Bidri Coffee Table Book by Anuja Jeyaraj

bidri

A Silver Statement

enchanting edifices

The city of whispering monuments

the silver statement

looking within

adroit artisans

product range

Sitting atop a hill on the Deccan plateau in north-eastern Karnataka is Bidar – popular for its rich history and cultural heritage. Nicknamed ‘The City of Whispering Monuments’, Bidar secures a spot on the archaeological map of India, with its many heritage sights that spell out stories of a glorious past. Imbibed in the fabric of Bidar’s society is the craft of Bidri, which for centuries has been synonymous with the city’s identity.

The Tarkash Mahal is a three storey monument located in Bidar Fort

The Guru Nanak Jhira Sahib is a major attraction for Sikhs all over the country

Local culture is best experienced in times of festivity and celebration. One such festival is the Veerabadreshwara Jatra â&#x20AC;&#x201C; a seven day long festival celebrated between January and February. The festivity period sees large numbers of pilgrims and tourists pulling carts or taking walks to the auspicious Veerbhadra temple of Lord Shiva in Humnabad. On a less religious note, the Bidar Utsav is well-known event that celebrates the city, its diverse culture, and its great heritage. The

famed Bidar Fort plays home ground to the Bidar Utsav, and the festival marked by events including, but not limited to, kite flying, wrestling, and film screenings. More than half the population of Bidar are Hindus, while over 34% follow Islam. Christianity, Jainism, Sikhism and Buddhism are also followed by smaller sections of the population. Gurudwara Nanak Jhira Sahib is known to be one of Holiest Place for Sikh Devotees in India. It is believed that Saint Guru Nanak himself visited the place during famine in the region. The cultural composition of the city is quite diverse as most of the north Karnataka is a fusion of the Dravidian and Aryan races. Medieval times also saw a continuous influx of Turks, Mughals, Iranians, Afghans and Arabs into the region.

Enclosing over 30 monuments within, the Bidar fort sees visitors in abundance â&#x20AC;&#x201C; tourists and locals alike

The population of Bidar is a blend of many cultures and languages

The Gagan Mahal was originally built by the Bahamani kings and some alterations were made by the Barid Shahi rulers

Brimming with bygone ruins, the city of Bidar takes you back in time as every wall tells an enchanting story of its own. “A Shiva temple built by the Kakatiya rulers was the seed from which the city grew”, the locals say. The city in the Karnataka State of India we now know as Bidar changed hands under a number of rulers including the Mauryans in the 3rd Century and the Great Nizams in the 18th Century. The Bahmani rulers also made Bidar their capital and put the city on the map. The Bidar fort, which dominates the hilltop is credited to the Sultan Ala-ud-Din Bahman Shah, the first sultan of the Bahmani dynasty.

Asaf Jahi

C.E. (Nizams oh Hyderabad)

1656 1619 1492

Adil Shahi

C.E. Sultanate

Baris Shahi

C.E. Sultanate

1429 1347 1317

Mughal C.E. Sultanate

Bidar made Capital

C.E. of the Bahmani Sultanate

Bahmani

C.E. Sultanate

Delhiâ&#x20AC;&#x2122;s

C.E. Muhammad Bin Tughlaq

1270 230 13

The

C.E. Yadavas

The

B.C.E. Satavahanas

Bidar

1724

Became a district in

C.E. Karnataka State

Over the years

1948

(Left) Chaubara is an old watchtower, facing in four directions (Right) Solah Khamba Mosque was built by Qubil Sultani and derives its name from the 16 pillars that are lined in the front of the structure

Bidar, now a city in every sense of the word, was once an impenetrable fortress. But despite the rampant commercialisation, Bidar is still an archaeologist’s delight – with its ubiquitous forts and palaces. Even with its dilapidated walls, the Bidar fort looks every bit as formidable today as it once did. Walk through the paths of the imposing structure, and it’s not hard to trace back the city’s artistic sensibilities to its forefathers, who made an architectural marvel of what was essentially meant to serve only as a safe house.

Bidar Fort is considered one of the most formidable forts of the country

The monochromatic mahals and mosques paint the city an earthy palette, but it is not devoid of its fair share of colour. The name Rangeen Mahal was bequeathed upon a two-story structure with exquisite coloured tile work, knowing full well that it was unique in being rangeen.

The Rangeen Mahal is famous for its stunning coloured tile work.

Ceiling at the Rangen Mahal

Carved wood columns at the Rangeen Mahal

Mother of Pearl inscriptions of Islamic texts

Many of its rooms still bear evidence of exquisitely carved stucco decoration, including a suite preceded by a porch with wood columns and a delicately carved ceiling. The building also bears several inscriptions, including verses in praise of the building and its patron.

Cultures all over India, and also the world have had their impact on Bidriware. A closer look at Bidar’s architecture, and drawing a competition to Deccani and Mughal architecture styles will reveal the extent of the influence they have had on Bidriware over the years. The earliest known examples of Bidriware, so strongly connected to Bidar, date to the period after the tiny sultanate had been annexed to Bijapur in 1619. Nonetheless, the design of those objects with their overall arabesque patterning can be convincingly argued to be an outgrowth of the arts of the Barid Shahi court, where similar decorative arabesques can be found in the stucco, stone, and tile work of its 16th century palaces. Furthermore, the visual effect of a light inlay on a dark ground is seen in the brass inlay of a Barid Shahi cannon at Kalyana. After the 17th Century, the Mughal dominion in Deccan India increased, and Bidriware evolved to reflect so. Traces of Mughal art, architecture, and manners became evident in Bidriware. The influence of Deccani and Mughal architecture can be seen most distinctly in the domes of Bidriware. The ogival (tapering) arches on the Bidri ewer’s neck are essentially Deccani architectural elements while the wide arches on the ewer’s spout are Mughal influenced. The shape of the Bidri incense stand is representative of the 14th and 15th century tombs of Bahmani rulers in Gulbarga and Bidar.

Inlay work on a 17th century cannon at Bidar Fort

Bidri is the art of encrusting a metal surface with ornate designs and wedging silver or gold into those grooves, followed by an oxidation process of the metal object to create the striking contrast of the wedged design against the black background. Bidri was once imbibed in the lives of patrons, surpassing mere utilitarian functions and serving as symbols of opulence and status. Bidriware was also traditionally considered as a prestigious gift, specifically in the Muslim community where gifting an entire Bidri set including bed posts and spittoons, to the family of a bridegroom was common practice. Added to its social implications, Bidriware is also durable and does not rust. Its popularity was further propagated by the belief that the alloy used to make Bidriware added medicinal properties to the liquids stored within.

Bidriware products have ornate designs with silver or gold inlay on black metal

The Middle East

The art form is believed to have been inspired by the ornate utlitaran objects used by the Persians.

Ajmer

Abdullah Bin Kaiser, an expert in Bidri ware, migrated from Ajmer to Bijapur.

Bidar

Bijapur Sivanna, a local carpenter and the ďż˝irst Indian to learn the craft was invited to Bidar.

Alauddin Ahmed Shah Wali, the Bahmani ruler who made Bidar his capital, extended full patronage to Bidri Art.

THE BIDRI ROUTE

The road to Bidar was a long and winding one, but once the craft arrived, there was no turning back. After being introduced in Bidar, the craft became hugely popular amongst the upper class and it spread through the country. Kingdoms doing well for themselves became patrons of this craft. Elitists everywhere adopted the craft, and added to it their own style and flavour.

Although most Indian crafts fall under the expertise of a single caste, with the tricks of the trade being passed down to the craftsman’s own kin, Bidri seems to have transcended these boundaries. Although a majority of the craftsmen were Muslim or Lingayat, patrons from any caste could learn the craft, should they choose to.It comes as no surprise that Bidriware was almost entirely reserved for the upper class, as Bidar suffered an apparent lack of zinc – an essential ingredient. The Zanwar mines, located to the south of Jaipur, Rajasthan, were historically the source of zinc for Bidri craftsmen in Bidar. With added transportation costs, the final product was an expensive indulgence, affordable only to the crème de la crème of the economic ladder.

Bidriware was also traditionally considered as a prestigious gift

Bidriware has evolved over time from traditional and motifs (Left) to improvisations to cater to the expanding market (Right)

As far as Bidriware is concerned, the start, the finish, and everything in between is a work of art in itself. Completed in five stages, Bidriware is an intricate procedure accomplished by human deftness, with little to no mechanical intervention.

Modern Bidri products have evolved to meet contemporary needs 40

CASTING

To begin with, a paste made of good quality clay or fine dust mixed with cow dung is put on a rude lathe and is allowed to dry, after which it is handled to form the required shape. The surface is made even and smooth by adding a layer of wax and oil boiled together, and is then worked on the lathe again. After adding and drying another layer of clay, the openings are bored in the mould, and baked in gentle heat. The heat also serves the purpose of melting the wax which then runs out through the holes, leaving a vacant space inside. A molten alloy of zinc and a small portion of copper is poured in, which cools to form the vessel.

Designing

Bidri isnâ&#x20AC;&#x2122;t quite itself without the colour black, which comes as a result of the metallic surface being dipped into a copper sulphate solution. The craftsman can now engrave patterns on the surface with his stylus.

Inlaying

The designs are then brought to life by inlaying silver, although gold and copper have also been used in the past. The chiselled grooves in the vessel are hammered into with fine silver wires filling up the crevices. This is the most effective method for geometrical designs, while, the floral arabesques and intricate leaf patterns are inlaid with silver metal sheet instead. After this the surface of the object is smoothened.

Blackening

The next stage involves sealing the blackness of the surface to preserve the dark contrast against the silver. This is where an intriguing factor comes into play â&#x20AC;&#x201C; Bidarâ&#x20AC;&#x2122;s soil. Although no one can quite put a finger on exactly what is special about it, some artisans feel that the soil is away from the sunlight and rain for years, and therefore has great oxidising properties. Others believe that the part of the fort from where soil is brought was a mine and therefore metal extracts in the soil make it unique. Either way, the earth used in Bidri is considered to be of utmost importance. Equally important, and rather peculiar, is the art of testing the mud, which is done by the artisans, who taste it to decide whether they use it or not. This soil when mixed with ammonium chloride and water produces an elixir that works its magic when the product is dipped into it. Darkening the body of the product but leaving the inlayed silver wires in their shining glory, the solution

Polishing

The craftsman then works wonders with his hands one last time, as he rubs the object with a small dose of groundnut or coconut oil mixed with charcoal powder. Smearing the paste on with his thumb, or using a small cloth, he gently scours it several times until his handiwork is reaches full glory â&#x20AC;&#x201C; glazed and brilliant.

Bidriware is an intricate procedure accomplished by human deftness

The craft of Bidri enjoys the benefit of years of influence from Deccani and Mughal styles. The many permutations of the two styles, fused with constant local influence, has given the products produced in Bidar a distinct flavour. The Decanni Sultans and local noble-men before the 17th century had a clear liking for Chinese and Persian porcelain objects which reflected in the Bidriware of the time. Shapes of the Bidri objects were largely fashioned after Middle Eastern utility objects. Patterns in Bidriware also mirrored Middle Eastern motifs. The designs were an amalgamation of Turkish, Persian, Arabic and local influences. Motifs that often adorned the surface of Bidriware were quintessentially Middle Eastern, including flowers, creepers and geometric designs. Many of the geometrical deigns can be traced back to Egypt via Persia like the lines, dots, spirals and figures in profile

views. Feather design borders, akin to those on Egyptian mummy cases are also common. However, unlike Egypt, perfect circles rarely made an appearance in Bidriware. Closer to home, local influences on the craft stemmed first from the craftsman himself, whose caste played a major role in design. In a craft largely influenced by Islamic and arabesque styles, Hindu craftsmen and patrons often preferred designs of the Swastika, lotus and human forms amongst others. Islamic craftsmen exerted their own influence as well, extending to calligraphy, where verses from the Koran are used to embellish an article. However, not all design choices came from the craftsmen, as the exquisite Arabic calligraphy used for decorating some cups is thought to have been provided to the artisan by a calligrapher. Some say that the fine quality of figural compositions and elegant calligraphy used on some objects were simply beyond the skill of a Bidri craftsmen. Perhaps the most distinctive Deccani quality in Bidriware is the extensive use of the colour black. On the contrary the colour was reserved exclusively for funeral purposes by the Mughals. While it was unthinkable for the elite and lavish Mughals to prize objects made from a humble zinc alloy, their Deccani counterparts seem to have held them in high esteem.

The influence of Mughal architectural elements in Bidriware is evident

Arabesque motifs, especially along floral themes have had their sway on Bidri designs

Naturalistic flowering plants growing at well-spaced intervals paint an image of Mughal decoration, with traditional design still being very popular. Laljungle, the intricate pattern of leaves and flowers which is reminiscent of the background of the frescoes in Ajanta, finds a parallel in Himroo work. Phool Jadi, another design, showcases closely clustered stars. During the early 18th century, the popular Mughal flowering plant motif was joined by different types of floral buds and floral border, which were only then making their first appearances. From about 1740, the legendary ‘Mughal poppy flower motif’ started to make to the surface of Bidriware, wherein the flowering plants are well spaced and executed in tehnishan-work. Bidri designs also varied greatly from centre to centre, with the popular ‘Mahi Pusht’ fish scale motif emerging out of Lucknow. Influenced by the insignia of the Awadh kings, the motif stands testament to the immense influence local culture had on the craft. Another major influx of cultural influence arrived when the British and French did. While none of the colonizers sought to consciously

change Bidri designs, craftsmen and their work both evolved to cater to the needs of their new foreign customers. The existent Persian sway was now fused with European patterns. Circular flowers with five petals in decorative creepers was a common motif of Persian origin. The flowers now evolved to take on the shape of lion heads. 18th century Bidri huqqas, designed in the zarbuland technique, are known to have featured this element. This is possibly indicative of the French influence, with the new design being influenced by the French emblem. The change can be seen not only in the designs but also in the product range. Products like cigar boxes, ashtrays, cufflinks, dress studs, fruit bowls, tie pins, matchbox cases, etc. were appended to the range of products. By the early 19th century, the silver sheets used for inlay had become thin and decorative motifs repetitive. Bidri designs lost their earlier naturalism and took on a more formal appearance. The shape of buds died out to turn into the ‘paisley design’, generally worked in tarkashi-work. Today, the major changes in the craft are because of the fast, convenient lifestyle and the reluctance of the masses to spend a lot on traditional crafts. This has led to development of designs that use less silver and are cost effective. The product range has changed from cumbersome utilitarian objects to card holders, ash trays, wall frames, show-pieces, jewellery, sherwani buttons, jewellery boxes, etc.

o f

t e c h n iq u es o r n a m e n tat i o n

Tarkashi

Bidri objects made only with silver wire inlay.

Mahtabi / Aftabi

Bidri work done using silver sheets.

Zarnishan SIlver inlay is in low relief

Zarbuland SIlver inlay is in high relief

Tehnishan

Sivler inlay looks ďż˝lush with the surface of the object.

The cross motif is a common repeating pattern used in modern Bidriware

Although Bidri objects are heavy and fragile, some products found their way into daily use. 17th century portraits of rulers and noblemen are proof that Bidri huqqas were commonplace. Buying trays, base rings and chillams (fire cups) to complete the huqqa set itself ensured that production remained high. Fast forward to the present, where even standard sized vases and decanters can cost a small fortune, and itâ&#x20AC;&#x2122;s not hard to understand why traditional Bidriware has few takers left. However, it is far from the end of the road for Bidri, as the traditional art is now diversifying to find a foothold in the modern market. Bidri is now a path of revival; with innovative designs and new patterns, the

craft is slowly but steadily gaining traction as a home and lifestyle accessory in both the Indian and international markets. New range from jewellery, USB drive covers, lampshades, and even floor tiles. Much like the huqqas of the 17th century, craftsmen have now found a new money-maker in office sets for corporate companies with an abundance of bulk orders for gifting. Trinkets like key chains, cufflinks, bangles and earrings at lower price points ensure that everyone can afford to own a piece of this age-old craft. The largest revolution however, has been the entrance of Bidriware into the e-commerce sector. The Internet is now doing to Bidri artisans what the governments or civil society organizations could not do all these years. Various websites â&#x20AC;&#x201C; both government and privately run, carry details of the art pieces including photographs of varieties and prices. Removing the middleman out of the equation ensures that the craftsmen get their dues. Although online sales are still at a nascent stage, there is scope for growth and development in the area. Today, Bidriware is not quite near the position of glory that it deserves, but it is surely headed in the right direction.

(Left) Bidris are and were always pieces of fine art rather than folk art. (Right) Bidri huqqas were the most widely produced product among 17th century rulers and noblemen

(Left) Bidriware is now also available in varied product categories such as bangles and trinkets to cater to younger buyers

FOR FURTHER READING BOOKS • Lal K. (2011). ‘BIDRI WARE’. New Delhi: The National Museum.

• Haidar N., & Sardar M. (2015). ‘Sultans of Deccan India’. New York: Metropol-itan Museum of Art. • Mittal J. (2011) ‘ Bidri Ware and Damascene Work’ Hyderabad: Kala Jyoti Process Pvt. Ltd. • Chattopadhyay K. (1985) ‘The Glory of Indian Handicrafts’ New Delhi: Clar-ion Books

INTERNET • Pore J. (2015). ‘Of soil and silver: Bidri metal inlay craft from Bidar Karnataka’. [Internet]. Available from: https://blog.jaypore.com/2015/06/08/of-soil-and-silver-bidri-metal-inlay-craft-frombidarkarnataka/ [Accessed on: 9th September, 2016] • Express Features. (17th June, 2011) ‘Keeping Bidri Alive’. The Indian Express. [Internet]. Available from: http://www.newindianexpress.com/cit-ies/hyderabad/article439138.ece? service=print [Accessed on: 9th Septem-ber 2016]

• ‘Bidriware’. Wikipedia. [Internet]. Available from: https://en.wikipedia.org/wiki/Bidriware#Origins [Accessed on: 9th Sep 2016] • ‘Bidri/ Inlay on metal’. Craft Revival. [Internet]. Available from: http://www. craftrevival.org/ CraftArt.asp?CountryCode=india&CraftCode=002797 [Accessed on: 9th Sep 2016] • Agarwal D. P., & Dashila G.S. ‘Technology of Medieval Crafts: Bidri Ware’.[Internet]. Available from: http://www.infinityfoundation.com/mandala/t_ es/t_es_agraw_crafts_frameset.htm [Accessed on: 9th Sep 2016] • Bonhams Auction. [Internet]. Available from: http://www.bonhams.com/auctions/22813/ lot/231/ [Accessed on: 12th September, 2016]

• Desai R. (2012) ‘Things are looking up for Bidriware artisans’. The Hindu.[Internet]. Available from: http://www.thehindu.com/news/national/kar-nataka/things-are-looking-up-for-bidriwareartisans/article3353608.ece [Accessed on: 9th September, 2016] • Desai R. (2013) ‘Bidriware finds remunerative process on the internet’. The Hindu. [Internet]. Available from: http://www.thehindu.com/news/nation-al/karnataka/bidriware-findsremunerativeprices-on-the-internet/arti-cle5061802.ece [Accessed on: 9th September, 2016] • Singhania V. ‘In Fashion Focus: Arts and Crafts in Bidar’ [Internet]. Available from: http:// www.goheritagerun.com/in-fashion-focus-art-crafts-in-bidar/[Accessed on: 12th September, 2016] • ‘Proving their mettle in metal craft’. The Times of India. [Internet]. Available from: http:// timesofindia.indiatimes.com/city/hyderabad/Proving-their-mettle-in-metal-craft/ articleshow/11332582.cms [Accessed on: 12th Sep-tember, 2016]

• Bidri Handicraft [Internet]. Available from: http://bidrihandicraft.com/index.php [Accessed on: 12th September, 2016]

• Cauvery Handicrafts Emporium. [Internet]. Available from: http://www. cauveryhandicrafts.net/ pages/bidriware/pgid-146973.aspx [Accessed on: 14th September, 2016] • ‘Bidriware’. India-craft. [Internet] Available from: http://www.india-crafts. com/metal_work/ bidriware/ [Accessed on: 14th September, 2016] • Baral B. (2016). Bidri-ware-Hyderabad [Internet]. Available from: http://www.dsource.in/ resource/bidri-ware-hyderabad/tools-and-raw-materials [Accessed: 13 September 2016].

• Bidri Manufacturers [Internet]. Available from:http://bidrihandicraft.com/index.php? [Accessed: 13 September 2016]. • T.V Sivanandan (2012). Tracing the history of Bidriware [Internet]. Available from: http:// www.thehindu.com/todays-paper/tp-national/tp-karnataka/tracing-the-history-of-bidriware/ article2827019.ece [Accessed: 13 September 2016]. • Bidri/ Inlay on metal [Internet]. Available from: http://www.craftrevival. org/CraftArt.asp? CountryCode=india&CraftCode=002797 [Accessed: 13 September 2016].

• Bidri Ware [Internet]. Available from: https://www.britannica.com/art/Bidri-ware [Accessed: 13 September 2016]. • Bidri Work [Internet]. Available from: http://www.craftscouncilofindia.org/craft-process/bidri-work/#toggle-id-6 [Accessed: 13 September 2016].

• Pandey,A. (2016). BIDRI WARE: A UNIQUE METAL CRAFT OF INDIA [Internet]. Available from: http://granthaalayah.com/Articles/Vol4Iss3/19_ IJRG16_B03_27.pdf [Accessed: 13 September 2016]. • Culture Of Bidar [Internet]. Available from: http://www.yatra.com/in-dia-tourism/bidar/culture [Accessed: 13 September 2016]. • Festivals and Events in Bidar [Internet]. Available from: http://jour-neymart.com/de/india/ karnataka/bidar/festivals/default.aspx [Accessed: 13 September 2016].

• Bidar Travel Guide [Internet]. Available from: https://www.goibibo.com/travel-guide/india/ destination-bidar/ [Accessed: 13 September 2016].

• Mukherjee, K. (2016). Bidriware and Damascene Work in Jagdish and Kamla Mittal Museum of IndianArt:Book Review [Internet]. Available from: http://www.artnewsnviews.com/view-article.php? article=bidriware-and-dam-ascene-work-in-jagdish-and-kamla-mittal-museum-of-indianart& i-id=23&articleid=607 [Accessed: 13 September 2016].