Mata Ni Pachhedi craft documentation by Krina & Ruchi
MATA NI PACHHEDI Ahmedabad, Rajasthan Authors Krina Panchal Ruchi Sailor Guided BY MS Isha bharadwaj
PREFACE We at the Ms Uinivercity TAD department, undertake craft documentaion , a research based module, which enables us to understand the traditional craft culture of india. These craft traditions, perfected through genrations of practice arerepositories of traditional wisdom of shapes, form, technique, colors and in a large context, a way of life. One such land, which overflows with its tradition, is Gujrat, because of its vibrancy and its deep roots in textile tradions. We went about our research in ravalwas ahmedabad. It was an extensive fieldwork, which comprised of conversations, observations, learning about craft, studying their way of life. The book mainly revolves
ACKNOWLEDGEMENT First we would like to thank the department of Textile And Designing Ms Univecity for giving us this opportunity of undertaking a craft documentation project, as a part of our curriculum. we would like to express you gratitude and deep regards to our guide, Ms Isha Bharadwaj, for her guidence and monitoring throughout the course of this project. We are forever indebted to the people of ravalwas vaghri community for their valuable information and kind co-opration , without which this documentation would never have been possible.
TABLE OF CONTENTS ABSTRACT GEOGRAPHY INTRODUCTION OVERVIEW OF THE CRAFT COMMUNITY History and Origin of their settlement SOCIO-CULTURAL BACKGRUOUND OF THE CRAFT CLUSTER Profile of the Artisan Present Economic status Language, Religion Literacy TECHNIQUE, TOOLS AND MATERIALS USED Raw materials and tools Painting Techniques Colours/dyes, preparation and importance of colours TYPES AND VARIATION IN DESIGN Fabrics Techniques Motifs
PRODUCTION PROCEDURE : Traditional Interpretations of mata ni Pachedi Contemporary Interpretations of mata ni pachedi Present Scenario VALUE OF THE CRAFT TRAINING AND EMPLOYMENT GOVERNMENT AFFILATIONS SUPPLY CHAIN BUYERS/ CLIENTS MARKETING AND PROMOTION Social media Exhibitions PRODUCT AND PRICE SALE DATA ANALYSIS AND INTERPRETATION RECOMMENDATIONS AND SUGGESTIONS CHALLENGE/LIMITATIONS BIBLIOGRAPHY
ABSTRACT
India has one of the oldest civilizations on the planet and has a history of native arts and crafts. Indian society is rich in its culture and is extremely religious. The Indian artists across India have experimented with all possible mediums expressing their creativity and devout. for several years, artisans have been motivated by religion for artistic expression in the Indian society. This report examines the traditional techniques of making Mata ni pachedi and then exploring and incorporating the methods of this age-old craft for creating products that are relevant to the contemporary era.
AHEMDABAD MANCHESTER OF INDIA Ahmedabad, also known as Amdavad, was named after Sultan Ahmed Shah, who founded the city in 1411. It is one of the major cities of Gujarat. It served as the capital of Gujarat from 1960 to 1970. Ahmedabad has a strong association with India’s struggle for independence. Mahatma Gandhi lived in Ahmedabad for several years and it was from here that he started the Dandi March, also known as the Salt March, an act of non-violent resistance and civil disobedience against British rule in India.
Ahmedabad city is well known for its diversified culture. People of Ahmedabad are very passionate about celebrating each and every festive occasion then be it Navratri, the nine nights festival or the kite flying festivity. Ahmedabadis are usually very fond of food. The cuisine of Ahmedabad consists of such yummy lip-smacking dishes that you'll be tempted to try out more and more food each time you enter into a restaurant. The cultural heritage of Ahmedabad is very rich.
Located on the banks of the Sabarmati River, the city of Ahmedabad built its fortune on the thriving textile industry, which earned it the nickname ‘Manchester of the East’. Notwithstanding its attraction as a business destination, Ahmedabad, the largest city in Gujarat remains steeped in history and has a wealth of historical attractions.
The district of Ahmedabad is a fascinating contrast of culture and history. It’s a centre where both the old and new coexist-ancient history with contemporary art, rapid industrialization with traditional handicraft. From sacred art to delicate metal crafts, the region is home to both antique and modern crafts that have become widely popular across the state and beyond.
CENTER CRAFT AND CLUSTER
Only 3 families in the entire world practice this craft. All three live in Ahmedabad. The rest of the artisans staying in Rajasthan gave up the craft somewhere down the line. Geographical location: vasada, ravalvas , Ahmedabad, Gujarat
INTRODUCTION
Mata ni pachedi, also known as ‘Kalamkari of Gujarat’ on account of its similarity to the techniques of Kalamkari Which is practiced in southern parts of India. Mata ni pachedi is a craft expressing religious sentiments of the vaghri community. Its primary theme is the avatar of Goddess Durga. For several years they were banned from entering the temples. As a result, they used their artistic expression which gave rise to this craft that was then used to make shrines for them to worship the goddess. Making these pachedi is a long process. It involves making the tools and natural dyes required for making pachedis, its also involves performing rituals before putting up the pachedis. It was practiced in several parts of Rajasthan as well as Gujarat. Over the years, a lot of families gave up the craft in pursuit of a better livelihood. Now, only three families remain religiously practicing this craft. They have improvised their techniques with time and come up with products that serve the current era.
OVERVIEW OF THE CRAFT COMMUNITY
History and origin of their settlement The vaghri community or the devpujaks who used to be nomads had settled at the banks of river Sabarmati, Ahmedabad, some 200 years ago. This community belong to the lower caste and were considered as ‘untouchables’. They were denied entry in the temple, this is when they found a solution to this problem giving birth to a beautiful art folk art form, Mata ni pachedi. They started hanging these pachedis behind the temple and used to direct their worship at the painting of the goddess. Hence, it is known as Mata ni pachedi which means “Behind the Mother Goddess”. Four to five pieces were used to form the shrine for the goddess. There were various people in the vaghari community. Each of them is involved in this folk art at different levels. The chitaras were the artisans responsible for painting the shrine hangings, the Bhuvoor Bhuva was the priest to perform the rituals and jagorias used to interpret the pachedis through songs. Some restrictive practices have been abolished now but even today, the community continues to make and worship the Mata ni pachedi.
SOCIO-CULTURAL BACKGRUOUND OF THE CRAFT CLUSTER Profile of the Artisan Kiran Bhai chitara comes from a long heritage of ‘Mata ni pachedi’ artists, reaching back 700 years. The hand-painted textiles Kiran Bhai makes along with his wife in their workspace in Ahmedabad is an iconic part of the culture of the nomadic vaghri community of Gujarat and Rajasthan, an ingenious solution to caste discrimination and an itinerant way of living. Kiran bhai chitara won a National Award for his hand-painted devotional textiles, a recognition by the Indian government, celebrating artisans at the peak of their craft. His work is part of collection in some of the world’s leading cultural institutions such as the calico Museum, Craft Museum and the Tokyo National Museum. A total of only 3 families are involved in making the craft in the entire world. It has been passed on through generations for the past 300 years But most families gave up the craft somewhere along the line.
NUMBER OF ARTISAN here are only three families in the world who still continue to practice the traditional craft of making Mata ni Pachedi. Chittara's family has about 7-8 members in his family. He and his son look after the main work of the Pachedi while the rest of the members join in at various stages of the process. PRESENT ECONOMIC STATUS Kiran bhai Chittara and his family are completely dependent on the sale of the Pachedis. He doesn't do any other job or look after any kind of side business. The sale of these 15-20 pachedis is what they survive on for the entire year. LANGUAGES AND RELIGION They usually speak in Guajarati as its their mothertounge. Tourist mostly visit with their tour guide so they help them with the translation.
LITERACY The literacy level in community is very low. They are still trying to get rid of their reputation of being criminals due to which they were denied entry in temples by the priests. They have very few economic opportunities and need to learn new job skills to escape from the vicious cycle poverty.
TECHNIQUE, TOOLS AND MATERIALS
Raw materials and tools Cotton fabric, dyes, bamboo sticks for kalams(pens), wooden carved blocks, Harda powder(myrobalan powder), rulers, black dye, jaggery, scarp iron metal, tamarind
PROCUREMENT OF RAW MATERIALS They get all the materials from local market in the city. They buy things in bulk in order to avail discounts.
jaggery and iron metal scrup
Alizarin
Dried dhawda flow-
JAGGERY
INDIGO
ALUM
KACHUKA AATA
SCRAP IRON
PAINTING TECHNIQUES Painting or kalamkari techniques and wooden block printing are the two techniques used in Mata ni pachedi. Borders and some figure of the pachedi are usually block printed whereas the goddesses (Mata) are usually a freehand drawing and whatever else the artist chooses to incorporate.
Colours and dyes Today this craft is being carried on by just three families. Jagdish and Sanjay Chittara along with their family members create this beautiful textile art, Mata ni Pachedi. They often sell their work from their homes. The family has adhered to the original style of the art form, but they have also taken the art to another level of refinement. Along with the original colours of red, white and black, they have also introduced a variety of other natural colours and dyes into their work. The artist has taken the freedom of changing the traditional format of the Pachedi while continuing to keep the goddess as the central figure.
Fabric They have now started printing on fabrics otherthan cotton, like silk and khadi.
Preparation and importance of Colours Traditionally the pachedi consists of three colours- Red, black, and white.
White was the background colour and the colour of the cotton fabric. White is considered to be a colour of peace and purity in India. They feel connected to their ancestors with this colour. Red colour is the traditional colour of the Hindu’s goddess function. Red is considered to be an auspicious colour in the Indian culture. It Also represents the colour of the earth. And it’s prepared by adding tamarind seed powder to water once it is boiled. Alum is added to this solution which will eventually give the colour red. Black is believed to ward off the evil eye. And it’s prepared in old clay pots passed on them by their ancestors. It contains a mixture of rusted iron and old jaggery left inside for at least fifteen days.
Food colour is added to this solution to help the artists understand which parts of the pachedi have been covered since the solution is not red yet. Another process is performed in order to get the perfect red for the pachedi. Nowadays, a lot of other colours are also used like yellow derived from mongo, blue from indigo plants and green etc. Recently, a lot of cheap and more convenient pigments than vegetable dyes are being used instead of the traditional natural dyed pachedi due to the changing demand and preferences. Yet the original Mata ni pachedi has its own beauty and still holds more value that speaks for generations of traditional storytelling.
TYPES OF VARIATION IN DESIGN
TRADITIONAL MOTIF/SYMBOLS ASSOCIATED WITH THE CRAFT Central goddess motifs The central figure on the pachedi is of the goddess. There are 64 goddesses. The vagharis believe that there are various forms of goddesses and each Identified by the form of her transport.
Goddess ambika
Goddess Bahuchara
Goddess Khodiyar
Goddess Mamai
Goddess Vahanvati
Goddess Chamundi
There are many other motifs that form the story around the central figure like: Sun,Ganesha
PRODUCTION PROCEDURE
The process can be divided into 3 sections
Step-1: Fabric treatment
Rinsing the fabric and softening it by beating
Soaked in water overnight
Soaked in a solution of harda powder and oil
Step-2: Printing The Pachedi is a rectangular scroll of narratives which is divided into seven to nine different parts. Each part tells a different story. These panels of incidents are linked to the myth of the central deity as well as scenes from daily life. Conventionally, the rectangular fabric is divided into seven to nine columns making it easier to interpret and impart the stories within the piece. The border of the cloth is painted with motifs which are usually block printed or sometimes outlined with a kalam (pen) made out of a bamboo stick using black dye. As more people from the family join in, the motifs start to take form on the Pachedi. These forms or motifs are made around the central figure which includes: sun, moon, singers, musicians, animals The goddess is drawn in the centre of the cloth. Around these they try to depict mythological stories and other ancient architecture taken from religious epics like the Puranas. The goddesses and some other forms are freehand drawings while some other motifs are block printed with old blocks that are stored carefully with the family for many years.
After the artwork is bordered, it's time to paint it red. Brushes made from bamboo are used for painting the colours. The spaces between the black printed figures are painted with red or black colour using the Kalams.
The Mata ni Pachedi in its full form has a central figure of the female deity. The rest of the arrangements are placed in a grid with architecture-like insertions in the form of doors and archways in a stylised format. There are 64 different goddesses. Each goddess has her own form of transport like crocodile, camel, lion, tiger etc. These goddesses are considered to be different avatars of Goddess Durga known as Chausath Yoginis (64 Yoginis, according to Hindu
Painting the Pachedi is not the task of a single person. Other family members join in to paint the Pachedi as a part of a tradition in their community. It is both a traditional and social task of the community as various members of the family as they gather together for work.
Step-3: Dyeing Dhawda flowers are added to the water once it reaches the boiling point for the final shade of the Pachedi. The Pachedi is then soaked in it. Alizarin powder is added to this mixture. Alizarin is an organic compound extracted from the madder plant that has been used in the textile industries since ancient times. It works as a hue inducing agent. Alizarin was a red dye extracted from the madder plant. Meanwhile, other red shades were derived from scale insects such as kermes and cochineal. The cloth is then soaked in the solution. It is constantly checked to ensure if the white areas are not stained with red colour.
The fabric or the Pachedi is taken to the Sabarmati river to be washed. It must be washed in flowing water to remove the excess dye. The motion of the river removes unwanted colours easily without much effort. The community has traditionally been based near the river. Hence, this process was carried out in the flowing river water. Even today the artists go down to the banks of the Sabarmati, which flows through the city, for this stage of production. It is then spread out on any surface to dry. No animal or human is allowed to step on this sacred cloth.
Contemporary Interpretations of Mata ni Pachedi Mata ni Pachedi has now also found space in textiles prized by art collectors by participating in various art exhibitions throughout the country. The art has also now been seen at several art galleries and corporate boardrooms. The refinement of figures and details, coupled with the expanded natural colour palette has taken Sanjay Chittara's works from the sacred spaces of excluded communities to the drawing rooms and museums of the urban world.
PRESENT SECNARIO Due to the Covid-19 pandemic, the sales have reduced. Every year about four to five exhibitions used to be held. Now, due to the various regulations, exhibitions have been cancelled. People have also become more frugal. Chittara family is barely receiving any orders. The Pandemic has reduced the sale. At the same time, artisans are coming up with newer ideas to use their craft in making something that will sell during this time. They have come up with cotton face masks made with the traditional motifs and are more breathable.
Social There are six to seven people in Jagdish Chittara's family. All of them work on making the Pachedis. The younger generation is going to school yet they only intend to make Mata ni Pachedi in the future. The process of making the Pachedis brings various members of the family together.
Economic The Chittara family makes Pachedis for exhibitions and sells a lot of Pachedis for different prices depending on its size and design About 15-20 Pachedis every year which are sold at different prices depending on the designs and size of the Pachedi. They sell one Pachedi for a different price ranging from Rs.2000- Rs.5,00,000 depending on the complexity of the designs and the time required to complete it.
Cultural This craft was first brought by the Vaghri community of Gujarat. They were known as Devpujaks and belonged to the lower caste and were considered untouchables.
They were denied entry in the temples. So, they found a solution to this which gave rise to this beautiful folk art. They painted an image of the goddess and hung it behind the temple and directed their worship at the painting of the Goddess. The unique feature of these temple hangings is that instead of being hung behind an icon, four to five pieces of these hangings were used to form a shrine for goddesses. While the Chitaras were the artists who painted the shrine hangings the bhuvoor bhuva was the priest to perform the rituals and jagorais were the singers who interpreted the pachedis. It is believed that worshipping the goddess and offering a pachedi to the goddess tends to solve all the difficulties of the worshipper. Mata ni Pachedi is an 'Abhushan' or an ornament called Mata no Chandarvo in Gujarati. It is Devi's 'Chunari' or scarf that is offered to the goddess when one has to offer votive prayers regarding a problem one is facing or a tragedy or illness. For instance, if someone is a farmer and due to heavy rains or floods the crops get damaged or when there is no rainfall and the crops are dying. The sacredcloth has recognition for its ability to solve the believer's problems.
Traditional interpretations of Mata ni pachedi The worshippers often take a vow that is related to asking for a particular wish or boon. If the wish is granted, a pooja takes place which usually includes the sacrifice of a goat before the Goddess and presenting a new Pachedi to the Goddess. All members of the family and friends gather for the ritual in the afternoon which goes on till late evening. There is folk music and children dancing around playing drums and food prepared by everyone is shared with each other. The Devpujaks gather together at the time of worship and hang up the Pachedi and perform rituals. This includes singing bhajans, aarti, and other pooja rituals. There is no limit to the number of Pachedis that could be hung. Mata ni Pachedi is worshipped by the whole community. But the major roles are played by the following: Chittara: People who paint/ make the entire Pachedi Bhuva: Perform rituals with the Pachedi Jagoria: Sing narratives, aartis and narrate stories to please the goddess They also offer the Pachedi to Goddess Durga during Navratri,
Ecological In early days, this craft was commonly practiced by the Vaghari community for worshipping goddess Durga. It was and is still used as temple hangings, to make shrines from the depiction of different goddesses in various forms. The dyes used for painting the cloth are natural and don't harm. Extremely eco-friendly in its nature,Mata Ni Pachedi reinforces the use of non-polluting, wholesome materials to create beautiful art.
Evolution A lot of crafts evolve over time. The colours, patterns, process slowly evolve according to the preferences of the people. The dyes used in Mata ni Pachedi now use many different cheap pigments available since it is convenient to use them. New colours in the Pachedi have been introduced like yellow, green, and blue. Even the motifs or the stories depicted have started taking a different direction. Earlier the goddess was always depicted in the centre, modern times enjoy a greater degree of artistic freedom. Now curtains, wall paintings, and some other products inspired by this art form are also seen.
TRAINING AND EMPLOYMENT Kiran Chittara's family members join in making the Pachedis. They didn't have any special/trained workers employed to help with the process. All the family members used to join in at different levels of the process of making the craft. From all young ones to older people in the house. All the members in the house are slowly trained from a very young age to do the craft. But now, he has employed several people from the community to fill in colours after he is done with the fine and detailed outline of the textile. Since they are from the same community, most of them have knowledge about Pachedis and need very little training to do the job correctly.
GOVERNMENT AFFILIATIONS ATULYA BHARAT KI AMULYA NITI INVALUABLE TREASURES OF INCREDIBLE INDIA They applied for the GI (Geographical Indication) tag in July 2020 and are now officially registered for the same. It's a sign/tag that helps determine the place of origin of that specific craft.
It also provides them with the subsequent benefits: a. It prevents duplication of the tagged products so in different ways it provides legal protection to Geographical Indications in India. b. This Tag is given to good quality products so it increases customer satisfaction. c. The great quality of the products opens the international door for the producers. d. Increases the revenue of the producers and employment within the region.
SUPPLY CHAIN Various exhibitions are conducted by the art galleries across the country. Art lovers from across the world come to see and purchase art. This is where the exchange takes place. Some Pachedis are also pre-ordered and are sent to the clients through shipping services to ensure it reaches intact.
BUYERS/CLIENTS Most buyers are international art collectors. Most of the Pachedis made every year are exported. They have very little scope in the domestic market. Only screen printed/ digital printed pachedis which are cheap and can be used for various festivals are bought by the people from their community. With the introduction of new articles in the market and the growth of e-commerce, they have gained some domestic clientele for other goods infused with the sacred art form and given a more contemporary outlook.
Marketing and promotion Traditionally, the most significant form of advertising was done by hanging the Pachedis alongside the roads. People pass the Pachedi and are busy while the goddess watches over.
Social Media Since they have very little knowledge about marketing knowledge, most of it is done by the art galleries and the government. Modern times have also encouraged them to market their products on social media platforms like Instagram and Facebook. Social media marketing is the one of the best ways to reach an audience quickly and easily. It gets people to look at a brand even when they aren't thinking about it. Mata ni Pachedi despite being a 300 year old art form is still known to a major part of the population. This will help people learn about the existence of the craft and the contemporary products that the artisans offer. It might sometimes be costly but it is the best solution to compete and survive in the market.
PRODUCT AND PRICE
Exhibitions The Chittara family sells its pachedis through art gallery who conduct about 4-5 exhibitions every year showcasing their art along with a few other. Several other government organised exhibitions are held throughout the year which helps promote and preserve their art forms. Now that they are registered for the GI tag, they will definitely receive more trusted clientele along with additional benefits like 10-day exhibitions where people
Each Pachedi is sold at a different price depending on the size and the complexity of the design. Starting at Rs. 2000 going up to Rs. 2-5 lakhs for a single Pachedi. SALE Traditionally Mata ni Pachedis were mainly sold three times in a year; February, May and October(around Navratri). Now people buy all year round due to the exhibitions, says Chittara. Kiran Chittara sells about 10-12 pachedis in a year at different prices through art galleries and exhibitions.
DATA ANALYSIS AND INTERPRETATION Artisans of India are the backbone of the textile industry in India and need to be protected and helped in preserving their crafts passed on to them by their forefathers. Making the fine and beautifully hand-crafted Mata ni Pachedi is a meticulous job which also requires skill and the knowledge of materials and mythology still remains unknown to a vast amount of population. It is evident that the craft has become vulnerable as artisans gave up practicing this craft over the time. It is now important that the remaining three families pass on this tradition to their future generations and preserve the beautiful craft and come up with newer techniques to fulfil the market demands. They have created art for the "new normal” by making masks to preserve it even through hard times. They have shown true commitment to keep the craft alive. There is nothing quite like making new products while keeping the art intact in order to preserve it. This way it will never be forgotten. Functionality, art with a touch of modernity is the best combination for the current market. For the ones who believe in authenticity and keeping the tradition alive and collect art can still continue doing the same. This way they can fulfil the de-
The traditions within the community are changing and the demand for the traditional Mata ni Pachedi is reducing. The artisans of this sacred cloth might not even know about all the incarnations. And the use of newer, cheaper, artificial colours will increase and maybe somewhere along the line, the authenticity of the art form might be lost. It is important that they pass on this skill down to the younger generations with complete authenticity and knowledge of the craft.
The newer generation should only be taught the traditional way of making the Pachedis. Only when they master the skills, should they be allowed to explore. And for those buyers who are art lovers, can always purchase a completely authentic and within the set format of a traditional Pachedi. Making sure they don't leave out any potential customers. Collaborating with designers will give them a new perspective about their craft. Exploring new pathways will prevent it from getting monotonous. It should stick to using natural dyes as long as possible because the newer audience is beginning to care about the sustainability aspect of a brand before purchasing anything. They can use sustainability as a key aspect to market their craft to get more attention from the audience on taking positive steps towards society. They can also get very experimental with the craft by collaborating with artisans practicing other crafts and come up with something interesting. There should be no limit to explore and experiment.
CHALLENGES/ LIMITATIONS One of the challenges they face is during the monsoon season. The Pachedis need to dry in the sun and the rain ends up spreading and mixing the colours and all the hard work goes in vain. The main challenge faced right now is due to the pandemic. Numerous artisans across the country are affected negatively by it. The sale has reduced as the exhibitions are not held anymore. This is affecting the livelihood of the artisans. The government doesn't provide any support to these artisans even in such hard times. They might've found some newer products like the face masks but that might not be enough to get them through the pandemic. The traditional use of pachedi has been on a decline. The artisans have adapted to numerus comparer designs. One might never see all the incarnations together. Many artisans may not know all the incarnations and probably even require some homework as well.
RECOMMENDATIONS AND SUGGESTIONS Since people/buyers can't attend exhibitions physically, the art galleries can take an initiative to arrange online exhibitions which will help increase the sales. Pop up ads on social media will help to promote the craft and direct the audience to their profile page. This is the best way to reach the younger audience. Not many people know about Mata ni Pachedi anyway. This will get the craft some recognition. It gets difficult in the monsoon season as the Pachedis do not dry and don't get sunlight. All pachedis could be completed and kept aside till the drying stage before the monsoon hits. During the monsoons, they can all just sit inside and finish the painting process. All designs should evolve with time in order to sustain in the market. Not everyone is an art lover. But since the artisans receive little support from the government it is important that they ensure how to use their skills and make the best out of it. Developing new products with their art of making the Pachedis with a slight touch of modernity will always go a long way. But it is important to note that in this process, the traditional craft is not forgotten.
BIBLIOGRAPHY https://en.wikipedia.org https://www.textielfactorij.org/tag/mata-ni-pachedi/ https://stock.adobe.com/ https://www.dsource.in/resource/mata-ni-pachedi-ahmedabad/ https://www.researchgate.net/ https://artsandculture.google.com/
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