Figure 1– Views of different Artist Villages in India

2. LITERATURE REVIEW

CHAPTER-II

India is a land of farmers, but it is also a land of artisans: "Indian art is the result of thousands of underappreciated artisans and their persistent efforts." This art has been evolving for thousands of years. Indian rites and traditions usually provide a plethora of activities and opportunities. India is a handicrafts powerhouse. Each Indian state has its own ethnic character as well as a rich legacy of handicrafts and works of art.

Some craft traditions arose naturally, while others developed as a result of people's natural desire for beauty. Local history, social climate, religion, culture, climate, natural resources, and demographics have all had a role in the creation of India's unique folk craft traditions.

State Special: Folk Crafts

Millions of Indians continue to rely on indigenous modes of production, traditional skills, and techniques to make a living from handcrafted goods despite the onset of industrialization. These artisans play a significant role in India's non-farm rural economy. An estimated 7 million artisans rely on craft production for a living. Self-employed craftspeople account for 63 percent of artisans, while wage employees account for 37 percent.

AN ARTISAN VILLAGE, SURAT, INDIA: SAFEGUARDING THE ART & CRAFT HERITAGE OF INDIA

2.1 Concept of an Artist Village

Indian crafts have deep roots and are an important aspect of Indian culture. Because of their utilitarian nature, the use of indigenous materials, and the demand in local and international markets, these crafts continue to thrive in distant areas of the country.

Most of the crafts that are practised today are a remnant of the past, and this tradition has been carried on for generations. The concept of a craft village was born out of a desire to preserve the past. This concept gathered together the majority of the crafts' specimens and artisans.

Figure 1– Views of different Artist Villages in India

By sowing a seed in the minds of the current generation, a platform for forgotten values enlightens them.

"A craft village is a site where one may learn about a community's customs, historical interests, and art-making abilities. The ambiance and infrastructure of this community are quite loyal to its culture, and tourists get a sense of rural life. The materials and procedures used to construct the houses are unique to each community."

"The crafts village is a mixed-use development of the residential and commercial place," according to Indian Handicrafts. As a result, it fulfils multiple functions from a single platform."

Artist colonies, also known as artist villages, serve as a creative hub for local artists, students, business owners, and neighbours. These settlements allow like-minded modern artists to critically re-examine established assumptions, values, and notions of artmaking, as well as encourage artists to experiment with radical new ways and ideologies in art-making that are in sync with society developments.

The main goal of these artist villages is to promote international interchange with artists from all over the world and to build a lively community of artists, both local and international, developing and established. Allowing artists to live in close contact to local handmade craftspeople, encouraging them to draw inspiration for their art from the neighbourhood and dynamic local culture.

By teaching craftspeople in new technologies, this notion can help them better their living standards. It also offers public programmes and workshops where the general public can learn Indian crafts directly from the artisans. This platform also facilitates a unique edifying exchange of ideas, experience, and crafts practise among artists and designers from all backgrounds on a national and worldwide level.The concept is to establish a link between precious crafts of India with modern consumers.

Following are some famous crafts villages of India. Shilpgram,Shilparamam Crafts Village,Dilli Haat,Surajkund Mela (Jinal Shastri, 2018)

PYATKER PAINTING REVIVAL THROUGH CRAFT VILLAGE: STUDY OF JHARKHAND

2.2Why is it needed?

2.2.1. Improving the lifestyle of artists

Individuals who develop skills between themselves and work hard in the creation of handicrafts, as well as build awareness amongst themselves of market conditions and client requirements, will undoubtedly enhance their living situations.

It is critical that artisans focus on capacity building in order to improve their living situations. As their capacity grows, they will be able to generate more productivity, which will result in improved living conditions.

Many districts around the country have the richest handcraft traditions, as well as strong marketing potential, which might provide employment prospects for a large number of people. Individuals can get work in the handicrafts sector if they are willing to work hard.

This design allows artists to live in close proximity to local craftsmen and artisans, encouraging them to draw inspiration for their art from the neighbourhood and dynamic local culture.

As a result, it contributes to the improvement of craftsmen's living standards by providing them with current technical education. It also offers public programmes and workshops where the general public can learn Indian crafts directly from the artisans. (Gaitri Kumari, 2017)

2.2.2 Development in terms of Socio-economy and culture through tourism

Craft tourism refers to tourism activities that take place mostly in craft communities. Tourism resources include the villages and their cultures.

Craft villages have been formed as tourist attractions in rural areas and have become a paradigm of community-based tourism. An artists' village provides a natural setting with its social, cultural, and customs, as well as lodging, food, and other tourist necessities. The development of a craft village affects the lives of its residents.

In general, a tourism village requires favourable economic, social, cultural, physical, and natural environment conditions, as well as a lack of urbanisation and tradition uniqueness.

2.2.3 Promote Interaction in Public Space

The village's cultural identity is the most crucial part and appealing aspects of the community. Art tourism is a large section of the market because people travel from all over the world to attend, discover, and participate in activities linked to art festivals, concerts, events, and local culture. Art tourism is a collaboration between culture and the tourism sector that focuses on enhancing what makes a town unique.

In every community, public spaces and marketplaces are necessary components. People can meet and be exposed to a diverse range of neighbours through using public space. These encounters frequently happen by happenstance, but they can also occur as a result of purposeful planning.

In many places, the art of encouraging constructive interaction among people in public settings has almost been forgotten.

Planners, architects, and government officials have placed a greater emphasis on creating aesthetically pleasing environments and providing for the free movement and storage of automobiles than on developing environments that stimulate social contact. Officials have recently been more concerned with security and maximising their power to surveil and control people in public settings.

A craft village is a place where people may learn about a community's customs, historical interests, and art-making abilities. The ambiance and infrastructure of this community are quite loyal to its culture, and tourists get a sense of rural life.

"We make between Rs 3,000 and Rs 5000 a month through Pyatker, but not always," Bijoy Chitrakar informed Bose (2015). To reach out to customers, we need more art camps in the city."

Young people do not believe that this art is sufficient to provide their basic requirements of food, clothing, and shelter. They see relocation to Jamshedpur as a means of obtaining a better living. (Gaitri Kumari, 2017)

2.3 Role of Government and NGO for preserving culture

In July 1992, the Indian Department of Labour Commission launched a scheme called as "Supply of Improved Toolkits to Rural Artisans (SITRA)" with the goal of enabling rural artisans living below the poverty line to enhance the quality of raw materials, production, income, and quality of life.

This programme has now been amalgamated with the "Swarn Jayanti Swarojar Yojna (SJSY)", a new self-employment initiative. The Swarn Jayanti Swarozgar Yojna strives to provide rewarding employment to unemployed and underemployed people in urban and rural areas, either through positive self-employment programmes or wage employment.

This programme provides financial help and self-employment subsidies. This area offers a huge potential for generating self-employment that isn't well-known or enumerated. Women from low-income families are more likely to stay at home and be unemployed; yet, they can be trained in this sector to improve their economic standing. Women are thought to be more proficient than males when it comes to needlework skills such as embroidery, sewing, and other types of needlework, therefore they should take an interest in it and make it a source of revenue

. The work of artisans must also be promoted and supported among unemployed men and women in urban areas, in order for government and public institutions to take more action.

Amadubi's rural craftspeople are unaware of contemporary market conditions. Pyatker painting provides no means of subsistence for rural craftspeople. They are obliged to sell veggies or migrate to Jamshedpur in search of better career opportunities (Bose, 2015). Pyatker painting is attracting the attention of the government and non-governmental organisations (NGOs), but it needs more attention because it is a fading art form.

The state tourism department has constructed a centre in Amadubi named Rusika Sangeko, which means "home of artists." It is run by Kalamandir, a Jamshedpur-based NGO. Tourists can see Pyatker paintings in Rusika Sangeko. In Bistupur, an NGO called Kalamandir maintains a store called Biponi with the goal of rescuing Pyatker paintings. In the heart of the city, this shop sells Pyatker paintings.

Recognized haats are an excellent venue for displaying and selling goods.

Handicrafts face significant hurdles, including financial and societal disadvantages for craftspeople. Artisans have a limited educational background. In addition, they are underserved in terms of social security and healthcare. Jharkhand's tribal people have issues. She recognised poverty, bad socioeconomic conditions, unemployment, and other factors as contributing to tribal difficulties in Jharkhand.

Marketing is crucial, according to Kumar (2013). He discovered Internet marketing to be the most cost-effective way of marketing in today's market. It helps you save both time and money. It also has a maximum reach capability.

2.4 Analysis of the major typologies of crafts

This research aims to come to a conclusion that will allow multiple models to be designed based on the functional requirements of each craft. The eleven crafts are divided into three categories based on whether they require a shared or separate workshop and retail area.

2.4.1Pottery Art - Since ancient times, the art of pottery has been a well-known culture all across the world. Similarly, potters in Gujrat use natural resources such as 'Jaru' plant leaves, soft stems of Prosopis Julifera, water, clay, black stones, and so on to create one-of-a-kind works of art. It is distinguished from other Indian states for its beautiful traditional sculptures.

2.4.2 Knife Work - Knives are one of those tools that is utilised on a daily basis, from household tasks to commercial use. Kachchh craftsmen add a bit more imagination to it by hand-crafting this work of art and carving cultural motifs into it. In most cases, only one artist can complete the full process, which improves production quality and efficiency. Raw materials such as aluminium, copper, brass, iron, zinc, and steel are purchased from local scrap dealers for this purpose. Fresh metal is purchased from Ahmedabad and Rajkot vendors.

2.4.3 Lacquer -Lac is a wood-based substance made from insect resin. Colored lacquer is applied to the wood by navigating around the arrangement while turning it on a hand lathe.

2.4.4Metal Bells Art - A prominent occupation in Kachchh is the art of plated copper bells, which evolved to meet a communal need. The majority of recycled metal is utilised to create a bell, which is then covered with powered brass and copper, baked in a kiln, and polished.

2.4.5Block Printing Craft - Block printing is a type of art in which fabric is dyed and coloured using wooden blocks, as the name suggests. Artists obtain these colours from natural sources such as rusty iron solution, madder root, and indigo, among others. India is a major producer and exporter of block printed textures. In Indian villages, geometric block imprinting is the most common.

2.4.6Bandhani Craft and Batik Printing - The word "bandhani" comes from Sanskrit literature. done completely by hands. Because of this, a wide and combined space is ideal to accomplish synchronised tasks.

2.4.7 Rogan Art - This is a fabric painting method that uses castor oil to create vibrant colours. Because castor is harvested locally in Kachchh and exported all over the world, artists receive it directly from farmers.