to make the core is removed, finishing touches to the core are done manually as there are chances for small breakages during the compaction. The moulds are preheated using coal which helps the sand to harden and also in retaining the pattern. Now the moulds are ready for casting. After the molten material is poured and the casting is done the core and drag are separated and the brass frame of the mirror in its crude form is taking out and once it has cooled the frame is ready for filing and polishing.

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Moulds heated proir to casting |

Frame after initial filing |

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Finishing of the brass frame The brass frame which is in its crude state is filed using an arram or file. Then a ‘cheek uly’ is used to clean and to flatten the surface. Once cleaned, the brass frame is further finished using emery papers. The decorative patterns on the frame are then punched using ‘achu uly’and ‘uly’.

Removing deformities using chisel |

Various moulds made in the workshop |

Pouring of molten metal in the mould |

Filing of brass frame |

The hollow profile of the frame is drawn on to a ‘pichela thakudu‘ (brass sheet metal), which is then cut using a ’Kathriga’ or scissors. It is then formed into a concave by hammering it on an ‘ada kallu’ (anvil). The back plate is then clamped on to the frame. ‘Navasaram’ (ammonium chloride) and ‘eeyam’ (tin) is used to solder the back plate to the brass frame by heating. It is then buffed to give a final polish.

Traditional motifs punched on the frame |

Design punched on the frame |

Depending on the design a brass back support or a stand for the frame is also cast. It is also cleaned and polished. A ‘vyapiri’ (hinge) is made from a rectangular piece of ‘pichela thakudu’ (brass sheet metal). A slit is made behind the frame (large enough for the metal strip to pass through) by hammering. The brass strip is then hammered from inside to lock the stand in position. The stand and the hinge are then filed using an ‘arram’ to make a perfect fit.

Design punched on the frame |

Finished frames |

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Cutting brass metal sheet with ‘Kathriga’ |

Clamping back plate to the frame |

Soldering back plate with ‘Navsaram’ and tin Hammering back plate to shape |

Fixing the back plate to frame |

Scraping excess tin after soldering |

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Various frames

Brass support and its mould |

Hand held frames for VaalKannadi |

Frames on stands |

Frame and support fixed with (hinge) |

‘Vyapiri’ (hinge) and Brass support |

Wall hung frames |

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Mounting of mirror on the brass frame The wax mixture (wax and chanchaliyam) is heated and is applied on to the brass frame in the area where the mirror is to be placed. It is applied uniformly as a thick layer. The brass frame is then heated slightly. And the wax is then leveled uniformly using a’kathi’ or knife. It is then allowed to cool and solidify. The polished mirror which is now ready for mounting and the frame are heated slightly. The mirror is affixed on to the frame and is heated again. Then using a piece of cloth, pressure is applied on the mirror manually. This ensures a strong fixture. Once the mirror and the frame cool, the gap between the mirror and the frame is filled with plain wax. It is heated again. The excess wax is removed using the ‘kathi’. Then the waxed edge is routed using the rounded edge of the ‘kathi’. The wax is then allowed to cool and solidify. The mirror is then given a final polish either red oxide powder or talcum powder which is wiped using a piece of cotton.

Putting hot wax in the frame |

Heating the frame and mirror |

Applying wax in the gap between mirror and brass frame |

Final polishing with red oxide |

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Design evolution

The basic design of the craft is as per the ones that were followed traditionally. As per the history of the craft the first object to be made using this alloy was a crown for the idol of Lord Parthasarathy of Aranmula temple. The crown was so reflective that idea of using it as a mirror struck. It initially appeared in the form of a small mirror in the lid of a ‘kumkum cheppu‘or vermillion box. This was used by married ladies to put kumkum on their forehead. Later it developed into the ‘Vaalkannadi ‘or hand held mirror. This became a favorite among the society ladies of that time. Before the advent of commercial glass mirrors the upper class ladies used to prefer the bronze Kannadi only. It has been recorded that a huge bronze mirror was made for the Maharaja of Travencore and adorns the wall of his bedroom in the beautiful Padmanabhamapuram Palace at Marthandam in Tamil Nadu. During the British rule the Kannadi became more of a souvenir from the Indian subcontinent. It took the present form of a mirror with a small stand so as to display it in an erect position. These basic forms haven’t changed over the years. The only change in the design has been in the various motifs punched on to the frame. The design process begins with the craftsman first drawing out the pattern for the frame. He draws out the motif details and also works out the size of the mirror. He then goes on to make a wax model of the frame out of which, using the lost wax process a master

model for the frame is cast. Only when the frame is ready does he make the mirror for only then does he get the exact dimensions of the mirror. The process of manufacturing the mirror is very systematically followed, till the required result is achieved. The motifs on the brass frames are usually of animals ,flowers,Gods and other religious patterns.The shape of the mirror has always been oval or circular.

‘Aranmula Kannadi’ depicting snakes as a part of religious iconography |

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‘Aranmula Kannadi’ in its traditional form |

Present day uses of ‘Aranmula Kannadi’

‘Aranmula Kannadi’ in the form of sacred conch shell as depicted in flag of former princely state of Travancore |

Aranmula Mirror is used as Corporate Gifts (Cochin refineries, places orders for the mirror every year as mementos for their employees and visitors) Wedding Gifts/Wedding anniversary gifts/Birthday gifts etc. Since its history is related to the Parthasarathy temple, many people buy and place Aranmula Kannadi in their Pooja room. As the processes involved in its making are still traditional, it’s an antique and a souvenir for both Indians and international tourists visiting Aranmula.

‘Vaal Kannadi’ or Hand held mirror in its modern form |

‘Vaal Kannadi’ or Hand held mirror showing traditional lotus motifs |

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Case study

Mr. P Gopakumar has been practicing this craft for more than a decade. He is 45 years of age. He finished his graduation in B.A. economics from Pamba College, Mannar, which is about 15km from Aranmula. He is very fluent in Malayalam, Hindi and English. There are only four families in Aranmula who are now practicing the craft. He was kind enough to show us all the processes involved in the making of the mirror. His love for craft was evident when he spoke about all the crafts in India and abroad. He is very much deep rooted to the arts and crafts of Aranmula that he gave us a guided tour around Aranmula. He’s a well read man and as he had widely traveled around the world to promote the craft, he was able to understand what the craft lacked and how to go about the business. His father Mr.V.P.Pazhani Achari was a goldsmith. “Revive the craft in its traditional form” Gopakumar learned the craft in 1982 Mr. P. Gopakumar, master craftsman | from Mr.Subramaniam Achari who has been practicing this craft for many decades. Since then he has been working along Mr.Lakshmanan Achari and his son Raman in making bronze mirror. He now runs his own workshop and sells his mirrors under the name ‘Aditi handicrafts centre’ which in near the PWD rest house.This craft came to national attention because of wide television coverage by Mr. Siddarth Kak of ‘Surabhi’, which was a program; aired on Doordarshan.With Siddhartha’s help he found employment in Mumbai as a typist. He worked there from 1989- 90. Later he came back and since then he has devoted himself solely to this craft. Whenever there is an order, he sets about getting the raw materials from

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Mannar. He has two workshops ,one where the mirror is cast and mounted on to the frame and other where the brass frame is made. Mr. Omanakuttan is in charge of the brass frame casting. He is a swift and hardworking craftsman. He makes 65-75 frames which are sent to the main workshop where it is finished and the mirror is mounted under the supervision of Gopakumar. It’s his hospitality and willingness to share his knowledge about the craft that makes him well known in Aranmula not just amongst the local people but also amongst the tourists. The beauty of the craft isn’t just in seeing the polished mirror but in watching the zealous craftsmen work with dedication in bringing a metal to shine like a mirror.

The workshop |

GI (Geographical indication) tag and its importance.

The craftsmen are confident that even if the secret of the combination is revealed, nobody could make the mirror with this perfection since a lot of know-how, skill and experience is needed for the manufacture. This is the reason for the reputation of the product and the control of the business exclusively within specific family groups for a long time. Each and every stage of production is done manually, without the use of machines. Although the material cost is not very high, substantial time is required using skill and craftsmanship for the production and polishing of the mirror. Even though the craftsmen make a reasonable profit they are of the view that it is inadequate to compensate the craftsmanship involved. Even today the mirror manufacturing is purely a family business. At present there are four families in Aranmula continuing with the production and all of them are relatives. There are around 50 members who are involved in the business and all of them belong to middle class families. The fact that they currently can make only reasonable profits shows that GIs could have a significant impact on the socio-economic conditions of actual producers provided they could prevent others from using it. There are many duplicates of Aranmula Kannadi in the market. It is very difficult to trace out the duplicates and the manufacturers could identify it only when it comes to them to be polished in their hands. The duplicates cannot attain the reflection of their own mirrors on polishing. Similarly it is very difficult to properly cut the edges of the casted combination like the original mirrors. The fact that the

duplicates did not affect their market share seems to be the reason for not initiating any legal action to prevent this. Recently the producers formed an association,Aranmula Metal Mirror Nirman Society. The society in the name of Parthasarathy Handicraft Centre has registered “Aranmula Kannadi” as a GI under the new Act. This society was formed under the initiative of Mr. Gopakumar. Aranmula Kannadi thus got GI registration in the year 2005. This registration affords better legal protection to facilitate an action for infringement. The registered proprietor and authorized users can initiate infringement actions and they can exercise the exclusive right to use the GI on their products.

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Role of promotional agencies

Kerala handicraft Development Corporation is one of the promoting agencies, which places orders for these mirrors to be gifted to the dignitaries. Apart from this, Apex Society a semigovernment organization is also actively involved in promoting this craft. An article in Malayalam Manorama in 1982 helped greatly in promoting this craft. A lot of other newspapers and journals followed the same. I.R.D.P. held an exhibition in Ernakulam in 1983 exhibiting a variety of crafts in which ‘Aranmula Kannadi’ became the main attraction for the visitors. The following year the Handicraft Handloom Development Authority of India invited the craftsmen to Delhi to demonstrate the craft in Pragati Maidan. The major breakthrough came in 1985 in Surajkund mela near Delhi. This exhibition made it popular in north India and subsequently increased its sales. Later Video vision, Surabhi, Turning point and other national programs promoted it across the country. An article in Pennsylvania University, U.S.A. gave it a lot of international publicity. In effect many foreigners and N.R.I.’s enquired and placed their orders. As Aranmula has been selected among thirty two villages for the two-year Endogenous Tourism Project (ETP), jointly sponsored by the United Nations Development Programme (UNDP) and the Government of India, tourism has brought the arts and crafts of Aranmula to great heights.

Suggestions for design development

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The frame The patterns for brass frame could be improved; both traditional and modern designs could be put into use. The customization of frames, use of other materials like wood inlay along with brass and introduction of ‘jaalis’ in the frame would make it more interesting. Embossing images of Gods and deities on the brass frame could be used for religious purposes. Government must help the craftsmen, interact with various design schools to understand the present day demands of customers and for design inputs. It will also help design students understand the craft and help in its promotion. The mirror The craftsman face a lot of problems in maintaining the quality when producing mirrors in large numbers. Hence the society should maintain a quality check.the shape of the mirror could be changed from the circular form. Processes Tampering with the traditional methods of production brings down the value of the Kannadi. Beauty and worth of the mirror lie in the fact that they are hand made. The quality of mirror is very good, and in case of defects the mirror can always be broken down and recast. Basic design of the mirror cannot be changed, but the process could be modified. For instance polishing of the mirror could be done using higher grades of emery paper and lapping machine. These could in fact reduce distortions in the mirrors, especially for smaller ones. But this has to be done very carefully as even slightest abra-

sion could result in cracking of the mirror. But from economical point of view it was found that traditional method of polishing the mirror was more efficient. Pricing Pricing of the mirror is usually according to size of the mirror, intricacy of design, shape of the mirror and also it varies from craftsman to craftsman. Pricing of mirrors should be standardized by the society. If there are variations in price for the same mirror, one craftsman will suffer while the other sells at a lower price. This kind of discrepancy should be avoided as it hampers promotion of the craft. Packaging ‘Aranmula Kannadi ‘comes in Red velvet box, the kind used for gold ornaments. It includes “Kavi Powder” (red oxide powder) and a small velvet cloth for cleaning the mirror. Literature regarding the product and its usage is also included in the box. There is an abundance of wood craftsmen in the area.Wood could thus be an alternative used in the packaging. The packaging which now consists of cardboard boxes covered with velvet could be modified. Since this craft is purely ornamental, beautiful packaging could be suggested so as to create a value addition. Marketing A designer could also participate in setting up a body that helps in marketing as well in promoting this craft.

Policies

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Support from the tourism ministry Taking women empowerment to a new level, the Tourism ministry initiative is aimed at making them direct beneficiaries of a project in rural India. The key feature of the Sustainable Tourism project is to get a taste of rural India and at the same time making villagers including women stakeholders of the project. About 130 rural sites have been chosen across the country where women have been empowered to gain skill in various activities including hospitality, visitor handling, traditional art and craft among others as part of the project. These kinds of projects envisage in attracting tourists to rural India where they can enjoy the traditional lifestyle. A tourist will now have the option to watch women making crafts or preparing traditional cuisines for tourists while enjoying the serene natural surroundings in the village. House owners under the ‘Home Stay’ scheme in Himachal Pradesh have already been given Rs 30, 000 as subsidies to improve amenities in their houses. These kinds of schemes not only will promote the craft but also will improve the livelihood of the craftsmen and will ensure women empowerment.

Future craftsmen and craft revival

Glossary

Four master craftsmen are involved in the making of these mirrors. These craftsmen are not respected or treated properly by the local government or by the central government. None of the craftsmen have ever won a ‘National Award for master craftsperson’; this shows the lack of support from government and lack of recognition.

Aalavattam Achu Ada Kallu Adivasi Anjili Annapakshi Appakava Ara kallu Aranmula Arram Assari Ashtamangalya Ayurvedic Ayyapa Bhimbom Chak Chanchaliyam Chappal Chaulmogra Charakku Chembu Chengannur Cheratta Cherukovilpuzha Chilambu Chithrathazhu Chuttika Cooja CSIR Deepastambha

The problem also lies in continuation of the craft. As most of the younger generation are educated and move to bigger cities, they lack the motivation to carry on this age old craft. They prefer to work in other professions like government services, private companies’ etc. For popularizing the crafts among all sections of the society, proper propaganda measures should be initiated through media net works. The government should take initiatives in promoting the craft in schools and colleges so that the future generation is aware of the rich heritage .This will bring in more young entrepreneurs. If promoted in the right direction and with the right exposure the craft could really pick up. As many companies are investing in the revival of Indian crafts, the craft sector is bound to boom. Newer technologies might have altered perceptions and lifestyles as times have changed for sure, but the appeal of the metal mirrors from picturesque Aranmula still remains intact.

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Circular peacock feather fans, Punch Anvil Adivasi literally means early settlers, but now it is used to imply the backward tribes. Locally available wood in Kerala Named after the motif of the bird of abundance Vessel for cooking unniappam(traditional food) Grinding stone A small village in Pathanamthita district, Kerala File Chief Craftsman ‘Ashtamangalyam’, in Hindu religious terminology, is a group of eight auspicious things. ‘Ashta’ means eight and’ mangalyam’ denotes auspicious things. Ancient Indian science of using natural herbs for heal ing and other purposes A popular God in Kerala, who is supposed to be the result of the union between Lord Vishnu and Lord Shiva. He is supposed to have meditated in a hill, Sabarimala where today a temple stands. Malayalam for reflection Jute cloth Frankincense Slippers. One of the herbal seeds used in Ayurveda also known as Marouti large vessel used in temples Copper A major town in Allepey district and also it is the transit point for pilgrims to go to Sabarimala. Coconut shells A small village near Kozhencheri, by the banks of the river Pamba Leg or arm ornament Large brass locks Hammer Container used for milk and water,Monda container used to carry milk and water Ce Pillar lamp

Devi Divya vastu Dhoopakal Dravidian Eeyam ETP GI Gomuthra Haripad I.R.D.P. Kadaplava Kallu Kannadi Karimaram Karpooratatta Kathriga Kavaravilakku Kavi powder Kettuvallam Khajuraho Kindi Kizhi Koda Koddivilakku Kollambi Kollan Kovil Kovva Kozhavi

Goddess Sacred Object Vessel for burning incense, Domestic utensils The race of people who had settled in India much be fore the advent of the Aryans. Tin Endogenous Tourism Project Geographical Indication of Goods are defined as that aspect of industrial property which refer to the geo graphical indication referring to a country or to a place situated therein as being the country or place of origin of that product. Typically, such a name conveys an asssurance of quality and distinctiveness which is essentially at tributable to the fact of its origin in that defined geographical locality, region or country. Cow urine, which is considered to be pure and is used in many Hindu rituals. A small seaside town in Allepey or Allapuzha district. Indian Rural Development Program Lamp form derived from the small jackfruit, Assari Stone smith Mirror A famous species of tree, occurring in India and Sri Lan ka, best known as one of the trees that yield ebony. The wood it yields is called Ceylon ebony. Vessel used to burn camphor, Pincers or also scissors Lamp with three receptacles Red oxide powder Boats constructed by tying planks together An ancient city of the Aryans Vessel used to pour water during ablutions or ceremonies A small palm held bundle made of cloth that is stuffed inside with either cloth or cotton. A kizhi is also made to light a diya in a cut coconut Decorative parasols Lamp to light the temple lamp Spittoon Blacksmith Tamil for temple Crucible The grinder stone which is used along with the grinding stone

Kozhencheri Krishna Kumkuma Cheppu Kunnimangalam kurishivilakku kuttavilakku Mahadeva Makudam Malakkara Manorama Malayalam Manjaneerattu Mannar Maramon Marouti Marthandam Mavelikara Malayali M.E. Mothiram Moosari Moosha Podi Murugan Lord Nagaradhana vilakku Nettipattam Parvati Payyanur Mutharamma

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A large town in Pathanamthita district, which has a majority of Christian population and also is the nearest town to Aranmula. The most popular Avatar of Lord Vishnu Vermilion box Traditional lamp Lamp with stylized Christian cross, Lamp for temple processions Another name for Lord Shiva Crown Another village near Aranmula where the Kannadi is made A Malayalam newspaper that is most highly circulated vernacular newspaper in Kerala The regional language of Kerala The ritual dance performed by the devotees of Mother Goddess in which they splash boiling turmeric solutions on their bodies A small town in Allepey district, about 15km from Aran mula, which is famous for its bronze smithy. A small village between Aranmula and Kozhencheri town that is famous for its Christian convention held annually. See chaulmogra A town in Kanyakumari district, Tamil Nadu. This town was named after the legendary Travencore king Marthanda Verma A town in Allepey district, Kerala, about 16km from Aranmula The people who speak Malayalam, all Keralites are also known as Malayalis. Malayalam era or the ‘kollavarsham’ Ring used for fingers Bronze smith Burnt clay powder Murugan a.k.a. Karthik is one of the most popular deity in the south. As per the Hindu mythology he is the son of Shiva and Parvati. Snake shaped lamp, Elephant head dress The Mother Goddess who is the consort of Lord Shiva Payyanur is a town situated in the Kannur district of Kerala, India, in the valley of the Ezhimala Hills. Another avatar of the mother Goddess Parvati

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Navasaram Onam Padmanabha Padmanabhapuram Pamba Pandalam Pandian Parthasarathy Pathanamthita Pavithra Pichela Pichhathi Pilavu Punnakka Puranas Ramacham Ramacha vishari Sabarimala Saraswati Shankarankovil Shiva Linga Taravallam Thaalu

Ammonium chloride used for soldering The traditional harvest festival of Kerala An avatar of Lord Vishnu, which was also the chief deity of the royal family of Travencore. The temple dedicated to him in Thiruvananthapuram is one of the most beau tiful inKerala. The capital of the erstwhile Travancore Empire. Pad manabhapuram houses the beautiful palace of the Travencore kings. It lies 1km from Marthandam. The river that originates from the holy hills of Sabari mala. It is the most sacred of rivers in Kerala. It is a town in Pathanamthita district. This town houses the palace of Lord Ayyapa. It is the name of the dynasty that ruled the empire in Tamil Nadu with its capital at Madurai Another name of Lord Krishna, when he assumes the role of a charioteer for Arjun during the Kurukshetra wars. A district in south eastern Kerala that borders with Tamil Nadu sacred Brass Knife Jack fruit tree It is an oil seed The sacred books of the Hindus written during the Aryan age. Medicinal root used to make various products. Hand held fan made from medicinal root. It is name of the hill which is considered to be the abode of Lord Ayyapa, and also houses the temple dedicated to him. The temple is open only once every year, but recently due to the increase in the amount of the devotees it is open on the first five days of every month. The Goddess of education and music, she is also the consort of Lord Brahma the creator. A small town in Tirunelveli district in Tamil Nadu where a huge community of craftsmen had migrated to Kerala two centuries earlier. It is a phallus like structure that is used to depict Lord Shiva Boats constructed by nailing planks together Pouring hole

Thakudu ThalikettuI Thattan Theyyam Thiruvananthapuram Thondu Tidambu Tiripazhada kacheri Tirunelveli Tookavilakku Ullakorudu Uly UNDP Urli Vaal Vaalkannadi Vallamkalli Varpu Vedas Veena Velichappad Venchamaram Vettu kathi

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Sheet metal Literally means marriage It means artisan, it is also the name of the caste. The Theyyam or Theyyattam is a popular ritual dance of North Kerala, particularly now found in the traditional Kolathunadu, of the present Kannur and Kasargode districts. As a living cult with centuries old traditions, ritual and custom, it embraces almost all castes and classes of Hindu religion in this region. The term Theyyam is a corrupt form of daivam or God. It is the capital city of Kerala, it was called by the British as Trivandrum which was followed till recently Coconut husks Ceremonial shield Lamp that has spouts for wicks It actually called Thiruvithancore, and it was the name of the empire that existed and it covered the area from Kanyakumari to Allepey. Hanging lamp Tongs Chisel United Nations Development Programme Domestic vessel, Sword with scimitar like blade Hand held mirror, it literally means the mirror with a tail. The traditional boat race regatta that is held annually in Allapuzha and Aranmula during Onam. Large domestic vessel, The sacred books of the Hindus that were written during the Vedic periods of the Aryans. It consists of four books Rig Veda, Yajur Veda, Atharva Veda and Sam Veda. The traditional stringed instrument which the Goddess Saraswathi plays. Or the “light-bringer”. He is a village oracle who can be recognized by shoulder-length hair, red dhoti , heavy brass anklets and the hooked sword he brandishes either while jumping up and down on the spot (a common sight), or marching purposefully about to control the spectators. At the end of the ritual, the powder, invested with divine power, is thrown over the onlookers. Flywisks Cut knife

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Vishwabrahmin Vishwakarma Vyapiri Yonni mukh

It is the name of the caste which is a step higher than the Vishwakarma in the caste system. They fall in the board community of Kammalanmars. This is the caste of craftsmen, it consists of different guild of smiths. They also fall under the Kammalanmars. Hinge Yonni means vagina in Sanskrit and mukh means face. It is oval and it is supposed to depict the vagina. As per Hindu rituals it is used to represent Goddesses.

References

Internet resources

K.P. Padmanabhan The Aranmula Metal Mirror Shilpi, December 1946- January 1947

www.aditimetalmirror.com www.aranmulakannadionline.com www.ecotours.in/handicrafts.htm http://blogs.ibibo.com/relax/page/3 www.hindu.com/2008/07/23/ stories/2008072350200200.htm www.exploreruralindia.org

Elizabeth Roy Metal Mirrors of Aranmula The Hindu Magazine, Sunday April 17, 1994 Vincent C. Pigott Ancient Metal Mirror Making in South India Journal of Metallurgy, March 1992. G.K. Nair In Reflected Glory Life, Indian Express, October 14, 1996 Thurston Edgar and Rangachari Castes and Tribes of Southern India, Volume IV Madras Government Press, 1909 GI application no.3, Government of India, Geographical Indication Journal, No.3, and November 1, 2004 N.S. Gopalakrishnan, Prabha S. Nair & Aravind K. Babu Exploring the relationship between geographical indications and traditional knowledge: An analysis of the legal tools for GIs protection in Asia, 2007 Aditi Ranjan and M. P. Ranjan Handmade in India, 2008 Sustainable tourism key to women empowerment. The Economic Times, PTI New Delhi, November, 2008

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Images (resourced from internet) Pg. nos. 1, 3, 4, 5 (mid, below), 6, 7, 8, 9 (mid,below),10 (above, mid), 11 (top, mid, below), 12 (below), 14 (top), 18, 22. Images (self) Cover page, CD cover, Pg. nos. 2 (photo collage), 5 (top), 9 (top,bottom left), 10 (below), 11 (bottom right), 12 (top) 13 (below),16 , 21, 23, 24, 25, 26, 27, 28, 29, 30, 32, 33, 34, 35, 36, 37, 38, 39, 40, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 54, 55, 56, 57, 58. Illustrations (self) Pg. nos. 26, 27, 28, 31, 35, 44, 45, 46, 47, 48.

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Acknowledgements Mr. P. Gopakumar Aditi Handicrafts Centre Veluthedathu Parampu Vadakkethil, Aranmula, Pathanamthita District, Kerala. Mr. Omankuttan Mallakara Pathanamthitta district Kerala. Craftsmen at Aditi handicraft cente

Guides Mr. Praveen Nahar, Mrs. Anuya Nayak, Mrs. Shilpa Das, Mr. P Ramakrishna Rao. Nimisha, Akhilesh, Charutha, Matthew. National Institute of Design.

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