Wooden Decor’s in Sankheda “ the only ultimatum featuring its blooming furniture by krishna patel

Wooden Decor’s in Sankheda

“ the only ultimatum featuring its blooming furniture”

Art is not a handicraft, it is the transmission of feeling the artist has experienced

- LEO TOLSTOY

Craft documentation of the Wooden Decor’s in sankheda - “ the only ultimatum featuring its blooming furniture”, By Krishna Patel. Cover details: close up of a wooden decor of sankheda Published at P.P Savani University (PPSU) kosamba-surat – 394125 Declaration : We hereby declare that the craft documentation work entitled “Wooden Decor’s in sankheda “the only ultimatum featuring its blooming furniture”, submitted to P. P Savani University is record of an original work done by Krishna Patel. Photgraphy by: Krishna Patel Visual and Communication. Certificate of ownership : All the data provided in the report have been taken from authentic sites/ sources and are true to the best of our knowledge. No part of this report should be copied in any physical form or digital form. Without prior permission of author.

WOODEN DECOR HANDICRAFT OF SANKHEDA CRAFT DOCUMENTATION DOCUMENTED BY Krishna Patel

P.P SAVANI UNIVERSITY SURAT VISUAL AND COMMUNICATION DESIGN B.Des (2018-2022)

PREFACE

India is so rich and diverse in terms of art and crafts since ancient time. It has been one of the biggest

identities of the country and has undoubtedly contributed immensely. Yet a decline in the craft sector is seen since few centuries. This city is home to age old traditions and crafts, which is being passed down from generation. Iâ&#x20AC;&#x2122;m obliged by th opportunity given to me to explore this city. This document is a result of an in depth research conduct on-field. It elaborates about the age old and famous craft of wooden furniture. Despite having huge demands and widespread market all over the country, the craft is facing threats on itâ&#x20AC;&#x2122;s own. This document gives a detailed information about the craft, including the process, the artisans, the infrastructure, markets and scope. Hence as part of our course in P.P Savani university every year a craft excursion is organized to study the innate crafts of different regions so that we as designers can give our utmost contribution in reviving the rich indian crafts and help in connecting the crafts-men to the design industry.

ACKNOWLEDGMENT “Knowledge is in the end based on Acknowledgment” – Ludwig Wittgenstein

Foundation of our knowledge, about the craft and its related domains was laid down by some of the learned

and wonderful people, whom I would like to, acknowledge and pay sincere gratitude for the immense involvement and support they extended towards me throughout the documentation process. I would like to thank my faculty, who introduced this course/project to us and believed that I would be able to bring out the essence of the craft tradition through our document. I wish to take this opportunity of expressing deep sense of gratitude to the artisans Jayant Kharadi and his family for inviting me into their humble abode and showing generosity by answering questionnaires, letting me shoot their lives and work, and for sharing the knowledge of an age-old traditions. I thank them to provide a comfortable and amicable environment to work in and for letting me to be part of their lives and for coordinating with me till the end of the project. Most importantly I would like to appreciate the efforts of my parents Mr. Praful Patel and Mrs. Priti Patel for their presence throughout the field work. A vote of thanks to Rajesh Patel for extending their helping hand for this documents. And above all, the almighty who kept me in good health and gave me the strength to complete this document.

ABSTRACT

Documentation of a traditional craft is important for preserving its identity and

to communicate its details to the audience. This project gives an opportunity to have a look onto the process of wooden furniture making and the value of this craft culturally, socially and economically. Here a set of field visits to these craft cluster, located in Sutharwaga area in Sankheda village of Gujarat state in India. The main purpose herein is to study in-depth about the wooden lacquer furniture of sankheda, which may help for further research activities by encouraging researchers, who are willing to contribute in the areas of craft studies, traditional knowledge, conservation and preservation of indigenous technologies, design research etc. Not only in India, but also in other developing and underdeveloped nations of our beautiful world. Keywords: History of craft in India, Handicraft of India, Evolution of wooden lacquer in the world, Wooden lacquer in India states. Literature review, About Sankheda and Its regional craft wooden furniture, design and its pattern, tools, methods, techniques, artisan profile, and Market study, product range.

PLATE NO. 1 Wood turning

process

OBJECTIVE

The main objective of the visit to Sankheda, was to gather

experience and information about the craft of the wooden lacquer furniture in order to do a diagnostic tudy of the cluster. Extensive research, observation, interviews, and analysis has been done to understand the process of wooden furniture on lathe, cultural heritage, the inspiration of colours and motifs used, the working conditions of the artisans and socio- economic elements related to the craft. The objective also includes documentation and promotion of the cluster and the craft through various means.

PLATE NO. 2 Artsan working on pwer lathe

INTRODUCTION TO CLUSTER PROJECT

The craft cluster initiative of PPSU is a project being undertaken

in order to boost and enhance the crafts of India with the mainstream. A project where fertile mind of students interacts with capabilities and exclusively of craftsmenâ&#x20AC;&#x2122;s for upliftment of craft. Students are being given a unique opportunity to study the craft sector by visiting the craft region to study the socio-economic and cultural context, interact with the craftsmen and follow up action with appropriate design and technology upgradation. The purpose of choosing sankheda helps to discover the craft cluster of wooden furniture, studied the craft, culture and social environment.

PLATE NO. 3

CONTENTS PREFACE ACKNOWLEDGMENT ABSTRACT OBJECTIVE INTRODUCTION TO CLUSTER PROJECT 1. OVERVIEW OF WOODEN LACQUER 1.1 History of craft in India 1.2 Handicraft of India 1.3 Evolution of wooden lacquer in world 1.4 Wooden lacquer in india 1.41 Maharatra 1.42 Uttar-Pradesh 1.43 Rajasthan 1.44 Andra Pradesh 1.45 Bihar 1.46 Karnataka 1.47 Kerela 1.48 Madhya Pradesh 1.49 Punjab 1.50 Gujarat 1.5 Conclusion

2. REVIEW OF LITERATURE

2.1 Census of india 1961 volume v, part vii - a selected craft of gujarat 2.2 Handmade in India - Aditi Ranjan and M.P Ranjan 2.3 Sankheda furniture (Gatha- a tales of craft) 2.4 Fading life of Sankheda - Prachi Vyas 2.4 The colourful Sankheda furniture - video 2.5 Sankheda diagostic survey documentation

3. GLIMPSE OF THE TOWN

01-30

3.1 Introduction 3.2 Geography 3.3 Climate 3.4 Divison 3.5 Demography 3.6 Literacy

4. CULTURE OF THE TOWN 4.1 Social norms and Practices 4.2 Culture and Lifestlye 4.3 Language 4.4 FOOD 4.5 Attire 4.6 Homes 4.7 Festivals 4.8 How to reach 4.9 Conclusion

45-52

5. SANKHEDA CRAFT: AN OVERVIEW

53-58

6. RAW MATERIALS

59-66

5.1 Introduction 5.2 History and Origin of the craft 31-38

39-44

6.1 Introduction 6.2 Description of raw materials 6.3 Sustainability of raw materials 6.4 Storing and Cutting 6.5 Sourcing of raw materials 6.6 Material Procurement

7. TOOLS AND MACHINES

7.1 Tools 7.2 Machines 7.3 Tools and Machines maintainance

8. PROCESS

75-84

9. PRODUCT RANGE AND PACKAGING

85-94

10. ARTISAN PROFILE

95-104

8.1 Colour pallet and Motif

10.1 About Kharadi Suthat Community 10.2 Workspace and Lifestyle

11. MARKET STUDY AND ECONOMICS

105-108

12. SWOT ANALYSIS

109-110

13. CONCLUION 14. REFLECTION

111-112 113-114

15. APPENDIX 15.1 Appendix i 15.2 Appendix ii

115-120

16. GLOSSARY 17.BIBLIOGRAPHY

67-74

121 122

1. AN OVERVIEW OF WOODEN LACQUER

HISTORY OF CR AFT IN INDIA

Crafts being an important economic

HANDICR AFT OF INDIA England flooded the Indian market with its cheap machine made items, which ousted the homemade crafts. A number of craftsmen were turned destitute overnight. Those who continued with their craft had to compete with the machine made goods that quality was made to suffer. Gandhi’s swadeshi movement focused on the plight of the Indians craftsmen’s and on the need for maintaining the ancient craft traditions.

part of India are also important commodities for world trade, since ancient times. India is the center for trade links between India and the western countries. India is a home for cotton and textiles and the trade activities the western world justifies it. Indian is famous for its textiles and Dyeing stuffs. Even Portugians and Romans traded the silk from our Country.The Arab sailors purchased silver and gold from our countries and took back handicraft objects from India to the fat-east.

After independence the handicrafts what was noticed was the dying crafts, its expertise falling apart. Slowly demand grew for these items globally. Recent Data Survey shows that India is lagging behind in many handicrafts commodities. India still is serving as a gem in case of gems and jewellery items.Despite the growth of handicrafts industry in India, the average earnings of the craftsmen is not upto mark.

During the reign of the early Mughals. India’s handicrafts reached its peak. Materials like carpets, textiles and jewellery were transformed into fine arts. Mughal emperors like Akbar, Shah jahan and Jahangir approached the artisans from all over the globe to blend their native ideas with our own creativity and skills. Brocading and velvet manufacturing developed rapidly in India than in their native’s countries but with the breakup of the Mughal empire and the growing enmity between the smaller princely states, local crafts lost their centuries old local patronage. India faced several loss in respect to trading of craft due to the reign of the East India Company.

Improving educational system and lifestyles of the middle class people, Infrastructure facilities contribute a lot for the erosion of the native crafts in India. Crafts are now replaced with plastic items and people have left out the age-old clay and metal containers. These all factors are expanding globally and there are not more days for this craft to be extinct

Owing to the rapid social and

technological changes that are taking place, Crafts holds immense position in life of people of India.Crafts are found to be the main source of employment for a vast majority of the population next to agriculture in developing countries like India.The objects made by the skills and creativity of the hand serving as a part of the creator as well as ancestors of evolutionary tradition. It has a diversified range and can range from the simple clay lamps to the diamond studded jewellery items. Handicrafts ranges from objects created by skilled people for religious rituals like wedding and celebrations to a personalized usable luxurious one. It serves to be timeless quality in having these objects designed for multipurposes, as they continue to exist over decades and even today with the same sentiment. There are three main versions of crafts - Folk crafts - Religious crafts - Commercial crafts

Folk Craft is a signature embroidery done by women in villages to serves people for their personal usage or for a limited base. There are craftsmen who are specialized in creating textiles or jewellery which meets the criteria set up by a particular group of people, usually a particular caste or community. They have their own creativity with respect to the design they form. Religious crafts surrounds the religious centers and themes in correspondence to religious institutions and relevant ceremonies. Various religious places in India are specialized herein like Varanasi and Kanchipuram in Tamilnadu specialize in weaving clothes for religious ceremonies, particularly silk materials. Similarly, puri in Odisha, which is a big pilgrim center, is connected with crafts like patachitra a painting on cloth and wood and stone carvings.The weavers, the dyers, the printers, the goldsmiths and the carpenters contribute the commercial areas of craft.

EVOLUTION OF WOODEN LACQUER IN WORLD

Lacquer ware is one of the oldest arts. China, Japan

and India have great traditions in the craft. The lacquered objects of these countries are praised for their richness of colour, beautiful designs and fine finish. Salarjung museum has a good collection of all these products.

Chinese lacquer ware

PLATE NO. 4 Chinese ancient lacquerware plate

PLATE NO. 6. Japanese lacquerware bowls

PLATE NO. 5. Indian lacquerware plate

Like so many of its other arts, lacquer ware is traced to remote antiquity in China. It was in existence in the middle of the first millennium BC. In the beginning lacquer in China appears to have been applied on objects as a protective coat but soon it became medium for decoration. Lacquer was put to a number of uses by the Chinese. Lac is obtained in the form of sap from ‘Chi shu’, a species of trees cultivated in China. Lac can be given various colours of which the important are, black, red, brown and yellow. The base on which the lacquer is applied is usually wood, though other bases such as porcelain and brass are used. Some of the decorations used in lacquer are: painted lacquer, carved lacquer and relief ornament. But by far the best known lacquer ware is ‘Coromandel lacquer’. It consists chiefly of screens of considerable size and often in folds containing three dimensioal rendering of natural, religious, and palace scenes. There was great demand for these screens in Europe during the 17th and 18th centuries. This demand was met by the East India Company, which exported large quantities of this ware from the Coromandel coast in India, thus providing name for this ware.

Japanese Lacquer ware:

The Japanese lacquer stands as an art by itself. It has glorious history going back to 8th century AD. Using lacquer the Japanese made stands, screens, cabinets and tables. The basis of lacquer is almost always wood although metal was sometimes employed. The application of lacquer is an elaborate process, as many as 20 or 30 applications being made. The painted decorations done, sometimes in gold, consist of landscapes, birds, flowers, architecture and other subjects. The pearl-shell inlay is the chief beauty and merit of the Japanese The Museum’s Japanese exhibits include a cabinet richly decorated in black lacquer, a plate and a box, exquisitely decorated in pearl-shell in lay, a few boxes and stands, one writing table dated to Tokugawa period (17th to 19th centuries) inlaid with flowers and birds worked in pearlshell.

Indian Lacquer ware:

Indian lacquer or Lac turnery is one of the oldest Indian crafts. In terms of lacquer ware it is at least four hundred years old. In recorded history Lac is first mentioned in ‘Aaine Akbari’ written by Abul Fazl in 1590 AD.Lac is a gummy deposit obtained from crimson-red tiny insects which thrive on certain species of trees. The process of using lacquer in decorating the wooden or papier-mache articles is known as ‘Lac turnery’ or Indian lacquering. Lacquer is used in the form of variegated coloured lacquering sticks and is applied on wooden articles while they are turned on lathe. Ornamental lacquering which demands dexterity of hand and imagination consist of Abri or cloud work, Atishi or fire work, Nakshi or pattern work, Tin foil decoration.Lacquered boxes, trays, tobacco jars, ash trays of Kashmir; plaques, boxes, round plates of Nirmal and furniture articles of Banaganapalli of Andhra Pradesh are some of the well-known products, that find a place in the museum collection. 06

WOODEN LACQUER IN INDIA • • • • • • • • • •

MAHARASTRA - Sawantwadi UTTAR PRADESH - Varanasi and Mirzapur RAJASTHAN - Udaipur and Chhitorgarh ANDRA PRADESH - Etikoppapa and Kondapalli BIHAR - Muzaffarpur, Darbhanga and Madhubani KARNATAKA - Channapatna KERELA - Ernakulam MADHYA PRADESH - Budhni PUNJAB - Jullundar and Batala GUJARAT - Dholka and Sankheda

PLATE NO. 7 Map of wooden lacquerware in india

MAHARASTRA-Sawantwadi Sawantwadi is famous for its art and culture, popularly known for wooden toys made from mango tree. The craft is traditionally done by the Chitari or Chitrakar community recognized by the king. These communities migrated from Karwada and settled in Sawantwadi. These families survived mainly by supplying handicrafts items to the royal families. Later other communities also adopted this craft because of its commercial success. Queen Satwasheela Devi continues the tradition even today, where many of the families are involved in wooden toys making. The toys are made by assembling flat shaped solid wood. Seasoned mango wood is chiseled or carved into desired toy shape. The cutout pieces are finished on a sander, painted and assembled.

PLATE NO.8

UTTAR PRADESH â&#x20AC;&#x201C; Varanasi and Mirzapur Varanasi and Mirzapur in Uttar Pradesh are famous for their wooden lacquer ware and wooden toys. Designs are created with the natural veins of the wood. These toys are made without any joints, and are attractive and safe playthings for children. The craftsmen here claim to belong to the Kunder Kharadi Samaj. This craft plays a pivotal role in the lives of the artisans, since when a child is born a new lathe is added to the family possessions. In fact, when a marriage is being fixed the boyâ&#x20AC;&#x2122;s family makes sure that the bride-to-be is familiar with the lathe. Varanasi in Uttar Pradesh was once the largest toy producing Centre in India. It is an ancient craft, where the toys are made from wood. Sets of birds, animals, musicians and dance ensembles are also available packed in boxes.

PLATE NO. 9

RAJASTHAN- Udaipur and Chittorgarh Bassi in Chittorgarh district is another noted center for wooden toys where the entire village is engaged in wood-carving and in making wooden products. Udaipur is a big center for wooden toys. The craftsmen use the local wood-doodhia, which is soft and can be finely chiseled and shaped. The toys are lacquered and polished with leaves of a flowering cactus to give them a better look and increase their life. The large variety of toys made in Udaipur include the cart drawn by a sparrow, kitchen sets, grinder, cradle on a stand, gas lantern, gramophones, trains, cars, jeeps, airplanes, counting stands, and clock towers. Animal figures include horses, camels, and elephants. Udaipur is also famous for imitation dry fruit which bear a striking resemblance to the real fruits.

PLATE NO. 10

ANDRA PRADESH â&#x20AC;&#x201C; (Etikoppaka and Kondapalli toys) Etikoppaka - Located on the banks of the river Varaha in Vishakhapatnam district of AP, is a small village called Etikoppaka. Made in the Etikoppaka region of Andhra Pradesh, these toys are made with lacquer color and are traditionally known as Etikoppaka toys or Etikoppaka Bommalu. The village is very famous for its toys made of wood. The toys are also called as lacquer toys because of application of lacquer coating. The village has a glorious history where the local jamindars started recognizing the possibility of making splendid and attractive toys much before independence. These are well known for canon toys, lord Ganesha form and bullock etc. The toys are made out of wood and are coloured with natural dyes derived from seeds, lacquer, bark, roots and leaves. The wood used to make the toys is soft in nature and the art of toy making is also known as Turned wood Lacquer craft. While making the Etikoppaka toys, lac, a colourless resinous secretion of numerous insects, is used. The already prepared vegetable dyes are further mixed to the lac, during the process of oxidation. After this process, the end product obtained is rich and colored lacquer. The lac dye is used for decorating the Etikoppaka toys, which are exported all over the world Kondapalli - The famous Kondapalli toys are made in Kondapalli of Krishna district near Vijayawada. Also Known as Bommala Koluvu. The art is believed to be ancient with Mythological roots, originating from Mukta Rishi who obtained the Knowledge from Lord Shiva. The style of these toys is a mix of Islamic and Rajasthani art, popular for their realistic expressions. The subject of the toys vary from Mythological scenes to Village life, Animals, Birds etc.

PLATE NO. 11

BIHAR â&#x20AC;&#x201C; (Muzaffarpur, Darbhanga and Madhubani) Bihar has a rich past of highly artistic and beautiful lacquer ware craft. Biharâ&#x20AC;&#x2122;s lacquer ware artisans are very famous for decorating various items beautifully with lacquer ware work like legs of beds, boxes, bangles and stools. Muzaffarpur, Darbhanga and Madhubani are famous for the lacquer-work, especially for production of lac-bangles.

PLATE NO. 12

KARNATAKA - ( Channapatna ) Channapatna toys are a particular form of wooden toys (and dolls) that are manufactured in the town of Channapatna in the Ramanagara district of Karnataka state, India. This traditional craft is protected as a geographical indication (GI) under the World Trade Organization, administered by the Government of Karnataka. As a result of the popularity of these toys, Channapatna is known as Gombegala Ooru (toy-town) of Karnataka. Traditionally, the work involved lacquering the wood of the Wrightia tinctoria tree,] colloquially called Aale mara (ivory-wood).

PLATE NO. 13

KERELA â&#x20AC;&#x201C; (Ernakulam) The craftmen of kerela make fascinating lacquer products by perfectly combining the metals and wood craft. A wide variety of lacquer products are churned out in kerela, especially in ernakulam district

PLATE NO. 14

MADHYA PRADESH - Budhni In the small town of Budhni, along the banks of Narmada, reside the makers of the eco-friendly lacquered wooden toys. Soft wood of the Dudhi branches are easily chiselled into the required shape, and then the lacquer on the toys is made by mixing colourful dye with chapdi and chandrak, natural wax agents found in the forests of MP and Maharashtra. Once the lacquer is pasted on the wood, it is finished with kewda oil for the gloss effect.

PLATE NO.15

PUNJAB-Jullundar and Batala

Hoshiarpur, Batala Quadian in Batala district, and Jullundur are the main centers of Punjab where skilled artisans of wooden lacquerware are found. Initially, Punjab was popular for the â&#x20AC;&#x153;arbiâ&#x20AC;? (cloud work) on wood but now the work is finished in nakshi style in Jullundur. The nakshi work includes engraving with the help of needles so that the design is displayed in various different colors. Purple-colored lac was popular earlier, nowadays white, black, yellow and red colored la are frequently used. They create products like boxes, low leg chairs, stools, legs for beds and many more.

PLATE NO. 1 6ess

GUJARAT: (Kutch, Sankheda, Dholka)

PLATE NO. 1 7

KUTCH: A handful of families from kachchh’s semi- nomadiac vadha community settled in villages like nirona and jura where they use the technical and artistic skills of their forefathers to sustain the lac wood craft tradition. The vadhas traditionally moved and worked where needed. Throughout villages bordering kachchh’s great ran. They carved and colored wooden furniture and household accessories for many local communities. The descendants of these artisans now work in the villages where they have settled. Few traditional lacquer artisan’s families continue the craft in kachchh DHOLKA: It is second largest taluka in Ahmedabad city. It has the cluster where the craft of wood turning and lacquering has been practiced since past 50 years. In dholka this craft has evolved out of ritualistic connotations. Craftspeople here are majorly involved in the making of ghodiyo or ghodyu as it is popular known in Gujarat, is a traditional crib frame or a cradle for baby and used during the time of baby birth. This is an indigenous craft practiced in and around dholka, but now it has become more personalized occupation, rather than being a major contribution to the craft industry/sector.

SANKHEDA: A craft tradition so deeply inherent in the collective identity of the practitioners, that their town is named after it. Sankheda, a small town in the eastern region of Gujarat derives its name from ‘sanghedu’, the word for a lathe in the Gujarati language. Lacquered turned wood furniture with hand painted motifs and traditional method of ornamentation, popularly known as Sankheda furniture, is thought to have been produced here from about 1855. In this town, about 80-100 families belonging to the “Kharadi-Suthar” community are involved in this craft, giving them a strong sense of community identity and continuity.

PLATE NO. 18

CONCLUSION

India has a splendid tradition and history of wooden

lacquer since 500 years.Wooden lacquer making is part of every stateâ&#x20AC;&#x2122;s art and culture in India, but only few place work is most famous and followed as traditional craft from centuries. Among such states sankheda of Gujarat is also known for its amazing work in wooden furniture craft.

PLATE NO.19

2. REVIEW OF LITER ATURE

PLATE NO. 21 PLATE NO. 20

Census of India 1961 volume v, part: - vii - A Selected Crafts of Gujarat

This data is taken from census of India 1961 volume v selected craft of Gujarat. Field investigator is M. L. Acharya, Statistical Assistant, photographer and art work K. D. Vaishav. And editor by R. K. Trivedi, Superintendent of Census operations, Gujarat. In this it was given a complete information on lacquer furniture of sankheda, how it was originated, and where it has been established, lifestyle of craftsman. And there is a detail information of manufacturing product, marketing, raw material and tools technique.

Handmade in India - Aditi Ranjan & M. P. Ranjan

This book is written by Aditi Ranjan and M. P. Ranjan are both teachers, designers, and cultural preservationists who have worked with the National Institute of Design (India) since the 1970s. This book is a fitting testament to their years of teaching and research. Its structure, content, design, and quality could only have come from authors with a heartfelt love of handcrafts and home. Handcrafted in India looks at all parts of Indian handicraftsâ&#x20AC;&#x201D;historical, social, and cultural influences on crafts, design and craft processes, traditional and new markets, products, and toolsâ&#x20AC;&#x201D;unraveling a wealth of knowledge. Based on extensive fieldwork and research, this work maps out the regional crafts identified across the country on the basis of prevailing craftwork patterns. It is closely woven with images to reveal the array of crafts in India, enabling the reader to discern subtle, sometimes unusual, differences in the same craft practiced by distinct regions or communities. With its broad photography, this interesting volume will be a huge asset for product and textile designers, artists, architects, interior designers, collectors, development professionals, and connoisseurs alike. 34

PLATE NO. 22

Sankheda Furniture (Gaatha â&#x20AC;&#x201C; a tales of craft)

Gaatha brings a traditional handicrafts and the culture behind it, directly from the very home of the Indian artisan. An article of sankheda furniture documented by Vivek Sheth, Pratyusha Reddy, Shamit Das, Abhijita Pandey which gives the complete detail of wooden lacquer furniture of sankheda with its history, process and product manufacture.

PLATE NO. 23

Fading life of sankheda â&#x20AC;&#x201C; by Prachi Vyas

Reviving this dying art in sankheda Prachi Vyas student of MRID, faculty of fine arts, MS university of Baroda her intend was to collect information regarding the current practice of sankheda craft and this document consist of in depth study of materials, process of making including history behind sankheda, its origin and a market study.

PLATE NO. 25

PLATE NO. 24

Sankheda diagnostic survey documentation

https://www.youtube.com/watch?v=1Et9y3X8z30

The Colorful Sankheda Furniture â&#x20AC;&#x201C; YouTube video

Sankheda Furniture from Gujarat is well-known throughout the world. It is hailed for its intricate craftsmanship, its rich designs as much as for its simplicity, its use of a variety of material and a unique decorating style. This style of furniture is made from 100% teakwood and is created by the Kharadi community of Sankheda village of Gujarat. This video narrates the tale of a unique art hailed by Gujaratis.

Reviving this dying art in sankheda a group of student of NIFT, there intend was design project with industry market survey regarding the current practice of sankheda craft and this document consist of in depth study of materials, process of making including history behind sankheda, its origin and a market study, scope and conclusion with suggestive solutions.

3. GLIMPSE OF THE TOWN

INTRODUCTION

Sankheda is a creative village in the southeast part of Gujarat,

was ruled by the Gaikwads before the independence, who were the cause of bringing this art from Madhya Pradesh where also they were ruling. The village, Sankheda is a small town in the eastern region of Gujarat derives its name from â&#x20AC;&#x2DC;sangheduâ&#x20AC;&#x2122;, the word for a lathe in the Gujarati language. It is located on the banks of river Orsang and closer to the forest of chhota Udaipur from where the raw materials of shellac and colors available. Sankheda in Vadodara district, India is world famous for its handicraft lacquer furniture.

PLATE NO. 26 Orsang river

GEOGR APHY

DIVISION

The latitude 22.1715494 and longitude 73.5814967 are the geocoordinate of the Sankheda. Gandhinagar is the state capital for Sankheda village. It is located around 159.0 kilometer away from Sankheda.

Sankheda is a Tehsil / Block (CD) in the Vadodara District of Gujarat. According to Census 2011 information the sub-district code of Sankheda block is 03904. Total area of Sankheda is 724 km² including 716.74 km² rural area and 7.30 km² urban area. Sankheda has a population of 2,03,584 peoples. There are 42,948 houses in the subdistrict. There are about 181 villages in Sankheda block. The neighboring towns are Dabhoi (21 km), Bodeli (21 km), and Waghodia (27 km).

CLIMATE

Despite the roughly 800 mm of precipitation that the city receives annually, Vadodara features a semi-arid climate (BSh) under Köppen's Climate classification due to the area's high potential evapotranspiration. There are three main seasons: Summer, Monsoon and Winter. Aside from the monsoon season, the climate is dry. The weather is hot during March to July, when the average maximum is 45 °C (113 °F), and the average minimum is 23 °C (73 °F). From November to February, the average maximum temperature is 30 °C (86 °F), the average minimum is 15 °C (59 °F), and the climate is extremely dry. Cold northerly winds are responsible for a mild chilly day in January. The southwest monsoon brings a humid climate from mid-June to mid-September. The average rainfall is 93 cm.

DEMOGR APHY

The Sankheda village has population of 10837 of which 5647 are males while 5190 are females as per Population Census 2011. In Sankheda village population of children with age 0-6 is 1306 which makes up 12.05 % of total population of village. Average Sex Ratio of Sankheda village is 919 which is equal than Gujarat state average of 919. Child Sex Ratio for the Sankheda as per census is 882, lower than Gujarat average of 890.

LITER ACY

Sankheda village has higher literacy rate compared to Gujarat. In 2011, literacy rate of Sankheda village was 80.04 % compared to 78.03 % of Gujarat. In Sankheda Male literacy stands at 84.31 % while female literacy rate was 75.43 %. PLATE NO. 27 Village scene of sankheda

4. CULTURE OF THE TOWN

SOCIAL NORMS AND PR ACTICES

Gujarat is amalgamation of its values it’s deed which justify a culture shared with members of the society and passed on from one generation to the next. Enculturation has influenced the customs ideals and principles in various communities and has led to knowledge and appreciation of cultural traditions and lifestyles. The aspect of joining hands to greet or bow down comes through age influences as offering reverence. Gujarat is tribute as “heart of India”, for its varying colors with respect to culture. Culture shock unlike other countries is therefore, a missing point which makes people more confident and energetic as they stand for a challenge in global scenario. Gujaratis well-known as Gujars are influenced are born with the blood inheriting values of art, culture and traditions.

FOOD

Majority of the Gujaratis are vegetarian. A traditional “Gujarati’s thali” consisting of dal (lentils), roti, rice and vegetables apart from salads, farsan and sweet dish followed by chaas, forms the morning meal. Evening food consist of “bhakri-shak” or khichadi khadhi. Mainly the diet of the people of Gujarat consist of cereals pulses, green vegetables. fruits, milk, ghee, buttermilk etc. Sankheda city brings the aromas of real Gujarati food. Surely this city will not let you down on the taste of food as it is the land of Gujarat.

ATTIRE

The 21st Century replaced the traditionally manifested attire of white Dhotis, Kurti, Saree and Chaniya-Choli (So-Called Indo-Western in today’s World) with Trousers, Shirts and Dresses.

PLATE NO. 29 Gujarati featured dish

PLATE NO. 28

HOMES

CULTURE AND LIFESTYLE

The Cultural Heritage of Sankheda is rich and Varied. It displays the colorful Gujarati culture that includes the vibrancy of its talent and art, richness of its traditions, beauty of its festivals and a lifestyle that is heading towards modernization.

LANGUAGE

In spite of the fact that the neighborhood language spoken is “Gujarati” it stays a primary language for individuals of sankheda. Surti, charotari, kathiawadi and kutchi dialects are among the numerous others language like Marathi, sindhi, Punjabi, hindi and so on are spoken in this districts.

Sankheda livings resembles the advances in development. Its a full-proof example that the traditional hut dwellings and wooden houses still exist with a rich heritage feel and ethic cultural living. Wood carved houses with the “chabutras” for bird feeding is a milestone art of the beauty of many traditional homes in sankheda.

FESTIVAL

Most of the Indian festivals are celebrated in sankheda with all its traditions. Sankheda enjoys a healthy cultural and distinct traditions of different ethnic and religious communities. However, Uttarayan, Navratri and Diwali are celebrated with higher spirits. sankheda also has its unique maha sud teras Festival which takes place in the month of Shraavana to worship lord Vishwakarma

PLATE NO. 31 sankheda house

PLATE NO. 30 Lord vishwakarama

HOW TO REACH

By rail- Gojapur Sankheda Rail Way Station,

Chhuchhapura Junction Rail Way Station are the very nearby railway stations to Sankheda. By air-Sankheda â&#x20AC;&#x2DC;s nearest airport is Vadodara Airport situated at 41.2 KM distance. Few more airports around Sankheda are as follows.Vadodara Airport41.2 KM. Sardar Vallabhbhai Patel International Airport140.2 KM. Sardar Airport145.5 KM. By car- There are many Intra-district and Inter-state buses which connects Sankheda to major cities in Gujarat and outside the state as well including Madhya Pradesh, Maharashtra, Rajasthan and Delhi.

PLATE NO. 32 Road guide to sankheda

CONCLUSION

Established on banks of river Orsang and enlightened with lifelong ancient craft

Sankheda is perfect example of exuberant cultural and heritage. It is a creative village in the southeast part of Gujarat western part of Gujarat. City celebrated almost all festival with great enthusiasm. City has much to offer, from delicious cuisine to amazing friendly people. This city has one of magnificent craft to explore, which is lacquered turned wood furniture with hand painted motifs and traditional method of ornamentation, popularly known as Sankheda furniture, is thought to have been produced here from about 1855. It is one of the best wooden furniture made in Gujarat. Sankheda is the only center in Gujarat where this craft is still being practiced.

PLATE NO.33

5. SANKHEDA CRAFT AN OVERVIEW

INTRODUCTION

A craft tradition so deeply inherent in

the collective identity of the practitioners, that their town is named after it. Sankheda, a small town in the eastern region of Gujarat derives its name from ‘sanghedu’, the word for a lathe in the Gujarati language. Lacquered turned wood furniture with hand painted motifs and traditional method of ornamentation, popularly known as Sankheda furniture, is thought to have been produced here from about 1855. In this town, about 80-100 families belonging to the “Kharadi-Suthar” community are involved in this craft, giving them a strong sense of community identity and continuity. ‘Ghodiyo ‘(child’s cradle) is believed to be one of the first furniture items produced using this form of expression. It is a prized possession in Gujarati families, and is passed down through the generations as an heirloom.

PLATE NO. 34

HISTORY AND ORIGIN OF THE CR AFT

The Origin of this craft at

Sankheda is not definitely known. But according to a local legend, the Suthars who migrated to Sankheda from the old citadel of Champaner as a result of its conquest by Mohammedans in about 1216 A.D. started lac-turnery along with carpentry. This craft thus came into existence at this centre before 500 years. The lac-turned articles were not transparent which is a later improvement in the technique. The transparent lacquer work in Sankheda according to the knowledge of leading artisans was learnt by two Kharadis, viz., Late Premjibhai Pancholi and Mohanlal Pancholi, the grandfathers of Kanchanlal Jetharam and Amritlal Mohanlal respectively. It is said both Premjibhai and Mohanlal used to visit Baroda for buying the raw materials required in the craft and for obtaining orders for their finished products.

PLATE NO. 35

Once, during such a visit they found a Muslim artisan applying tin paints upon an egg and applying lac over it for giving a gloss to the design. He used to present this artwork to kings and thus earned prizes which were his only source of livelihood. This aroused keen interest and curiosity among them. requested him to teach the art. 58

They began to watch secretly the performance of the artisan and The Muslim artisan who was not teaching his art to anybody including his son agreed to their request and taught the art. Both the Kharadi artisans secretly practiced this art on the first floor of their houses guarding the secret closely and without disclosing it even to their family members. According to another legend about the origin of the present technique of the craft, about a hundred years ago, Ichharam Pragji, a Kharadi of Baroda, had attended upon a saint during his sickness. Pleased by his devotional hospitality, the sage blessed him in return by teaching him the secret art of polishing with lac. Sages in India used to move from place to place throughout the country for religious discourse and preaching, which made them conversant with the ways of living of the people in different regions. It is quite likely that the saint might have observed the application of tinfoilâ&#x20AC;&#x2122;s somewhere and taught the same to Ichharam. This can be further seen from the extract from Indian Art at Delhi, 1903 by Sir George Watt reproduced below which shows that tinfoil ornamentation was practiced throughout India in various crafts.

6. RAW MATERIALS

INTRODUCTION

The production of products through the wood turning process involves both natural and synthetic materials which are: • Wood • Lac • Colours • Nc putty • Ceramic powder • German powder • Melamine polish

DESCRIPTION OF R AW MATERIAL WOOD – wood is the main ingredient of the product in sankheda. Mainly Teak wood is used as it is hard and locally available. For turning process, hard wood is only used as it is easy to carve and work with. These woods are found all through sandy and dry parts of India. The woods these artisans use is brought from the Godhara and Panchmahal. Mostly light brown in color which they bring from market.

LACLac is a natural resin secreted by an insect known as the lac beetle or the lacifer lacca. only the female bug produces lac and intake one lakh bugs to make 500gm of lac. Lac or scale insects live on a particular variety of trees that grow in India usually found in places like west Bengal and Tamil nadu.lac is obtained in flake form as it has to be scrapped off from the trees. When heated, it melts at a low temperature and hence is moldable which is further combined together to obtained a desired form. The secretion which forms a tin crust on the bark of the trees is scrapped off and processed to obtain lac. lac is nontoxic, the color of lac varies from type to quality. The highest quality lac is referred to a button lac. It is light and golden colored and can cost a lot. Second is the medium brown color and the third, which is the poorest quality of lac is dark black in colour.lac is not absorbed by the wood but it settles in the grains of the wood to give it that polished finish. It is very good natural polishing agent.

PLATE NO. 37 colouring lacquere sticks

COLOURSNatural and chemical dyes can be mixed with lac when it is in its semi solid state to give it the desired color. Mostly natural and chemical paints are only bought from the market which are multani(brown), kesari (orange) peelo(yellow), kala (black), laal (red), leelo (green), safed (white). These colour are safe for the use. Mostly Asian paint, SD, ICI, burzer. PLATE NO. 36 raw woods

PLATE NO. 38

PLATE NO. 39 PLATE NO. 40

MELAMINE POLISHMelamine polish is a closed pore polish i.e. it makes the wood non-breathable product that protects wood from mainly hot and cold surfaces placed over it. Melamine polish dries off within 20 mins. After its application that offers more of glossy appearance then matt finish on coated wood panel or surface.

NC PUTTYNC Putty is a one component fine putty on nitrocellulose base of good adhesion to wood and hard, sanded old coatings.

PLATE NO. 42

PLATE NO. 41

GERMAN POWDERGerman powder is gold colour powder coating. It is used in decoration art.

CERAMIC POWDERCeramic possesses several characteristics, making it a good material for craft-making. It's hard, nonmagnetic, resilient and chemically stable. In its powdered form, it can be combined with water and a binding element to form a clay paste, which is malleable to any shape and form.

SUSTAINTABILITY OF R AW MATERIALS

WOOD-In case of wood, the criteria to check whether the wood was fit to be used was to check if the wood is hard wood or soft. Most suitable wood used for making product is the hard wood of teak. The sizes of wood to be used depends upon the size of product made. PAINT-Before using the paint one needs to check desired color is obtained and that the color is uniformly mixed up. To check If the lac is fit to be used, it has to be checked at the time of the mixing the color. With every dash of color, the paint is suspended in the sunlight to see if no color blobs are formed and to see if the color is dark or light enough.

STORING R AW MATERIAL

WOOD- wood is stored away from heat and sunlight in a location with good air circulation as the wood is not supposed to be sun dried because direct heat of the sun crack ups the wood. The wood is kept under a shade. While it is humid, the wood is not placed outside as it has a tendency to absorb water and swell up. PAINT-And when it gets cold, the paint can separate and create a curdled mess. Plus, the moisture from humidity can rust the paint cans, and when you go to open up the lid, flakes of that rust can get into the paint. With that in mind, store of paint is in a cool and dry place.

SOURCING OF R AW MATERIAL

WOOD- Two types of wood are used in wood turning one is teak wood and other nilgiri wood bought from godhara and panchmahal mostly they use light in color wood. PAINT: Paints used in product are found in the local market. The prices of the color vary depending on the quality of the color.

MATERIALS PROCUREMENT

Teak wood is the basic raw material of lac-turney. It has an abundance of natural oils and rubber locked right into the tight grain of the wood. It has greater naturally weather resistant properties. The oil also protects the wood from dry rot, and also protect the heart of the wood from invaders like fungi and parasites that can destroy other woods. And teak is the perfect material for outdoor furniture. It is extremely durable and strong wood. A number of synthetic substances are used for coloring the finished products. These include NC putty, German powder, ceramic powder, melamine polish

PLATE NO. 43

TOOLSAND ANDMACHINES MACHINES 7. TOOLS

TOOLS

The basic tools used in each step for making a furniture includes axe, carving tools, files, hammer etc.

Carving tools- it is a tool consist of a long metal piece attached to a wooden handle. They are applied to the revolving piece of wood, so that thin continuous strips are scrapped off. Skilled crafts peoples are able to uniform thin layers of wood to create desired shapes. These tools have different metal tips to give different shape to the wood which are: • Firmer chisel-has a blade with a thick rectangular cross section, making them stronger for use on tougher and heavier work. • Bevel edge chisel-can get into acute angles with its beveled edges. • Mortise chisel-thick, rigid blade with straight cutting edge and deep, slightly tapered sides to make mortises and similar joints. • Paring chisel - has a long blade ideal for cleaning grooves and accessing tight spaces. • Skew chisel-has a 60 degree cutting angle and is used for trimming and finishing across the grain. • Dovetail chisel-made specifically for cutting dovetail joints. The difference being the thickness of the body of the chisel, as well as the angle of the edges, permitting easier access to the joint. • Butt chisel-short chisel with beveled sides and straight edge for creating joints. • Carving chisels-used for intricate designs and sculpting; cutting edges are many; such as gouge, skew, parting, straight, paring, and V-groove. • Corner chisel-resembles a punch and has an L-shaped cutting edge. Cleans out square holes, mortises and corners with 90 degree angles. • Flooring chisel-cuts and lifts flooring materials for removal and repair; ideal for tongue-and-groove flooring. • Framing chisel-usually used with mallet; similar to a butt chisel, except it has a longer, slightly flexible blade. • Slick-a very large chisel driven by manual pressure, never struck.

PLATE NO. 45

Filer (rawat)

Grip (pakad)

Screw driver (dismiss)

Hammer (hadhodo)

PLATE NO. 44

Chisel PLATE NO. 46

Fretsaw (aari)

Wrench (jambu)

PLATE NO. 47

Compass (Rounder)

PLATE NO. 48

Sand paper (kach paper)

WOOD TURNING MACHINE (LATHE) Lathe machine is the only machine used in this craft. The lathe is manually powered by khapta. each lathe is demarcated by two sharpened iron rods which are bent towards each other at ninety-degree angles and fixed in the ground. The distance between them is dependent upon the length of wood the artisan is turning because the wood must be held firmly between the rodâ&#x20AC;&#x2122;s pointed ends.

PLATE NO. 49 Artisan working on hand lathe

TOOLS AND MACHINES MAINTENANCE

Artisans work using tools, even the lathe is portable

and they do not use any electricity in the process. Sometimes in manual lathe machines artisans do oiling at the place where the wood is attached for proper rotatory motion. If the machine gets gammed then they dismantle the parts as the lathe they are using is very easy to dismantle and assemble it again. They also do this remove the dust particles. The tools which the artisans use are usually bought from the junk yards commonly chisels carving tools. They buy the old blunt tools and fix them and reuse the tools. The continuous use of tools makes them blunt after a period of time, so they rub the tools against the emery stone to achieve the sharpness.

PLATE NO. 50. Wooden tools

8. PROCESS

PROCESS

The process of turning the wood differ according to the

product made. Each artisans is expert in a particular range of products. Turned wood is practiced using simple tools, a selfmade lathe, a string attached to a bow, and paint. The process of making furniture starts with following steps: • Sorting and Cutting wood • Wood Turning and shaping • Wood sanding • Wood whitening with primer • Applying NC putty • Wood coloring • Drawing motif • Polishing • Assembling the parts

PLATE NO. 51

PLATE NO. 52

STEP.1

PLATE NO. 54

STORING AND CUTTING Storing:The preparation of wood for turning. Logs are stored away from heat and sunlight in the workshops with good air circulation for ten days to a month, depending on the moisture content of the wood. Cutting:Wood comes to the workshops in the form of logs. These are square in section. The edges of the seasoned square sections of wood are then chiseled and superfluous wood is removed by the dexterous use of hand or power lathes and suitable cutting tools, until octagonal sections are formed. The wood is now ready to be turned on a lathe.

STEP.3

WOOD SANDING Once the desired shape is formed the rough surface is finished with sandpaper, while the wood is still turning until the surface is smooth and uniform.

PLATE NO. 53

STEP.2

WOOD TURNING AND SHAPING Cutting tools are applied to the revolving piece of wood so that thin continuous chips are scraped off skilled craft people are able to uniform, thin layers of wood to create desired shapes. 79

PLATE NO. 55

STEP.4

WOOD WHITENING WITH PRIMER Coat of primer is applied to make the surface even and left to dry for 10-15 minute. 80

PLATE NO. 56 PLATE NO. 58

STEP.5

STEP.7

APPLYING NC PUTTY Coat of nc putty is applied to fill the cracks in the wood and left to dry for 24 hours and wash it after the drying to see if the crack is filled properly or not.

DRAWING MOTIF Finally, delicate art work is painted over the lacquer. Enamel paints are used for this purpose. Generally golden and bronze paints are used.

PLATE NO.59

PLATE NO. 57

STEP.6

WOOD COLOURING These pieces are crafted to glory by priceless skill. They are coated with the desired paint with brush. 81

STEP.8

POLISHING AND ASSEMBLY THE PARTS. Melamine coating is used to give a finish product. It is transparent, rich hue. It takes 24 hours to dry and two coating is done Subsequently all the elements or components go through pre-assembly, where they are checkered for joinery and finish. 82

COLOURS

COLOUR PALLET AND MOTIFS Mostly color are used are black, golden and bronze Traditional color- golden, maroon, black, green, white and yellow MOTIF: Traditionally the floral, geometrical pattern was used for the art of the furniture. With thick and thin linening. mainly two layouts were used as all over patterns. PLATE NO. 60

9. PRODUCT RANGE AND PACKAGING

KAJU JULLA

BABY CR ADLE

Size : length 72 x depth 48 x 78 height Color: multicolour available Prize: 25,000 approx

Size: 121 X 135 x 107 x 76 cm Color: multicolor available Age group: Newly Born, 3-12 Months, 1-2 Years, >2 Years Price: 3,500 approx.

WOODEN PLANA

DANDIYA STICK

Size: as per client need color: multicolor prize: 1,500 approx.

Size: 1.7 cm Diameter x 36 cm Length Colour: multicolor Price: 100/- per piece

STOOL

WOODEN R AILING

BAGLE STAND

ROLLING PIN

BAJOT

FLOWER POT

INCENSE STICK

WALL PEICE

price: 3000/- pair colour: multiculor

price : depend on size and intricacy colour: multicolour

price: 300/- per piece colour: multicolor

price: 250/colour: multicolor 91

price: 250 colour: multicolor

price: 100/colour: multicolor

price: 80/- per piece colour : multicolor

price: 250/colour: multicolor 92

PRODUCT PACKAGING

All sankheda furniture are detachable into separate

pieces, so if the product is sold locally then plastic packaging is done and if it is sold domestically or internationally then carton boxes are preferred. PLATE NO. 61

10. ARTISAN PROFILE

ABOUT KHAR ADI-SUTHAR COMMUNITY

The word Sutradhar literally means thread-

holder. Sutra in sanskrit means thread (which is used to mark the course of a saw), and dhara means to hold. The names Sutar and Suthar are abbreviated versions of Sutrahadar. Sutradhar, also known as Suthar is a Hindu caste within the Vishwakarma community of India. Their traditional occupation is carpentry .The great majority of Hindu sutradhars belong to the Vaishnava sect. Vishwakarma is regarded as their patron deity Sutradhars, according to legend, are the carpenters descended from Maya, son of Vishwakarma. From the Rigveda, Vishwakarma is the divine engineer of the universe. In the Skanda Purana he had five children - Manu, Maya, Tvastar, Shilpi and Visvajna and these are believed by the Vishwakarma community to have been the forebears of their five sub-groups, being respectively the gotras (clans) of blacksmiths, carpenters, bell metalworkers (metal casters), stonemasons and goldsmiths. Together, these sons are known as Rathakar, or builders of Chariots.

PLATE NO . 62

WORKSPACE AND LIFESTYLE

The lifestyle of sankheda reflects how people

over there are still very much attached to their roots. It almost makes anyone not want to leave the place. The village has a rustic aura surrounded with nature. The Kharadi in sankheda live as a join family where Jayantbhai with his family worked in the home premises and also have individual workspace. The men of the house work as per the work load. They work on handloom machine. Whereas women look after the house. The children of the house are currently expected to focus in studies. They have a huge go-down to store raw material.

PLATE NO.63

100

JAYANT BHAI KHAR ADI

HARDIK SUTHAR

Owner of kharadi jayant and bros Age: 29 Been working for: from the age of 18 Work timings: 8 hours Carpenter because: it is their ancestor tradition Number of family memebers: 6 Education: 12th pass Learn to wooden craving – his parents Work other- none Contact no - 9638439697 Email id: manoj8268@yahoo.in Address: sutharwaga,sankheda-391145 district.chhotaudaipur, Gujarat,INDIA

Work on the wood turning Age: 29 Been working for: from the age of 15 Work timings: 8 hours Carpenter because: it is their ancestor tradition Number of family memebers: 3 Education: 7th pass Learn to wooden craving – his parents Work other- none

101

NAINESH SUTHAR

Work on wood whitening with primer Age: 26 Been working for: from the age of 17 Work timings: 8 hours Carpenter because: it is their ancestor tradition Number of family memebers: 3 Education: 10th pass Learn to wooden craving – his parents Work other- none

BHAR AT SUTHAR

Work on wood turning Age: 26 Been working for: from the age of 12 Work timings: 8 hours Carpenter because: it is their ancestor tradition Number of family memebers: 3 Education: 12th pass Learn to wooden craving – his parents Work other- noneS

102

GOPAL SUTHAR

ALPESH SUTHAR

Work on shaping and sanding wood Age:39 Been working for: 9 years Work timings: 8 hours Carpenter because: it is their ancestor tradition Number of family memebers: 7 Education: till 2nd Learn to wooden craving – his parents Work other- none

Work on pattern making Age: 33 Been working for: 15 years Work timings: 8 hours Carpenter because: it is their ancestor tradition Number of family memebers: 3 Education: 11th pass Learn to wooden craving – his parents Work other- none

103

JAYESH SUTHAR

Work on painting the product Age:33 Been working for: 14 years Work timings: 8 hours Carpenter because: it is their ancestor tradition Number of family memebers:4 Education:10th pass Learn to wooden craving – his parents Work other- none

SACHIN SUTHAR

Work on applying nc putty Age: 26 Been working for: 10 years Work timings: 8 hours Carpenter because: it is their ancestor tradition Number of family memebers: 3 Education: 8th Learn to wooden craving – his parents Work other- none

104

11. MARKET STUDY AND ECONOMICS

105

106

MARKET STUDY AND ECONOMICS

All sankheda furniture are detachable into separate pieces, so if the product is sold locally then plastic packaging is done and if it is sold domestically or internationally then carton boxes are preferred.

PRODUCTS Before the rebirth of sankheda furniture art by the Kharadi community approximately 500 years ago, Sankheda craft was practiced for a living. These revolutionary finesses were first practiced by artisans from ancestors. The artisans used this creativity and made swing, baby cradle, kitchen products, bed, dandiya sticks, stools, etc. Sankheda furniture, today is practiced on a wider range of products apart from this.

DEVELOPMENT Sankheda furniture is regarded as a regional craft of Gujarat and has increased awareness due to tourism and this is the only reason for which the demand for this artworks has flourished. These all stimulated the artisans to create a wider product range. The newer products are designed with a modern approach without losing their organic resemblance. One of the bestselling products are swing, baby cradle, dandiya, stools, krishna paanu. The most popular pattern is “checkered lines with dots inside” which flourished as their signature artwork. PLATE NO. 64

107

The artisans also provide the customers with multiple variations of the same motifs and patterns with options in colors and sizes. When the artisans observed the wide spectrum of their various customer’s demographics, they started developing cheaper products and other alternatives for lower income groups. These include rolling pins, incense stick stands, flower pots, dandiya, kanha pannu, small stools, wall pieces. In which they integrate old and new styles of art motifs. These smaller items consume less time, patience and raw material, some of the pieces made during the demons are also used in these products. The artisans also enthusiastically show their visitors-customers and tourists a demonstration of their craft to publicize the audience with their creativity.

COSTING

Cost of the products were directly proportional to the Time required for producing it. Intricacy and size consumes time, the more the intricacy is, the higher price you have to pay for the same

PROMOTION

The support of the government agencies like garvi gurjari (Gujarat state handicraft and handloom development corporation limited) was invaluable in the early years. This provided an assured sale and income. They also helped in the promotions of these products to a wider audience. They also participated in the exhibitions, fairs and fests outside Gujarat to gain the audience. India’s largest online store and popular e-commerce company, amazon, flipkart has also provided a lot of support to the sankheda craft artisans. 108

12. SWOT ANALYSIS

The primary objective of a SWOT analysis is to help organizations develop a full awareness of all the factors involved

in a decision. A SWOT analysis focuses on the four elements comprising the acronym, allowing companies to identify the forces influencing a strategy, action or initiative. Knowing these positive and negative elements can help companies more effectively communicate what parts of a plan need to be recognized.

The strength of this craft is that only sankheda village in the whole world practices this old-craft which has also helped them to create monopoly in the market. The easy excess to the raw materials is the profound strength for this art. Due to the creative excess of this art many designers are now focusing to uplift this art-form.

The intricacy of the design makes it time consuming which result in high price. They do not provide any dimension to the craft. Only limited products are manufactured. Inadequate information of current market trends still confined to rural areas and small cities and untapped market. Lack of promotions. Lack of encouragement of traditional art and crafts. Since the craft is potentially endangered, the government, NGOs and some private organizations have to create efforts and strategies to protect this craft.

TRENGHTS

EAKNESS

109

PPORTUNITIES

Expansion of products line from traditional to utilitarian. Government funds/NGOs and self-help groups have started spreading awareness and helping the artisans more. Contemporary designs can be introduced. The skills and expertise of the craftsmen is immense and can be explored more. New products can be introduced, in order to increase the sales. Marketing is a supreme feature aided to this art.

HREATS

The strength of this craft can also be proved to be a threat. This craft is limited to only Kharadi family which is a threat to the sustainability of the craft itself, given the lifestyle and geographical factor of the region. It is in its rapid way of diminishing the crafts as well. The crafts have to change itself, according to the time as well. The limited knowledge of this craft proves to be a threat for the existence of this species of design. ULTIMATE DEGREE OF THREAT:

Inspite of this craft being wonderful, there are some points which hinder the flourishment in the market and the society. These artisans do not have economic backup. Due to lack in literacy they are not able to connect more to larger audience. They lack branding. Branding can help the leave a lasting imagines on their customer. Having logo and packaging and even a social media account can help them greatly this craft doesnâ&#x20AC;&#x2122;t have mass production and as a result they consume more of time with less output. Hence the rates go on to the higher end. Moreover, Modern Interior Decor has now taken place of Furniture making this ancient specie showing its way to extinct.

110

13. CONCLUSION:

Sankheda was just like another Indian village- peasant,

unpretentious, with narrow lanes leading to a cluster of houses with kaccha houses with interior of sankheda furniture. But behind these colorful frames were stories of hands crafting magic. Some with nimble fingers and some aged with wrinkles, but all excelling in the art passes on by their forefathers to them over centuries. The lacquered furniture from the region of Gujarat have come a long way from the time that they were first manufactured and exported from India. There has been considerable change and development in the raw materials, process, tools patterns. The original raw material is not being used much, simply pertaining to expensiveness and higher cost of raw materials. So accordingly, now a dayâ&#x20AC;&#x2122;s melamine made products are in much use, mostly due to that it is cheap as compared to the other products. It is an indeed unique experience to see, to study and to understand the traditional furniture of sankheda. For the artisans involved in this craft it is their way of life. Through their art they depict our vast culture and tradition. It is heartwarming to note how this art has transcended from generation to generation and Inspite of the growing challenges against modern technologies the artisans are struggling to prevent their art. The present generation feels reluctant to continue in this field as it barely meets the basic requirements. But some die hard pioneers are fighting a battle in keeping this traditional craft alive and thus it becomes the moral duty of not only the government, NGOs and other organizations but also it is the duty of the citizens to help in their cause so that this art can survive in its competitive world of machines.

PLATE NO.65

111

112

14. REFLECTIONS

The experience of documenting a craft is deeply incredible. I

cannot imagine myself stepping into the artisanâ&#x20AC;&#x2122;s shoes. Their skills and dedication towards the craft is phenomenal. By observing an artisan with his high skills and experience, we get to learn how humans are capable of becoming practice-oriented and how they develop passion towards their work. Craft documentation module has changed the perspective towards the craft sector of India. It has been very challenging and enlightening at the same time into varied forms. It introduced me to the cultural activities, lifestyle, skills and techniques of the people of sankheda. I am thankful enough to them for sharing their indigenous knowledge and for teaching me the value of a simple lifestyle. This module has given an insight into a lot of technicalities that goes into documentation. It not only involved primary but also secondary research work which helped me to know about research methods and their conduct.I met several artisans, interviewed and studied them to understand not their craft but also their way of life. I captured photographs making my heart come out seeing them struggling hard without much support in keeping this traditional craft alive. Through this document I wish to throw light on the plight of artisans and appeal to the masses and the government to provide encouragement and elevate the conditions of the artisans so that they can carry out this tradition with dignity, hope and reassurance that this country will not let them down as they pursue their art diligently.

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15. APPENDIX 1. Profile of craft people

Total number of craft persons

Origin

Sankheda

Name and Age

Janyant Kharadi - 39 Hardik Suthar- 29 Nainesh Suthar- 26 Bharat Suthar-37 Gopal Suthar - 39 Yash Suthar- 16 Jayesh Suthar- 33 Alpesh Suthar- 33 Sachin Suthar- 26

Contact

9638439697

Family size

Janyant Kharadi - 4 Hardik Suthar- 3 Nainesh Suthar- 2 Bharat Suthar-3 Gopal Suthar - 7 Yash Suthar- 4 Jayesh Suthar- 4 Alpesh Suthar- 3 Sachin Suthar- 3

Community

Kharadi-suthar community

Craft Practised

Wood turning furniture

Practicing since how many years

Since 500 years

Where did they learn this craft from?

No formal training - skills passes from one geneation to another

Buyer and user

wholesale buyer persoanl use

115