Research Plates - Crafts

Page 1

Design Innovation and Craft Resource Centre CEPT University, Ahmedabad Contact : 079-26302470 Ext - 380,381 Email - dicrc@cept.ac.in

R E S E A R C H P L AT E S

CRAFT


KA_BI_AP_MC_BW_1.1 RAW MATERIALS

BIDRI WARE

Glossary

BIDAR, KARNATAKA

Design Innovation and Craft Resource Centre

THE CRAFT Bidriware is a metal handicraft that originated in Bidar, Karnataka, in the 14th century C.E., during the rule of the Bahamani Sultans. The term ‘Bidriware’ originates from the township of Bidar, which is still the chief centre for the manufacture of the unique metal ware. The craft contains complicated sequences of metal inlay on a zinc and tin alloy base. The introduction of an alloy that never rusts or corrodes and the smelting process of zinc were unique to India. There are three main forms of Bidriware according to the depth of embedding and the quality of the metal affixed to the surface. These are known as the nashan (deeply cut work) zar nashan ( raised work ) and tarkashi (wire inlay work).

Zinc

Copper

Aluminium Chloride

Two tiered steel frame for casting the alloy Vice to hold the parts Hand drill, Compass and Plucker Ambry and buffing machine Files used for polishing casted alloy Burner Hammer and Chisels Furnace

PROCESS

Silver sheets

Silver Wire

Soil from Bidar Fort

Glossary Zinc and Copper Aluminium Chloride Silver in sheet or wire form Soil from Bidar which is rich in Calcium content

Casting and moulding Sand is mixed with tin and castor oil in the ratio of 12:1:1 respectively and heated. This mixture along with raw pure zinc and copper are added into the furnace container in a ratio of 16:1. These are melted at extremely high temperature unless an alloy of zinc and copper is already available in the molten state. The prepared mixture is filled into a specially designed two tiered steel frame. After filling the sand into the same, the prepared wooden moulds are pressed in the sand to get its impression over it. In order to prevent the sand from adhering to the casted metal, boric powder is sprinkled. The molten alloy is then poured into the steel frames.

TOOLS USED LOCATION

Steel frames

Vice

While Bidar in Karnataka and Hyderabad in Andhra Pradesh are the most vibrant centers, this art is also practiced in few other parts of the country like Purnia in Bihar, Lucknow in Uttar Pradesh and Murshidabad in West Bengal.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

National Award Winning Craftsman Mr.Rauf has a team of 6-7 craftspeople for assistance in the workshop and around ten other workers who provide external assistance.

Files, hammer , chisels and other etching/ inlay tools

Furnace

Application of sand and boric powder in the mould

Molten alloy

Molten metal poured in moulds

Hand drill , compass , plucker

CRAFTS PEOPLE DATA M A Rauf No. 2/2/137 , Alvipura , Chowbara Road, Bidar,Karanataka – 585401 08482 - 227987

Alloy Formation

Buffing machine

NOTES 1. Plate description - KA_BI_AP_MC_BW_1.1 Karnataka_Bidar_Alvipura_Metal Craft_Bidri Ware_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


KA_BI_AP_MC_BW_1.2

BIDRI WARE

BIDAR , KARNATAKA

Design Innovation and Craft Resource Centre

Filing and Polishing Once the alloy cools down and solidifies, it is scraped and filed to polish the same with different types and sizes of files. The cast parts are also polished finely with the help of ambry machine.

Inlaying Silver in the form of wire or sheets are hammered into the grooves of the design. Geometrical designs are created with silver wire. Wherein, the floral arabesques and intricate leaf patterns are designed with silver metal sheet. After the inlaid work is complete the article is rigorously filed to obtain smoother surface. After filing, the whole surface becomes white again since the black colour is temporary and the silver work is hardly distinguishable.

Bidri matti paste

Application of coconut oil

PRODUCTS

The solidified alloy

Filing

Inlay of silver in sheet form

Inlay of wires

Assembly In case of the product comprising of more than one part, it needs to be assembled together with the help of molten tin, zinc and kaththil in a solution of aluminium chloride. The Bidri product is placed on coal in a furnace and the mixture is applied to the joints until the aluminium chloride evaporates. The joints are then scraped and filed to remove traces of the alloy on the outer edges.

Bidri products include a diverse range of objects including huqqa bases, bowls, boxes, candle stands, trays, vases, jewellery and buttons. The motifs vary from floral and intricately patterned leaves to geometric patterns. More recently cigar boxes, cigarette cases, ashtrays, cuff links, fruit bowls and other necessities of daily use began to find favor with the buyer. A blend of old Persian motifs together with more contemporary designs comprise modern day Bidri ware.

Buffing using the ambry machine

Engraving After polishing, the cast alloy parts are rubbed with a strong solution of copper sulphate to obtain a temporary black coating on which the design is etched. The design is drawn free hand with a sharp metal stylus. The article is then firmly fixed on a waxed stone or held in a vice. The design is engraved upon it using small chisels. Product in furnace

Copper Sulphate solution application

Drawing the design

Joining

Finishing The crafted products are then polished using an ambry machine. Later it is buffed on machine with the help of soap powder. After the parts are buffed, they are washed properly by dipping into kerosene for removing the traces of soap used during the buffing process. Ash is applied to absorb the kerosene. The crafted object is subjected to a process of oxidation which is unique to the craft of Bidriware. A mixture of sand (taken from the Bidar fort) and aluminium chloride in a mixture of 4:1 is mixed with water and boiled. This paste is applied gently on to the surface of the products. The zinc and copper alloy turns black while the silver portion remains unaffected. A final layer of coconut or peanut oil is applied to render the black portions bright.

REFERENCES 1.Toyam, Bhavin, Jignasu. Bidriware, Summer Work II, School of Interior Design, CEPT University, Ahmedabad. 2005. Print 2.Ranjan,M.P , Ranjan Aditi . “Handmade in India”. Gujarat,India : Mapin , 2007 . Print 3.Prabhala Lakshmi. www.floatstheboat.wordpress.com . Web. 27 Jan. 2014 4.www.craftrevival.org . Web. 27 Jan. 2014 5.Prof. Baral et.al. Bidri Ware – Handicraft of Bidar, NID R&D Campus, B’lore. Web. 28 Jan 2014

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

NOTES

Engraving with chisels

Engraving while placed in a vice

Buffing

Application of ash

1. Plate description - KA_BI_AP_MC_BW_1.2 Karnataka_Bidar_Alvipura_Metal Craft_Bidri Ware_Plate 1.Sheet 2 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


RJ_JA_SA_CC_BP_1.1 RAW MATERIALS

BLUE POTTERY

TOOLS USED

JAIPUR, RAJASTHAN

Design Innovation and Craft Resource Centre

THE CRAFT Blue pottery is one of the traditional crafts of Jaipur, Rajasthan. The craft is named so because of the predominant blue patterns and motifs. Originating from Persia, Blue Pottery is said to have reached India in the 17th Century. Ever since, it is identified as a traditional craft of Rajasthan. According to local legend, Maharaja Sawai RamII was watching his kite-master complete with other challengers when the thread of the imperial kite was cut by that of two brothers, Churamani and Kaluram, who were potters and had coated their kite string with the blue green glass-like dust of their pottery. The maharaja was impressed and gave them posts in the School of Arts and settled them in the Goonga Mehra Ki Gali in the Gangori Bazaar; it was thus that blue pottery came to Jaipur.

It is the only form of pottery in the world that doesn’t use clay. It appears semi-translucent or opaque and is used to make a variety of traditional and contemporary objects ranging from a variety of surahius (pots) to tiles, lamp shades, and other home accessories. Wheel turning and moulding techniques are used in combination and-the necks and bases are wheel-turned,the body is shaped in a plaster of paris mould and the separate elements are joined . Traditionally, designs were always blue or greenish blue on a white base depicting floral, animal, or arabesque designs. Today, yellow, dark blue, and brown have been added to the palette.

LOCATION

Quartz in raw form

Green glass

Fuller’s earth

Salt

Katira Gond

Paints

Maida

Glossary

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

CRAFTS PEOPLE DATA

Jaipur blue pottery art centre is one of the leading blue pottery manufacturing unit in jaipur. The workshop is set up over an area of 2600 sq. Feet approximately with around 10 crafts men assigned for their specific work.

Moulds

Flattening tool

Iron knife

Base stone

Potter’s wheel

Brushes

Kiln

Glossary

Edible Gond

Rajasthan: Jaipur; Delhi; Punjab: Amritsar; Uttar Pradesh: Khurja, Chunar, Rampur; Tamil Nadu: Karigari. The craft is mainly practiced by Khaarwaal, Kumbars, Bahairva, and Nat castes.

Chakki (grinding stone)

Ground quartz stone - This is in a powdered form and is obtained from the nearest market. Since it is the main raw material, it is normally bought in tons. Glass - Green glass which is normally used in making tea glasses is taken into use. Broken pieces of glass are available with the kabaadi (a waste material collector). Katira gond - (kind of adhesive) is readily available in the market. Edible gond -It is also available in the market at a grocer’s shop. It is available in the form of grains. multani mitti - Fuller’s earth, available in the market in the form of small pieces. Saaji - soda bicarbonate/ bentonite Maida - edible flour of wheat . It is used as an adhesive. Colors - The colors used in blue pottery are of two types: oxide colors and ferro colors. The usual oxides used for coloring are cobalt oxide (for dark blue color), copper oxide (for light blue color), chrome oxide (for green color), cadmium oxide (for a bright yellow color). The ferro colors are used for the colors brown and yellow. Borax, Zinc oxide, potassium nitrate and boric acid

Chakki (grinding machine). Plaster of paris mould, as forma of products. Flattening tool, slab like. Iron blade or knife to cut out extra dough off mould. Base stone to lay down dough on mould for drying. Husk broom to clean dry product off ash powder. Sand paper, to smoothen edges of dried products. Potter’s wheel. Brushes to colour and paint. Heating kiln to fire products.

NOTES 1. Plate description - RJ_JA_SA_CC_BP_1.1 Rajasthan_Jaipur_Sanganer_Ceramic Craft_Blue Pottery_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


RJ_JA_SA_CC_BP_1.2 PRODUCTS

BLUE POTTERY JAIPUR, RAJASTHAN

Design Innovation and Craft Resource Centre

PROCESS Preparation of Dough The dough is prepared by mixing 6 ingredients: quartz stone powder, powdered glass, Katira Gond powder, Multaani Mitti, and Saaji, and water. The dough must then rest for 8-10 hours. Designing the Surface A solution of cobalt oxide and edible gum is used to make the design while the form sits on the potter’s wheel. Turning the wheel while applying the brush tip allows for smooth rings to be painted. Other designs are made using various brushes and brush strokes. Once the design is complete, various metal oxides are applied to create color. The form is again left to dry. A mixture of glaze is prepared with powdered glass, suhaaga (borex), zinc oxide, potassium nitrate, and boric acid and heated in the kiln until it melts. Upon cooling the mixture is ground into a powder and mixed with water and maida. The solution is coated onto the form.

Contemporary: Ashtray, Flowerpots, Lamp Stands, Beads, Ear studs, Buttons, Doorknobs, Mirror frames, Plates ,Tiles, Soap cases, jugs, mugs, paper weights

Moulding A small amount of dough is rolled and cut into equal parts. A portion is put into the mould and shaken slightly. A mixture of bajri (stones) and raakh (burnt wood dust) is put in the mould and lightly pressed. The mould is turned upside down and removed and the dough is left to dry in this shape for 1-2 days. The raakh and bajri mix is removed with the help of a locally made husk broom.

Firing Finally, the forms are fired in the kiln for 4-5 hours, making sure not to touch other objects in the kiln or they will turn black. All except 80 percent of the quartz melts away. The form is cooled for three days. It takes 10-12 days for one piece of pottery to be completed. Preparing the Surface The form is rubbed on the base stone to even out the edges. If the craft person is making a vessel, then a base is made on a potter’s wheel and added to the form. It is left to dry for another 1-2 days. Next, the form is rubbed with a mixture of dough and water 2-3 times. After it dries it is rubbed with sandpaper. The form is then dipped into a mixture of quartz powder, powdered glass, maida, and water and left to dry. Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

Traditional: Surahis-narrow necked pitchers, Cylindrical jars

REFERENCES 1.Agarwal Anushka, Shah Kaveesha. Living with Crafts-Blue Pottery Jaipur, Summer Work II, School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. 2012. Print 2.Parmar Namita, Jhanwar Srijan, Vellodi Haripriya. Blue Pottery-Jaipur, Rajasthan, Summer Work II, School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. 2012. Print 3.Ranjan,M.P , Ranjan Aditi . “Handmade in India”. Gujarat,India : Mapin , 2007 . Print 4.www.aiacaonline.org . Web. 24th Jan 2014

NOTES 1. Plate description - RJ_JA_SA_CC_BP_1.2 Rajasthan_Jaipur_Sanganer_Ceramic Craft_Blue Pottery_Plate 1.Sheet 2 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


AP_WA_PR_BW_1.1 RAW MATERIALS

BRASS WORK

PEMBARTHI, ANDHRA PRADESH

Design Innovation and Craft Resource Centre

THE CRAFT This metal craft dates back to mor then 5000 years. Metals and Alloys like bronze and brass were used in ancient time to make vessels and decorative ware. Pembarthi village in Andhra Pradesh has such a history of superb workmanship of its metal craft workers or Vishwakarmas, which can be traced back to the gradeur and glory of Kakatiya kingdom.

Copper & Zinc

lac

Silver & Brass

Tamarind paste

Peanut oil

Embossing The design is then embossed with the help of chisel and hammer. Heating The product is then heated to remove lac. Cleaning The product is then cleaned properly.

The splendor of the Kakatiya Periodgradually give way to Nizam supremacy, ushering a change in art of Pembarthi. The Vishwakarmas in Nizam period designed and crafted articles of domestic decoration and home use like pandans, nagardans, itar pots, shanghridans, custom made articles in silver and gold.During this magnificent period the number of artisans families at Pembarthi increased to more then 600.

Glossary

Beating

Pouring lac

Design print

Embossing

Heating

Cleaning

Copper & Zinc - 70% copper and 30% zinc, soft enough to emboss and strong enough to last heirlooms. Lac - Oil, lal gughal(spice), lal powder(black adhesive). Peanut oil Silver and Brass Tamarind paste

By the efforts of Shree Alya Achry, The Vishwakarma Brass,Copper and Silver Cooperative society was formed, which helped in common facilities, marketing, recognition to talent, promotion of craft.

TOOLS USED

LOCATION

The Brass metal craft is done in Pembarthi village near Warangal district in AndhraPradesh. It is one of the ancient metal art.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

CRAFTS PEOPLE DATA

Glossary Hammers, Chisels, Karvat, Burner, Tongs, Spray gun, Hand drill, Hand pump, Buffing machine

PROCESS

Mr. Khalidbhai Resident of Pembarthi Working in The Vishwakarma Cooperative society He has been practicing this craft form 15 years

Beating Metal sheet is beaten to make it flat Pouring lac In order to fix plate in one place lac is melted and poured on plate and lac is evenly on edges of the plate so that it fixes in place. Design print The design stuck on it with the help of carbon paper.

REFERENCES 1. Charmie. Trupti. Nimisha, Summer Work II, School of Interior Design, CEPT University, Ahmedabad. Print.

NOTES 1. Plate description - AP_WA_PR_BW_1.1 Andhra Pradesh_Warangal_Pembarti_Brass Work_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


OR_MB_KU_MC_DH_1.1

DHOKRA : Lost Wax Metal Casting

RAW MATERIALS

TOOLS USED

MAYURBHANJ, ORISSA

Design Innovation and Craft Resource Centre

THE CRAFT Dhokra casting is essentially a tribal folk craft. It is non–ferrous metal casting using the lost-wax casting technique. Lost-wax casting (also called “investment casting”, “precision casting”, is the process by which a duplicate metal sculpture (often silver, gold, brass or bronze) is cast from an original sculpture. Dhokra is an alloy of nickel, brass and zinc. When mixed in the right proportion gives an antique look. The same technique had been used by the Mohenjodaro craftsman to cast the bronze figurine of a dancing girl some 4500 years ago.

Gobar Matti

The characteristic feature of Dhokra objects is its threaded appearance. The object is usually hollow cast, a process that goes back nearly 5000 years in India. The mould is broken once the object is cast. Hence, each piece is unique. The socio-cultural links for Dhokra remains strong in Odisha. Rural brides receive a gift of brass and bell metal home wares. Betel nut boxes and a round deep bowl for regional rice specialities, are daily essentials. Temple deities and associated ritual objects (such as bells & thalis) are made from brass or bell metal. The classical Odissi dancer adorn’s his/her ankles with tinkling bell metal anklets. The craftsmen are nomadic and have only now begun to settle down. The demands from the non tribal market have started influencing the craft.

LOCATION

The craft is limited to a few pockets of Orissa in Kuliana in Mayurbhanj district, Kaimatin in Keonjhar district, Sadeiberni in Dhenkanal district and Haradagaria in Puri district. Apart from Orissa; it is also found in Bengal, Bihar and Madhya Pradesh.

CRAFTS PEOPLE DATA Craft Cluster Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 317, 319 dicrc@cept.ac.in

Tus Matti

Kamta Village, Post Kuliana Dist.Mayurbhanj, Baripada Orissa - 757030 Two caste groups engaged in Dhokra work in Mayurbhanj district of Orissa are the Thetari Ranas and Thetari Naiks.

Bali Matti

Sidhni & Pedha

Aarsipatia

Thuni kathi

Bee wax extraction lever

Top-pungi discs, left-Sulath, Right- pungi

Mini axe

Hataudi

Chipiya

Butt

Kundri Paste

Glossary

Bees wax

Brass pieces and Wood

Glossary Tus Matti – is a composition of ‘tus’ (paddy husk) , jute fibres and local clay. Gobar Matti –a paste of fine powdered cow dung with water. Bali Matii - composition of bali (granules of sand) + clay Kundri paste – a sticky green paste obtained by crushing leaves of the Kundri -Ivy Gourd plant. Beeswax – Obtained from a honey comb and available in the form of threads and flattened plates. Brass pieces – These are placed inside the mould which melt to take the form of the beeswax when placed in the casting shell. Wood from Sal or Eucalyptus trees – used for their heat retention properties.

Pedha – a platform of wood to work with the beeswax Sidhni – a wooden tool used to roll the bees wax strings Aarsipatia – a blade to cut bees wax Thuni kathi – a sharp wooden stick used to shape bees wax into intricate forms Sulath – a circular wooden piece inserted inside the pungi to apply pressure to the bees wax Pungi – a hollow circular Dhokra casted metal container with a controlled opening on one side Mini axe – used to cut brass Hataudi – hammer Chipiya – tongs Butt - a wire brush used to clean the finished product

NOTES 1. Plate description - OR_MB_KU_MC_DH_1.1 Orissa_Mayurbhanj_Kuliana_Metal Craft_Dhokra_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected by secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


OR_MB_KU_MC_DH_1.2

DHOKRA : Lost Wax Metal Casting MAYURBHANJ, ORISSA

Design Innovation and Craft Resource Centre

PROCESS

Adding the decorative elements

Drawing the bees-wax into stripes and thin wires, the artist wraps them around the clay core to produce a replica with the use of a pungi. Then they add the decorative features and wax channels, which, in the furnace will act as a freeway for the molten metal.

Finishing - The clay coverings are broken with a hammer and the wax channels are removed with the help of pliers. The mud is cleaned with the brush and brass left overs are filed. Dilute nitric acid or sulphuric acid is used to clean these products after which it is buffed to suit the end result anticipated.

Core-making: A core, vaguely resembling the end product is made using tus matti. The core may be hardened by firing or sun-drying. A thin layer of gobar matti and a sticky green paste of kundri plant are applied on the dried surface of the core to enable adherence of the bees wax to the core surface.

Mould making

Drying and application of clay and kundri paste

Modelling - The process of modelling comprises of two major steps. The cold bees wax needs to be drawn into strings or flattened into plates. These strings or plates are used to create the desired pattern on the clay core. Preparation of bees wax strings

Moulding: The wax model is coated with a thin layer of very fine clay (gobar matti), which will form an impression of every detail of the model. When this layer is dry and hard, further layers of clay (bali matti) are added to the mould. The first layer of bali matti has 70% sand and 30% clay. Once this layer dries, a second layer which has equal proportions of sand and clay is applied and allowed to dry . A clay funnel and running channels are provided, through which molten metal can run to fill the mould.

Breaking and cleaning to achieve the final product

PRODUCTS Dhokra motifs are mostly inspired by folk culture. The elephant is most popular motif; the other motifs include human heads, kings, miniature replica of measures, containers with lids,boxes , images of deities like Ganesa and Durga, and lamps and lamp stands.

Application of clay layers and creating the clay funnel

Casting and De-waxing - Estimated quantity of brass is placed in the funnel along with a little salt to remove impurities in the brass. The funnel is covered with a clay cap using Bali Matti. Once the mould dries, it is placed inverted in the casting shell to facilitate easy melting of the brass. Wood is placed over the casting shell and heated with the help of a mechanical air blower which needs to in continuous rotating motion.

Common Dhokra products

Prototypes produced as part of summer work documentation

Contemporary artisans also make other utility items like door knob, door handle, ash-tray, butter box, pen holder, candle and incense stick stand, photo frame, tissue box and tissue box keeping the essential folk design intact.

REFERENCES 1.Shah Jay, Panchal Soham, Bhatt Sritej. Dhokra Casting, Summer Work II, School of Interior Design, CEPT University, Ahmedabad. 2011. Print 2. Ranjan,M.P , Ranjan Aditi . “Handmade in India� . Gujarat,India : Mapin , 2007 . Print 3.Metal Craft of Orissa. Orissa Review. (2004). Web. 22 Jan. 2014 4.Kochar,Rajesh . www.rajeshkochar.com. Web. 22 Jan. 2014

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 317, 319 dicrc@cept.ac.in

NOTES

Sticky and brittle cold bees wax is heated and put into the pungi. The beeswax is pressed using a traditional lever with the fulcrum against the trunk of a tree. Bees wax strings of varying thickness can be produced by using plates with varying perforation sizes in the pungi.

The metal takes about 45-60 minutes to melt, depending on the size of the mould. Once it is taken out of the casting shell, it is held inverted to allow the molten metal to flow through the wax channels. The molten metal melts the wax and takes its position in the respective shape and form.

1. Plate description - OR_MB_KU_MC_DH_1.2 Orissa_Mayurbhanj_Kuliana_Metal Craft_Dhokra_Plate 1.Sheet 2 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected by secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


GJ_SU_SU_SC_DI_1.1 RAW MATERIALS

DIAMOND INDUSTRY

PROCESS

SURAT, GUJARAT

Assorting This stage involves acquiring the raw materials and their rough processing. The diamonds are then sorted according to their kind. These diamonds undergo sawing and laser checking . Finally, they are put together after being sorted shape wise.

Design Innovation and Craft Resource Centre

THE CRAFT Obtaining that fine and lustrous piece of a diamond perfectly cut and polished, from the stage where it is just a shiny stone, is a long process in itself and this is exactly what the diamond industry in Surat deals with. It started as a small craft where the craftsman would earn his livelihood through his craft and now it has flourished as a business in Surat.

Different kinds of diamonds.

Glossary Diamonds- The stone is acquired which is then put through the process, at the end of which it is transformed into the finely cut and polished diamond to be used in jewellery. The quality of the diamonds is determined by their colour, clarity, cut and carat.

Marking This process is also called as the factory process. The first stage is the bruting, where a particular shape is given to the diamond by giving facets on its surface. A round Diamond has 57 facets. After the quality check is done, the diamond is then sent for polishing. Polishing The third step is the polishing where in the diamond is worked on a polishing wheel. The stone is then boiled in Sulphur Dioxide. After further quality check, and final polishing, the diamond is either completed or sent back one step for repairing.

TOOLS USED The raw material, that is the diamond in the form of a stone, is found in Surat itself. This stone then undergoes the entire process in the hands of the craftsmen and is brought to the final finished diamond. Diamonds can be categorised as Round brilliant, Marquise, Pear, Oval, Herat, Emerald etc. The Diamond Saw

The Lathe

LOCATION

Surat is at the heart of the world’s diamondpolishing industry. The diamond industry is specific to the city of Surat in Gujarat since many years now- its growth being from a small craft by individual craftsmen to a flourishing business.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

CRAFTS PEOPLE DATA

The Polishing wheel .

Glossary The Diamond Saw - A diamond saw is a thin phosphor bronze blade. The cutting agent is diamond saw dust that the blade picks up as it cuts into the diamond. The Lathe - The lathe is used in the bruting stage where in the diamond is mounted on the lathe and turned against another diamond to achieve a basic round outline of the diamond. The Polishing Wheel - The tool that gives the final finishing touches to the brilliant diamond. Different tools are used for the different stages of the diamond cut process and have very specific purposes.

REFERENCES 1. Ayushi, Jimmy, Krisha, School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. Print.

NOTES 1. Plate description - GJ_SU_SU_SC_DI_1.1 Gujarat_Surat_Surat city_Stone Craft_Diamond Industry_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2. The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


RJ_UD_GN_GC_TW_1.1 RAW MATERIALS

THICKRI WORK

The process starts off by making the drawing on paper. This drawing consists of basic forms arranged in a way that can be filled up with glass pieces in an aesthetic manner. Next, the design is traced or drawn on the conclave glass using a marker. Accordingly, the glass piece are cut to size using a diamond cutter. If there are rounded edges involved, the ‘chimta’ is used. The cut pieces are then arranged and stuck on to a paper in an upside down manner.

UDAIPUR, RAJASTHAN

Design Innovation and Craft Resource Centre

THE CRAFT The ‘Thickri work’ that involves working with mirror and glass has been around since the 18th century AD The living evidence of this can be seen in the Mor chowk inside the city palace of Udaipur, that dates back to 1874 AD Apart from Mor chowk, thickri work can also be seen adorning the ‘Kaanch ki burj’ in many small temples and mosques. The local houses of Udaipur too make use of thickri work as interior ornamentation.

Concave glass (coal/thickri glass)

Plaster of Paris

Handi glass

Drawing the basic design and forms on paper

Tracing the design on glass pieces using marker

Cutting the glass pieces to size

Sticking the glass pieces on paper

The flat embossed plywood base

Removing of the paper with the help of water

Plywood

Glossary

The craft has undergone small but drastic changes since the 18 th century. Earlier, his craft used to be seen adorning the walls, but today, it has become more mobile. Thickri work is now done on Plywood and MDF.

Concave glass - also known as ‘Coal glass’ or ‘Thickri glass’ sourced from Udaipur itself Handi glass Plaster of Paris Plywood Storage of these raw materials, especially glass is usually avoided because of its fragile nature. It being a costly material , it is bought only as per the demand and requirement.

TOOLS USED

LOCATION

Meanwhile, a plywood base is made with the outline of the design embossed. Plaster of paris is then applied on the plywood base. The paper is then stuck on to this plywood layered with plaster of paris and is kept to dry for 8 to 10 hours. Once it is fully dry, the paper is removed with the help of water and the glass pieces, now stuck on to the plywood are finished and cleaned. The best examples of thickri work are seen inside the city palace of Udaipur. Most craftsmen practise this craft even today around Udaipur itself- in the nearby rural areas.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

CRAFTS PEOPLE DATA Sohanlal Sharma, Hiranmangri. Sector 3, Gandhinagar, Udaipur, Rajasthan Sohanlal Sharma’s workshop has 8 workers and the 3 family members also take part in the work. His old house itself is made into a workshop.

Diamond cutter

Chimta

Rounded edge- chimta

Glossary

REFERENCES

Diamond cutter for straight cuts Chimta Rounded edge chimta

1. ‘Living in crafts’- Raj Thakkar, Mikshu Patel, Mitva Somchhatra and Rucha Trivedi, Summer Work, School of Interior Design, CEPT University, Ahmedabad. 2010. Print.

NOTES PROCESS The entire process of the Thickri work is divided into 3: Drawing and cutting- carried on by the young workers of the workshop Pasting on paper- done by the women in the family and Applying of plaster of paris which is worked on together.

1. Plate description - RJ_UD_GN_GC_TW_1.1 Rajasthan_Udaipur_Gandhinagar_Glass Craft_Thickriwork_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number. Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


RJ_UD_GN_SC_MC_1.1 RAW MATERIALS

MARBLE CARVING

PROCESS

UDAIPUR, RAJASTHAN

The large pieces of marble or stone are cut using the slicing machine. This is the first stage of the marble carving process. The sized marble is then ready to be carved on. The design is then drawn on the cut marble . The next step involves making the grooves on the design outline.

Design Innovation and Craft Resource Centre

THE CRAFT Marble carving is a craft practiced in many parts of the country. Udaipur, in Rajasthan, that houses the elegant City Palace, exhibits marble carving at its finest. The Baadi Mahal or the garden palace that is the highest point of the palace, open to public, is built using local marble with 104 intricately carved pillars.

Makrana marble

Rajnagar marble

Baswada marble

The craftsmen around Udaipur who practice the craft of marble carving have been dependent on this craft for their livelihood. They make a range of products including sculptures of all sizes,

Jaisalmer stone

Different kinds of marble and stone

Beslana stone

Glossary

fountains, artefacts, columns and brackets etc. The uniqueness of this craft is that the entire product- be it a small artefact or a huge bracket- it is carved out of a single piece of marble. Mainly natural imagery is used in marble carving - like animals and vegetation.

Makrana marble Rajnagar marble Baswada marble Although the craft associates itself predominantly with marble carving, Jaisalmer stone form Jaisalmer, Rajasthan, Dholpur stone from Dholpur, Black beslan stone form Agra, Green stone from Dungerpur etc are also used for carving. The process that is followed, largely remains the same.

Slicing machine

The individual craftsmen work together in the same workplace to earn their livelihood. Around 15 craftpersons- both men and women work together in a single workshop. Each product requires approximately 5-6 craftpersons, with different individual tasks.

Marble given the overall form

Detailing out the carving using hand tools

REFERENCES

Drilling machine

Craftsperson name: Arun Kumar

Grooving on the marble

Lathe machine

The marble carving craft is practiced in many parts of the country. This documentation however, refers to the marble carving practiced in Udaipur in particular.

CRAFTS PEOPLE DATA

Carbon drawing on sliced marble

The finishing is done using emery stones of various grades. The craftsmen use Rough green emery stone, Barik Emery Stone, 320 Bhati Emery Stone, 400 Emery stone, 600 Emery stone, 1200 Emery stone, all used along with water etc in the process of finishing. 5 Mineral Bhati is used for giving the product a shining polish. The finishing is ended using Zinc Oxide.

TOOLS USED

LOCATION

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

The marble is then given the overall form. The details are then added in the carving, using hand tools. The craftsmen then carve out the entire design little by little. It is a tedious and a time consuming process. After the carving process is complete, then comes the finishing process.

Emery Stone

1. ‘Living in crafts’- Raj Thakkar, Mikshu Patel, Mitva Somchhatra and Rucha Trivedi, Summer Work, School of Interior Design, CEPT University, Ahmedabad. 2010. Print.

Glossary

NOTES

Slicing machine Lathe machine Drilling machine Emery stone for polishing Apart from these, the hand carving tools like khedut tanki(for small carving),diamond tanki(for big carving), bepra tanki and adogi(for finishing) are also used, that are used to actually carry out the carving.

1. Plate description - RJ_UD_GN_SC_MC_1.1 Rajasthan_Udaipur_Gandhinagar_Stone Craft_Marble Carving_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


UP_AG_NKM_SC_MI_1.1 RAW MATERIALS

MARBLE INLAY

TOOLS USED

AGRA, UTTAR PRADESH

Design Innovation and Craft Resource Centre

THE CRAFT The Marble inlay art was brought to India in the 17th century from Persia when Shah Jahan chose to build the Taj Mahal. The craftsmen who are predominantly Muslim, are said to be descendents of those same craftsmen. This craft of inlay of semi-precious stones in marble is unique to Agra. Today it is practised as a household industry within the lanes of Agra and also practised commercially in bigger factories with technical advancements.

used for carving White makrana marble

Black belgium marble

Lapis Lazuli (Lajward)

Malachite (Dhana-i-farang)

Stone slivers are carefully shaped into minute petals, leaves, and stems on a manually operated emery wheel. Often, a single flower is composed of as many as 40 pieces that may take a whole week to painstakingly shape and inlay. The designs are all floral, some extremely delicate. The marble surface is shallow carved, enough to embed the stones. The chisels are worked without a hammer or mallet.

Nirja (for carving)

Tarkumani

Nirji

The grinding wheel

Glossary Nirja and Nirji are the iron chisels used for carving the marble. Tarkumani - the wirebow used to shape the precious stone (manually or motor operated). The grinding wheel (Saan)- made from mixing lac and emery stone powder. Coral

Mother of Pearl (Seep)

PROCESS The craft of Marble inlay have a wide range of motifs from geometric, fluid compositions of arabesques, to naturalistic assemblages of flowers and plants having an underlying mathematical sense to it.

LOCATION

Turquoise (Firoza)

Carnelian

Jasper (Yashab)

The Marble Carving After obtaining the desired form for the product, the marble surface is shallow carved, enough to embed the stones. The chisels are worked without a hammer or mallet .The carving has to be extremely crisp, so prior to chiselling, the surface is coated with red earth that makes the engraved lines of the pattern stand out, making it easier for the craftsmen to carve and inlay.

Glossary

In the state of Uttar Pradesh, this craft is practiced primarily in Agra, in the areas of Nai Ki Mandi, Gokulpura and TajGanj. Traces of it can also be found in the Lucknow district of U.P.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

CRAFTS PEOPLE DATA Muhammad Arif Ansari 504/A, Katra Itwari Khan, Nai Ki Mandi, Agra 282002 Contact- 09991266499, 09897191127 Mr. Ansari has been practicing this family traditional craft since 35 yrs. His workshop consists of 25 workers.

White Makrana Marble - The base stone(white) used to be inlaid on with semi-precious stones, if the desired base colour is white, priced at rs.1000/kg. Black Belgium Marble - The base stone used to be inlaid on with semi-precious stones, if the desired base colour is black, priced at rs.3000/kg. Lapis Lazuli - Locally known as ‘Lajward’, this is a semi precious stone bought from Sri Lanka, at the price of rs.2000/kg. Malachite - Locally called ‘Dhana-i-farang’, this brilliant green stone is bought all the way from South Africa, for rs.2500/kg. Mother of Pearl - Locally names ‘Seep’, this stone is obtained from America, at rs.3000/ kg. Coral - Bought at rs.15,000-20,000/kg from the state of Kerela. Turquoise - This stone bought from Iran at rs.4000/kg is also known as ‘Firoza’. Carnelian- This semi precious stone is bought from Cambay at rs.2500/kg. Jasper - Locally called ‘Yashab’, this stone is bought from Jaisalmer at rs.300-400/kg. This is a stone that turns brown on heating. The other stones used include Bloodstone from Jabalpur, Agate, Onyx, Jade, Cloudstone, Sapphire, Topaz, Garnate and Emerald.

NOTES 1. Plate description - UP_AG_NKM_SC_MI_1.1 Uttar Pradesh_Agra_Nai ki Mandi_Stone Craft_Marble Inlay_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


UP_AG_NKM_SC_MI_1.2

MARBLE INLAY

AGRA, UTTAR PRADESH

Design Innovation and Craft Resource Centre

Shaping the semi-precious stones The semi precious stones are given the desired shape using the ‘Tarkumani’ or the wirebow. The stone pieces are carefully shaped in the form of petals, leaves etc. by the craftsmen.

Finishing the product Once the inlaying of the stones is complete, finishing touches are given and the red earth is washed off from the marble surface. The inlaid surface is levelled with the help of Yamuna sand or sand paper (200/500) and finally, a coat of mason polish or sand paper polish is applied.

PRODUCTS Traditionally used as an architectural element, normally as ornamentation, the famous and the most striking examples being Taj Mahal and Itmad-Ud-Daula.

Inlaying the semi-precious stones Equal quantities of chalk powder and araldite solution is mixed together to form an adhesive paste. This paste is filled up in the carved portions and the shaped motifs are placed. Once the motifs are inlaid, the inter-connecting thin lines of the design are carved out on the base marble and inlaid with jaisalmer stone or mother of pearl.

The modern day products include tiles, pots, trays, statues, crockery, show pieces, furniture pieces, flower vases and jewellery boxes.

REFERENCES 1. Ankur Saraff, Deepak Arora, Ishan Goswami, School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. 20. Print. 2.Ranjan,M.P , Ranjan Aditi . “Handmade in India”. Gujarat,India : Mapin , 2007 . Print.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

NOTES 1. Plate description - UP_AG_NKM_SC_MI_1.2 Uttar Pradesh_Agra_Nai ki Mandi_Stone Craft_Marble Inlay_Plate 1.Sheet 2 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


GJ_SU_SU_WC_NK_1.1

NAKSHI-KAAM (WOOD CARVING)

RAW MATERIALS

PROCESS

SURAT, GUJARAT

Design Innovation and Craft Resource Centre

THE CRAFT Nakshi-Kaam of Surat is a wood carving craft wherein intricate patterns are carved out mainly for ornamentation purposes. This Nakshi-Kaam is mainly carried out in small scale workshops and is handmade generally by a single craftsman working on a single object. Teak Wood

Rose Wood

Glossary Teak Wood- The yellowish brown timber obtained from the tropical hardwood tree has good grain and texture. Rose Wood- The dark wood timber is used to achieve a rich look. The nature of the wood chosen as the base raw material to be carved limits the scope of the carver if the selected wood is not equally strong in all directions. Hence, it is preferable to arrange the more delicate patterns to be carved along the grains of the wood.

There are mainly 4 types of carving : 1. Chip Carving 2. Relief Carving 3. Scandinavian Carving 4. Caricature Carving

TOOLS USED

The Nakshi-Kaam wood carving is mainly done on Wooden Columns, Doors, Door frames, Cabinet Frames, Mirror Frames, Pediments etc.

LOCATION

This particular style of Wood Carving is mainly practised in Surat city of Gujarat, since a long time, and now has flourished in nearby towns of Gujarat as well.

CRAFTS PEOPLE DATA

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

Carving The hard woods are more difficult to carve than the softer woods. However, the hard wood products have a great lustre and good longevity, while the softer ones are less resistant to damage. The general shaping process uses gouges of various sizes, depending on the size of the products used. As per requirement, the veiner can be used to make deep gouges in the surface or a V-tool is used for making fine lines or decorative carvings. General smoothing is achieved by using tools like ‘Rasps’, which are flat bladed tools with rippled edges. Similarly, ‘Rifflers’ that are round in shape are used for working folds and crevasses.

The Nakshi-Kaam of Surat city has been practiced by local families since generations and is still passed on.

The Carving Knife

The Gouge

The Chisel

The V-Tool

.

Glossary The Carving knife - A knife used to cut, pare and smoothen the wood The Gouge - A tool with a curved cutting edge used in a variety of forms and sized for carving hollows, rounds and sweeping curves. The Chisel - Tool with a straight cutting edge used to carve lines and clean up flat surfaces. The V-Tool - Used for parting and in certain cases of flat work for emphasizing lines. Apart from these carving tools, sharpening equipment are used too, like the various stones and a strope, necessary for maintaining edges. Bent gouges and bent chisels are used too..

Polishing and Finishing After the carving is complete, it is polished using sand paper. Larger grained paper that is coarse and with a rough surface is used followed by the finer grain paper that makes the surface of the carving smooth in texture. After the carving and polishing, the wood may be cored with a variety of natural stains such as Walnut or Linseed oil. Varnish, that is a resin-based sealer can also be applied to protect the surface and render it a shiny appearance. Finally, the artefact is coated with a layer of wax that protects the finis. When coated frequently, at regular time intervals it also enhances the shine of the artefact, preserving its beauty.

REFERENCES 1. Ayushi, Jimmy, Krisha, School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. Print.

NOTES 1. Plate description - GJ_SU_SU_WC_NK_1.1 Gujarat_Surat_Surat city_Wood Craft_Nakshi Kaam_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


RJ_UD_MM_SC_1.1 RAW MATERIALS

STONE CRAFT

UDAIPUR, RAJASTHAN

Design Innovation and Craft Resource Centre

THE CRAFT The stone craft was used for different purpose in different periods. In ancient history it was used for making weapons and utensils for warriors and their family. In mediival period it was also used in ornaments. Now a days it is used in making furniture, articles, artefacts, jwellery, human figures, interiors elements, statues of God and godesses.

Stone

White marble powder

Lathe machine

Circular saw cutter

Burma

Hammer

The stone craft of Rajasthan involves usage of various stones like granite, marble, sand, slates and other metamorphic rocks. According to the history of Rajasthan, the availability ofhigh quality stones has facinated the craftsmen to create superb structure with different stone carving since medieval age. It is said that Udaipur holds the pride of place for availability of marble. Bombay masala

Glossary Stone White marble powder Hardner Bombay masala Stone craft is famous for its beautiful and fine carving, it can also be designed in any shape. Beautiful jali carving also has its own importance. The ancient regal building of Rajasthan flaunt the jali work on doors and windows of Zenan (women section) to enable women to see events from other side of pardah.

Chisel

Glossary TOOLS USED

LOCATION

Carbon paper

Rounder

Right angle

Hand cutter

The stone craft is practiced in many parts of the country. This documentation however, refers to the stone craft practiced in Udaipur in particular.

CRAFTS PEOPLE DATA

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

Hardner

Mohan marbles is an organisation, Owners: Basant Parihar and Narayan Parihar, Around 200 workers work here.

Hand drill

Crane

Carbon paper: Carbon paper is used to implement design on stone. Rounder: It is used for designing proper geometry. Right angle: It is used for proper geometry of design. Hand cutter: It is used in cutting stones and giving shape to it. Hand drill: Mainly used for making holes in stones. Crane: It is used to move big chunks of stones from one place to other. Lathe machine: It is machine that fabricates pieces like beams, pillars of various sizes. Circular saw cutter: To cut various stones easily, it is available in various sizes of slit on stones. Burma Hammer Chisel

NOTES 1. Plate description - RJ_UD_MM_SC_1.1 Rajasthan_Udaipur_Mohan Marbles_Stone Craft_Plate 1.Sheet 1 (State _District_Place_Material_Craft_Plate number.Sheet number) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


RJ_UD_MM_SC_1.1

STONE CRAFT

PRODUCTS

UDAIPUR, RAJASTHAN

Design Innovation and Craft Resource Centre

PROCESS Stone cutting: Cutting stone with the help of stone cutting machine in dimensions of 300 X 300 Stone leveling: After cutting proper equal thikness is needed so leveling is done with poslishing machine. Implementing design: Design with proper dimensions and geometry is implemented on stone Drilling: Radial drilling machine is used to drill holes. Carving: After drilling carving is done with the help of chisels and hammer. Polishing: Polishing is done withthe help of two tools embry stone and diamond.

Stone cutting

Stone leveling

Design

Drilling

REFERENCES 1. Jaini, Tejaswi. School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. Print.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

NOTES

Carving

Polishing

1. Plate description - RJ_UD_MM_SC_1.2 Rajasthan_Udaipur_Mohan Marbles_Stone Craft_Plate 1.Sheet 1 (State _District_Place_Material_Craft_Plate number.Sheet number) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


KR_AL_AL_WC_SB_1.1 RAW MATERIALS

WOOD BOAT MAKING

PROCESS The Snake boat making Making of snake boat is very gradual each stage is given particular time limit withni which it is expected to get over. It takes around one year to construct the boat and make ready to use. Plan of the Boat Structure, balance, working and other aspects regarding the boat are decided at first stage of construction of boat, it is made on a wooden log.

ALLEPY, KERALA

Design Innovation and Craft Resource Centre

THE CRAFT The snake boat race was started long time back when Kerala was known as Travancore. THere was one Maharaja “MARTHANDA� who was living in Padmanabhapurum. He was one of the bigger principalities who ruled over smaller ones. After annexing all principalities the state of Travancore was formed. There were always major disputes between Ambalapurum and Kayamkulam, whenever fight happened it happened through water; troops use to travel by boat as there was no roadway. At that time one carpenter family of Ambalapur made a boat in which 100 people can sit or stand, this boat was known as Chundan-Vallam. This way Ambalapur got previlage of snake boat which Kayamkulam was lacking. The King of Kayamkulam kidnapped the carpenter and asked him to make boat for him, the carpenter played a trick and made a boat which would sail only in backward direction. This is how Chundan-Vallam came into existence

Mango tree wood

Rubber tree

Coconut tree wood

Cashewnut tree wood

Glossary Mango tree wood- The base of the boat which is called The Mould is prepared from mango tree wood. Coconut tree wood - The base for holding the mould is prepared with Coconut tree wood, using three coconut wood logs. Rubber tree - Grease made out of rubber tree is used in makinh boat. Cashewnut tree wood- The wood of cashewnut tree is used to make the mould, instead of mango tree wood. The race boat or the sanke boats are called Chundan-Vallam, Chundan means Snake and Vallam means wate, in Malyalam. Snake boat race is one of the greatest event in Backwaters of Kerala

The structure of mould The base for the construction of boat is prepared which is called mould and is made of Mango tree wood or Cashewnut tree wood. Further the base for holding mould is prepared using three logs of coconut tree, two vertical and one horizontal. After that mould is shaped into boat. Shaping the base The central base of boat called Thiruaku. The uneven logs of wood is measured and shaped according to height of mould and then it is smoothened by planer. This is how the slendor elevation curve of boat is given

TOOLS USED

LOCATION

Chisels

Hammers

Fixing side planks The side planks are made and fixed at this stage which is called Madhave Palaka. The side planks are fixed with mould with nuts and bolts. Shaping the boat The whole shaping part of boat is done at this stage, adding more parts to the boat it is made more storng here and all the parts are assembled at this stage.

In the state of Kerala, this craft is practiced primarily in Allepy.

CRAFTS PEOPLE DATA

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

NOTES Planer

Mr. Vinod and Mr Ravindar There was only one carpenter family who makes snake boats, it is inherited art and the main carpenter family consist of foyr brothers. Other workeres were also there on daily wages of Rs.300. There were 15-17 workers working there.

Glossary Chisels are used to shape different parts of boat Hammer. Planer are used to smoothen the parts of boat.

1. Plate description- KR_AL_AL_WC_SB_1.1 Kerala_Allepy_Allepy_Wood Craft_Snake Boat_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2. The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


KR_AL_AL_WC_SB_1.1

WOOD BOAT MAKING

PRODUCTS

ALLEPY, KERALA

Design Innovation and Craft Resource Centre

Adding planks At this stage more planks of wood are attached to existing Madhave. About 70% of the construction is done at this stage.

Padi At this stage two additional members are attached 1) Along the width. 2) Along the length. The horizontal members fixed at the width is called padi and is used for sitting by the rowers Along the length, this member are on the base of vertical member and is in the shape of the boat, it runs through the width of the boat.

Line of balance The line of balance is off centered. The two ends of the mouth i.e. mouth and tail of boat are balanced by it. Allodi, which is the horizontal broad member used for walking is placed here.

Two ends of boat At this stage 90% of boat is made. The two ends of boat is shaped in such a manner that it gives feeling of snake.

REFERENCES 1. Summer work School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. 20. Print.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

NOTES

Finishing This is the final stage of making boat. Fish oil is applied to make it look pleasing, traditional carving is done on sides of boat, metal decoratives are fixed and at the tail metal

1. Plate description- KR_AL_AL_WC_SB_1.2 Kerala_Allepy_Allepy_Wood Craft_Snake Boat_Plate 1.Sheet 2 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2. The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


KA_MY_MY_WC_AL_1.1

ALANKRIT (WOOD WORK)

RAW MATERIALS

MYSORE, KARNATAKA

Design Innovation and Craft Resource Centre

THE CRAFT ‘Alankrit’ is a craft still alive since its initial commercial traces in 1870. The raw materials and the wood required is acquired from the local region itself. Wide range of inlay work portrays mythological scenes, natural landscapes, village life, birds and solid wood figures. A major step towards revival of this craft took place after its inclusion as a subject of study in the Chamarajendra Technical Institute in 1892. The craft now has been recognised by the Karnataka State Handicrafts Development Corporation.

Grinder Rosewood

Ivory

Wood dust paste

Glue (vajra)

Woods of different colours

Glossary

LOCATION

The ‘Alankrit’ craft of wood work is being practiced by numerous craftsmen in and around Mysore, handcrafting each product with or without the use of technology.

CRAFTS PEOPLE DATA

Glossary Hand Jigsaw- For cutting out the patterns Chisels for carving Straight line marker for accuracy Grinder Files for finishing

Bees wax

This craft can be majorly categorised into 3 major categories: 1. Wood Inlay 2. Relief work 3. Patch work

Files

Rosewood - Primarily used to bring out the beauty of the craft to the maximum Ivory - Traditionally used for inlay, presently substituted by plastic/acrylic Wood dust paste- Used for filling and fine tuning the carving Bees wax

Glue Woods of different colours: a. Ebony- jet black b. Silver oak- Pink c. Champa- Green d. Devadaru- Light brown e. Jack- Yellow f. Patanga- Dark Red g. Nelli- Light Red h. Seege- Amber i. Eaji- Yellow j. Honne- Yellow

TOOLS USED

PROCESS Wood inlay Inlay cutting, Marking and Carving The patterns and the overall look of the inlay is determined by an artist who draws out the design on the wood piece or acrylic with a pencil. The design cutters, accordingly, cut out the design from the wooden or acrylic sheet(3-4 mm thickness). These cut out designs are then stuck on the wooden product. The outlines are marked and the carver then starts carving the surface, simultaneously fixing the cut pieces with adhesive (fevicol sr).

Cutting out the inlay design

Marking the outlines

Removing the inlay cut outs

Carving the marked outlines

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

NOTES

Hand Jigsaw

Chisels and other sharpened tools for engraving

Straight line marker

1. Plate description - KA_MY_MY_WC_AL_1.1 Karnataka_Mysore_Mysore_Wood Craft_Alankrit_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


KA_MY_MY_WC_AL_1.2

ALANKRIT (WOOD WORK)

Design Innovation and Craft Resource Centre

MYSORE, KARNATAKA

Grinding, Polishing and Engraving One or two days later, when the adhesive is fully dried and the inlay is fixed, it is ready to grind which removes the extra material from the surface. Wood dust paste (wood dust + fevicol) is used to fill up the extra carved out parts and given another 2 days to dry. The product is then polished and sent to the engraver who adds a 3rd dimension my making grooves which are filled up with beeswax+charcoal paste. The final polish is applied and kept to dry. The final product is now varnished and ready.

Patch Work In patchwork , instead of ivory or acrylic cut pieces, different kind and colours of woods are inlaid into a darker wood base, mostly Rosewood. Patchwork is normally 2 dimensional and does not get a 3rd dimension engraving.

Inlaying the wooden cut pieces

Fixing the inlay

Grinding

Jewellery

Grinding

Products Evolving from the Marble inlay craft, the craftsmen started experimenting with wood and ivory inlay on wood. Space making elements such as doors, door frames, windows, flooring patterns, wall panels etc were made using this craft too. Today, however, the scale of the application has changed and this craft is mostly used on smaller products ranging from furniture to jewellery to gift articles. Acrylic sheets inlaid onto wood is a result of the ban on the use of ivory. The designs to be inlaid are cut by hand even today by the craftsmen.

Gift Articles

Furniture

Applying Wood dust paste

Engraving

Filing

Polishing

Relief Work In this type of wood work, the craftsman plays with the third dimension for making of the product. Mostly natural trees with their roots and natural landscapes are adapted.

REFERENCES 1. Ravi. Darshan. Anushi. Sagar. Alankrit, Summer Work II, School of Interior Design, CEPT University, Ahmedabad. 2005. Print.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

NOTES 1. Plate description - KA_MY_MY_WC_AL_1.1 Karnataka_Mysore_Mysore_Wood Craft_Alankrit_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2.The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


GJ_SU_SU_MC_ZW_1.1 RAW MATERIALS

ZARI WORK

SURAT, GUJARAT

Design Innovation and Craft Resource Centre

THE CRAFT Zari work of Surat is a craft of embroidering gold and silver threads on cloth. It originated in India during the rule of the Mughal Dynasty. Zari work as a means to make the attire of God was first introduced by Idri Sale Islam. The needles that were used historically were made from thorns on plants.

Zari

Base cloth

The 19th Century saw the decline of this craft due to the advent of machine-made french threads but regained its importance during the 20th century.

Glossary

The major embroidery patterns are Chalak, Salaiya, Kangri, Tikki, Ring and Katori.

Zari- The silver or gold zari (real or imitation ) is the primary raw material of Zari work. The Base cloth- The cloth on which the zari work will be embroidered by the craftsmen.

TOOLS USED

PRODUCTS

The Khat

The needle- ‘SOYO’

.

The Zari that is used, that is fine threads of gold and silver, is produced in Surat itself and is a family-based, skill- oriented business. Nowadays, even imitation gold and silver threads are used in Zari work.

Glossary

The Khat - Khat is the bed to which the base cloth is tightly tied firmly in place. The needle ‘SOYO’- This is the main tool of the Zari work craft. It is the needle with which the craftsmen produce zari work on the base cloth.

LOCATION PROCESS

The Zari work craft of Surat is famous and of high quality. It is also an important centre for producing Zari that is used in the craft.

Design Innovation and Craft Resource Centre, CEPT University, Ahmedabad +079-26302740 Ext- 380,381 dicrc@cept.ac.in

CRAFTS PEOPLE DATA

Manufacturing of the Zari The gold is covered on solid silver bar in a furnace and then made to pass through a series of dies, until a fine thread is obtained. It is then beaten flat and kept ready for use, wrapped around a silk thread. Zari Embroidery The base cloth on which the embroidery is to be done is tightly stretched to and firmly held in place with the help of a Khat. This makes it easier for the craftsmen to embroider using zari and the needle. After the cloth is firm and ready to be embroidered on, the craftsperson then carefully uses the special ‘Soyo’ needle to create aesthetic patterns of embroidery that look rich, owing to the gold and silver threads, on the stretched cloth.

REFERENCES 1. Ayushi, Jimmy, Krisha, School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. Print.

NOTES 1. Plate description - GJ_SU_SU_MC_ZW_1.1 Gujarat_Surat_Surat city_Metal Craft_Zari Work_Plate 1.Sheet 1 ( State _District_Place_Material_Craft_Plate number.Sheet number ) 2. The craft documentation is part of the Summer work program at the School of Interior Design, Faculty of Design, CEPT University, Ahmedabad. The data presented has been collected through secondary sources and may not be entirely accurate. It is advisable to verify the information before its use.


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