TALES OF
TAMBAT 1
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TALES OF TAMBAT The heritage copper vessels craft of Pune
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Copyright Š NID 2017 - 2018 Student document Publication, meant for private circulation only. Written, edited, illustrated and photographed by: Anuja Thanawala, Azba Khan and Kavita Varier M.Des | Lifestyle Accessory Design | Batch 2016 All photographs and illustrations used in this document are copyrighted by respective people and organizations. All rights reserved under International Copyright Š 2018 convention. No part of this document may be reproduced or transmitted in any form by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without the written permission from the authors and National Institute of Design, India. Published in 2018 Processed at National Institute of Design, PG Campus, Gandhinagar, India Digitally Printed at Mumbai, India. 4
TALES OF TAMBAT The heritage copper vessels craft of Pune
Documented by: Anuja Thanawala | Azba Khan | Kavita Varier Lifestyle Accessory Design, Batch 2016 Period of Documentation: 16 Dec 2017 - 22 Dec 2017 Guide: Ms. Krishna Amin-Patel
PG Campus, Gandhinagar- 382007
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Acknowledgement
We would like to thank Ms. Krishna Amin-Patel for her timely support and guidance throughout the course of craft documentation, right from research and planning to editing and final publishing of the document. We would also like to thank Mr. Amresh Panigrahi for providing us with an opportunity to undertake such a project. We would like to express our heartfelt gratitude towards Mr. Balasaheb Dakve (President - Tambat Association) as well as all the craftspersons for welcoming us into their homes along with their workspace and permitting us to take a peek into their life and culture. The friendliness of the artisans, their families and the shop owners made us feel at ease. Their cooperation has been key to us in understanding the craft and discovering many new insights about it, the community and the region. A special thanks to Mr. Sudhanva Hari Ranade (Director - Raja Dinkar Kelkar Museum, Pune), Mrs. Supriya Goturkar-Mahabaleshwarkar (Co-ordinator - INTACH Pune chapter), Sudakshina Sinha Banerjee (Head of Marketing Outreach - Coppre Studio, Pune) and Rashmi Ranade (Founder and Lead Designer - Coppre Studio, Pune) who took out time from their busy schedule to share their knowledge and experiences about the history of Pune city and Tambat/ copperware craft with us. We would also like to express deep appreciation to our families, friends and colleagues for providing us constant encouragement and support, without whom this would never have been possible. The completion of this undertaking was possible with the support, participation and assistance of many.
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Preface
National Institute of Design strongly believes that each designer should be sensitized to the rich culture of our country. The information compiled in this document adheres to the guidelines set by this reputed institute. We believe that it will serve as a refernce for further design and development to researchers and designers. India is a land of many crafts and cultures, some of them sadly on the brink of extinction. There are few families and counted members who are carrying their tradition forward. Documenting the crafts in their pure state from the first hand sources can be a valuable resource for the future. While going through the book, ‘Handmade in India’ by editors MP Ranjan and Aditi Ranjan (Date of publication) we got introduced to this craft. The book has condensed information about all the crafts of India and is categorized based on the location where it is practiced. We had been introduced to copper objects from this craft in our childhood and had seen these objects vaguely. This opportunity intrigued our curiosity to go and find out the details of this nearly 400 year old traditional art of making copperware. When we found that the craft hasn’t been documented since a long time, it became the motivation of our research followed by a direct interaction on site for about one week from 16 Dec 2017 to 22 Dec 2017. The field research involved interviewing different people, getting to know their stories, process of the craft and materials used; thus also understanding the change the craft has undergone over the years. Research was also done by visiting Raja Dinkar Kelkar Museum and Mahatama Phule Museum in Pune city, reading reference books and other forms of digital archives. We thus, share with you the research and observations made at Tambat Aali/ copperware precinct, about the traditional craft practice of Tambat Kaam, which directly translates as copper making practiced by a community of Twashta kansars/ coppersmiths settled in Pune, Maharashtra, India.
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Introduction
TAMBAT/ Copperware The name ‘Tambat’/ Copperware comes from the Marathi word ‘Tamba’ for the metal ‘Copper’. These group of tambatkars came into recognition 400 years ago during the reign of the Peshwa in Pune. Originally, from the Konkan region they were a part of an old social system known as the ‘Bara Balutedars’ and their role was to fulfill the religious, economic and military needs of the Peshwa Kingdom. Right from copper coins and coronation paraphernalia to military weapons, they served the royal family incessantly. Today, their role has changed to making copper utensils of daily use or religious objects and other copperware like pots and show pieces. Continuing this age old tradition now is a small bunch of artisans in the heart of Pune city who make these objects by hand and decorate with a typical mosaic beaten metal technique called ‘Mathaarkaam’. We witnessed the 7th generation of tambatkars/ copper artisans and documented a detailed study of the history of this craft, its people and their place of work.
Note to the Reader • For the sake of understanding and ease in pronunciation, the words in Marathi and Hindi have been transliterated to English and are in italics, followed by the closest translation of their meaning in English. • Terms for specific elements and tools of the craft have been recorded, as stated by the craftspersons, and have been attempted to be used consistently throughout the document. • All the illustrations of the tools have been scaled to centimeters unless specified otherwise. They are meant to convey the general understanding of the proportions. The size of the objects presented are according to the observations made during the field visit. However, the actual size and proportions of the tools in general may vary based on different karigar’s/ artisan’s style of working and their ergonomic needs.
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Contents
01 ABOUT PUNE
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1.1 Pune 1.2 Historical Timeline 1.3 Historical Places of Importance 1.4 Geography of Pune
02 PEOPLE & THEIR LIFESTYLE
13-18
2.1 Demographics of Pune 2.2 Culture of Pune
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03 CRAFTS OF THE REGION
19-24
3.1 Crafts of Maharashtra 3.2 Crafts of Pune 3.3 Regional Crafts in Detail
04 ORIGIN OF THE TAMBATS
3 4 6 9
21 21 23
4.1 Importance of Copper in India 4.2 Twashta Kansars History 4.3 Tambats of Maharashtra
25-32 27 28 31
05 PUNERI PETHS
33-38
5.1 Peths of Pune 5.2 Kasba Peth
06 TAMBAT AALI
35 37
39-44
6.1 Tambat Cluster of Pune 6.2 The Tambat Aali 6.3 The Bakhal
07 THE TAMBATS
41 42 43
45-56
7.1 The Tambat Community in Pune 7.2 Meeting the Tambat Artisans 7.3 Women in the Tambat Craft 7.4 Beliefs & Rituals of the Tambats
08 PRODUCTS 8.1 Tambat Products 8.2 Classification of Products
48 49 55 56
57-62 59 59
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09 MATERIALS FOR THE CRAFT 9.1 Primary Materials 9.2 Secondary Materials 9.3 Tertiary Materials
10 TOOLS & EQUIPMENT 10.1 Tools 10.2 Equipment 10.3 Storage 10.4 Maintenance & Repair
11 CREATION PROCESS 11.1 Process of making copper vessels 11.2 Introduction to Bumba
63-68 65 66 68
69-84 71 78 83 84
11.3 Anatomy of the Bumba 11.4 Making of the Bumba
12 MARKET
89 90
109-114
12.1 Local Market 12.2 The Change Makers 12.3 International Market
111 113 113
13 SCENARIO OF TAMBAT CRAFT TODAY
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CONCLUSION
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85-108 87 88
BIBLIOGRAPHY
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01 ABOUT PUNE
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01 About Pune 1.1 PUNE Pune is a district in the state of Maharashtra. The city of Pune is the second largest in the state and eighth largest in India (Government of Maharashtra, 2018).
developing as a noteworthy manufacturing area. The city has likewise observed further development in the advanced education segment during this period.
The city of Pune has a strong historical presence and hence is the cultural capital of Maharashtra (Government of Maharashtra, 2018). The Marathas reigned over the region during the seventeenth and eighteenth centuries and eventually became a significant part of the history of Maharashtra. During the eighteenth century Pune was made the capital of the Maratha Empire After the fall of the Peshwa/ de facto Maratha leaders’ rule in 1818, the new British rulers made the city one of their significant army base. Before the British tookover, the city existed towards the east bank of the Mutha River. From that point forward the city developed on both the sides of the river. In the nineteenth and mid twentieth century, Pune was considered by the British as the focal point of political agitation against their rule. (Kulthe, 2011) (Fig 1.1) Lamp post on Shivaji Bridge, an element of history beautifully merged with the present Pune Image Source: http://chinmay-datar.blogspot. com/2013/10/a-structuredand-chronological-study-of. html
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The city populace and territory grew quickly after the Indian independence in 1947. The flood of 1961 brought about loss of housing on the river bank and the ensuing housing of the destitute into new suburbs. The post-independence period saw Pune region
Fig 1.1
1.2 HISTORICAL TIMELINE Shivaji assumed control over the charge of Pune after Dadoji’s demise in 1647. The city at that point was effectively attacked and taken over by no less than two Mughal authorities, Shahista Khan and Mirza Raja Jai Singh, in spite of Shivaji’s presence. During his stay in Pune, Shaista Khan established the Mangalwar Peth (1622) and furthermore made the city his military central station. The city of Pune was relatively overlooked after Shivaji moved his central command to fortified Raigad in 1674. (Virtualpune.com, 2005). After Shivaji’s demise in 1680, the administration of the city passed on to Mughals. Ruler Aurangazeb, to check the Maratha control which brought about a long war, spreading over more than two long decades in Pune amid the storms of 1703 (Virtualpune.com, 2005). The Emperor named his Pune settlement Muhiyabad, in the memory of one of his grandsons who passed away here in 1690, which came to be known as Budhwar Peth in the contemporary Pune. Dhanaji Jadhav, a strong general of Queen Tarabai won the control of Pune from the Mughals after the passing of Aurangazeb. Accessible archives demonstrate that Balaji Vishwanath, who turned into the principal Peshwa / de facto leader of the Maratha Empire, was the subhedar / a historical rank in the Indian Army of the Pune prant /area, in 1699 while the city was still under double control - the two Marathas and Mughals. Balaji Vishwanath passed on in 1721, and was succeeded by his child - Peshwa Bajirao I, who led the Maratha reign for around two decades. Peshwa Bajirao I picked Pune to be the capital of the then reigning Maratha Empire. This was the period of the eighteenth century when the seeds were sown letting Pune possess a pleased position as the focal phase of socio-political exercises in the nation. (Virtualpune.com, 2005)
Fig 1.2
Bapuji Shripat, a general of Bajirao I influenced numerous rich trading families to settle in Pune who were given grounds by leveling the old city wall, along the stream bank in 1728. The city at that point was divided in 18 Peths / localities. Numerous educational insititutes and commercial centers prospered in the then city of Pune, many of them are still thriving. (Virtualpune.com, 2005) Peshwa Bajirao I developed the marvelous Shaniwar Wada (1729-1736), built Omkareshwar and Amruteshwar temples. Balaji, child of Bajirao, built the Parvati lake and the temple. The city extended with Nageshwar temple and Tulshi Baug. Raviwar Peth, as well, was established amid this period by
(Fig 1.2) Map of the Maratha Empire Image Source Charles Colbeck - The Public Schools Historical Atlas by Charles Colbeck. Longmans, Green; New York; London; Bombay. 1905.
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Mahajan Vevhare Joshi. Guruwar, Sadashiv and Shaniwar Peths and a couple of gardens were likewise constructed during this period (1740-1761). In 1764 the Kotwali, corresponding to modern day police, was established in Pune. The Maratha control endured a deadly lashing at Panipat, in 1761. Peshwa Balaji died of extreme shock and was survived by child Madhavrao. The disturbance at the Maratha court gave way to Nizam Aali of Hyderabad to attack Pune. However, within a decade, Madhavrao could regain the lost radiance of Pune. The Somwar Peth was built during this time. Madhavrao had proposed to divide the city, however this idea was opposed by Maratha lord Chhatrapati Shahu. Madhavrao’s death marked the start of inner strife in the Peshwa family, which ended up in tragic murder of the young Peshwa Narayanrao. The two decades of eighteenth century saw ascent of Nana Phadanavis, who successfully ruled the area as the official of the young Peshwa Sawai Madhavrao. Nana Peth was established by Nana Phadanavis for discount grain vendors in 1791. Ganesh Peth, Narayan Peth and Bhavani Peth were additionally established in the most recent decade of eighteenth century. (Virtualpune.com, 2005)
(Fig 1.3) Kirkee War Cemetery Image Source: https://www.flickr.com/ photos/joezach/57985053/
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The death of Madhavrao was the flag for the fall of the Peshwa control. The four capable leaders of the Peshwas - Scindias, Holkars, Gaikwads and Bhosles, sufficiently increased force to destabilize the Peshwa power. In 1802, Yashwantrao Holkar marked the settlement of Bassin with the British, for the benefit of Bajirao II and from that point, the Marathas went under the British power. The last Anglo-Maratha war saw the annihilation and testimony of Peshwa Bajirao II. The unequivocal battle of Kirkee was battled on the fields of Bhamburda and Pune went under the British power. (Virtualpune.com, 2005)
British rule The Third Anglo-Maratha War broke out between the Marathas and the British East India Company in 1817. The Peshwas were crushed at the Battle of Khadki (at that point spelled Kirkee) on 5 November nearby Pune and the city was seized by the British. It was set under the organization of the Bombay Presidency and the British assembled a vast military cantonment toward the east of the city (now utilized by the Indian Army). The Southern Command of the Indian Army was built up in 1895 and has its central station in Pune cantonment. The city was known as Poona amid British reign. Poona Municipality was set up in 1858. A railroad line from Bombay to the city opened in 1858, kept running by the Great Indian Peninsula Railway (GIPR). (Gazetteer of the Bombay Presidency, 1885)
Fig 1.3
1.3 HISTORICAL PLACES OF IMPORTANCE Shaniwarvada It was the royal residence of the Peshwas since the eighteenth century C.E. The development began on a Saturday, thus the name Shaniwarwada was given to the royal residence. Begun by Bajirao I on 10th January 1730 C.E. the landmark was finished in 1732. Spread on more than 625 sections of land, it was essentially a living arrangement for the Peshwa/ de
Fig 1.4
facto Maratha leader . It is an intensely fortified building complex with nine bastions and five doors. The 21ft tall principle passage of the complex faces North i.e. towards Delhi and henceforth is named as the Delhi Darvaja /Gate. Numerous increments were made to the first arrangement of the royal residence since its development. In the last stage the royal residence was a seven storied building with four huge and numerous smaller yards. The royal residence comprised of choice fountains and various gardens. In any case, the most critical is the sixteen petal lotus framed fountain called the Hazaari Kaaranja /fountain of a thousand jets. In 1828 the vast majority of the structures were pulverized in a staggering flame. What remains today are just the plinth and the encompassing dividers recounting the guests the tale of the eminence that Shaniwarwada experienced quite a long time ago. (Mapsofindia. com, 2011) Today the royal residence remains in the core of the city and the region around it has been developed such that programmes can be carried out in the courtyard of this heavenly fortress castle and individuals can appreciate them. A gigantic statue of Peshwa Bajirao I is likewise raised in the yard. The Pune Municipal Corporation has begun a sound and light show in an outside amphitheater in the royal residence grounds of Shaniwarwada. (Mapsofindia. com, 2011) Lal Mahal Lal Mahal, as the name proposes, is a red block building situated at Pune. It is an important monument as it was constructed by Dadaji Konddev in 1640, two years after he had taken over the responsibility for the city from the Adilshahi Sultans. Konddev brought Shivaji and his significant other up there, and after that constructed this castle.
(Fig 1.4) Front view of Shaniwarvada Image Source: http://www.thehindu.com/ once-a-fort-residence-of-thepeshwas-now-a-landmark-thatspells-history/article21377766. ece (Fig 1.5) Front view of Lal Mahal Image Source: https://indiaheritagesites. wordpress.com/2013/09/12/ shivajis-childhood-palace-lalmahal/
Fig 1.5
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The Pune Municipal Corporation had renovated this Mahal in the year 1988. In its present revamped symbol, this radiant Lal Mahal resembles a sandstone red palace, than a customary Wada. This glorious structure is next to Shaniwarwada. Numerous pictorial portrayals of various episodes from Shivaji Maharaj’s life could be seen on the walls of this royal residence which attracts a lot of travelers. (Singh, 2013) Nana Wada It was built in 1780 by Nana Phadnavis, Peshwa’s chief executive and accounting officer. Currently, the wada / mansion is under restoration process but one can find the wooden ceiling, arches, cypressshaped pillars, motifs of banana-flower here. Nana Phadnavis built this for himself and it is located to the south of Shaniwar Wada. One of the most remarkable forms of governance at that point of time included the ‘Diwankhana’ or the ‘hall of audience’. It is still intact in this mansion. (Deshpande, 2017)
Fig 1.7
Raja Dinkar Kelkar Museum This museum contains the collection of Dr. Dinkar G.
(Fig 1.6) A chess set on display (Fig 1.7) Drawing room in Nana Wada, abode of Nana Phadnavis image source: https://gogallivant.wordpress. com/ (Fig 1.8) Entrance to Dinkal Kelkar museum Fig 1.6
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Fig 1.8
Kelkar (1896– 1990), committed to the memory of his lone child, Raja. It was set up in 1962, and Dr. Kelkar gave his accumulated collection to the Government of Maharashtra in 1975. The exhibition hall currently holds more than 20,000 objects of which 2,500 are on display. These comprise the most beautiful things from regular day to day existence and other workmanship objects, for the most part from the 18th and 19th centuries. The abilities of the Indian artists of the time are portrayed by the collections on display. (Maharashtratourism. net, 2018)
Fig 1.9
Aga Khan Palace Sultan Muhammed Shah Aga Khan III built this palace in 1892 in Pune, India. The palace holds great significance due to the imprisonment of Mahatma Gandhi, his wife Kasturba Gandhi and his secretary Mahadev Desai lived in this palace from 9 August 1942 to 6 May 1944, following the launch of Quit India Movement. Kasturba Gandhi and Mahadev Desai died within the premises of this palace during their captivity. Later on memorials were constructed for Mahatma Gandhi and Kasturba Gandhi within the compound. (punediary.com, 2002) The intention behind the construction of the palace was to provide some form of employment to the villagers of the surrounding area, since they were struck by famine. Aga Khan III hence employed 1000 people and spent 12lakh Indian Rupee on it. The construction was completed in 5 years. (punediary. com, 2002) Several years later in 1969, the palace was donated to the public, by Aga Khan IV, as a token of respect and adoration for Mahatma Gandhi and his principles. The palace is now functioning as the headquarters of the Gandhi National Memorial Society. (punediary.com, 2002)
(Fig 1.9) View of Aga Khan Palace image source: https://www.flickr.com/photos/ djoheninde/2128909122/ (Fig 1.10) Gandhi’s ashes at the palace image source: https://en.wikipedia.org/wiki/ Aga_Khan_Palace#/media/ File:Gandhis_ashes.jpg
Fig 1.10
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1.4 GEOGRAPHY OF PUNE Pune District is in the western part of Maharashtra. It is bounded by Thane District to the northwest, Raigad District to the west, Satara District to the south, Solapur District to the southeast, and Ahmednagar District to the north and northeast. The landscape of Pune district is distributed triangularly in western Maharashtra at the foothills of the Sahyadri Mountains and is divided into three parts: Ghatmatha, Maval and Desh. The district is located between 17.5째 to 19.2째 North and 73.2째 to 75.1째 East. (Puneheritage.in, 2018) Pune city and the twin city Pimpri-Chinchwad are the major cities in the district. It is very hilly and raised area with lots of hill stations for tourist attractions. Pune is located very near to the Koyna Dam and is rated as damage zone IV by the India Meteorological Department. This makes it a highly earthquake prone city. Because of the presence of numerous structured slopes and hills inside Pune district, the tremors occur. Fault lines are scattered all through the region and these territories are minor earthquake prone regions. Little south-west side segments of the talukas of Bhor and Velha fall under risk zone-IV, which is high damage risk zone. The rest of the district falls under zone III, which is a moderate damage risk zone. (Rashtriya Krishi Vikas Yojna (RKVY), 2013)
Fig 1.11
(Fig 1.11) Map of India with state boundaries Image Source: http://d-maps.com
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All the rivers in the district either meet Bhima or its tributaries, since Bhima rises in the Sahyadri mountains. They are Pushpavati, Krushnavati, Kukadi river, Meena, Ghod River, Bhama, Andhra, Indrayani river, Pavna River, Mula river, Mutha river, Ambi, Mose, Shivganga, Kanandi, Gunjavni, Welvandi river, Nira river, Karha river, and Velu. (Rashtriya Krishi Vikas Yojna (RKVY), 2013).
(Fig 1.12) Map of Maharashtra with district boundaries Image Source: http://d-maps.com Fig 1.12
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Pune District Map
(Fig 1.13) Map of Pune district with taluka boundaries Image Source: https://www.mapsofindia.com/ maps/maharashtra/tehsil/ pune.html Fig 1.13
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District division Administratively the district is divided into 15 talukas and 13 Panchayat Samitis. These are Junnar taluka, Ambegaon taluka, Khed taluka, Maval taluka, Mulshi taluka, Velhe taluka, Bhor taluka, Haveli taluka, Purandar taluka, Pimpri-Chinchwad City tensil, Pune City, Indapur taluka, Daund taluka, Baramati taluka and Shirur taluka. Pune city is the administrative headquarters of the district. There are around 1,866 villages in the district. taluka There are 18 Vidhan Sabha constituencies in this district. These are Junnar, Ambegaon, Khed-Alandi, Maval, Mulshi, Haveli, Bopodi, Shivajinagar, Parvati (SC), Kasba Peth, Bhvani Peth, Pune Cantonment, Shirur, Daund, Indapur, Baramati, Purandhar and Bhor. The 4 Lok Sabha constituencies of the district are Pune, Baramati, Shirur and Maval. (IndiaNetzone, 2014) The Pune city is under Pune Municipal Corporation (PMC). There are total 149 elected councilors headed by the Mayor. According to Mapsofindia.com (2013), apart from PMC there are four more administrative bodies that are active with Pune Metropolitan Area • • • •
Pimpri-Chinchwad Municipal Corporation (PCMC) Pimpri-Chinchwad and its surroundings Khadki Cantonment Board (KCB) - Khadki Pune Cantonment Board (PCB) - Pune Cantonment Dehu Road Cantonment Board - Dehu Road area
Climate Pune has dry and tropical wet atmosphere. The normal temperature goes between 20 to 28°C. The area of Pune is influenced by seasons - monsoon, summer and winter. Owing to the geographical conditions within the district,the rainfall is unevenly distributed. The Western part of the district adjacent to the West coast is hilly area having forest cover, due to which the rainfall intensity is more in this area as compared to the eastern parts. Most of this rain is brought by the southwest monsoon winds during the summer and about 87% of rainfalls during the monsoon months. The monsoon arrives in the month of June, with the maximum intensity of rainfall during the month of July and August. (Rashtriya Krishi Vikas Yojna (RKVY), 2013) “Talukas falling in the highest rainfall intensity zone are Velha, Mulshi and Maval. Talukas falling in the moderate rainfall intensity zone are Bhor, Ambegaon, Junnar, Khed, Haveli, Pune city and Purandar. Talukas with lowest rainfall intensity, the dry and semi-arid zone are Shirur, Daund, Indapur and Baramati. April and May are the hottest months in the district. Maximum temperature during these months often rises above 38°C. The western region of Pune district is cool whereas the eastern part i.e. talukas Shirur, Daund, Baramati and Indapur are hot and dry. December and january are the coolest months, when average temperature falls as low as 11°C. (Ashlesha Ram, 2011).
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02 PEOPLE AND THEIR LIFESTYLE 14
02 People & their Lifestyle 2.1 DEMOGRAPHICS OF PUNE Home to individuals coming from different religions, districts, castes and ethnicities, Pune is really a cosmopolitan city. Inspite of the distinctions, the general population live in peace and concordance with each other. The foundation of different ventures and multi-national companies has added to the diversity. Different schools, colleges and establishments pull in individuals from everywhere throughout the nation.
Sex Ratio With regards to Sex Ratio in Pune, it stood at 915 per 1000 male compared to 2001 census figure of 919. In 2011 census, child sex ratio was 883 girls per 1000 boys (Census of India, 2011).
Population In 2011, Pune had populace of 9,429,408 of which male and female were 4,924,105 and 4,505,303 respectively (Census of India, 2011). In 2001 statistics, Pune had a populace of 7,232,555 of which males were 3,769,128 and rest 3,463,427 were females. Pune District populace constituted 8.39 percent of aggregate Maharashtra populace. In 2001 census, this figure for Pune District was at 7.47 percent of Maharashtra population (Census of India, 2001).
(Fig 2.1) Children waiting for their school bus
Literacy Average proficiency rate of Pune in 2011 were 86.15 contrasted with 80.45 of 2001. Gender wise, male and female literacy were 90.84 and 81.05 respectively (Census of India, 2011). For 2001 census, same figures stood at 88.34 and 71.89. Total literate in Pune District were 7,171,723 of which male and female were 3,940,210 and 3,231,513 respectively.
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Fig 2.1
Religion The social structure of the region is not different from rest of Maharashtra. Till Peshwa period the social system was much rigid which became gradually flexible after arrival of Britishers. “The society is composed of Hindu (47,53,854), Buddhist (2,60,002), Christians (92,894), Jains (71,712), Muslims (3,20,504), Sikh (17,263), Miscellaneous (7210) and there are 3093 persons who have not declared their religion. Out of the total population 11.41% persons belonged to scheduled castes, 6,31,063 persons, 2,16,336 belonged to scheduled tribes (3.91%), Neo Buddhists 20,874(0.50%). Pune region has people identified as Bene Israels (Jews), 2000 in strength. (Ashlesha Ram, 2011) 2.2 CULTURE Pune is the cultural capital of Maharashtra. Pune exemplifies an indigenous Marathi culture and ethos, in which education, arts and crafts, and theatres are given due prominence. It is the birthplace of the poet-saint Tukaram (in Dehu) and Jnaneshvara (in Alandi), the author of the well-known commentary ‘Jnaneshwari’,on the “Bhagavad Gita”. It is the home
of great freedom fighters like Bal Gangadhar Tilak, Agarkar and Gopal Krishna Gokhale. Jayant Narlikar, the famous contemporary scientist, is from Pune. It is the seat of North Indian Classical music. Annually, in the month of December, it hosts a three-night long cultural program of vocal and instrumental classical music, called “Savai-Gandharva”. Pune has been an example for the blending of the culture and heritage with modernisation and its side effects. (District Administration, 2018). Food The traditional cuisine of Pune consists of mild as well as spicy dishes. Wheat, rice, millets, lentils, vegetables and fruits are the staples in their diet (District Administration, 2018). An authentic Pune meal includes chapatis / plain wheat flatbread, Puran Poli / sweet flatbread made of pulses, Amti / soup made of pulses, rice, Thalipeeth / a multi-grain pancake and Alu chi Vadi/ sweet and spicy madder leaf rolls, steamed & fried.
(Fig 2.2) A typical Maharashtrian meal Image Source: http://www.madhurasrecipe. com/regional-recipe (Fig 2.3) Modak / rice dumplings Image Source: https://www.campustimespune. com/ganesh-chaturthi Fig 2.2
Fig 2.3
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For dessert there is Shrikhand / yogurt-based delicacy and Amras-puri / thick mango pulp with fried wheat flatbreads. In Pune, almost every auspicious occasion has a sweet delicacy as a part of the meal. The predominant use of some ingredients like rice, wheat, coconut and jaggery in these preparations since ancient times is not only associated with various sacred beliefs but primarily based on the staple produce in this region and their high nutritional values (Billimoria, 2015). While rice and wheat are sources of carbohydrates, jaggery is rich in iron. One such example is the modak/ rice dumpling. A mouth-watering delicacy, it takes years of practice to make it perfectly-shaped. This is a sweet stuffed dumpling either steamed or fried that has its origins in west and south India. The outer covering is made of rice flour and the stuffing with fresh coconut and jaggery. Considered as a favourite of Lord Ganesha, an offering of 21 modaks/ rice dumplings is made to him on the occasion of Ganesh Festival (Puneheritage.in, 2018). The number of distinct folds on the modak/ rice dumpling will determine the efficiency with which it has been made.
(Fig 2.4) Punekars celebrating Ganesh Festival Image Source: https://www. campustimespune.com/ ganesh-chaturthi-celebrationsin-pune/
Festivals Since Pune doesn’t have any religion or language bar, many Indian festivals - Diwali, Janmashtami, Navaratri, Dashahara, Holi, Rakshabandhan, Christmas, Id etc are celebrated there. A fair amount of enthusiasm can be witnessed during these celebrations throughout Pune. However Pune is quite known for its celebration of Ganesh festival till this day. Ganesh festival is the Hindu festival celebrated in honour of the God Ganesha / the elephant-headed, remover of obstacles and the god of beginnings and wisdom. The festival, also known as Vinayaka Chaturthi, is observed in the Hindu calendar month of Bhaadrapada, starting on the Shuklachaturthi / fourth day of waxing moon period. The date usually falls between 19 August and 20 September. The festival lasts for 10 days, ending on Anant
Language Since Pune is located in Maharashtra, the primary language of communication is Marathi, which is the official language of the state. Hindi is the second most used language and people in Pune can understand and converse in that language. (Ashlesha Ram, 2011) Since Pune is home to several students and youngsters from all over the country, English is also widely spoken amongst the youth residing in the city of Pune. People from other states who have settled in Pune, also speak their native languages.
17 | People & their Lifestyle | TALES OF TAMBAT
Fig 2.4
Chaturdashi /fourteenth day of the waxing moon period. The festival involves installing clay images of Ganesha in public pandals/ stages, which are worshipped for ten days with different variety of herbal leaves, plants and immersed at the end of the festival in water bodies along with the whole idol. (M Dhondappa, 2016). Clothing and Accessories The traditional dressing of men in Pune is a dhoti with a pheta /shirt. They also wear headdress, which is a folded cap of made of cotton, silk or woolen cloth. Traditionally, women wear nav-vaari / nine yards saree with a choli/ blouse. A typical Maharashtrian nath/ nose ring is an ornament worn by women on her nose at some special occasion such as wedding or a pooja /worship. It is woven with pearls & studded with pink or white stone in the middle. This design is very different from any other nosepin and is unique to Maharashtra. It completes the traditional Maharashtrian attire for women. (Maharashtra Tourism, 2018).
Fig 2.5
Occupation Pune is an industrial center but also has an agriculture based economy. It is an important IT Hub of India. Pune has many white collar professionals thanks to a large number of educational, research and training institutes spread throughout the city. A number of Sindhi and Punjabis are engaged mainly in business like Gujaratis and Marwadis. Muslims constituting of Sayids, Shaikhs, Mughals and Pathans are traditionally engaged in perfume, Bangle utensils, fireworks, tinsmith, Silk tassel twisting business. The Jews staying in the city are also involved in local businesses. (Ashlesha Ram, 2011). Pune has the seventh largest metropolitan economy and the sixth highest per capita income in the country (Haritas, 2018).
(Fig 2.5) Marathi woman in traditional Nauvari sari, India, 19th century Image Source: http://legrandcirque.tumblr. com/post/24821567108/ marathi-women-in-traditionalnauvari-sari-india
TALES OF TAMBAT | People & their Lifestyle | 18
19
03 CRAFTS OF THE REGION 20
03 Crafts of the Region 3.1 CRAFTS OF MAHARASHTRA Maharashtra has rich and proud history when it comes to the culture of handicrafts. The state is also known for its unique traditional Handloom textiles for example Pathani brocade that have existed for more than 200 years and yet follow the same patterns and weaving techniques. Rulers from different eras, encouraged new techniques and products from the skilled craftsmen. This has led to a strong influence of history in the crafts of the region. Until the 19th century handicrafts where an important segment of the state’s economy. (Maharashtra State Development Report, 2014) According to the Maharashtra State Development Report (2014), “Handicrafts are skill- specific and master craftsmen- specific. Traditionally occupation in crafts has been and still continues to be caste based. “ Since crafts are skill based, the ability of the craftsmen are evident on the products they create. Apart from the quality the quantity of work produced also depends on the ability of the craftsmen to work for long hours. All such reasons have caused the craft sector to be unorganised. The handicrafts sector began declining after the effect of industrial revolution. Quick and steady progress of Technology and machinery discouraged the craftsman carrying on with their traditional methods. (Maharashtra State Development Report, 2014) 21 | Crafts of the Region | TALES OF TAMBAT
Different categories of Maharashtra handicrafts: - Sawantwadi Crafts - Bidri Works - Leather Works - Weaving - Mashru and Himru - Ajanta Paintings - Warli Paintings - Jewelry making 3.2 CRAFTS OF PUNE The District Gazetteer of 1885 recorded the setting of about 55 different craft based communities in Pune city including sonars /goldsmiths, lohars / blacksmiths, koshtis /weavers, kasars /glass bangle makers, shimpis /tailors, vadars /stone workers, buruds /bamboo workers, lakheris /lac bangle makers, tambats /coppersmiths, kumbhars /potters, manyars /bead makers. Many of these are now extinct, but some still survive including the tambat craft, burud craft, pottery and Poona saree. Changing times, lack of pride and awareness towards local crafts, rapid urbanization are some issues faced by the crafts of Pune. Currently, the following crafts are seen being practiced in city of Pune - Textile: Hand embroidery - Leather: Footwear - Filigree and silverware
MADHYA PRADESH
CHHATTISGARH
GUJARAT
MAHARASHTRA
ANDHRA PRADESH
KARNATAKA
GOA Fig 3.1
(Fig 3.1) Map indicating crafts in Maharashtra image source: http://www.mospi.gov.in/sites/default/files/economic-census/sixth_economic_census/handicraft/Maharashtra.pdf
TALES OF TAMBAT | Crafts of the Region | 22
- Metalware - Pottery - Basket weaving 3.3 REGIONAL CRAFTS IN DETAIL
(Fig 3.2) Sawantwadi wooden fruits Image Source: http://www.dsource.in/ resource/wooden-toyssawantwadi/introduction (Fig 3.3) Bidriware Image Source: https://www.gounesco.com/ bidriware-metal-and-mud/
Sawantwadi Craft Lacqured wooden toy making is a craft followed in Sawantwadi. Basic raw smaterial used to make Sawantwadi wooden toys is Mango wood and Sivani wood. The toys are either made with turning machines or by assembling flat pieces. The coloring process is done using oil based colors. Various shades of colour powder is mixed with wood primer and applied on the toy using brush. Craftsmen also use spray guns to spray paint to finish the work faster. Thin paint brush is used in the end to add details and outlines on the toys. The parts of the toys are assembled using nails and hammer. Other accessories like plastic wheels, chains, threads, buttons and such embellishments are also fixed in the end nowadays. (Baral et al., 2018) Earlier a languishing trade, this art form was brought in the public eye, and more importantly to foreign tourists, by Princess Satwasheela Devi. Using traditional local talent more people have been trained and the palace has proved instrumental in the production of lovely lacquer-ware furniture, chess sets, board games, candlesticks, fruit and vegetables and little dolls — all beautifully made and coloured. However, the quality of the articles renders the items extremely expensive. (Rawat, 2014) Bidri ware The Bidri ware is an old craft that originated in Aurangabad and makes use of zinc and copper as raw materials. This art involves intricate work of silver in different ways such as brocaded, overlaid or inlaid
23 | Crafts of the Region | TALES OF TAMBAT
Fig 3.2
Fig 3.3
on metal surfaces. Presently this art is used to make decorative pieces that are sold as souvenirs.
Fig 3.4
Fig 3.5
Paithani Sarees Paithani is essentially a silk saree with an ornamented zari pallav and border and traditional motifs. The saree is often known by the motif that dominates its border. Its fabric is woven entirely on handlooms. It is a confluence of gorgeous colours and intricate designs. A simple tabby weave brings together two different coloured threads to achieve a dhoop-chhav effect. The otherwise plain Paithani is given its grandeur by its ornamental zari border and pallav. In the olden times the zari was drawn from gold. (Paithanisilk.com, 2015) A special feature of Paithani is that no mechanical means are used to produce the designs. Skilled weavers count the threads of the wrap for each part of the design and using tiny cloth pins or ‘tillies’, interlock the silk or gold yarn on the weft with them. The progress is slow. Sometimes only half an inch came be woven in a 12 hours. The price of such painstaking workmanship is high. It takes at least a month and a half to weave the simplest Paithani and from five to nine months to make the brocade one. (Paithanisilk.com, 2015) Mashru and Himru fabrics Mashru and Himru fabrics of Aurangabad are very famous. These fabrics are made of cotton and silk and are shiny. Earlier himroo weaving was entirely done on the double sided loom (locally called as the Pagar loom), Where minimum of two weavers were required, as a weaver and another to assist for interlacing the warp with the weft yarn. Many methods of fusing different materials like cotton with silk, cotton with artificial fibers and cotton with kela/ Banana silk were discovered due to the restriction of using pure silk. (Baral et al., 2018)
(Fig 3.4) Paithani saree Image Source: https://www.dnaindia.com/ mumbai/report-mumbaiwitnesses-paithani-art-weavedby-yeola-artist-2265744 (Fig 3.5) Himroo Shawl Image Source: http://www.dsource.in/ resource/himroo-weavingaurangabad-maharashtra/ introduction
TALES OF TAMBAT | Crafts of the Region | 24
25
04 ORIGIN OF THE TAMBATS 26
04 Origin of The Tambats The name ‘Tambat’ comes from the Marathi word ‘tamba’ for the metal copper. 4.1 IMPORTANCE OF COPPER IN INDIA
(Fig 4.1) Shivrai was a copper coin minted during the rule of Marathas and remained in circulation till the end of the 19th century, primarily in the Bombay Presidency region. Image Source: www.wikipedia.org/history_of_ copper (Fig 4.2) Copper plate inscriptions 8th century, Rakshakuta Dynasty. Image Source: www.wikipedia.org/history_of_ copper
India is a land of primordial tradition and cultural diversity. Historic evidences and archeological studies depict that copper mining in India is as old as its tradition. Ancient manuscripts references describe the different aspects of using copper and making it into lifestyle products. In ‘YajnyavalkyaSmriti’ text dated to between the 3rd to 5th-century CE, is mentioned “Agnau suvarnamaksheenam Rajate dwifalam sate, Ashtau trapuni sise cha, Tamre panchadasayasi”; this translates to : metals when strongly heated in fire the loss of gold is nill, where as in silver is 2%, tin 8%, lead 5%, copper 5% and iron 10%. In the chapters of ‘Rasaratna-Samuchaya’ and ‘Rasarnavam’ depict the mining method, details of alloys and proportions to make different mixtures of metals which is the clear evidence that ancient Indians were masters in metallurgy. Ayurvedic manuscripts like ‘Charaka Sanhita’ explain the medicinal value of copper and importance of using copper utensils in our daily lifestyle. Ayurveda describes three fundamental universal energies which regulate all natural process on both the macrocosmic and microcosmic levels. These three universal energies are known as ‘Tridoshas’ :- Vata, pita and Kapha. As per ayurveda copper has the
27 | Origin of thr Tambats | TALES OF TAMBAT
Fig 4.1
Fig 4.2
ability to balance these three doshas and it can be occurred by drinking ‘tamara jal’, the water is to be kept in a copper pot overnight or for eight hours. Copper also helps to prevent acidity and gastric issues; it is good to cleanse the stomach and also helps in losing weight. Copper is said to have antibacterial and anti-inflammatory properties and also strengthens the immune system which helps the body heal better. Copper also helps maintain cardiovascular health as well as regulates the blood pressure. Copper is known to be a brain stimulant which also has anticonvulsant properties, which are good for the brain growth. (www.wikipedia.org/history_of_copper, 2018) 4.2 TWASHTA KANSARS HISTORY Copper plate inscriptions dating from the 8th century, during the reign of Rakshakuta Dynasty of kings, refers to the region of Pune as ‘Punya Vishya’. Cultural heritage of coppersmiths in Maharashtra is also as old as its histrionic tradition and culture. In 1730 A.D. during the period of Peshwas was the golden era of coppersmiths in Maharashtra and they got exceptional opportunity to showcase and market their talents. The Peshwas welcomed the community as utensil makers and trained them for weponry. In Marathi copper is known as ‘Tamba’ and coppersmiths called as ‘tambat’. Heretofore the tambats were called as ‘Kasar’ which is derived from the Sanskrit word ‘Kansya’. Kasar is considered as one of the sons of Vishwakarma the Indian mythological architect who is also having the name ‘Twashta’, whose other sons were Maitha; the carpenter, Manu; the blacksmith, Daivadnya; the goldsmith, and the Patharvat; the sculptor. Hence the coppersmith community is known as ‘Twashta Kasar’. (www.wikipedia.org/twashta_kansar, 2018)
(Fig 4.3) A Maratha Peshwa and his ministers at Poonah, seen in the drawing being offered water in a copper vessel. Image Source: Drawing by : Edward Lear, 1730 AD www.edwardlearsociety.org Fig 4.3
TALES OF TAMBAT | Origin of thr Tambats | 28
Geographical Information The Twastha Kansars are found predominantly in the Konkan region of Maharashtra. They have a sizable population in Mumbai, Thane, Pune, Nasik, Dhule, Jalgaon, Akola, Songir, Chopda, Kolhapur and Goa. The Colonies of this community are named Tambat Aali. Their names usually carry their village identity and thus the surnames are like Nizampurkar, Vadhke, Kharolikar, Dakhve, Pimple, Kharve, Kharode etc. (Ref: Information taken from Gazette Of The Bombay Presidency, Vol.22 published in 1884) The Twashta Kansar Caste The Twashta Kansar, also known as Twashta Brahmin is a caste of coppersmiths (tamrakar), predominantly in the Indian state of Maharashtra. They are also known as Tambat or Twashta Brahman.
(Fig 4.4) Worship at the Shrine of Gauri at a temple in Poona from archives of Illustrated London News 1876. Image Source: www.britishnews paperarchive.co.uk
(Fig 4.5) Idol mask made of brass exhibitted at the Kelkar Museum in Pune.
The community claims descent from Twashta the third son of Vishwakarma, divine architect of the universe. Tambats are part of an age old social system known as ‘Bara Balutedars’ and these are the artisans working and dealing in utensils of copper, bronze and brass. Olden times were based on barter system where people would exchange good for goods or service. The twashta Kansar were also a part of system where the customer would go to the kansar and provide old utensil. Later on the coppersmith would reform the utensil according to the requirement and the artisan would get a bagful of grains as remuneration. The age old system has not changed as yet, except that the remuneration is paid in money. In Maharashtra the Twashta Kansar community can be seen in places like Thane, Colaba, Pune, Ratnagiri, Chiplun, Mahad and Roha. Traditions in the Twashta Kansar Caste The business of making and selling water pots of copper and brass is the hereditary business of this
29 | Origin of thr Tambats | TALES OF TAMBAT
Fig 4.4
Fig 4.5
community. Over time the artisans refocused their business on making fancy designer showpieces of copper and brass. The primary religion of Twashta Kansar is Hindu. The community worships Kalika as a guardian deity (Palak Devta). They have established “Twashta Kasar Samaj Samstha Kalika Mandir� in every city wherever they have a sizable population. The Samaj Samstha is a community center where they organize events. In Pune, the community has been celebrating Ganeshotsav since 1893. Twashta Kasar follow the brahmins rituals and possess brahminisitic gotras. They have a custom of Upanayana, a threading ceremony as a sanskar. Although konkani is their mother tongue, most of them converse in marathi. Traditionally, they are non-vegetarian.
Fig 4.6
The caste known in other languages in India : Hindi - Thathera, Kasera, Tamrakar Tamera, Vadhera,haryana, Tamta (Uttrakhand) Punjabi - thatheri, thathiyar Bangla - karmakar Marathi - twastha, tambat kasar Gujarati - kansara (Fig 4.6) Twashta Brahmin Girl, Maharashtra 19th century AD Image Source: Archives of the Tasveer Foundation, a pan-Indian photo gallery, showcasing vintage photographs of Indian women from the 1850s to the 1950s. (Fig 4.7) Twashta Kansar Samaj Samsthan Vaachan Mandir, at Kasba-Peth, Pune
Fig 4.7
TALES OF TAMBAT | Origin of thr Tambats | 30
4.3 TAMBATS/ COPPERSMITHS OF MAHARASHTRA Maharashtra as a state has no copper mines of its own, yet it has been known for the rich history of copper and brass weaponry, utensils and other artifacts. The Twashta Kansaras are said to be migrated from Rajashtan-Gujarat side of North-west India about 500-600 years back as nomadic tribes. These tribes visited places having festivals or jatras. It is believed they used to collect scrap copper and used vessels, melt them to make new vessels and sell again. During one such wandering at Mahim in Mumbai, the then princess was impressed with the craftsmanship and insisted the king to provide permanent residence to these nomads. Today there exists near Thane in Mumbai a village called Kansar wadavali, considered to be the birthplace of the community. As the population increased, they moved to the Konkan side and spread upto Sindhudurg to reach Goa. (Information taken from Gazette Of The Bombay Presidency, Vol.22 published in 1884)
only sold in Pune. But scenario changed after steam engine between Mumbai and Pune started in 1856. Copper sheets imported from England, Australia and Japan reached Pune from the Mumbai port and the making of vessels renewed. After which the business and trade flourished. Government Gazette of the Bombay Presidency published by the British in 1884 includes three volumes on Pune. This gazette mentions the Twashta Kansara community’s business of making vessels as the most prominent business of the time. The count of about 2300-2700 workers involved and about 70 traders supporting the business. The craftsmen adopted slight automation in 1888 by the setting up of Pune metal workers factory by Anantrao Godambe. He played a major role in further development of the craft and setting up of the system by aquiring the Bakhal (goverment granted area) as a designated space for practioners to work on a daily basis. (The Poona Guide and Directory, published by F.S. Jehangir, Poona-1922)
Migration to Pune The migration is traced back upto 300-350 years during the reign of Peshwas. Possibly they came before the Peshwas. As old city of Pune is known for Kumbharali potters area, Kansarali vessel makers area and Kasba (cantonment area). Metal Smith’s in the area of Peshwas besides making vessels made coins(copper & brass), cannons made of panchdhatu, an alloy of 5 metals, weapons and other artifacts. They are said to have been weaponers but disguised as coppersmiths for safety and security of the Peshwas. (Fig 4.8) Modak patra(steaming utensil), one of the peculiar cooking vessel of Maharashtrian household.
In 1818- Pune was under the British rule, a survey dated then shows copper utensils not made but
31 | Origin of thr Tambats | TALES OF TAMBAT
Fig 4.8
(Fig 4.9) Photograph of the Bhavani Peth market street from Poona, 1818 AD Image Source: The Poona Guide and Directory, published by F.S. Jehangir, Poona-1922 (Fig 4.10) Bazaar - shop of a coppersmith in c.1880, India. Image Source: The Poona Guide and Directory, published by F.S. Jehangir, Poona-1922
(Fig 4.11) Utensils made of copper with mathaarkam/beaten metal texture found at Vechaar Museum, Ahmedabad.
Fig 4.9
Fig 4.10
Fig 4.11
TALES OF TAMBAT | Origin of thr Tambats | 32
33
05 PUNERI PETHS
34
05 Puneri Peths 5.1 PETHS OF PUNE “Peth” is a general term, in the Marathi language, for a locality in the Indian city of Pune. Up to seventeen
(Fig 5.1) Map of Peths in old city of Pune in the year 1805 AD. Image Source: Poona in Bygone Days by Rao Bahadur Parasanis Times Press, Bombay Publication year 1921 Fig 5.1
35 | Puneri Peths | TALES OF TAMBAT
peths are located in central Pune, and were mostly established during Maratha and Peshwa rule in the 17th-19th century AD. Seven of them are named after the days of the week in Marathi: traders and craftsmen in a given locality mainly conducted business only on that day of the week. Today the peths form the heart of Pune city, and are referred to as the old city. They are considered to be the cultural heart of Pune. Usually peths are named after the days of the week, but some peths are named after their founders. Pune was a very small community in ancient times. Only populated around the present Mahatma Phule Mandai and Shaniwar Wada. But as the population started to increase, the boundaries of Pune expanded. The Eastern Pune or the portion on the other side of the river is known as the old Pune. Recently developed areas are Deccan Gymkhana, Kothrudh, Karve Nagar and Pashan. The first peth founded was Kasba Peth. Eastern Pune is the old city of Pune, and thus not established in a planned format. This old town of Pune is divided into various peths. These peths were urbanized in different times by different people for definite purposes, usually business and occupation. In these peths the old construction could be seen even today, alongside the glimpses of the old traditional architecture of wadas. A typical kind of atmosphere can be experienced in every peth, with peculiar lifestyle, occupation and even architecture that changes from peth to peth. In earlier times each peth would have a ‘Mahajan’, this elected personnel would be authorized for providing various facilities to the residents of the peth like water supply, shops, bazaars, dharamshalas and other facilities. Also to set up temples, market places, shops etc., the tax from these areas was also collected and paid to the government every year.
Fig 5.2
Fig 5.4 (Fig 5.2) ‘Chowk’ - open seating areas among peths that turned into social spaces. (Fig 5.3) The beautifully carved wood Nagarwada at Shaniwar Peth, Pune (Fig 5.4) Interconnected maze of streets in Peths of Pune Fig 5.3
TALES OF TAMBAT | Puneri Peths | 36
5.2 KASBA PETH Kasba Peth is essentially the area established by the Chalukya kings in the 9th century named after “Qasba” (Arabic: urban cluster). Kasba Peth or Kasba is the oldest residential part, “Peth” (locality), in Pune, India. It is adjacent to the historic Shaniwar Wada palace-fort. Kasba Peth was the first Peth to be established, and is the oldest area in Pune. It is called the “Heart of Pune City”. In the history of Pune, the city was once known as “Kasbe Pune”. Kasba Ganpati Kasba Ganpati is the gramdevta/local diety of Pune this is situated in Kasba Peth. It was built during Shivaji’s reign. Lal Mahal, the fortified residence of Shivaji, was situated in Kasba Peth. Being the oldest part of the city, old residential complexes, “Wada/ traditional house with central courtyard”, exist here. Kasba Peth/ locality is primarily a residential area. A wide variety of shops surround Kasba Peth (Tambat
There is a story about the Kasba Ganpati which is famous as a folklore. Few children had brought cows to the area for grazing, and found a stone similar to an idol of Ganapati. They colored this idol and started worshipping it. Shivaji’s mother Jijabai found this adorable and ordered to build a stone temple around it. Later, Dadoji Konddeo built a pandal (temperory shelter) in front of the idol; this is where the Kasba Ganpati Temple is located today. The temple became a major attraction in the city and thus the population began to grow around it. Ganeshotsav is the major festival among Punekars and celebrated every year at Kasba Ganpati Temple. The part of the Peth near the Mutha river is known as Kumbhar Wada (locality of the earthen pot makers). Skilled metal craftsmen (known as Otari) known for crafting utensils out of brass and copper also reside there. Lal Mahal and Kasba Ganapati Temple, Twashta Kasar Kalika Devi Temple are some of the places of interest. Budhwar Peth and Shaniwar Peth (in the Southwest), Rasta Peth (in the Southeast), Raviwar Peth (in the South) and Mangalwar Peth (in the East) are the neighbouring Peths of Kasba Peth. Kasba Peth Today Today Peths have urbanised and a glimpse of the old city can be seen. While visiting in the month of December, old men wearing ‘dhoti’ and ‘gandhi-topi’ could be seen sunbathing on the benches made by the Pune Municipal Corporation. The peth is usually a market area and is abuzz with shops and traffic honking throughout the day. It has an old charm to it with a mix of urban landscape and pockets of old buildings with traditional wooden architecture and
(Fig 5.5) One of the oldest market streets of Kasba Peth. 1960 AD Image Source: “Pune-Queen of Deccan” by Jayamala Diddee & Samita Gupta, published by INTACH Pune Chapter (2013) Fig 5.5
37 | Puneri Peths | TALES OF TAMBAT
Aali, Shimpi Aali, Vyavahar Aali, Bhoi Aali, etc.). It is well known for the Kumbhar Wada/ area of earthen pot makers and the Tambat Aali/ area of brass/ copper utensil artisans.
doors. The people are warm and carry out their daily routine. The chaha walas/ tea vendors are seen on road corners with paan/ betel leaves being sold alongside. The people are warm and carry out their daily routine. The chaha walas/ tea vendors are seen on road corners with paan/ betel leaves being sold alongside. The city has wide roads that narrow down to smaller lanes called ‘Alis’ or bylanes which together make a peth. Now the interlinking peths have a maze of alis/ bylanes and all of them merge to a larger area usually a mandir/temple. As the lanes widen the market area increases, revealing a mix of people, autorickshaws and shops. Hawkers are also seen selling articles of daily use on hand carts. The streets give a glipse of the Peshwas era. Once the city would be buzz with people and traders using animal carts and the charm of an old city fits well into imagination. Shaniwar Wada, an original residence and a seven storied capital building of the Peshwas was also built here. Currently only its walls exist as it was largely destroyed to an unexpected fire in 1828.
Fig 5.8
(Fig 5.6) Pune Muncipal Corporation sign board at Kasba Peth seen today (Fig 5.7) Old buildings with wooden facades still seen in the bylanes of the peth (Fig 5.8) Map of Kasba Peth showing its various Alis. Image Source: Map recreated from the book Queen of Deccan. Fig 5.6
Fig 5.7
TALES OF TAMBAT | Puneri Peths | 38
39
06 TAMBAT AALI
40
06 Tambat Aali 6.1 TAMBAT CLUSTER OF PUNE Pune is the most important place for Tambat/ copperware craft in Maharashtra. They achieved this status initially as a direct results of Peshwa patronage and later because of the introduction of railways during the British occupation and thus the need for copper utensils through trade. The tambat artisans had settled in the heart of Kasba Peth in an area named the Bakhal which was a government owened land. Over time, this become the designated place for the artisans to practice their craft. Pune developed slowly and transformed into a metropolis in the mid-80’s. In the middle of this developing metropolitan city the noise of metal forming started raising concerns among the other residents of the area. Thoughts about relocating the community started surfacing, giving rise to questions as to where should the community be shifted. Eventually, after deliberation the Muncipal Corporation of Pune finally transferred the possession of the Bakhal to the tambat artisans, in order to retain the identity of the community and their locale. Today the Tambat/ copperware artisans in Pune are distributed in two main clusters namely the Tambat Aali and Bakhal which are located in close proximity on either side of a curving road.
(Fig 6.1) An artisan at work in the entrance passage of the Bakhal Fig 6.1
41 | Tambat Aali | TALES OF TAMBAT
6.2 THE TAMBAT AALI Tambat Aali is a narrow lane on the main road which is usually dull with only a few shops and people in sight. The Tambat Aali is an interconnected maze of streets and buildings with narrow spaces and wider chowks/crossroads where the coppersmiths have their workshops and living quarters. This lane has a facade of newer residential buildings behind which lie, hidden the workshops and houses of the tambat artisans. The narrow lane from the main road leads to a wide open space with workshops on either side and then narrows down again into the approach road for the residences of the artisans. Most of the artisans here have had the workshops in their family for generations. The artisans here mostly work on the refurbishing of daily household aricles and also on the final finishing or mathaarkaam/ coining of indentations for traditional puja articles that are now mass manufactured using dies in small workshops nearby.
Fig 6.3
Fig 6.4
(Fig 6.2) Lane leading to Tambat aali workshops from the main road. (Fig 6.3) A narrow lane in Tambat aali that leades to the artisans’ residences (Fig 6.4) A father son duo working on refurbishing of articles outside their workshop. (Fig 6.5) Interiors of a typical workshop in Tambat aali Fig 6.2
Fig 6.5
TALES OF TAMBAT | Tambat Aali | 42
6.3 THE BAKHAL The Bakhal is the original settlement of the tambat artisans in Pune. This is the authorised space provided to the artisans by the Pune Municipal Corporation and is also recognised as a heritage site by UNESCO. The Bakhal is located in the heart of the old city amidst the resedential area and the market. It roughly covers an area of 100×80 ft and is elevated from the street level. with two entrances which open out to a main street. The Bakhal houses the Tambat Haud/ coppersmiths’ water tank. in the central courtyard, surrounded by rooms of about 10×10 ft. for the living quarters, with a semi open area of about the same size in front of it for the workshop. A narrow dark passage next to a small metal shop leads to an old stone staircase. As you climb the stairs a faint rhythmic sound of the beating on metal becomes evident. As you follow the sound, you will
reach the central courtyard. As you enter this area, the source of the sound is visible. Artisans are seen hammering the copper forming it or doing the mathaarkaam/ coining of indentations. Today most houses in the Bakhal are rented out, mostly as workshops as the owners have moved out of the bakhal with a few exceptions. Some of the artisans still residing at the bakhal have built rooms above the original ones. The bakhal has an aura of its own, which is not seen anywhere due to its curated environment for the artisans to practice their craft, and stay connected with each other. The space earlier hosted about 5060 artisans which has reduced to around 20 in the current year A usual day at the Bakhal Mornings are the busiest at the bakhal as it is beeming with activity. Hens clucking, water boiling in a bamba/ traditional water heater in a corner. Women can be seen washing clothes and cleaning utensils at the central water tank while children play and run around. The days at Bakhal start as early as 6 a.m. and extend up to 6 p.m. with only an hour’s
(Fig 6.6 & 6.7) A narrow passage entrance to the bakhal adjacent to a shop and the view of the street from the passage.
(Fig 6.8) Tambat artisan’s family memeber washing clothes at the central water tank. (Fig 6.9) Layout of the Bakhal cluster Fig 6.6
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Fig 6.7
Fig 6.8
break for lunch. The day begins with cleaning of the workshop and the tools required. The work begins as soon as the workplace is cleand and set. The artisans first ready the raw materials before beginning to craft the products. Depending upon the type and size of the object, copper sheets are cut in the required dimensions. This is followed by forming the utensils into their preliminary form. At mid- day when most of the products are ready for forging the furnaces in the workshops come to life. The men gather for a quick tea break before continuing with their work process. Once the women finish their daily chores they are seen helping the men with ancillary tasks such as cleaning and finishing. The day progresses with many cups of tea and loud hammering noises which fill the space. Few of the artisans have pets like parrot or a dog who accompany them at work. At lunch time the din at the bakhal comes to a brief halt allowing the conversations of the artisans to be heard. The men usually eat together sharing from their tiffins. Some of the artisans who have moved out of the bakhal and now own separate apartments nearby, walk back home to have lunch with their families. The work goes on for about 11-12 hours until 5 or 6 in the evening. In the evening before packing up, the artisans again clean and carefully stow away their tools and finished products in the room adjoining the workshop. The hammers are left dipped in a trough full of water to allow soaking water overnight. Though the loud noise is not very comfortable to stay in the space, they have become used to it now as it is the sole bread earning task they do. The noise makes it difficult for the artisans to converse while working. A majority of them have developed hearing problems due to the constant exposure to lound noise. The artisans work with utmost care and dedication throughout the week and their efforts are
reflected in the end product. However, the value of their hardwork is largely unappreciated. Almost all the artisans are above the age of 40, the young generation doesn’t prefer to do this work, but most have learnt the art as it is a family tradition.
Fig 6.9
TALES OF TAMBAT | Tambat Aali | 44
45
07 TAMBAT ARTISANS
46
07 Tambat Artisans
Fig 7.1
(Fig 7.1) The polishing of copper with tamarind in process
(Fig 7.2 & 7.3) Tambat artisans at work. Fig 7.2
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Fig 7.3
7.1 THE TAMBAT COMMUNITY IN PUNE The Tambat artisans are a small community of about 50-60 artisans today who have been in the craft passed on to them by legacy. The community at Tambat Aali can be traced back to about 7 generations. The men in the craft are seen to be old, healthy, tall, wheatish complexion with proportionate facial characters and large head. Their language contains a slang influenced by terminology used in the profession. They usually speak Marathi but Konkani is thier mother tongue. They eat both vegetarian and non-vegetarian food. They say they have started eating meat for the sole purpose of building strength. Few are retired from the jobs in metal factories and have restarted the business. Balasaheb, the president of the Tambat Association says, “I used to work in the factory and my brother continued the family craft, we were able to build a home and marry off the kids because of the stable income from the job. Now i am retired and come here to help my brother and nephew, we take orders and the family is doing well. I did not let my sons get in the same business so the family has diverse sources of income to support each-other.” Being a Tambat Artisan Thak…thak…thak… the beating sound has been lodged in the ears and blood of Tambat artisans for 400 years now. With a dedication closer to meditation, they go on with their work, meticulously following a pattern imprinted on their minds. Hours later, a beautiful artwork emerges from a mere piece of copper metal; delicate yet sturdy in its form. While they work, a sense of peaceful haze envelops amidst the rhythmic yet alarmingly loud sound. The sound is created by the constant hammering on the metal to give a mirror glaze, which is converted to a textured pattern on the surface called “mathaarkam”.
This is the most peculiar identity of Tambats and they carry this with pride. The skill needed to get this exact texture of the consistent mosaic pattern is picked up by the tambats in youth when they first start learning the craft, now it is like a motor skill to them, one of the tambats called Dilip Dakhve even guarenteed that he is able to get beautiful mathaar (beaten metal texture) keeping his eyes shut. Each tambat artisan is seen engrossed in the daily chores to moulding, heating, bending everything manually and using all the strength of his body to produce something beautiful. But each day the challenge is faced when they visit the market to see similar replicas of the craft coming from chinese markets in half the price and shiny packages. The struggle for the tambat community is real with growing competition. Tambat Style of work Various artisan families reside and work in the bakhal, each workshop has a fixed object or utensil dedicated. This division is done in consent with the artisans by the association called Tawasta Kansar Tambat Association, which is a managing body that helps regulating the flow of work amongst the artisans. The division is done to create a standard of quality and establish strong specialisation for making each category of object or vessel that goes out in the market from the artisan community. Usually the community takes orders and helps each other in finishing to meet deadlines of orders taken from market. Most artisans work on majoori/labour basis by getting the metal from the market who lend them metal and pay a labour cost whilst receiving the finished object. This situation has arised due to the low income and low savings of the artisans who are unable to invest in raw material.
TALES OF TAMBAT | Tambat Artisans | 48
7.2 MEETING THE TAMBAT ARTISANS The tambat artisans have formed an association named ‘Twashta Kansar Tamba- Pital Bhandi Utpadak Sanstha’ / Coppersmiths’ copper - Brass utensil manufacturing Association. The association celebrated the completion of its 100 years in 2017. All the member artisans and their families elect a president and nominate a heading committee for the association who represents the community for a specified term. The role of the President and the committee is to look after the welfare of the entire Twashta Kansar community. They ensure even work distribution as well as negotiate their problems with the government or any other organisations working in the locality.
learnt the craft. He has been practicing the craft for the past 30 years. He says he doesn’t enjoy the craft but does it for the money, while saying so he shows his tarnished hands and says who would like this. The pride of being a president doesn’t stop him from working. He enjoys his time doing all the management work of the association along with the craft practice daily. But he says the work is no good, as the time he spent in the craft hasn’t given him much returns monetarily, but he was able to fend for his family. Now as his children are more stable the family is running better and their standard of living is becoming good.
One on one conversations with the tambat/ copperware artisans have been transcribed below in order to gain a deeper insight into the lives of the Tambats/ copperware artisans. BALASAHEB DAKHVE, 70 YEARS PRESIDENT OF TWASTHA KANSAR TAMBAT ASSOCIATION A very soft spoken man, humble at his post of the president was the first we met at Tambat Aali. He introduced us to the craft and the people at the bakhal. He is a man of great honour in the community for being elected president of the Twashta Kansar Samstha.
(Fig 7.4) Tambat Artisan- Balasaheb Dakhve, President of the Twashta Kansar Tambat Association.
He has two sons, and lives with his wife. Both of whom do not practice the craft. One son owns a gym and the other works at a bank. Both are married and live separately. While walking on the streets of Kasba Peth, he shows his house on the way which is a 5 minute walk from the Bakahl. Balasaheb used to work on the shop floor at Bajaj Auto and then later
49 | Tambat Artisans | TALES OF TAMBAT
Fig 7.4
DILIP DAKHVE, 65 YEARS An artist from the last house in the bakhal, is seen making bamba’s (water heating utensil) all day, he usually attaches the handles, finishes the lid and attaches the tap to the base. He lives with his wife and a son. He is the younger brother of Balasaheb Dakhve, the president of the Twastha Kansar Samaj. His son helps in the craft and both produce bambas. His wife usually does household work and enjoys her free time watching tv shows and visiting the neighbouring houses. He has learnt the craft from his father and uncles and continues to work since about 17 years. Before that he used to study at school. He observes a large difference between the working in older times and now. The work is much less and the quality of copper is not great either. He doesn’t buy his copper rather takes contract from the vyapaari (shop-owners) in the market and works on majoori (daily wage) basis which is about 250 Rs/kg of copper. He explains how the market rate to sell the bamba is 600 Rs/kg but he gets very less payment compared to that because he is unable to stock the copper. The major set back for the tambat artisan community is that they cannot afford to buy and stock the copper, which leads the market leaders to exploit the artisans. He says he likes to stay honest in his work and believes to deliver the best at his potential. He enjoys making Plaster of Paris (POP) idols of Ganesha/indian mythological god and paint them in his spare time. He has one seperate room dedicated for the purpose. He practices the craft for about 5-6 hrs daily and then pursues his hobby. Earlier, he also painted houses. He sends these idols to a distant relative in Ahmedabad & Vadodara for selling. This hobby has become a good source of income and plans to take it take it up fulltime.
Fig 7.5
(Fig 7.5) Tambat Artisan- Dilip Dakhve
(Fig 7.6 & 7.7) Ganesha Idols handmade and painted by Dilip. Fig 7.6
Fig 7.7
TALES OF TAMBAT | Tambat Artisans | 50
SATISH NARAYAN NIZAMPURKAR, 58 YEARS PROMOD VADKHE, 52 YEARS RAJENDRA KARVE, 58 YEARS Nizampurkar belongs to the Raigad village in the Konkan, is the owner of the workshop. Along with him the two artisans at help are Promod who makes the base of the bamba and Rajendar whose expertise is the mathaarkaam/ coining of indentations. Satish does the final touch-up by adding the handles, tap and other details to the bamba to finish the product. Without the help of the other two artisans, his workshop would collapse. Three generations of his family have been involved in the craft, him being the last. He has been doing this work since the past 19 years. He lives with his wife in Kasba Peth. One daughter has studied Computer engineering, been married and lives in the USA. Another daughter is an interior designer and a son is studying hotel management. His wife has a government job and is now at a very prominent post. He proudly shares a picture of him with his wife at an event.
(Fig 7.8) Tambat Artisan- Satish Nizampurkar (Fig 7.9) Tambat Artisan- Promod Vadkhe (Fig 7.10) Tambat Artisan- Rajendra Karve
His nephew who works with him and does most of the metal building work is Promod. Not married and rents a room right above the workshop to live. He was weak in his studies and so had taken on this work, said his uncle. Promod is very dedicated and is always seen engaged in working on his bamba/ traditional water heater. He has good knowledge about his materials and is very approachable. He finds time to explain the processes to us and knows hindi along with marathi. Rajendra also works under Nizampurkar since he doesn’t have a workshop of his own. He is paid wages based on the number of articles finished per day.
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Fig 7.8
Fig 7.9
Fig 7.10
SURESH DASHRATH KHAROLIKAR, 78 YEARS RAJANDER SUDHAKAR VADKHE, 55 YEARS Among the oldest men in the trade, Suresh Kharolikar at 78 still sits with his nephew Rajender at the workshop and beats the metal utensils just like old times. His eyes are clad with thick glasses and back arched due to his old age but his courage and enthusiasm is as young as yesterday. He started work at the age of 9, when the price of bajra was 2 annas (british indian currency) he exclaims. His father & brothers established the shop, he has been working since. Currently, he lives with his wife, two sons & brothers family together in a house in the nearby Peth. He did not want his sons to come into the craft as it takes a lot of time, due to financial difficulties his sons have taken up other jobs like auto- rickshaw driving. Due to his old age he is unable to produce the best quality which he once could, so now his nephew helps him and will be taking over the shop. His two brothers have passed away keeping him very disturbed and spending less time at work. He expresses his concern towards the craft due to the increased GST, which is new to the artisans and the vyaparis can now cheat them easily. He says the life of this craft is maximum of 10-15 years.
Fig 7.11
Remembering old times, he shares that then, vessels like handa & tapeli of 25-30 kgs used to be made here. Now no one prefers such heavy objects, which are also very laborious in making. Earlier ladies of the house would work in the craft to polish and clean the objects. Now the ladies do not like to do labour intensive work as metal requires hard work, rather they prefer other jobs outside. When asked about tobacco chewing he says it is a timepass and helps him concentrate while working.
(Fig 7.11) Tambat Artisan- Suresh Kharolikar (Fig 7.12) Tambat Artisan- Rajander Vadhke Fig 7.12
TALES OF TAMBAT | Tambat Artisans | 52
On a concluding note he mentions that, though the next generation may not continue the craft he will teach his children the craft since it is an important part of their heritage. AJIT PIMPLE, 40 YEARS
Fig 7.13
GANESH WADKE, 42 YEARS Ganesh joined the craft right after completing his 10th grade of schooling on the behest of his father. He has worked in the business of making the bamba/ boiler for 10-12 years. As the demand for such objects dwindled, he started diversfying into silware and brassware along with copper. Even though he is not educated he is extremely skilled in his craft which has led him to be invited at premiere institutes such as National Institute of Fashion Technology, Kharghar for conducting a workshop on Tambat craft.
(Fig 7.13) Tambat Artisan-Ganesh Wadke Image Source: http://coppre.blogspot. com/2013/06/ganesh-wadke. html (Fig 7.14) Tambat Artisan-Ajit Pimple, one of the youngest craftsperson.
His workspace is the first one on the lane and usually gets many visitors and he is always welcoming. He enjoys working on new designs and is always open to exploring newer avenues. He has recently made utensils used for making cake-frosting for a bakery in pune. Silver mukuts (crowns) for deities in temples, contemporary articles and all kinds of customised objects are amongst his specialities. For the past few years now he has been associated with Coppre studio based in Pune and crafts most of their complex designs.
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A young man in the Aali among the many old men, Ajit Pimple is seen handling his workspace alone, few years back he used to assist his father and grandfather in the process. It’s been 20 years he has been on the job, but due to depressions in the work he doesn’t make the entire utensil rather he takes the job of machine pressed form and finishes it to make it market ready. Living with his wife, mother and two sons he faces extreme difficulty in raising the financial status of his family. But he has managed to support them. His wife works as a sales assistant for a popular jewelry showroom in Pune, without her income the family wouldn’t be able to run smoothly. He enjoys making small objects for his family and their household use from copper. He says earlier the whole street used to be filled with artisans, now only a few are left and each is running the shop alone, this is not very easy and they face many challenges.
Fig 7.14
SUNIL KHARODE , 53 YEARS MARRIED TO SUNITA KHARODE, 37 YEARS SON NAMED SHUBHAM, 20 YEARS A family of three who not only work at the bakhal but also live in the same space. The courtyard of the home turns into a workshop by the day, where all the products made are stores along with a furnace and a buffing machine at one corner of the space. The family has been here since more than 3 generations, when they migrated from Kharoli village in Trimbakeshwar Tehsil, Nashik, Maharashtra. They work by the day, the son is about 20 and goes to the college to study B.Sc alongside a part-time job at PMC. He also helps is father in the craft. Alongside he is learning jewelry making and nakashikaam on copper from another artisan in the Peth. He aspires to take his craft forward and build it better but he is afraid no girl will marry him if he is an artisan and thus aspires to take up a job. He says girls today want a better lifestyle and wouldn’t be ready to live in the Peth with so much noise all day.
copper vessels and reheat, polish and do the mathaarkaam to deliver a finished product. This order is given by Vyaapari (shop-owners) from Shukrawarpeth on basis of labour (majoori) per day or sometimes per piece depending on the size of the object to be made.They earn about 500 Rs/day majoori, 6 days a week. Making glasses for drinking water, dangaal (water-pot), tapeela, urli etc. Sunil has worked with Rashmi Ranade of Coppre and conducted workshops for about 100 students at Kala-ghoda Festival in Mumbai. He also conducted Shree Gouda workshop at Aurangabad. He is proud to express his involvement with Rashmi Ranade and appreciates the madame who has exposed them to the world outside. He is impressed with her skills and how she stays connected to the artisans whilst attending their Ganpati Puja every year with other friends from Coppre.
While roaming around the bakhal Sunita was spotted cleaning some copper vessels just out of the furnace. She was the only one helping her husband with the work. It was intriguing to find out one woman in all of the men at the bakhal who was helping in the metalwork apart from her household work. When approached she was very friendly and wanted to know more about us. She shared how she likes to boil her water on the furnace as it is easy and quick. She usually helps her husband as the workload has increased due to approaching deadlines and from vendors. She helps in the process of annealing and polishing. They take orders of pre-manufactured
Fig 7.15 (Fig 7.15) The Kharode family at their residence in Tambat Aali. From left to right: Shubham (son), Tambat Artisan-Sunil Kharode and Sunita (wife).
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7.3 WOMEN IN THE TAMBAT CRAFT Women at the aali are seen helping their husbands in the finishing and polishing, yet the maximum artisans seen at the bakhall are men. The major task of making the vessels, forming the metal, jhaalkaam, (soldering), mathaarkaam, (textured surfacing), etc is usually done by the male artisans. Mostly because the hammering and forming process of metal requires a lot of force. But the major reason found is the houses of the artisans being away from the workplace, which makes the women away from the space of work and thus very few women who stay at the bakhal help by doing some work with smaller objects and finishing. Sunita, wife of a tambat artisan was seen boiling water and using the same furnace to cook along with annealing the small copper kalash,(small pot used for religious purposes), while her husband polishes the anelled object. She lends a helping her to her husband as she is always around. Most of the times she multitasks while doing her household chores along side the craft work. She finds the furnace the best for boiling water, as it is easy and quick also saves her gas stove which is much more expensive. Such perks of living alongside the workshop is what she appreciates but the noise is something she has grown used to over years and now doesn’t bother. (Fig 7.16) Women at the bakhal engaged in daily chores and household activities.
(Fig 7.17) Sunita , at her bakhal home lending a helping hand to her husband.
They are looking for better living standards not only in terms of money but also in the quality of the lifestyle.
Fig 7.16
While speaking with the artisans it was found that most have their children studying in good schools. Few wives of the artisans had good jobs and helped them in financial support to run the family. But the next generation is afraid women will not marry in the household they currently live in, due to the loud noise in the day and the laborious work involved. Fig 7.17
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7.4 BELIEFS AND RITUALS PRACTICED BY TAMBATS The north-west corners of the house of tambats were seen to have an established shrine. The shrine is a combined space created like a puja-ghar for various gods and goddesses,
The Nag-Puja is one of the important monthly rituals carried out by the married women in the house, where fruits, modak (sweet delicacy made with rice flour) and ghee(butter) is offered to the god during puja(prayer). Also seen in the surroundings are various rituals that are part of their daily life like Leepan, a covering of wet mixture of cow-dung and mud that is applied on the floor to protect the family from insects. Also this serves as a layer to protect the copper while beating from scratching on the floor. Water tanks are usually seen with hibiscus flower offered to the gods, it is considered to purify the water for daily use.
Fig 7.19 (Fig 7.18) Local diety shrine inside a household at the Bakhal. (Fig 7.19) ‘Leepan’ of the flooring of workspaces in Bakhal. (Fig 7.20) Hibiscus soaked in stored water of the tank at Tambat Aali. Fig 7.18
Fig 7.18
TALES OF TAMBAT | Tambat Artisans | 56
57
08 PRODUCTS
58
08 Products 8.1 TAMBAT/ COPPER-WARE PRODUCTS Traditionally, the Tambats/ copper-ware artisans used to fulfill the religious, economic and military needs of the Peshwa Kingdom. Right from copper coins and coronation paraphernalia to military weapons, they served the royal family incessantly. Eventually, after the decline of the Peshwa rule, the artisans started making articles of daily use such as cooking and storage utensils along with religious articles for the masses.
(Fig 8.1) Copper kalshi/ small pot used for rituals. and religious practices. Image Source (https://goo.gl/UWQ29Q)
Over the years with the advent of technology and newer cheaper alternatives, the charm of these handcrafted products dwindled. However, some of the products are still in high demand due to their cultural value. The rising awareness among people about the health benefits of the use of copper is slowly bringing back these handcrafted products back in the limelight.
8.2 CLASSIFICATION OF PRODUCTS The products currently crafted by these artisans are categorized based on the utility and listed below. Religious Objects The traditional objects used for religious purposes and for offerings during worship are among the few products which are still in high demand over the years. Kalshi/ Small pot Puja thali/ Prayer offerings plate Ghanti/ Hand held bell Niranjan/ Small lamp
(Fig 8.2) Puja Thali/ Prayer platter Image Source (https://www.studiocoppre. com/products/prayer-platter)
(Fig 8.3) Pimpa/ Water storage barrel Image Source (https://goo.gl/zcGMQs)
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Fig 8.1
Fig 8.2
Kitchen Utensils Copper being a good conductor of heat is widely used in making kitchen utensils for cooking and serving. Storage vessels especially for water are still in high demand. The entire range of kitchen utensils is as below; Tapela/ Rice cooking vessels Kadhai/ Deep frying pan Modak patra/ Steamer for traditional sweet dumplings Bhagule/ Vessel for cooking vegetables Chahadani/ Teapot Wati/ Small bowl Pimpa/ A type of water storage barrel or container Ghada/ A type of large water pot In recent times, miniature versions of most of the kitchen and household products have gained popularity as collectibles.
Fig 8.6
(Fig 8.4) Ghanghal/ Bath water container Image Source (https://4.imimg.com/data4/ BH/JO/MY-4068378/copperghangal-500x500.jpg)
Fig 8.7 Fig 8.4
Household Objects Some of the traditional daily use objects which are still crafted for both regular and occasional use are; Ghanghal/ Bath water container Uruli/ Shallow cooking vessel; now used as a decorative bowl Bumba/ A traditional type of Water heater Tarazu/ Weighing scales
Fig 8.3
Fig 8.5
(Fig 8.5) Copper glass for drinking water Image Source (https://goo.gl/KbqNcK)
(Fig 8.6) Kitchen & household utensils at an artisan’s house. (Fig 8.7) Uruli/ shallow cooking vessel Image Source (https://www.exportersindia. com/shreeji-metalcompany4725312/copperpatila-3332898.htm)
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Contemporary Products The changing lifestyle of people demanded an entirely new set of products to satisfy the varying needs and match the lifestyle of people. ‘COPPRE’ a Pune based design studio introduced contemporary designs to the Tambat/ copper-ware artisans to help cope up with the changing needs of the society, allowing the craft to flourish. The new products include a large array of modern day lifestyle accessories, some of which are listed below;
Fig 8.7
Candle stands and holders Lamps Trays and serveware Cutlery Jugs and glasses Picture frames Small boxes Vases Buntings Bookmarks Along with the specialization in crafting and making the above mentioned products, the Tambats/ copper-ware artisans are also known for refurbishing of old or used copper and brass utensils which are sold again in the local market.
(Fig 8.7) Clockwise from left - Water jar with lid, fish shaped serving plate, square tray, bird shaped serving tray or plate
(Fig 8.8) Copper bunting, Russet vases and floaters for flowers and candles displayed at Coppre Studio’s office in Pune. Fig 8.8
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Fig 8.9
(Fig 8.9) Candle stand displayed at Coppre Studio, Pune
Fig 8.11
Fig 8.10
(Fig 8.10) Jugs, mugs and glasses displayed at Coppre Studio, Pune (Fig 8.11) Variety of plates displayed at Coppre Studio, Pune
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63
09 MATERIALS FOR THE CRAFT 64
09 Materials for the Craft 9.1 PRIMARY MATERIALS The basic and most essential raw materials required for the craft are included in this category. Copper Sheets Copper is used in the form of sheets which are precut into rectangular sheets and circular plates of varying sizes. The artisans buy the sheets based on the dimensions of the final product. The thickness of sheets used varies from 18 gauge (mm) to 22 gauge (mm). The thicker sheets are generally used for larger products and for products that are of daily use since they need durability to withstand regular handling.
Copper is available in two grades based on the purity. Grade 1 copper which has high purity is used for making smaller articles and products made by the machine spinning process. Grade 2 copper which has some impurity in it is used for making larger objects which are formed by hand. The artisans buy the copper sheets in bundles of 70kg. The copper comes from Pune, Gujarat and Hubli. The cost of the copper sheets ranges from about Rs.430/Kg to Rs. 480/Kg based on the thickness and grade.
(Fig 9.1) 1. 22 gauge, grade 2 rectangular copper sheet. 2. 18 gauge, grade 2 square copper sheet. (Fig 6.2) Grade 1 Circular copper discs used for making small articles formed using machines
Fig 9.1
65 | Materials for the Craft | TALES OF TAMBAT
Fig 9.2
Dakh/ Solder Dakh/ solder is made by the artisans by mixing coarse brass powder along with a flux of zinc chloride salt which they call ‘soggi’ in the the proportion of 2:1 along with a few drops of water to create a grainy paste. This paste is used as solder for joining of parts and sealing joineries. Flux for copper: A grainy paste of, 1kg brass powder + 600gm zinc powder + borax powder + water Flux for brass: A grainy paste of, 1 kg brass powder + 400gm zinc powder + 100gm tin powder + borax powder + water
9.2 SECONDARY MATERIALS The materials that are required for a particular process or used only for certain products are included in this category: Charcoal Charcoal is used as fuel in the furnace. On an average 1.5kg of coal is burnt per day for making the products. The artisans buy charcoal in a bulk packaging of 20kg to 50kg from the local market. Water Water is used for various purposes at different stages of the process of making the craft articles and thus availability of clean water is one of the important requirements for this craft. Water is used for quenching of newly soldered products. Water is also used to check for leakages in the different parts of the Bumba/ water heater. Water is also necessary for cleaning and washing of the objects before and after certain processes.
Fig 9.3
(Fig 9.3) Brass powder (Fig 9.4) Flux mixture for soldering copper (Fig 9.5) Charcoal used as fuel in furnace Fig 9.4
Fig 9.5
TALES OF TAMBAT | Materials for the Craft | 66
Fittings Various fittings are used for different products, which are added in the end. Some of them are listed below; •
•
•
Handles - Cast Brass handles for the Bumba/ traditional water heater are bought from the market on piece basis. Ring handles for Ghangala/ bath water container made of copper or brass are also bought from the market. Rivets - Copper rivets are used for fixing the handles and lid to the main body of the Bumba/ traditional water heater and are also bought from the market by the artisans. Peephole cap - The lid for the peephole of the Bumba/ water heater is fitted with a brass hinge and knob which are bought from the market along with the copper cap.
Fig 9.7
These fittings were originally made by the craftsmen themselves, but over time the artisans started buying these from the market since they were readily available and more cost effective.
Fig 9.8
(Fig 9.6) Cast Brass handle (Fig 9.7) Copper Rivets used for fastening handles and lids
(Fig 9.8) Peephole lid with brass hinges
(Fig 9.9) Peephole lid fitted on the boiler
Fig 9.6
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Fig 9.9
9.3 TERTIARY MATERIALS The materials used for cleaning the products at various stages are included under this category. Sulphuric Acid Sulphuric acid mixed with water for dilution is used for removal of debri and stains. It is bought from the market in a can of 500ml. Jute Rag A small piece of thick jute gunny bag is used for cleaning with sulphuric acid.
Fig 9.11
Tamarind Pulp Tamarind pulp helps remove tarnishing stains giving the products a beautiful shine. The artisans make their own tamarind pulp by soaking tamarind overnight in water. Steel Wool Scrubber The steel scrubber is used along with the tamarind pulp to scrub out the stains and give a shine to the products. Steel scrubbers are available in the local market.
(Fig 9.10) Cleaning materials stored in a plastic tub Fig 9.12
Fig 9.13 (Fig 9.11) Jute rag, Sulphuric acid and tamarind pulp (Fig 9.12) Jute rag used for cleaning
(Fig 9.12) Steel wool scrubber used for cleaning (Fig 9.13) Concentrated tamaring pulp and diluted Tamarind pulp Fig 9.10
Fig 9.14
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69
10 TOOLS & EQUIPMENT 70
10 Tools & Equipment 10.1 TOOLS Traditionally the tools required for the craft were made by the artisans themselves, but with the advent of time the artisans have started getting the tools made to order by blacksmiths. This category enlists and describes the various hand held tools used by the artisans while crafting the products. Each artisan generally has their own set of tools based on their style of use and ergonomic needs. Katri/ Scissors A large curved pair of iron scissors or metal shear used for cutting copper sheets. These scissors are used for cutting the required size of sheet from a larger sheet of copper. These scissors are also used for trimming off excess material after the metal is beaten and formed. Serrations on the edges of two interlocking parts are also cut with the help of these scissors. (Fig 10.1) Katri/ Scissors in top view
Fig 10.2
Aadhi and Mandli/ Metal sinking blocks These are annular iron rings used as sinking blocks for shaping dome shaped products. The sheet is placed over the aadhi/ block and hammered from the inside to create a concave form. Aadhi is generally used for larger vessels whereas smaller vessels are formed on the mandli/ sinking block. These blocks are also used to create collars on the top edge of utensils, by beating the edges on the rim to bend them.
(Fig 10.2) Katri/ scissors in use showing the grip and positioning for trimming (Fig 10.3) Top view of mandli/ sinking blocks in two different sizes
Fig 10.1
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Fig 10.3
Sandshi/ Tongs A pair of long iron tongs, used to hold and lift hot objects from the furnace. Dhanni/ Long hooked rod A long iron rod with a curved hook on one end. It is used along with the sandshi/ tongs for lifting hot objects from the furnace.
Fig 10.4
The sandshi/ tongs and dhanni/ long hooked rod are almost always used together as a pair. The tongs provide a grip on the object whereas the dhanni/ long hooked rod is used for support to prevent slipping while handling larger and longer objects.
(Fig 10.4) Top view of aadhi/ metal sinking block Fig 10.5
Fig 10.7
Fig. not to scale. Dimensions are in cm
(Fig 10.5) Side view of aadhi/ metal sinking block (Fig 10.6) Perspective top view of aadhi/ metal sinking block (Fig 10.7) Sandshi/ tongs (top) and dhanni/ rod with hook (bottom)
Fig 10.6
Fig 10.8
(Fig 10.8) Illustration with dimensions of the dhanni/ rod with hook (top) and sandshi/ tongs (bottom)
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Mogri/ Wooden mallet A wooden mallet used for flattening the interlocked joints and for correcting shape by planishing. The mallet has a large flat circular area of contact distributing the blow evenly on the area hit. Since the mallet is made of wood the blows do not cause any dents on the metal sheet and are gentler than the metal headed hammers. The newer versions of the mogri/ mallet has an acrylic head mounted on a wooden handle.
Kansi/ Metal files Since the products are formed and shaped by hand the edges are often jagged and un-finished; a set of kansis/ metal files of varying grades are used to file and smoothen these edges.
Fig 10.11
Dabaks/ Metal hammers These are a set of varied hammers with a shiny polished surface used for making the characteristic matharkaam/ indentations on the objects. The size and shape of the hammer head defines the kind of indentation that it will make on the copper or brass sheet. Each hammer has a name and is used for a specific indentation at a particular location on the object. The hammer heads are made of iron with the flat hitting surface being made of an alloy of lead and iron. The heads are fitted on a solid bamboo or wooden stick for a handle.
Fig 10.9
( & Fig 10.9) Mogri/ wooden mallet (Fig 10.10a & Fig 10.10b) Illustration showing the front and side view of Mogri/ mallet
(Fig 10.11) Kansi/ metal file Fig. not to scale.
(Fig 10.12) Hammers with reflective head used for making indentations
Fig 10.10a
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Fig 10.10b
Fig 10.12
Fig. not to scale. Dimensions are in cm
Fig. not to scale. Dimensions are in cm
Fig 10.15
Fig 10.13
(Fig 10.13) Illustration showing side view of the various types of hammers with relative dimensions (Fig 10.14) Illustration showing side view of the various types of hammers with relative dimensions (Fig 10.15) Illustration showing the dimensions of hammer and its proportion with respect to the human hand
Fig. not to scale. Dimensions are in cm
Fig 10.14
Fig 10.16
(Fig 10.16) The different kinds of hammers used by artisans
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Charyachi hatodi/ Criss-cross Hammer Type of indentations created - Checkered grid or cross hatch Usage - Commonly used over the brazed joints in objects such as the water storage containers, pots, etc to cover as well as seal in the joint properly. However this hammer is also used for creating patterns on some of the smaller contemporary products such as candle stands. (Fig 10.17a) Sketch of Charyachi hathodi/ criss-cross hammer (Fig 10.17b) Indentation pattern made by Charyachi hathodi/ criss-cross hammer
Fig 10.19a
Usage - This type of indentation is generally used for the main body of larger objects such as the bumba/ water heater and pimpa/ water storage barrel. These objects are also used for refurbished household utensils or lower value products.
(Fig 10.19a) Sketch of Mathar nakhi/ coining hammer (Fig 10.19b) Indentation made by Mathar nakhi/ coining hammer Fig 10.17a
(Fig 10.21a) Sketch of Parvadi/ edged hammer (Fig 10.21b) Indentation pattern made by Parvadi/ edged hammer (Fig 10.22) Front view of Parvadi/ edged hammer
Fig 10.20
Parvadi/ Edged Hammer Type of indentations created - Oblong/ long circular
(Fig 10.18) Front view of Charyachi hathodi / criss-cross hammer
(Fig 10.20) Front view of Mathar nakhi/ coining hammer
Fig 10.19b
Fig 10.17b
Fig 10.18
Mathar Nakhi/ Coining Hammer Type of indentations created - Circular dots (Small to medium sized) Usage - This type of indentation is the most widely used and forms the characteristic identity of the tambat/ copper-ware craft products. Used on the main body as well as all over the surface of an object. The size of the indentation used is proportional to the size of the object. Fig 10.21a
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Fig 10.21b
Fig 10.22
Mathar Dumukhi/ Double headed Hammer Type of indentations created- Flat elliptical dots Usage - The flat elliptical indentations are typically seen on the neck and mouth region of utensils. It is also used for creating a crimping effect on the folded edges of the rim of utensils.
Fig 10.27
Fig 10.23a
Fig 10.23b
(Fig 10.23a) Sketch of Mathar dumukhi/ double headed hammer. (Fig 10.23b) Indentation pattern made by Mathar dumukhi/ double headed hammer
Fig 10.24
(Fig 10.24) Front view of Mathar dumukhi/ double headed hammer
Mathar Chavadshi/ Tapered Hammer Type of indentations created - Thin flat linear dots
(Fig 10.25a) Sketch of Mathar chavadshi/ tapered hammer. (Fig 10.25b) Indentation pattern made by mathar chavadshi/ tapered mouth hammer
Usage - These type of indentations are also generally used on the neck and mouth region of utensils. It is usually used on smaller more delicate objects. This type of indentations placed in different orientations are also used to create various patterns on small articles.
(Fig 10.26) Front view of Mathar chavadshi/ tapered mouth hammer
Fig 10.25a
Fig 10.25b
Fig 10.26
(Fig 10.27) The different types of dabaks/ hammers used for indentation
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Sui/ Needle Sui/ needle is a thin needle like steel rod dipped in ink or pigment is used for marking the location for making holes for fitting the handles.
Fig 10.32
Fig 10.28
(Fig 10.28) Sui/ needle used for marking
(Fig 10.29) Sketch of sui/ needle (Fig 10.30) Bottom view of pokal sanap/ hollow punch
Fig 10.29
Pogar/ Short pointer It is a big iron nail used for punching holes of various sizes in the copper objects. Nail is placed on the markings made and then hit with a hammer to punch a hole. Hexagonal Nut and Pokal Sanap/ Hollow punch A hexagonal nut and a thick iron nail which is hollow from inside to house the rivet. The nut is placed below the sheet metal whereas the nail with rivet is above the handle.
Fig 10.33
Hathodi/ Hammer The hathodi/ hammer with a iron head and wooden handle is used to hit the iron nail for making a hole in the copper sheet. It is also used for hammering the rivet into the sheet metal through the handle. Channi/ Chisel Channi/ chisel is used for cutting and marking grooves in small parts.
(Fig 10.31) Side view of pokal sanap/ hollow punch (Fig 10.32) Pogar/ short pointer (left) and hexagonal nut (right)
Left to right: chisel, hollow punch, short pointer and hexagonal nut
Fig 10.30
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Fig 10.31
Fig 10.34
10.2 EQUIPMENT The relatively permanent, larger setups and machines required by the artisans while making the products are listed under his category. Equipment being relatively expensive and very task specific, it is usually shared by multiple artisans and thus is installed in the common area outside the individual workshops. Khod/ Wooden seat The khod is a wooden block with two legs about 60° apart forming an ‘A’ shaped wooden frame which is paired with kharvai as a seating. The khod/ seat is made of a specially seasoned wood found predominantly only in the konkan region of Maharashtra. The hole in the frame has a provision to allow the kharvai/ bar anvil to be passed through it to create a seating that can be adjusted at various angles.
Fig 10.36
Kharvais/ Bar anvils Long thick iron bar anvils bent and polished at one end, on which the utensil is placed and beaten to shape. There are a variety of kharvais specially designed and named after the utensil that it is used to shape. The end of the kharvai/ bar anvil which rests on the ground is called mangat and the opposite end which is raised and used as anvil is called the mukh/ mouth.
Fig 10.35
Assembly of Khod/ Wooden seat & Kharvai/ Bar anvil The Khod/ wooden seat and Kharvai/ bar anvil are always used together as an assembly. The artisans possess a variety of kharvais/ bar anvils which are mounted on the khod/ wooden frame to create a seating.
(Fig 10.33) Pogar/ big iron nail
(Fig 10.34) Sketch showing the relative dimensions of the tools used while riveting the fittings
(Fig 10.35a) Front view sketch of khod/ wooden seat with dimensions (Fig 10.35b) Side view sketch of khod/ wooden seat (Fig 10.36) Khods/ wooden seats resting against a wall in the workshop
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A- mukh/ mouth of kharvai/ bar anvil
B- mangat/ base end of kharvai/ bar anvil
A
B
Fig 10.37a
There are a variety of kharvais/ bar anvils specially designed and named after the utensil that it is used to shape. Each bar anvil is also used for shaping different parts of an object. Fig 10.37b
Fig 10.38a (Fig 10.37a) Detailed sketch of a typical kharvai/ bar anvil with dimensions
Kalshi/ small pot
Fig 10.38b
Handa/ cooking vessel
Fig 10.38c
Tapela/ rice cooking vessel
(Fig 10.37a) Detail sketch of A- mouth of bar anvil (Fig 10.38a,b,c &d) Detailed sketch of the various types of kharvais/ bar anvils (Fig 10.39) Different types of kharvais/ bar anvils kept on the floor
Bumba/ traditional water heater
Fig 10.38d
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Fig 10.39
Fig 10.40
Fig 10.42
The assembly of the Khod/ wooden seat and Kharvai/ bar anvil used as a seating is such that it’s height can be adjusted by varying the resting angle of the bar anvil by adding padding under the bar at the point where it rests on the wooden seat. In order to provide cushioning and make the seat more comfortable for extended hours of work while being seated, the artisans place layers of folded jute gunny bags on the wooden seat.
(Fig 10.40) The typical setup of khod/ seat and kharvai/ anvil in use at an artisan’s workshop (Fig 10.41) Illustration showing the side view of the khod/ seat and kharvai/ anvil in setup (Fig 10.42) The jute cushioning placed on the khod/ seat and kharvai/ bar anvil setup
Fig 10.41
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Ubaad/ Upright anvil An upright or slightly tilted iron pole with a very smooth and shiny head used as a anvil. It is fixed into the ground and is used to shape the base of utensils especially pots. The cost of the ubaad is about Rs. 400. Portable versions of these are also now available.
Ukhal/ Sinking stone Square slabs of basalt stone having a circular hollow space carved into the centre, fixed in the ground, traditionally used shaping copper sheets into utensils. These stones are now sometimes used as jig for standardizing the size of utensils.
Fig 10.42
Fig 10.45
Bhatti/ Open furnace and Electric Blowers A raised square brick platform approximately 2’ x 2’ in size covered with concrete with a slight circular depression in the centre for placing the coal comprises the typical open furnace setup. This setup is generally in a corner of the workshop space or outside the workshop. Traditionally, mechanical blowers were used for fanning the coal; electric blowers have now replaced these. The blower is connected in such a way that the air flow is directed towards the hollow in the centre from underneath the platform.
(Fig 10.42) Ubaad / tilted anvil fixed in the ground
(Fig 10.43) Ubaad / upright anvil
(Fig 10.44) Illustration of ubaad / upright anvil with dimensions
(Fig 10.45) Ukhal / stone jigs Fig 10.43
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Fig 10.44
Metal tube beading machine A manually operated beading machine is used for beading the edges of the larger products such as the bumba/ water heater, pimpa/ water filter, ghanghal/ bath water containers. The beading gives strength against warping especially to objects with large diameters.
Fig 10.46
Fig 10.48
Buffing Machine The buffing machine is used for polishing the surface of the products after they are removed from the furnace and cleaned. This creates a smooth, spotless surface for the matharkaam/ coining of indentations.
(Fig 10.46) Zoomed in view of the open furnace with an appartaus to secure flame of coal from wind (Fig 10.47) A typical setup of the open furnace along with the electric blower at an artisan’s workshop (Fig 10.48) Manually operated, metal tube beading machine (Fig 10.49 & 10.50) Buffing machine with attachments for buffing and polishing metal
Fig 10.47
Fig 10.49
Fig 10.50
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10.3 STORAGE The hammers are generally hung on a small wall fitted rack. The kharvais/ bar anvils are stored vertically against a corner of the workspace with the khod/ wooden seat resting against them. Smaller tools such as the files, rivet hammers, punches,etc are stored in a plastic box. The beading machine, buffing and polishing machines are outside the workshop in the common areas and are covered with a cloth and jute gunny bags when not in use.
Fig 10.52
Fig 10.53
(Fig 10.51) Kharvais/ bar anvils stored vertically in a corner of workshop (Fig 10.52) Khod/ wooden seat and aadhi/ sinking block kept resting against a wall (Fig 10.53 & 10.54) Different types of hammers stored by hanging them in between the wall and a rod fixed on the wall Fig 10.51
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Fig 10.54
10.4 MAINTENANCE & REPAIR The hammers and tools used by the artisans are mostly passed on through generations and the artisans claim them to be over a hundred years old. The hammers are soaked in water before use for a couple of hours in order to allow the wooden handle to expand due to absorption of water. The hammer head fits the handle better when the wood has expanded due to the water and prevents slipping. The hammers used for the matharkaam/ coining of indentations have a shiny polished face on the head and it cannot be repolished. The hammer needs to be remade. However the artisans polish it on the buffing machine and use it a few times before replacing it with a new one. These hammers are crafted by skilled blacksmiths from Konkan.
Fig 10.57
The kanas/ metal files are replaced every year
Fig 10.58
(Fig 10.55 & 10.56) Polishing of the hammer head by rubbing on a rubber shoe sole using an abrasive material (Fig 10.57) Comparison between new hammer (top) and worn out hammer (bottom) (Fig 10.58) Polishing of the hammer head on the buffing machine (Fig 10.59) The hammers used for matharkaam/ coining of indentations, soaked in water
Fig 10.55
Fig 10.56
Fig 10.59
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11 CREATION PROCESS 86
11 Process 11.1 PROCESS OF MAKING COPPER VESSELS
•
All the utensils made by the artisans fall under two major categories based on the way they are made; • •
•
Akhanda/ Whole - These vessels are made entirely by forming a single sheet of copper. Since these vessels do not have any joints they are stronger and more durable. Generally the smaller sized utensils fall under this category. Joined - These vessels are made by joining two or more parts together. These vessels are comparatively weaker at the joints and are more susceptible to tearing around the joints. Most large vessels are made by joining.
The major processes involved in making any handmade copper object are; • • •
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Katarkaam/ Cutting - This involves the cutting of copper sheet into the desired shape and size based on the vessel to be made. Ghadkaam/ Forming - This includes sinking (kholkaam), raising and shaping of the copper sheet. Jodkaam/ Joining - Joining involves nipping, hammering and zalkaam/ brazing. Placement of the joints depends upon the shape of the vessel, it’s complexity and the strength required.
•
Ujalkaam/ Cleaning - In this process the parts are given an acid bath, to remove the residual oxides and sulphate formed in the previous processes. Matharkaam/ Finishing - This is where the vessels are given their characteristic identity of shiny scale like dotted pattern. These dots have not only add beauty to the vessels but also strengthens the metal. Kalai/ Tinning - This is the process of coating the inside of a vessel with tin. Only the vessels used for cooking undergo this process in order to make the inside surface which is in contact with the food non reactive.
Based on the category of product, some stages may be skipped. Also the steps involved in each stage varies based on the complexity of the product. Due to the strenuous work and time consuming processes involved in handcrafting the vessels, a lot of small industries have started coming up which have mechanised many of these processes. Though the industrial methods are more efficient in terms of process time and effective in attaining precision in the shape of the vessels, they lack the character that an artisan lends to the vessel by meticulously shaping it to perfection. Also no mechanised way has been developed yet which can exactly mimic the matharkaam/ coining of indentations done on the surface of vessels.
11.2 INTRODUCTION TO BUMBA/ WATER HEATER The Bumba/ water heater is a traditional coal or wood fired appliance used to boil water for bathing and other daily chores. It was a household staple in Indian homes especially in Maharashtra and Gujarat before the introduction of electric water heaters. Though the electric water heaters have replaced the bumba/ water heater in most homes today, it is still widely used in many of the rural parts as well as urban areas with limited electric power supply. The bumba/ water heater is entirely made of copper except the accessories (handles, tap, etc) which are made of brass. It is still primarily handmade and consists of four major parts; a central body which holds the water to be boiled, the inner tube for flue or heat from the coal to pass, a lid to contain the steam and heat within the main body and a stand to supports the entire setup. The bumba/ water heater is usually made in two sizes, No.11 and No.15 (the sizing is based on the diameter in inches of the main body). The bumba/ water heater is sold in the market on the basis of it’s weight, which is in the range of Rs. 1400 - Rs.1800 (approx. Rs. 125/kg) whereas the artisans are paid only about Rs. 400 per piece. In recent times, miniature versions of the bumba/ water heater have gained popularity in modern urban homes, not only as collectible objects but also as dispensers for drinking water due to the health benefits associated with copper. (Fig 11.1) Copper Bumba/ Traditional water heater in use outside an artisan’s residence Fig 11.1
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11.3 ANATOMY OF THE BUMBA/ WATER HEATER The bumba/ water heater consists of five major parts which are crafted individually by the artisans and then assembled together to make the bumba/ water heater. It’s constituent parts are as mentioned below;
Dhakan/ Lid The dhakan/ lid fits on the main body retaining the steam generated from the water within the bumba, thus keeping the water hot longer.. The lid has two handles for lifting to fill water and a peephole or window for checking the water temperature. The lid is also made from 22 gauge copper sheet. Patta/ Main shell The patta/ main shell is a large cylinder of about 15� diameter which forms the body of the bumba/ water heater. This cylinder contains the water to be heated and is made from 22 gauge copper sheet. Budchaki/ base cover This forms the base of the main body which contains water and is also made from 22 gauge copper sheet. Koti/ Coal chamber This is a short cylindrical part which forms the base of the heating element which is in direct contact with water. It contains the coal which is burnt for heating and since it has to sustain high temperatures it is made of a 18 gauge copper sheet which is thicker than the main body. Naala/ Inner tube for flue gases The naala/ flue tube is slightly smaller in diameter and longer than the koti/ coal chamber above which it fits. This part contains the hot gases and allows the smoke from the coal to escape into the atmosphere. Since this part has to sustain maximum temperature and pressure it is made from 12 gauge copper sheet which is the thickest amongst all the parts of the bumba/ water heater.
(Fig 11.2) Sketch showing the different parts of a bumba/ water heater along with dimensions Fig 11.2
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11.4 MAKING OF THE BUMBA/ WATER HEATER The Bumba/ Water heater is made by a group of around 2 to 3 specialised artisans. Each artisan specialises in a particular skill and the work is divided among themselves based on their expertise. The artisans work 8 hours a day to make approximately three to four complete bumbas/ water heaters per day. The most common bumba/ water heater made by the artisans is the No.15 and the process of making this bumba/ water heater is described here in detail. Stage 1 The first step of making the bumba/ water heater is, cutting the copper sheet in the required dimensions. All the cylindrical parts are cut and formed from rectangular copper sheets whereas the lid and base cap are made from circular copper sheets. The diameter of the outermost cylinder or the main body of a No. 15 bumba/ water heater is 15”. The length of the sheet required to make a 15” diameter cylinder is thrice the diameter i.e. 45”. The height of the patta/ main body is same as the diameter i.e. 15”. This is cut from a 22 gauge (0.643 mm) rectangular copper sheet. The naala/ inner tube for flue gases has a diameter of about 5” and height of 17”, is made from 12 gauge (2.052 mm) copper sheet. A 18 gauge (1.024 mm) copper sheet is used to make the koti/ coal chamber which has a diameter of 7” and it’s height is 10”. The lid is made from a circular copper sheet with diameter 2” more than that of the main body, thus the diameter of circle sheet used is 17”. The base cap is made from a circular copper sheet having the same diameter as that of the main body which is 15”.
Originally, the artisan used to cut the circular discs from a rectangular copper sheet, by marking the diameter with a compass and then cutting it with a pair of metal shears. However, pre-cut circular discs of copper sheets are now available in some standard sizes and gauges which saves the time and effort of the artisan. Stage 2 After the copper sheets required for the various parts are cut as per dimensions, they are formed into the preliminary shape of the desired part. An artisan forms the lid and the base of the bumba/ water heater. Both the lid and the base cap are of a hemispherical shape, with the lid being shallower than the base cap. In order to maintain consistency in the workmanship, both these parts are formed by the same artisan. The artisan places the circular sheet for the base cap on the aadhi/ sinking block and hammers it, moving radially inwards to create a concave form. The base has a hole in the centre which is cut out and enlarged while forming. The hole has a vertical rim which is raised outward. The diameter is wide enough for the koti/ coal chamber (lower cylinder) to go through it. In order to achieve the dome shape the copper sheet is annealed repeatedly. Annealing is the process that involves the controlled heating of copper to a critical temperature. At this critical temperature, the strained grains of metal which were stretched and hardened during forming, disintegrate into new smaller grains. As the copper is further heated beyond the critical temperature, the newly formed tiny grains grow and fuse with one another, making the metal more ductile due to the increased grain size allowing copper to be reduced further.
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The hemispherical shape of the top lid is also formed by a similar process but without annealing. This retains the hardness of the lid making it more durable to wear and tear since it is the most handled part of the bumba/ water heater.
Fig 11.5
Fig 11.3
Stage 3 The artisan then nips one of the vertical edges of each of the cylinders so that it can be interlocked with the other edge to close the cylinder. The nips are about 1cm deep and the teeth that are formed by nipping are folded alternately to enable proper interlocking with the other non-nipped edge. The nipped edges are then hammered down for achieving a firm fit by placing the cylinder over the mukh/ mouth of the kharvai/ stake.
(Fig 11.3) Kor/ edge being marked on the lid of bumba/ water heater
(Fig 11.4) The ready lid, before the centre hole is punched out
(Fig 11.5) The central hole and peeping window punched out from the lid (Fig 11.6) Sketch showing joinery detail (Fig 11.7) The overlapping joinery on the cylinders
Once the basic shape is achieved, the parts are checked for dimensions and are ready to be joined. The central hole in the lid is punched out by placing it on a mandli/ annular metal block. The lid also has a small window for checking water temperature, which is cut out using a chisel and hammer after the preliminary shape is formed.
Fig 11.4
Simultaneously, another artisans works on the patta/ main body, naala/ inner tube for flue gas and the koti/ coal chamber which are all bent into cylinders using only his bare hands. Alternately, the sheets may also be bent by placing the sheet over the mukh/ mouth of the kharvai/ stake or anvil and hammering it with a mogri/ wooden mallet.
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Fig 11.6
Fig 11.7
Fig 11.8
Since the bumba/ water heater is used for heating water, all the parts need to be leak-proof. Zalkaam/ Brazing is done in order to seal and strengthen these joints. The artisan makes dakh/ braze by mixing brass powder and zinc with soggi/ a flux which is then applied on the interlocked edges. First the joint is fast fired to allow the powder to fix to the surface of the joint. Its is then gradually slow fired. Since the melting point of the braze is 100 degree celsius which is lower than that of copper, it melts and fuses with copper flowing into the joints and making it permanent. On heating, the zinc evaporates leaving behind only the brass and giving the line at the joint a yellowish colour.
Fig 11.11 (Fig 11.8) Inner cylinders joined and ready for brazing (Fig 11.9) Brass powder being seived for preparing the braze (Fig 11.10) Braze ready for application on joints. (Fig 11.11) An artisan applying braze on the joint from the inside of main body (Fig 11.12) The main cylinder placed on the furnace for heating the brazed joint
Fig 11.9
Fig 11.10
Fig 11.12
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Stage 4 Once all the three cylinders are brazed, they are individually checked for leakages. Brazing is done on the outside or inside depending upon the wear and tear the part will be subjected to. Water is poured in gentle stream along the sealed joint from the inside of the cylinder. If there is a gap in the joint, water bubbles at that spot and seeps through to the other side leaving a wet trail. The spot is sealed again by soldering using the solder material and heating on the furnace. The resealed part are then dunked in a tank full of water for cooling. The brazed joint is levelled using the charayachi hatodi/ criss-cross hammer. The joint is strong and long lasting. The deformations in the three cylinders are corrected again by mounting on the stake and hammering.
Fig 11.14 Fig 11.15
Stage 5 A mechanical beading machine is used to make two grooves on the top edge of the main cylinder for the lid to rest on it. One of the artisans holds the cylinder between the two rollers while the other artisan turns the lever which causes the inner roller to apply a radial pressure forming the bead on the metal. (Fig 11.13) Artisan flattening the freshly brazed joint on a cylinder along with shape correction.
(Fig 11.14) Freshly brazed joint
(Fig 11.15) Artisan correcting the brazed joint of the main cylinder Fig 11.13
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Meanwhile, another artisan works on joining the naala/ flue tube to the koti/ coal chamber. The bottom rim of the koti/ coal chamber (lower cylinder) is formed outward while it’s upper rim is formed inwards at an approximate angle of 45 degrees and nipped. The bottom rim of the naala/ flue tube (upper cylinder) is formed also outward and it’s upper edge is bent outwards. Both these cylinders are fixed together and brazed to seal the joint. The joint is checked for leakages before moving ahead.
Fig 11.18
Fig 11.19
(Fig 11.16) Artisans making the bead on the top edge of the main cylinder Fig 11.16 (Fig 11.17) Bending of the top rim of lower cylinder (Fig 11.18) Nipped top edge of the lower cylinder
(Fig 11.19) The interlocked edges of the lower and upper cylinder (Fig 11.20) Artisan flattening the interlocked edges of the inner tubes Fig 11.17
Fig 11.20
TALES OF TAMBAT | Creation Process | 94
Fig 11.21
Fig 11.23
Fig 11.22
Fig 11.24
(Fig 11.21) Application of braze on the interlocked joint
(Fig 11.22) Fast heating of the inner tubes for fixing the braze
(Fig 11.23) Slow heating of the inner tube
(Fig 11.24) Cooling of the joined inner tubes by quenching in water tank
95 | Creation Process | TALES OF TAMBAT
Stage 6 The individual parts made by the artisans are now assembled together to make the complete bumba/ water heater. The base cap is attached to the main cylinder. The two parts to be joined are first checked for exact fit and proportions. The lower end of the main cylinder is nipped and interlocked with the edge of the base cap and brazed for joining. The main body is then quenched by submerging it in a barrel full of water and then checking for leakages if any. Fig 11.25
Fig 11.27
(Fig 11.25) Freshly brazed joint of the upper and lower tube
(Fig 11.26) Checking of the joint for leakage in the joined tubes
(Fig 11.27 & 11.28) The interlocked joint of the base cap with the main cylinder Fig 11.26
Fig 11.28
TALES OF TAMBAT | Creation Process | 96
Fig 11.31
Fig 11.29
(Fig 11.29) Flattening of the nipped edge at the junction of main cylinder and base cap
(Fig 11.30) The flattened joint ready for brazing (Fig 11.31) Application of braze on the joint
(Fig 11.32) The newly joined parts being slow fired on the open furnace Fig 11.30
97 | Creation Process | TALES OF TAMBAT
Fig 11.32
Fig 11.33
Subsequently, the two inner cylinders that are joined and constitute the heating element are assembled with the main body. The main body is slid over the tubes and pushed to exactly fit the bottom cylinder in the hole at the base. The inner heating element is then joined with the main body at the base. The lid is also assembled to check to check the fit.
Fig 11.35
(Fig 11.33) An artisan hammering the freshly joined parts and correcting the shape
(Fig 11.34 & 11.35) The main cylinder along with the base cap being slid over the inner tubes by pushing and rotating the outer cylinder
(Fig 11.36) The assembled bumba/ water heater without the lid Fig 11.34
Fig 11.36
TALES OF TAMBAT | Creation Process | 98
Fig 11.37
Fig 11.40
(Fig 11.37) The bottom rim of the inner tube and base cap being hammered for fusing them together (Fig 11.38) Position of the artisan’s foot , supporting the vessel
Fig 11.38
(Fig 11.39) The rims of the inner cylinder and base cap being rolled out and flattened
(Fig 11.40) Application of braze on the joint at the bottom for sealing the inner tube with main body
(Fig 11.41 & 11.42) Firing of the joint on the furnace Fig 11.39
99 | Creation Process | TALES OF TAMBAT
Fig 11.42
Fig 11.41
Fig 11.43 Fig 11.45
Stage 7 The lid and the assembled main body are soaked in hydrochloric acid for a few minutes to get rid of all the soot and stains settled on the surfaces during the previous processes. The parts are then removed and rinsed thoroughly with water and are scrubbed clean using a steel scrubber dipped in tamarind pulp.
Fig 11.44
The artisan takes these parts for buffing on an electric buffing machine to get rid of the scratches from the surface of the parts. The parts are then allowed to dry in the sun for a while before wiping them dry with a clean, soft cloth.
(Fig 11.43) Checking for leakages in the assembled bumba/ water by submerging in a tank of water
(Fig 11.44) The spot with a tear is marked using a chalk (Fig 11.45) Checking the fit and dimensions of the bumba/ water heater and correcting the deformations
TALES OF TAMBAT | Creation Process | 100
Fig 11.46
(Fig 11.46) The lid and semi- assembled bumba/ water heater soaked in hydrochloric acid Fig 11.48 (Fig 11.47) The semi-assembled bumba/ water heater after risning with water post the acid bath (Fig 11.48) An artisan cleaning the surfaces of the bumba/ water heater with tamarind pulp (Fig 11.49) Artisan scrubbing the bumba/ water heater with a steel scrubber to get rid of the debris stuck to the surface Fig 11.47
101 | Creation Process | TALES OF TAMBAT
Fig 11.49
Fig 11.52 Fig 11.50
(Fig 11.50) Rinsing of the lids in clean water after being removed from the acid bath (Fig 11.51) An artisan polishing the surface of a lid on the buffing machine (Fig 11.52) The semi-assembled bumba/ water heater after cleaning (left) and just before cleaning (right) (Fig 11.53) An artisan wiping the bumba/ water heater with a clean cloth after it is washed and cleaned
Fig 11.51
Fig 11.53
TALES OF TAMBAT | Creation Process | 102
Stage 8 The Bumba/ water heater and lid are now very carefully taken back to the stake by the artisans to begin the most admirable process of all. Two artisans simultaneously start working on the two parts separately to give the final identity to the bumba/ water heater. Matharkaam/ coining is done only on the outer surface of the main body and the lid. The artisans place a clean cloth over their lap and under their hands to avoid staining due to sweat. The artisan then meticulously starts making the indentations on the surface. Thousands of dots are placed next to each other without overlapping. This process requires great hand eye co-ordination and perfecting it takes years. The beauty of the art of matharkaam/ coining of indentations is that each piece is unique and has its own identity in terms of the way the scaled pattern is created on them. Each artisan has his own style of creating the pattern by playing with the density of indentations as well as their size and orientation.
Fig 11.55
Fig 11.54
Fig 11.56
(Fig 11.54) An artisan marking the edge on a polished lid before starting the matharkaam/ coinin (Fig 11.55) The position of mounting the lid for making indentations on it
(Fig 11.56) The different types of indentations marked near the mouth of the lid
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Fig 11.59 Fig 11.57
Fig 11.58
Matharkaam/ coining produces a shallow design of fish-scale like shiny dots all over the surface. During this process, the surface of metal is stressed and thus additional stiffness is imparted to the sheet. This pattern also serves as a way of concealing distortions and surface imperfections if any. Finishing hammers or dabaks of various kinds as explained in the previous chapter are used for the matharkaam/ coining. The indentations are given with a specific purpose to solve certain problems. With each dot the metal surface gets compressed closing its pores, thus protecting it from oxidation due to the contact with atmospheric air. This increases the water heater’s resistance to corrosion, increasing its life. These indentations also provide structural strength to the copper sheet by hardening it with each subsequent blow and also help in prevention of denting. After the matharkaam/ coining is completed on the entire bumba/ water heater it is cleaned with soft steel wool to give it a splendid shine. Light is reflected off each of the tiny surfaces created by the indentations making the bumba/ water heater gleam in the sunlight.
(Fig 11.57) Matharkaam/ coining of indentations on the main body of bumba/ water heater
(Fig 11.58) Mounting position of the assembled bumba/ water heater while artisan makes the dents (Fig 11.59) Zoomed in view of the indentations marked on the copper sheet by using the planishing hammer
TALES OF TAMBAT | Creation Process | 104
Small pieces of copper sheet are placed on a larger trapezoidal copper strip and folded towards the centre from both the edges. The strip is then bent at the broader end and a hole is punched in it for riveting. The remaining part of the strip is curved into an inward facing hook. Three such strips are made which are riveted to the base of the bumba/ water heater to support the wire mesh which holds the coal. The artisans generally make the fittings required for 3 to 4 bumbas/ water heaters all at once in order to save time.
Fig 11.60
(Fig 11.60) The main cylinder with matharkaam done on the complete outer surface (Fig 11.61) Artisan cutting strips from scrap copper sheets (Fig 11.62) The scrap copper sheets are placed inside another larger piece of copper and folded
Stage 9 The cover for the peephole on the lid is made from an ellipse cut from a rectangular 18 gauge copper sheet of 4� x 2.5�. An elliptical groove is marked about a centimetre from the edge of the piece with a chavadshi/ thin flat hammer. The edges of the lid are filed and smoothened to prevent injury while in use. A brass knob is fitted in the centre of this ellipse and a brass hinge is fixed on one of the shorter sides of the lid. Meanwhile, another artisan works on the lower I’s used for holding the wire mesh are made from scrap metal sheets.
105 | Creation Process | TALES OF TAMBAT
Fig 11.61
Fig 11.62
Fig 11.63
Stage 10 The final step in the making of the Bumba is the fitting of the accessories. After the matharkaam/ coining of indentations is finished, the artisan fixes the handles on the lid. The lid is measured and holes are punched at the opposite ends of a diameter of the lid using pogar/ a short pointer. A hole is punched on the left side of the peephole for riveting its cover. The main body of the bumba/ water heater is measured again in order to determine the precise location for fixing the handles. The location for fixing the handles is marked by dipping a thin needle like rod in ink and making a mark for the rivets through the holes in the handles. The artisan then carefully mounts the bumba/ water heater on the stake and a hexagonal nut is placed below the surface where the hole has to be punched. The artisan punches out the hole with one strong blow by using a poke sanap/ hollow punch and a hammer. The tap is the last accessory to fixed on the bumba/ water heater. Generally the tap is fitted onto the bumba/ water heater only after a customer buys it. This lowers the risk of breakage while storing the bumba/ water heater. (Fig 11.63) The strip for the I supports being hammered to flatten
(Fig 11.64) The ring with the hook attactments to be fixed at the base of bumba/ water heater for holding wire mesh (Fig 11.65) Illustration showing the entire assembled bumba/ water heater Fig 11.64
Fig 11.65
TALES OF TAMBAT | Creation Process | 106
Fig 11.66
Fig 11.69
Fig 11.72
(Fig 11.66) Fittings and the tools used to attach them to the bumba/ water heater (Fig 11.67) Marking the location for fixing the handle using a thin steel rod dipped in ink (Fig 11.68) A pointed nail used to mark the hole to be punched
Fig 11.67
Fig 11.70
Fig 11.68
Fig 11.71
(Fig 11.69) Hitting the nail with hammer to punch holes on the main cylinder (Fig 11.70) The holes for riveting the handles on the main body (Fig 11.71) Hollow tool housing the rivet inside it
107 | Creation Process | TALES OF TAMBAT
Fig 11.73
Due to the strenuous work and time consuming processes involved in handcrafting the vessels, a lot of small industries have started coming up which have mechanised many of these processes. Though the industrial methods are more efficient in terms of process time and effective in attaining precision in the shape of the vessels, they lack the character that an artisan lends to the vessel by meticulously shaping it to perfection. Also no mechanised way has been developed yet which can exactly mimic the matharkaam/ coining of indentations done on the surface of vessels.
Fig 11.74
(Fig 11.72) The rivet passing through the hole in handle being hammered down (Fig 11.73) The finished bumba/ water heater without lid (Fig 11.74) Ready bumbas/ water heaters stacked at an artisan’s home (Fig 11.75) The bumba/ water heater at different stages. Fully finished (left) after cleaning (centre) and before cleaning Fig 11.75
TALES OF TAMBAT | Creation Process | 108
109
12 THE MARKET
110
12 Market 12.1 LOCAL MARKETS The tambat/ copperware artisans generally make kitchen utensils and other household products which are primarily sold in the local markets in Pune city. Tulsi baug is one of the major local markets where the utensils are sold. People from the city generally buy the utensils from the local utensil vendors to whom these artisans supply their products. Smaller articles generally have a fixed price per piece whereas the larger articles are sold on the basis of their weight a price fixed per kilogram. The price starts from about 100 to 200 rupees and goes up to about 1800 rupees based on the size and weight of the product. With the increased mechanisation in the utensil industry, a lot of replicas of the handcrafted utensils are available at a lower rate adversely affecting the sales of the handmade utensils.
Photo on chapter cover Tulsi baug market Image source (http://tourmet.com/wpcontent/uploads/2014/01/ Tulsi-Baug-pune.jpg) (Fig 12.1) A few of the tambat/ copperware artisans at their stall at the Bhimthadi Jatra/ local event
111 | The Market | TALES OF TAMBAT
The artisans also have a co-operative formed amongst themselves through which they also sell directly to customers. Recently the artisans have started making contemporary lifestyle products which they sell through exhibitions. One of the most recent exhibition at which the artisans put up their stall was Bhimthadi Jatra, which is an event organised by the city governing body for encouraging local crafts and culture. People from neighbouring villages and towns are invited to put up stalls and share their culture in the heart of the Fig 12.1
Fig 12.2
city. The ‘Tambat Association’ is a locally formed co-operative of the copper artisans and has an office where the products made by the artisans are stored. The artisans just put each article in a transparent plastic cover or wrap them in newspaper and stach them or fill them in a sack for storage.
(Fig 12.2) An artisan member of the tambat association showing us some of their recent products Fig 12.3 (Fig 12.3) Products stored at the Tambat/ Association’s office
TALES OF TAMBAT | The Market | 112
12.2 THE CHANGE MAKERS The INTACH Pune chapter started a livelihood project for helping the tambat/ copperware artisans receive their fair share of recognition and appropriate renumeration for their work. The project was funded by Forbes Marshall, Pune. As part of this social enterprise various programs were conducted for the welfare of the tambat community. The efforts taken by them resulted in many of the women joining the craft as well. During the project, it was observed that the artisans did not take pride in their work and the products that they sold were very outdated for the current market.
international design shows and exhibitions. America is one of their largest markets internationally. The copper products have been able to enter the European market as well due to Coppre’s recent presence at the Milan Design Week 2018. The market for these products is expanding each day. The recent markets for these products are Australia and the Middle East especially UAE and Dubai.
Hence, Coppre a Pune based design studio was established by a group of designers and craft appreciators for reviving the tambat/ copperware craft of the city. The studio’s main aim was to provide design and marketing assistance to the artisans. Coppre helped develop a new range of contemporary products with a wide array of products. Coppre also introduced quality control guidelines to the artisans and helped them in identifying its need and importance.This opened up new markets in India as well as introduced their work in the International markets. These organisations also helped the artisans in obtaining the craft mark certifications for authentication of the craft products. 12.3 INTERNATIONAL MARKETS
(Fig 12.4) Some of the products designed by Coppre on display at their studio in Pune
Coppre sells the products made by these artisans on their website and ships them all across the world. Coppre introduced the products crafted by these artisans to the International Market through various Fig 12.4
113 | The Market | TALES OF TAMBAT
Fig 12.7
Fig 12.5
(Fig 12.5) A sample of the packaging developed by Coppre (Fig 12.6) Cleaning kit with an instruction manual for each product (Fig 12.7) The top view of the packaging box with Coppre branding
(Fig 12.8) The front view of the packaging box with product name and details Fig 12.6
Fig 12.8
TALES OF TAMBAT | The Market | 114
13 Scenario of Tambat Craft today There were eight hundred households actively involved in the copper craft running approximately a hundred and ten copper craft workshops. By 1993, the numbers dwindled to hundreds and fifty families running workshops. Two years ago there were sixty families involved in the trade. Currently, there are only eight to ten families whose livelihood depends directly on the tambat craft. The increasing price of raw material is certainly a big factor. Price of copper was Rs 180 per kilogram three to four year ago and is now 460 a kilogram. But there are number of other factors involved. Marwadi businesses have a stronghold on the copper trade. They have the wherewithal to build factories where large utensils can be made by machines. The coppersmiths of Tambat Aali cannot make these large utensils. Their specialization however cannot be achieved by a machine and the copper smiths are needed to beat the strength into these utensils. Mainly in Thailand and Indonesia, the beaten work is done by machines but this technology has not reached India. Apart from mechanization and mass production, steel. aluminum and plastic materials have begun rising in popularity. All these factors have led to decline in skilled labor, from within the tambat community, with the younger generation shunning the craft assiduously tended by their forefathers. Interestingly, students of Art from schools such as NIFT Mumbai, JJ school of Art in Mumbai, Abhinav kala vidyalaya,Pune and even kolhapur come to learn more about copper
craft, with some spending as much as two years interning with tambats. The copper artisans are the one stop resource for problem solving for many of these students who go on to establish themselves as artists.The problem is that these students have a vision which is different from the coppersmiths, artisans have specialized in mathar kaam and produce small copper utensils but have not expanded their range. The world today is interested in copper goods but veers aways from the traditional. Copper craft relies on a number of factors. The principal raw materials include copper and an alloy of copper. The copper can be brought in the form of sheets from the market or else, as ingots, slabs, billets and scrap. Chemicals such as sulphur and other acids also form a part of the required raw material. Watching a coppersmith at work is spellbinding. The traditional craft process user manual shaping and beating. Each step has to be done by hand and it takes a long time. Now the tamba craftsmen in Pune have begun standardizing certain objects in order to speed up production. Mechanization is used for the spinning and press work. There are various sizes and shapes that can be achieved in this process. However, large and complex items cannot be machine produced.
TALES OF TAMBAT | Scenario of Tambat Craft today | 116
From left to right- Kavita Varier, Anuja Thanawala and Azba Khan with Mrs. Supriya Goturkar-Mahabaleshwarkar (Co-ordinator) at the INTACH Pune office
From left to right- Anuja Thanawala, Azba Khan, Kavita Varier with Mr. Balasaheb Dakhve the President of Twashta Kasar Association
From left to right- Anuja Thanawala, Kavita Varier, Mrs. Sudakshina Sinha Banerjee (Head of Marketing Outreach) and Azba Khan at Coppre Studio,Pune
From left to right- An artisan along with Azba Khan, Anuja Thanawala and Kavita Varier on the last day at his workshop
117
Conclusion
The Tambat/ copperware community is an ever diminishing group of artisans who are old in age. This loss of productivity and zeal is borne by the craft community. The rising standards of finish and machine-made symmetry has outgrown the hand done perfection. The introduction of machines and other means to achieve the finishes on copper have crept the markets. Such high competition has left the Tambats/ copperware artisans lagging, but not losing. The younger generation of Tambats/ copperware artisans are not directly motivated to pursue the craft but their ideas of expansion and business in a digitally connected world is being put to use. We see such ideas shine in the younger minds while talking about other means to take Tambats/ copperware craft forward using machinery, digital media and social platforms. A spring of business mindset and better quality of life for the Tambats/ copperware artisans is a view of the upcoming generation. Platforms such as Coppre and INTACH are taking the craft to an international platform, showcasing the intricate craft to the world and experimenting with copper as a sustainable material in many directions. The health benefits of copper and the sudden boom in the usage of its products has been a definite shift for the Tambats/ copperware artisans. This and many aspects about the culture of this craft community, its experimentative approach and the constant adaptation policy from the era of the Peshwas to today is what has lived through the Tambats/ copperware artisans and will prevail further.
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Contribution of Authors
ANUJA THANAWALA Document Layout Introductory Pages Content - (Chapter 08 to 12) Photography Proof reading & Editing Document merging/ compilation
AZBA KHAN Content - (Chapter 04 to 07) Conclusion Photography
KAVITA VARIER
From left to right Anuja Thanawala, Azba Khan and Kavita Varier
Content - (Chapter 01 to 03) Photography & Audio recording Illustrations & sketches Document merging/ compilation
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A Document by,
ANUJA THANAWALA | AZBA KHAN | KAVITA VARIER
127