The “Weaver’s Lounge” - History, the Handwoven Created! by krishna patel

Craft Documentation

The “Weaver’s Lounge” - History, the Handwoven Created!

Craft Documentation

SUJANI WEAVING

Craft documentation of the “weaver’s lounge”- history, the handwoven, By Krishna Patel.

SUJANI WEAVING Handicraft of Bharuch

Cover details: close up of a sujani of Bharuch Guide: Ankana sen Published at P.P Savani University (PPSU) kosamba-surat – 394125 Declaration : We hereby declare that the craft documentation work entitled “weaver’s lounge”- history, the handwoven created” submitted to P. P Savani University is record of an original work done by Krishna Patel under the guidance of Ankana Sen, B. Design 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.

Craft Documentation Student : Krishna Patel

Programe : B. Des Department : Visual & Communication Design Semester : V Batch : 2018-21 Guide : Ankana Sen

ABOUT P P SAVANI UNIVERSITY P P Savani University, one of the leading Knowledge City is a fully integrated higher education facility for the students across the globe. With an in-depth domain exposure in the field of education, it has strong capabilities across the spectrum of the education industry. From Nursing to Engineering, Liberal Arts to Specialized Sciences, Architecture to Physiotherapy and Management to Design, P P Savani University has earned a reputation amongst Indian Universities for providing quality and comprehensive learning environment. One of the salient features of P P Savani University is its rich history and lineage. P P Savani Group was founded in 1987 by Mr Vallabbhai Savani, the President and a first-generation entrepreneur of the family. In 2017, the group launched P P Savani University, spread across 100-acres of green expanse, witnessed a significant growth by setting a new benchmark in the higher education industry. Adhering to its promise of providing quality education to the students, P P Savani University offers undergraduate, postgraduate, research, certificate and skill-development programmes. The university is passionate about enhancing the studentsâ&#x20AC;&#x2122; learning experience by equipping them with skills and knowledge needed in the 21st centuryâ&#x20AC;&#x2122;s demanding workplace.

ABOUT SCHOOL OF DESIGN School of Design (SOD) offers the B.DES and B.ID curriculum that emphasizes the skills and knowledge of design education. Where one can find their own balance between craft, vision, and self-expression within the context of real industrial need. Design is continuous creative process which includes thinking, brainstorming, ideation and coming up with final outcome/object which is more comfortable to use and aesthetically more pleasing. When Harold Nelson says that 'Humans did not discover fire, they designed it' he gives us an insight into what design activity really means. PPSU School of design encourages and supports each student’s individual approach to develop and explore their own personal voice and role in the global design system.

VISUAL AND COMMUNICATION DESIGN We all exist in an inter-connected world with the physical and virtual space around us brimming with various forms of media. Whether it is a mobile shopping app, a TV advertisement, a chocolate wrapper, a movie/Film, Poster, a website, a video-game, or a social-media platform, all are manifestations of Communication Design. Visual & Communication design is an amalgamation of Graphic Design, Pho-tography Design, Animation Design and Film& Video Design, Interface Design, Experience Design.

Career Prospects • Professional Design Practitioner • Entrepreneur • Advertising Agency • Professional Photogra-pher • Graphic Designer

• Illustrator • Multimedia specialist • UI/UX Designer • Curator • Design Ed-ucator

BRIEF ON CRAFT DOCUMENTATION Traditional craft documentation is essential for protecting its identity, it help the students to learn about its history, socio-economic background, cultural practices and other things which help in developing the ability to work with artisans for co-creation of the craft in a contemporary style for its survival and communicating its detail with audience. Therefore, this module focuses on studying the craft to the core through primary and secondary research and representing the information in a detailed manner depicting the present scenario of the craft. The process of craft documentation involves field visits to the areas where the craft is being practiced, collection data, validating data and representing it through written medium. Its involves in-depth studying of the entire process of the craft including the tools, techniques, raw materials, artisan profiles of the craftsmen, their lifestyle, beliefs and practices, the consumers, and the importance of the craft in the society. Craft documentation can help bring out a well- studied documents in the areas of design and craft and it is essential as it provokes a designer towards the craft which is an important part of the art. It develops an understanding of the present situation of the craftsmen, the difficulties faced by them and the use and importance of the traditional techniques and practices. It also develops an understanding of the importance of collecting information, the correct method of documenting data, content development, the importance of visuals and pictorial representation. The documentation can help establish links between the current status of crafts to the global market and the history of craft it may help directly or indirectly the concerned craft as it could help in finding new materials and in developing market supports.

Plate No - 1 / Handloom

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 sujani making and the value of this craft culturally, socially and economically. Here a set of field visits to these craft cluster, located in katapore and maaliwad area in Bharuch district of Gujarat state in India. The main purpose herein is to study in-depth about the sujani craft of Bharuch, 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: Evolution of textile in the world, Weaving in India, Literature review on the sujani craft,

About Bharuch and Its regional craft sujani, design and its pattern, tools, methods, techniques, artisan profile, and Market study.

Plate No - 2 / handloom

ACKNOWLEDGMENT No one who achieves success does so without acknowledging the help of other. The wise and confident acknowledge this help with gratitude. â&#x20AC;&#x201C; ALFRED NORTH WHITEHEAD.

Plate No - 3 / Statue of unity

The craft cluster study was a lifetime of an experience. I started with an objective to learn a thousand things. This project would not have been conceivable without the assistance and kind help of different people. Each individual I met or addressed helped me in moving above and beyond towards the advancement of this project. I would like to thanks school of design, P.P Savani University, Surat for taking the initiative of craft documentation course and providing me with wonderful opportunity to explore and learn about these prestigious crafts of India. And would specially like to thank my guide Mrs Ankana Sen, who supervised and guided me throughout the process. I would also like to thank my head of department Mr. Abhishek Ganeshgudi for his constant support throughout the period of craft documentation. Also like to extend my thanks to craft persons Mr Rafiq Sujaniwala, Mr Mohammed Mujjakir sujaniwala, and Mr Amin sujaniwala also artisans and their families for inviting me into their humble abode and showing generosity by answering questionnaires and sharing the knowledge of an age old traditions, I hope that my document assets as valuable resources for future work in the area. Last but not least I like to express profound appreciation to my younger brother, parents, and friends for providing me constant encouragement and support without whom this couldnâ&#x20AC;&#x2122;t have ever been conceivable.

PREFACE â&#x20AC;&#x153;To achieve great things, two things are needed: a plan, and not quite enough timeâ&#x20AC;?- Leonard Bernstein

India is so rich and diverse in terms of crafts and it has existed since time immemorial. It has been one of the biggest identities of the country and has undoubtedly contributed to the magnificence of the country yet there has been decline of the craft sector slowly. This city also has old traditions and crafts, which is being passed down from one generation to another generation. I am thankful for the opportunity to study an Indian traditional craft. I chose sujani craft a small cluster based in Bharuch. This cluster known for pocket of sujani weaving and its coloured checks woven in contrast bright coloured stripes in three dimensional pattern. The struggles that the artisans go through just to meet their basic needs like food and shelter. Surprisingly, their bitter experience does not have any impact on the beauty of the sujani. Documenting craft cluster was not a module but an experience for me. It consists of all required information about the town of Bharuch. An attempt has been made to cover most of the parts of including the evolution of textile in world, weaving in India, handwoven textile of Gujarat, about city, history and its origin, demography, geography, social, economic and cultural status of the town, problem faced by the artisans, details about tools and raw materials used, interaction with artisans, Market scenario and swot analysis.

Plate No - 4 / Laxmi Vilas Palace

It was an invaluable lesson and an extraordinary encounter for me. I, now have better understanding of the craft and the people involved with it. And also aware of the current market scenario and clear understanding of the processes, trends and setbacks faced by the artisans. This has genuinely been an edifying experience.

METHODOLOGY

OBJECTIVE

Understanding sujani craft, the technologies, involved and exploring its limitations and strengths, by secondary and primary methods.

• The main aim of the craft documentation is to build learning about the craft, and to study its way of life. • Understanding the manufacturing and the methods of production. • Overall trying to preserve ancient traditional • The new modern technology is over taking the value of handmade crafts. • Understanding the history of the craft and documenting the process of making of the craft.

Secondary data Secondary data collection involves the gathering of data from authentic sites and literature study. Literature study is a secondary data. It will be done initially before the field visit to become well informed about the craft practice and Studying the sujani craft industry in depth, the material process, tools and techniques involving in it.

Primary data Primary data collection involves the field visit to further support the evidence from the field. Understanding the tradition, history, legends associated with the craft and the market scenario and how the craft fulfills the demand. Also the complete study about socioeconomic information about artisan and their community The entire process of making documentation was conducted through face to face interviews, observation, written notes, experimenting the craft practice, surveys, photographs and sketches.

CONTENTS 1.

1.1 1.2 1.3 1.4

2.1 2.2 2.3 2.4 2.5

3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 3.10 3.11

4.1 4.2 4.3 4.4 4.5

INTRODUCTION

Evolution of textiles in world -----------------------Weaving in india--------------------------------------Weaving in gujarat -----------------------------------Handwoven textiles in gujarat ----------------------

5. 4 5 9 11

LITERATURE REVIEW

Sujani looms ------------------------------------------Preserving crafts through architecture -----------Census of india 1961 volume V -------------------Handmade in India --------------------------------------Sujni - The unstitched woven quilt of gujarat -----

21 22 23 24 25

BHARUCH

History and origin ------------------------------------Etymology ---------------------------------------------Geography & Climate -------------------------------Demography and division ---------------------------Economy ----------------------------------------------River in bharuch --------------------------------------Heritage -----------------------------------------------Cultural and lifestyle --------------------------------Festival -----------------------------------------------How to reach------------------------------------------Conclusion ---------------------------------------------

31 33 33 34 34 35 37 41 43 45 47

INTRODUCTION TO REGION CRAFT

History of sujani --------------------------------------Tools and Technique used for making sujani ----Raw Material -----------------------------------------Process -----------------------------------------------Sujani design and pattern ---------------------------

53 55 59 61 63

ARTISAN PROFILE

5.1 5.2

Family 1 ----------------------------------------------------Family 2 -----------------------------------------------------

MARKET STUDY AND ECONOMY

SWOT ANALYSIS

6.1 6.2 6.3 6.4

Products -----------------------------------------------Developments ----------------------------------------Costing ------------------------------------------------Promotions ---------------------------------------------

71 73

76 76 76 76

Stregth ------------------------------------------------Opportunity -------------------------------------------Weakness --------------------------------------------Threat and Challenges ------------------------------

80 80 80 80

CONCLUSION --------------------------------------

REFLECTIONS ----------------------------------------

7.1 7.2 7.3 7.4

10. APPENDIX 10.1 Appendix 1 --------------------------------------------10.2 Appendix 2 ---------------------------------------------

85 87

11. 11.1 11.2 11.3 11.4

89 89 89 91

BIBLOGRAPHY Craft Documents ------------------------------------Books -------------------------------------------------Website References ---------------------------------Image Sources ----------------------------------------

1. INTRODUCTION 1.1 1.2 1.3 1.4

Evolution of textiles in world ------------------------Weaving in india---------------------------------------Weaving in gujarat -----------------------------------Handwoven textiles in gujarat -----------------------

Plate No - 5 / Threads

4 5 9 11

1.1 Evolution of textiles in world The term ‘Textile’ is a Latin word originated from the word ‘texere’ which means ‘to weave’. Textile refers to a flexible material comprising of a network of natural or artificial fibres, known as yarn. Textiles are formed by weaving, knitting, crocheting, knotting and pressing fibres together. The historical backdrop of textiles is nearly as old as that of human development and as time proceeds onward the historical backdrop of textiles has additionally enhanced itself. In the sixth and seventh century BC, the most established recorded sign of utilizing fiber accompanies the innovation of flax and fleece texture at the unearthing of Swiss lake inhabitants. In India, the way of life of silk was presented in 400AD, spinning of cotton follows back to 3000BC. In China, the discovery and consequent development of sericulture and spin silk techniques got started at 2640 BC while in Egypt the art of spinning linen and weaving created in 3400 BC. The revelation of machines and their widespread application in processing natural fibres was a direct outcome of the industrial revolution of the 18th and 19th centuries. The discoveries of various synthetic fibres like nylon created a wider market for textile products and gradually led to the invention of new and improved sources of natural fibre. The development of transportation and communication facilities facilitated the path of a transaction of localized skills and textile art among various countries.

Plate No - 6 / Ancient handloom Weaving

WEAVING IN INDIA

Plate No - 7 / Map of india showing textile region 5

WEAVERS, weaving at break of day, Why do you weave a garment so gay? Blue as the wing of a halcyon wild, We weave the robes of a new-born child.”

1.2 Weaving in india

- SAROJNI NAIDU (Whenever we talk about Indian weavers, lines from Sarojini Naidu’s poetry about the Indian Weavers come to mind.)

India is vast, diverse country with a, rich history of weaving. Weaving is the process of making textiles by interlacing fiber threads. Examples of Indian cotton textiles have been found from 5000 years, ago and ancient texts known as the Vedas mention “hiranya” or cloth made of gold (more on that in a moment) Weaving centers in India are known to have made saris for royalty in the 12th and 13th centuries. Saris are women’s garments made from a single long piece of fabrics. By the time trading customs were established along the baffled silk road, India was well known for its woven textiles. Regions, villages, and communities throughout India have unique weaving traditions with distinct customs and patterns. Depending on locations textiles may be woven from cotton, wool, silk. Today, weaving remains. important to India’s economy with roughly 4.3 million people involved. The country even has a ministry of textiles. Most weaving in India is done on handlooms. A handloom is a loom powdered manually rather than by industrial means. Basically, all weavers outlines that hold the wrap string, those that run vertically for the length of the proposed texture, in strain. The wrap strings are then interweaved with weft strings at a correct point, in this way framing a weave. In Indian weaving jargon, you some of the time see the twist strings called the tana and the weft strings called the Bana. Cotton has always been important to India weaving, and there are 23 varieties of this natural fiber, found throughout the country. One of India’s oldest fabrics is a traditional cotton weave called Khadi. The people of that civilization used homespun cotton for weaving their garments and used indigo to color their fabric. Textile has always played an important in trade and business here in India. Rome, China and Egypt everywhere traces have been found of Indian textiles. Still we can say India is textile hub and it has thousands of clusters which beautifully weave and give is the most beautiful fabrics which mesmerize our eyes. Listed here few of the fabrics/prints/embroidery of India. Gujarat is the hub for textiles. Inspired from Vanker’s Vanaat- The weaving of Kachchh

Plate No - 8 / Weaver working on Sujani 7

1.3 Weaving in gujarat The craft of India are culturally diverse, rich in history, culture and religion. The craft of each state in India mirror the impact of various domains. All through centuries, craft have been embedded as a culture and custom within rural communities. Gujarat- the land of lions and legends. “Aavo Padharo Mara Gujarat Ma” words of welcome to my Gujarat in the language of Gujarat because it is here that these words ring truly and the guest is “God” and the people of Gujarat are friendly, inviting and will entice you to come again and again. The breathtaking state of Gujarat situated I the western coast of India is one of the most popular tourist destination in the country. The land of lions and legends stands bordered by Pakistan and Rajasthan in the north east, Madhya Pradesh in the east and Maharashtra and the union territory diu, daman, dadra and nagar havelis in the south. The Arabian sea borders the state both to the west and the south west. The state took its name from the Gujjar’s who ruled the area during the 700’s and 800’s. the state is reputed for its rich cultural heritage, historical significance, handicrafts and innumerable tourist attractions. Apart from being one of the most industrialized regions in India. Gujarat is also major tourist hub of nation. A land of romance, mysticism, vibrant colors, charisma and infinite natural beauty. Gujarat encompasses a rich and vibrant legacy of weaving and handicrafts. Situated on the geographical region of India, the state has cultivated trading partnership with people from lands across the sea for generation. Traders, invaders, colonizers, migrants and refugees have landed here with riches, dreams and skills that became a part of the heritage of the state. The palaces, forts, havelis, mansions, mosque, temples and, mausoleums that dot different parts of the state reflect the richness of crafts and skills nurtured from medieval times.

Plate No - 9 / Map of gujarat

1.4 Handwoven textile of gujarat The state of Gujarat in India, popularly known as the Manchester of the East, has a rich heritage of textile crafts. The parched area of Kutch is the most extravagant in the state in terms of cultural heritage. nonetheless, there are several other parts of the state which specialize in some form of textile craft or the other. Hereâ&#x20AC;&#x2122;s bringing you the very best that the state has to offer.

12 12

KHADI-THE PRIDE OF INDIA Indian Khadi fabric, also known as khaddar, is made by spinning threads on an instrument called charkha. The handspun and hand woven Khadi textile, made popular by Gandhiji in 1920 to energize the independence movement in India, is an important textile of the state. The cotton is spun into yarn on the chakra and then woven on a loom. Its story is intricately connected with the story of India’s colonial past and its subsequently freedom of it. Gandhiji saw in Khadi a powerful Plate No - 10 symbol of self-reliance and advocated it as a means for achieving freedom. After independence the central government established the Khadi and village industries. In 2003 the government of Gujarat organized a state-wide programme “baapu na pagle” to promote Khadi as a tool to obtain freedom. The fabric has received international recognition for the use of organic cotton and many designers are now adopting the textile. A wide range of Khadi products are available at the Gandhi ashram in Ahmedabad and across various Khadi bhandars in the state.

Plate No - 11

MUSHROO The Mashru fabric is a vibrant, handwoven mix of Silk and Cotton textiles. The word ‘Mashru’ means ‘permitted’ in Arabic and its Sanskrit variation ‘Misru’ means ‘mixed’. Mashru has a characteristic fine satin finish, bright contrasting stripes in vibrant colors and striped Ikat weave. The fabric is mainly manufactured in Patan and Mandvi in Gujarat, India. 13

DHABLA Dhabla is the common term hinting woolen blanket or quilt utilized across Gujarat, primarily by a few local communities like Rabari and Bharwad. The signature feature of dhabla is its textured white surface of sheep wool, enhanced with yarned extra weft motifs in different shades and hues. The textured surface is embellished with a spectrum of colorfully vibrant acrylic yarns, usually only along Plate No - 12 the borders to leave the middle portion of the weave completely plain. Dhabla weaving is a distinctive example of fine handloom weaving done by a cluster of enterprising weavers belonging to the Vankar community in the village of Bhujodi in Kutch, Gujarat.

PACHHEDI Kalamkari work, as Mata ni Pachhedi (setting of the mother goddess) and Mata no Chandarvo (shade of the mother goddess), is a special material painting and square printing custom of Ahmedabad, rehearsed by a modest bunch of Vaghari people group chitaras (painters). Mata ni Pachhedi typically portrays mother goddesses as mataji, generally with the utilization of dark, maroon and indigo shading with hand-painted or block-printed enhancing fringes called lassa patti. Plate No - 13 The Vagharis additionally call themselves as Devipujak and they acknowledge commissions of works of art from all Devipujak people group to satisfy ceremonial prerequisites during Navaratri. Pachhedi is additionally utilized as a chandarvo (shelter) to frame a transitory place of worship as strict customs are included. 14

BANDHANI Bandhani, also known as Bandhej; is a type of tie and dye textile which is adorned by plucking the cloth into many bindings, that form a design. Practiced mainly in the state Gujarat in Jamnagar, Surendranagar, Anand and Kutch areas of Gujarat are associated with the ancient intricate art of Bandhani. The Sindhis, Muslims and Khatris of Kutch are known to have primarily practised this art form which gets its name from ‘Bandhan’ (the Plate No - 14 Hindi word for tying). The art of making these cotton and silk clothes of vibrant colours, is generally made up of natural colors. arresting combinations and dramatic designs have been passed down through generations.

BROCHET

Plate No - 15

Aashaval or as a superior referred to today as ahemdabad is the center of brocade weaving. Under the Mughals, brocades from ahemdabad and surat were considered of the best quality. The utilization of zari, gold or silver thread wrapped around a silk core, was extremely well known and a range of textiles made of gold and silver were made in Gujarat. Aashwali and kinkhab materials are the most acclaimed from the state. The most widely recognized themes on aashavali saris are stylised renditions of parrots, peacock, paisley and human figures. 15

PATOLA “Patola”- the supreme among Indian ikats, is a double ikat silk textile traditionally dyed with naturally dyes, producded by Jain weavers of Salvi community These double-ikat patola textiles were woven in Patan, Surat and other centers but there are now only two families of Jians weaving them in Patan. It is a legendary heritage of Indian textiles from North Gujarat. A double ikat silk Plate No - 16 fabric in which both warp as well as weft threads are dyed into a complicated pattern, it is one of most complex textile- weaving techniques in the world and highly priced fabric.The designs include leaf forms, geometrical forms, floral forms, architectural forms, flowering plants, creepers, animals and human figures. these included Pan Bhat, Rattan Chok Bhat, NariKunjar Bhat, Phulwa Bhat, Chhabadi Bhat, BohraGaji Bhat, Gala Wali Bhat, Akhrot Bhat, Popat Kunjar, Maharas bhat and Vohra Cheer bhat.

TANGALIYA WEAVING OR DAANA WEAVING Tangaliya weaving, also known as Daana weaving is practiced in Surendranagar district of Gujarat. Mainly practiced by the Dangasia community, this form of weaving requires high skill level and an eye for accuracy. Tiny dots of extra weft are twisted around a number of warp threads, giving an effect of bead embroidery to the fabric. This intricate process of twisting extra weft while weaving creates beautiful geometrical patterns and forms. The essence of Tangaliya weaving is Plate No - 17 the compositions created by colourful dots, which is simultaneously created on both the sides of the fabric. 16

GUDRI

Plate No - 18

kutchi dhebariya work dowry gudri (quilt) from dudhai village kutch region Gujarat with beautiful tightly worked chain stitch work with mirrors and also a bit of applique work done on it the gudri (quilt) is complete one-piece work and has no patch work on it. The size of the gudari (quilt) is 121cm x 121cm.

ZARI

Plate No - 19 15

Zari refers to the silver or golden thread used in the weaving of chunri, turbans, and borders of sarees and lehengas. Surat is the hub of zari work or zardosi or gold embroidery in Gujarat. The origin of this Gujarati textile handiwork dates back to the Mughal era of India. Surat is known for manufacturing high quality zari which is exported aboard as well. Zari is the main material used in the making of wedding outfits for brides and grooms in the Gujarati communities. 17

Plate No - 20 / Sujani quilt

SUJANI

A woven quilt- making craft, sujani originated in the ports of Bharuch. Bharuch is the only craft pocket of sujani weaving in Gujarat. The surface of the quilt had a unique texture and the patterns are very geometric. Sujani quilting with a cotton is directly done on the looms. The process is also laborious and complicated. Two layers of wrap and wrapped on the looms. The fabric is woven with the weft, creating interlocking pockets through the two layers. This creates a honey comb grid which allows the cotton fiver to be filled, producing either square, checkered or rectangle patterns. The wrap and weft are made of vibrant colours. Sujani craft was practiced by some families only and the technique was kept a closely guarded secret, hampering the growth of the craft. 18

2 LITERATURE REVIEW 2.1 2.2 2.3 2.4 2.5

Plate No - 21 / Sujani pattern 19

21 22 23 24 25

2 LITERATURE REVIEW

Plate No - 23

Plate No - 22

2.1 Sujani Looms - Nupur Jain

2.2 Preserving crafts through architecture - A case of Sujani Quilt

Sujani art completing itâ&#x20AC;&#x2122;s fifth generation is still famous for its fabrication. Reviving this dying art in Bharuch was 30-year-old, Nupur Jain from delhi. She came across this sujani when she was in bharuch, sujani is basically for quilt but she explore in bedspread. Through Sujani Looms Nupur was trying to ensure that the age-old art gets the recognition it deserves so it will inspire future generations of weavers to imbibe these skills to revive and popularise the craft. She incorporated this ancient Sujani art into varied forms like table mats, jacket, pillow cover, home decor, carpet, blanket etc. She lastly added that every Sujani is an ultimate blend of intense dedication, passion and a preconceived design and thatâ&#x20AC;&#x2122;s what bestows soul to the final form.

Rupali Ekbote upfronts Sujani in Architecture. She worked on crafts that are passed on from generation to generation and which holds impact on the knowledge, culture, livelihoods and skills in danger today. She studied this local craft and tried to bring awareness for the craft among the wider public by way of articulation of the existing Architectural sites of historical significance. She served the sujani art into forms like double cloth and bed covers of different sizes, colors and paterns. She also tried studying the sujani loom process aswell. On an overall, She ultimately tried to make this local craft, a preservable craft through architecture for the interpretation of a cultural condition within the fabric of its belonging.

Plate No - 25

2.4 Handmade in india - Aditi Ranjan & M. P. Ranjan

Plate No - 24

2.3 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 sujani, 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.

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. 24

https://www.youtube.com/watch?v=HdpQs990MRI&feature=youtu.be

2.5 Sujni - The Unstitched Woven Quilt of Gujarat The Present Literature focused on the quilt making craft of Sujani originated from Bharuch. It shows the interview with the artisan Mohammad Sujaniwala who depicts the history of this quilt craft showing the journey of this art till date. This review shows the glimpses of how this art form of distinctive texture and pattern created the history.

3. ABOUT BHARUCH 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 3.10 3.11

History and origin ------------------------------------Etymology ---------------------------------------------Geography & Climate -------------------------------Demography and division ---------------------------Economy ----------------------------------------------River in bharuch --------------------------------------Heritage -----------------------------------------------Cultural and lifestyle --------------------------------Festival ------------------------------------------------How to reach------------------------------------------Conclusion ---------------------------------------------

31 33 33 34 34 35 37 41 43 45 47

Plate No - 26 / Cable bridge

3. About Bharuch Bharuch district is a district of Gujarat state in western India. Bharuch is a city at the mouth of the river Narmada also called peanut city. Bharuch in Gujarat, 192 km south of Ahmedabad, is today an industrial town known for chemical and fertilizer plants and textile mills. It is the oldest city of Gujarat. It is also the secondoldest city of India having continuous habitation, first being Kashi (Varanasi). This city is located amidst Surat and Vadodara and spreads over an area of 6527 sq. km. Bharuch is the administrative headquarters of Bharuch District. The history of this city goes far back to the 3rd century where Bharuch port was mentioned as Barugaza. This port was highly used by Arab traders to enter Gujarat via Bharuch to do business.

Plate No - 27 / Cable bridge 29

3.1 History and origin of the district

Bharuch has always been in the flourishing state because of its location on the Narmada River.

Bharuch is not only the Gujarat's oldest city but is also the second-oldest city of India having continuous inhabitations. Bharuch's known history records are available for around 8000 years. Bharuch was a part of the Mauryan Empire (322–185 BC) followed by the Western Satraps, the Guptas and then Gurjars. It was later taken over by the Mughals followed by the British. The gateway city of Bharakuccha is titled on the map as Barigaza on the Gulf of Khambhat. North India also traded with western and southern nations through Ujjain and Bharuch. Indian harbor of Barygaza and its trade activities is described largely in the Periplus. "Barygaza " is the name by which it was known to the Greeks andRomans. Presumably, a lot of them had even settled in Bharuch. Also coins of Greek writing were used in Bharuch during the decade of 70–80 AD. It is mentioned as a big trading partner of the Roman world in the 1st century Erythraean Sea Periplus. It has mentioned Barygaza as a southern terminal of the Kamboja-Dvaravati Route. British overtook Bharuch in the year 1772 A.D.The freedom struggle against Britishers and various other freedom movements started in 1905 in Bharuch. Also Bharuch district had participated way before the struggle of independence of India. Bharuch had given its contribution in the Swadeshi movement and Home Rule movement. Kanaiyalal Maneklal Munshi from Bharuch was a famous leader involved in the national struggle. The history of Bharuch is extremely rich with its ups and downs and some twist and turns. It was eyed by almost all the kingdom due to its strategic location.

Plate No - 28 / ”Brotsch” by Peeters Jacob, 1690

3.2 Etymology

According to the Skanda Purana, the sage Bhrigu came to Bharuch sitting on a tortoise. The tortoise is known as Kachchha in Sanskrit. Hence the place was named ‘Bhrigukachchha’. Another theory states that the city derived its name from “Bhrigukachchha” “Bhrgu’s riverbank”, the residence of the great saint Bhrigu Rishi. The city then became known as ‘Bharukachch’, which was later abridged to Bharuch.

3.3 Geography and climate It is located at 21.7°N 72.97°E with an average elevation of 15meters. Bharuch is also a port city og Gujrat located on the banks of the river Narmada. Bharuch is surrounded by Vadodara in the North, Narmada Vadodara in the East and Surat Vadodara in the South . It has Gulf of Khambhat towards its west. Bharuch has what is known as tropical savanna atmosphere, and its climate is emphatically directed by the Arabian Sea. The late spring season begins toward the beginning of March and finishes in June. The most sizzling months are April and May are the point at which the normal greatest temperature is around 40C. Rainstorm season begins later in the period of June and it gets around 800 millimeters which is 31 creeps of downpour before the month’s over September. The normal greatest temperature during these months is around 32 °C (90 °F). The temperature again ascend during the long stretches of October until late November after which winter begins. Winter starts in December and goes on till late February, during which the normal temperatures is around 23 °C (73 °F). Bharuch witnesses floods in the Narmada basin area very often due to heavy monsoon rains. However the floods have been controlled after building of Narmada dam.

3.4 Demography and Divison Bharuch city is governed by Municipal Corporation which comes under Bharuch Metropolitan Region. As per provisional reports of Census India, population of Bharuch in 2011 is 169,007; of which male and female are 86,810 and 82,197 respectively. Although Bharuch city has population of 169,007; its urban / metropolitan population is 223,647 of which 115,251 are males and 108,396 are females. area: 5246 s/k.m. villages: 647 taluka: 9 muncipality: 4 Administratively, it contains the talukas (administrative subdistricts) of Bharuch, Ankleshwar, Hansot, Jambusar, Jhagadia, Amod, Netrang, Valia and Vagra. It also contains the city of Bharuch.

3.5 Economy, Commerce and Industry in Bharuch The presence of Narmada river has made this city very prosperous. Abundance of water has led agriculture and other commercial activities to embellish in Bharuch. Bharuch is very famous for its peanuts which is manufactured here in peanut processing industries. Bharuch also is popular for its textiles, especially sujani which is made here. In addition to this it has large chemical plants producing paints, fertilisers, cotton, dairy products and dyes.It also has the advantage of Gujarat’s biggest liquid cargo terminal.

3.6 Rivers in Bharuch The Narmada river also called the Rewa, is the only river flowing across Bharuch. It is fifth longest river in the India and the third longest river that flows completely within India. Narmada is considered as one of the five holy rivers of India by Hindus. A traditional boundary is formed between North India and South India by river Narmada as it flows westwards over a length of 1,312 km. It merges in the sea through the Gulf of Khambhat and then into the Arabian Sea, which happens at a distance of 30 km west of Bharuch. The iconic and popular Golden Bridge connecting Ankleshwar to Bharuch is a bridge built across the Narmada River. The Bridge is also known as Narmada Bridge.

Plate No - 29 / Narmada river 35

3.7 Heritage

This city is doing extremely good as a tourist spot of Gujrat as it is an ancient city, and has a rich historical ancestry. It is a wonderful experience to explore the historical delights of Bharuch.

Plate No - 30 / Begum wadi bharuch

Plate No - 32 / Dashashwamedh ghat bharuch

Plate No - 33 / Jami masjid bharuch

Plate No - 34 / Golden bridge

Plate No - 35 / Swaminarayan temple

Plate No - 31 / Golden bridge

27 39

3.8 Culture and Lifestyle

ART AND LITERATURE

Bharuch is very rich in terms of culture. 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.

Bharuch is renowned because of the internationally famous Pt. Omkarnath Thakur in the field of music. Writers such as like Dr Kanaiyalal Munshi, Balwantray Thakore and Sundaram has bestowed Bharuch unique pride. Raichand Deepchand Library was established in 1858. It is one of the oldest libraries in Western India. It has a collection of about 200,000 books including some rare manuscripts. Ganpatram Desai of the Bhargav Brahmin caste of Bharuch wrote the famous book Bharuch Shaher No Itihaas in 1900. This classic piece of history is an excellent reference even today. He wrote another historical novel called Alexander Na Samay Nu Hind or India at the Time of Alexander.

PEOPLE People of Bharuch follow different religions but they still live in harmony and peace. The city is considered today to be a great instance of communal equality. The majority of the population are Muslims. There are people belonging to other religions as well which includes Hindus, Sikhs, Jains etc. Plate No - 36

CUISINE LANGUAGE

Plate No - 37

Plate No - 38 / Raichand deepchand library bharuch

Bharuch has been the home to the Gujarati Bhargav Brahmin community for ages. The most common language spoken are gujarati, hindi, and english.

Bharuch city brings the aromas of real gujarati food. Not only that but this city has almost all the international cuisines too. Ghari and malai Ghari which is unique sweet of this place. Also this city is also famous for lip-smacking roasted, crunchy, salted peanuts. Surely this city will not let you down on the taste of food as it is the land of Gujrat.

Plate No - 39

3.9 Festivals

Most of the Indian festivals are celebrated in Bharuch with all its traditions. Bharuch enjoys a healthy cultural and distinct traditions of different ethnic and religious communities. However,Uttarayan, Navratri and Diwali are celebrated with higher spirits. Bharuch also has its unique Meghraj Festival which takes place in the month of Shravana to worship lord Indra. Bhadbut fair also takes place in a village close to Bharuch.

Plate No - 40 / Janmashtami

Plate No - 41 / navratri

Plate No - 42 / Ganesh chaturthi

Plate No - 43 / Meghraja festival bharuch

Plate No - 44 / Chhadi utsav bharuch

Plate No - 45 / Uttarayan

Plate No - 46 / Holi

3.10 How to reach

Bharuch is connected to all major cities by road and rail.

Rail:

Bharuch has a railway station and there are trains connecting to all major cities of Gujrat including Ahemdabad, Surat, Bhavnagar, Junagadh etc. Also there are daily trains connecting to Mumbai, Delhi and other major stations.

Bus :

There are many Intra-district and Inter-state buses which connects Bharuch to major cities in Gujrat and outside the state as well including Madhya Pradesh, Maharashtra, Rajasthan and Delhi.

Air:

Vadodara & Surat, both are the nearest airports to Bharuch located at a distance of about 72 kilometers respectively.

Plate No - 47 / Bharuch railway station 45

3.11 Conclusion Established on banks of river Narmada and enlightened with life long ancient golden bridge and not just the city of peanuts, Bharuch is perfect example of exuberant cultural and heritage. This City is situated on the western part of Gujarat. It is the second oldest city in India. 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 handwoven textiles, Sujani is a quilts which is woven doubly with cotton fabrics and it is brimmed with cotton in between the two layers. It is one of the best quilts made in Gujarat. Bharuch is the only centre in Gujarat where this craft is still being practiced.

Plate No - 48

4. INTRODUCTION OF REGION CRAFT 4.1 4.2 4.3 4.4 4.5

History of sujani ---------------------------------------Tools and Technique used for making sujani -----Raw Material ------------------------------------------Process ------------------------------------------------Sujani design and pattern ----------------------------

53 55 59 61 63

Plate No - 49 / Weaver inserting cotton 49

4. INTRODUCTION OF REGION CRAFT Bharuch is the only craft pocket of sujani weaving in Gujarat. Sujni quilt-making craft originated in Bharuch and has since then travelled across, the globe, the quilts are known for their unique texture and patterns on the surface. Sujani is a lightweight, handwoven quilt, it is based on double cloth technique. The word sujani has derived from gujarati word suave, meaning to conceive or to strike an idea. This unique craft that does not been stitched on a stitching machine, it is woven and has cotton fibers in between small squares pockets while it is being woven on the loom. This craft began in 1860s and till today it has been survived. Sujani is exquisitely woven into beautiful geometric designs and stuffed with clouds of cotton to make warm cozy fabric. This product can be used as a quilt, bed spread, carpet or a throw.

Plate No - 50 / Weaver working on handloom

4.1 History of Sujani The handicraft of sujani manufacture originated at Broach only a century ago. It is said that it was first started in about 1860 A.D. by those transported to Andaman and Nicobar Islands for taking part in the Indian Mutiny of 1857, on their return to Broach after their release. The development of this industry at Broach is attributed to one Nabubhai, a Muslim artisan and merchant of Broach. It is said that Nabubhai conceived the idea of weaving sujani from a sari with the design of squares resembling a table cloth about one hundred years ago. A weaver by occupation, he used to produce cloth of chorsa or square design which was used as bedsheet, table cloth, curtain and lungi or waist cloth used by Muslims. One night he saw in a dream a novel technique of weaving sujani. Getting up early in the morning he translated his dream into action and thus the sujwam was born. Nabubhai died in 1941 at the age of 99 years. The weavers explain that the name sujani is derived from sujavu which means to strike or conceive. However, the dictionary derives it from the Persian word sujan meaning a needle and sujani meaning needle work. It is possible that the name which might have been applied earlier to quilts which required stitching, was later on adopted for those which were woven on the 100m. 37

Plate No - 51 / Suajni weaving loom

4.2 Tools used for making sujani

Plate No - 52

Charkha

Plate No - 56

Charkha the wheel is the basic tool required for any hand loom. Its main function is to unwind the yarn from the hank and transfers it to the bobbin.

Silli

Its small metal rod which used to push cotton inside the small pockets of Sujni. Plate No - 53

Plate No - 54

Shuttle

Plate No - 57

Plate No - 58

A boat like wooden piece with its centre carved out, to fit bobbin inside. It is popularly known as Katla, which carries the bobbin across the width of loom.

Plate No - 55

Bobbin

It is a thin plastic pipe known as â&#x20AC;&#x2DC;thaliâ&#x20AC;&#x2122; on which the yarn is wound. It is then fitted inside the shuttle that carries it across the loom. Thali is also knows as nalli.

Plate No - 59 56

Plate No - 60

Phanni / Reed

It is a wooden structure similar to a comb which allows the yarn to pass throw it.

Plate No - 63

Plate No - 61

Temple (phanak)

A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads.

The two adjacent wooden sticks fitted just before the fell of the cloth in amanner that it stretches the fabric to maintain an equal width throughout.

Plate No - 62

HEDDLE - A heddle is an integral part of a loom. Each thread in the warp passes through a heddle, which is used to separate the warp threads for the passage of the weft.. WRAP BEAM - Beaming comprises winding the full width of the warp yarns in a single winding operation on the weaving beam.

4.3 Raw material The main materials used in sujani weaving are mill-spun undyed cotton yarn No. 60 or 80 and 20 and cotton which are availablein the local market, For preparing costlier varieties of sujani,rayon, artificial and pure silk, and even Jari threads are used for weaving squares.

Plate No - 65 / Cotton

Plate No - 66 / Silk

Plate No - 67 / Wool

Plate No - 68 / Synthetic cotton

Plate No - 64 / Raw cotton

4.4 Process

1. A loom is placed on the beam of yarn. 2. Another yarn was connected to the proceeding yarn, the threads were cut and Arabic gum was used and the connection of yarns continued untilthe length of yarn was matched, i.e, until 5500 yarns were prepared. 3. Those yarns used to go through 8 gulana sections which then were passed through Reed, which is a comb like structure. 4. This was done so as to ensure that yarn was straight enough. 5. Next step was to get those yarns on tur, which was a wooden block. All this was a much time consuming process, so much that it took almost 2-3days to complete the above steps. 6. Charkha was then used to roll the yarn in the bobbin and then were added to shuttle and then were passed through threads. 7. The main aim resulted in making a pavdi, which had 8 small blocks of wood on each side of the loom which moved up and down like accelerator and brakes of vehicles. 8. In order of 1,3 and 2,4 the looms moved where 2 bars supported the weight on the sides and the 4 bars weaved the suzani. 9. The color of suzani were decided by the bobbins. The suzani started to weave in order of 1,4 and 2,3 at different times in an alternate manner. 10. After every 1.5 inches, suzani pockets were filled with cotton with the help of a metal rod called silli. This pockets of cotton wereabout 1.5inches long and 1 inch wide. 11. The yarn was then cut using blades. 12. A 5cm border was weaved followed by placing line spacing of 1.5 inches beside the border and then another 2 inches broad border was placed marking the beginning of a new suzani.

Plate No - 69 / Munil bhai working on handloom

SUJANI PATTERN

4.5 Sujani design and patterns

Since the primary requirement in sujani making is the formation of squares which would hold cotton, there is not much scope for different designs. Normally one types of designs is used. One is a simple geometrical design with black, green or scarlet squares a~ternating with white ones. The simple colour scheme consists of coloured squares alternating with white. PAST: Red, blue and green PRESENT: Light red; Coffee-brown; Light yellow; Light green; Sky blue; Navy blue and Violet in addition to those mentioned above double colour scheme The following colour combinations are popular in double colour scheme. (1) Light red and light green (2) Blue and light red (3) Blue and light green (4) Red and yellow (5) Blue and red More than two colours have also come to be used in recent times but the basic pattern of alternating squares remains. A light colour is preferred for the background and two to four other colours are matched in one piece of sujani to give it a colourful appearance. These designs are set by the artisans themselves. sujani colours- pastels warp yarns- mainly white weft yarns- mainly coloured

Plate No - 70 / Checkered two color

Plate No - 71 / Checkered + Strips 3 colours + 2 Strips

Three sizes available Baby - 1,50cm x 1,00cm,

Medium - 1,50cm x 2,30cm,

King size - 2,30cm x 2,30cm

Plate No - 73 / Striped pattern

Plate No - 72 / Checkered - H pattern

Single colour checkred + Strips

Plate No - 76 Plate No - 74 / Single color checkred + Strips

Plate No - 75 / Fusion patterns 65

5. ARTISANS PROFILE 5.1 5.2

Family 1 ----------------------------------------------------Family 2 -----------------------------------------------------

71 73

Plate No - 77 / Rafiq bhai and Amin bhai working on Sujani Loom

5. ARTISANS PROFILE In Bharuch city, there are only two places where craftman work. The places are prikathi road maaliwad, and katopore darwaja respectively. And I have covered all the artisans which were working in those places. In maaliwad Bharuch This ancient old art of Sujani which was developed by Nabubhai was carried further from generation to generation by brothers- Rafiqbhai and Aminbhai. The artistic development of this art was continued for ages by these brothers. With the continuity from generation to generation due to decrease in demand and ancient monopoly and ignorance by current generation, these brothers have stopped practising this art. No more patterns and forms are being developed by them. Twin brothers have made this art limited to order received. Thus it barely exists in their

blood now.

Other family from katopore is also considered to be the building backbone of Sujani art form from 150 years. This family continued this ancient art throughout till date and explored it into varied forms and designs. They still continue the same art form but on account of less income earned and Sujani being a time consuming art form, this developer started few other art form to earn their livelihood.

Plate No - 78 / Rafiq bhai inserting cotton

5.1 Family - 1

5.2 Family - 2

Plate No - 83

Mohammed Mujakkir Sujniwala Plate No - 79

Plate No - 80

Sayera Bibi Sujniwala

Rafiq Bhai

Rafiq bhai and Sayera bibi they both are husband and wife working in sujani making since rafiq bhai was 15 year old. and his wife help him. He is 61 years old and his wife 56 year. The monthly income depend on the sujani selling. They were very cooperative and friendly. Contact No. - 8735914891

Abrarhusen Sujniwala

He is a master custer and has been associated with many projects in sujani. He is being working in this field since childhood. He was very cooperative and very humble. Contact No. - 9825729556

Plate No - 82

He is cousin of mujjakir’s cousin and he has been in this field since 15 years. He is very kind, humble and very co-operative.

Amin Bhai Sujniwala

Amin bhai he is the brother of rafiq bhai. He is 58 year old and he has been working here since he was 20 year old. The monthly income depend on the selling of the product.he is married.. He is very friend and co-operative. Plate No - 81 71

Nathik hussain

Plate No - 84

Munil Husain

He is uncle of mujjakir’s. and he has been in this field since 40 years.. He is very friendly and co-operative.

Plate No - 85

He is artisan working with mujjakir’s since 38 years. His income is 320 per day. He is very co-operative. 72

6. MARKET STUDY AND ECONOMICS 6.

6.1 6.2 6.3 6.4

MARKET STUDY AND ECONOMY

76 76 76 76

Plate No - 86 / Dutch cemetery bharuch

6. MARKET STUDY AND ECONOMICS After visiting craft sector and by observing the scenario I got to know that market of sujani has been lowered down and demand of the quilt has replaced by the market of the blankets. On the regular basis normal sujani are available and the big budget sujani are produced only when customer demands. Due to less selling of this craft the worker working at the sector are not only reliable on this craft they are also engaged with other work. and the sujani is available on online stores, at artisan house and also at garvi Gujarat emporium in Bharuch.

6.1 Products

Sujani wasnâ&#x20AC;&#x2122;t a craft but also practiced for living the sujani was first practiced by the artisans only before sujani much valued craft and practised it on the wider range of products. But since last 20 to 25 years the craft has been diminished and taken over by the blankets.

6.2 Development

As per the requirement of the culture the makers of the sujani created different varieties and experimented lot of different things for the products. The newer product is designed with modern approach without losing their organic semblance.

6.3 Costing

A cost of the product is contingent on the time consumed in producing it. The more time more the price. The price varies as per the materials and the demand of the pattern.

6.4 Promotions Plate No - 87 / Mr. Rafiq Sujaniwala house

The support of the government agencies like Garvi gujari emporium, Gujarat state handloom and handicraft development corporation limited was invaluable this provide an assure sale and income. They also help in promoting this craft. They help in exhibiting the craft in various distinctive specialty festivals. The serve happiness foundation has promoted the craft on the website and they have made a special documentary on this craft.

7. SWOT ANALYSIS 7.1 7.2 7.3 7.4

Stregth -------------------------------------------------Opportunity --------------------------------------------Weakness ---------------------------------------------Threat and Challenges -------------------------------

80 80 80 80

Plate No - 88 / Sujani handloom

7. SWOT ANALYSIS

This methods helps in analysing the entire structure on the basis of:

7.1 Strength

The strength of this craft is that only two families in the whole work practices the old craft. Which is also help them in creating a monopoly in market. since the craft is possible endangered the government NGO and private organizations are making efforts and strategies to protect the craft.

7.2 Opportunity

This craft is very unique and is only one of its kind and has maintain the exclusivity of the craft which help them create a monopoly in the market. And The uniqueness of the craft has its own strength and its weaknesses. The collaboration with the private foundation opened many doors for more opportunities for the artisans and the craft. Including exhibitions.

7.3 Weakness

- There are no more workers particular craft because the design of this craft consumes lot of time - With time trends have change most of costumers wants different styles due to which this product selling is limited - The price range limits and targeted higher income groups only.

7.4 Threats and challenges

- The strength of this craft can also be proved to be a threat.

- A crafts mens face to many problems they lack educationscso they are not updated with todayâ&#x20AC;&#x2122;s world. - They have competition with the blankets market - Reluctance of craftsmen. Plate No - 89 / Synthetic cotton thread

8. CONCLUSION Sujani is commonly acknowledged as an exceptional craft of Bharuch. The study of this craft shows the origin of the craft, how it has continued through endless years and its present status in the market. With involving years there has been crisis in this craft. Sujani weaving is time consuming. It is the work oriented and utilizes regular strategies for the creation of sujani. More people need to know about this craft so that the craft gets its actual position that it originally deserve. The scope of this technique in modern market will be pretty good. The design development from the product need a little upgradation in order to place it in current scenario. During the primary research, interaction with the artisans and came face to face with joys and grievances while working with this craft. The reward is being made to the employee on daily basis or on the basis of their experiences with the craft. The craftsmans are gifted high in soul for the results of their unparalleled quality and worth, however their difficult work doesnâ&#x20AC;&#x2122;t get the due remunerations as far as the value they get for their items.

Plate No - 90 / Sujani quilt

9. REFLECTIONS

The study on the craft and lives of the artisans educated on the artistic expression and its intricacies. It gave an insight into how each artisan has consolidated his styles without losing the spirit of the art, yet additionally sharpened, design students to appreciate how arts and craft play a vital role in our lives. Bharuch is the second oldest city of India. Once I start exploring the shabby paths I want to stroll throughout the entire existence of pages and that is the point at which I came to think around one of the famous craft of this spot, the sujani weaving. I interacted with the artisans and comprehended their ways of life. I got a live demonstration of sujani making. This experience was incredible and it was glad to be an aspect of this craft. Taken in a ton about the creation of the items and the ongoing circumstance of the market. Meetings with craftsmans and picked up information. This journey for me was more than just a project. It gave me a chance to touch the lives of those people whose efforts go unnoticed and who seize to discover an incentive in their lives. Their struggle is a harsh but true reality telling that there is more to life, only if we clutch our confidence and hope for a better future.

Plate No - 91 / Interaction with artisan

10. APPENDIX 10.1 APPENDIX - 1 ARTISANS 1. 2. 3. 4. 5. 6. 7. 8. 9.

What is your name? What is your age? What’s your company’s name? Monthly income in this craft? How long have you been into this craft? What are your other family member’s occupation? Is your business is only limited to Gujarat? Where are the factories and workshop of your craft? Why you are giving more importance to hand made instead of technology? 10. What are your future plans regarding this craft? 11. What are your children doing in their life? 12. Will they continue this craft or have any other plans with their education? 13. What is the occupation of the women in your family? 20.Is this craft being now much more business oriented or you focus on reviving it? 14. How many people are employed in this craft of sujani? 15. What is the history behind this sujani? 16. Why there is geometric pattern? Particularly square 17. Any idea of similar sujani weaving in another state of India or global? 18. Hazards that your factory employees face? 19. How many items do you currently sell on a monthly basis? 20. What is the average price for each product?

21. What materials do you need to produce your handicrafts? What tools and equipment do you need? 22. What are the main obstacles to supplying these materials? 23. Do you pack your products? 24. What is your primary market? 25. What are the main requirements when selling your products? 26. What are the limitation of the craft? 27. How long are you practicing this craft? 28. So far any achievement in this craft? 29. So how this craft has transform from quilt to different products? 30. What all the changes have been across in this craft? (tool, pattern, equipments)? 31. What different material would be more compatible with this craft? 32. How much time does average products take? 33. What all experiences have been so far with you in this craft? 34. Why this craft has been limited to small cottage industry? 35. In how many places your products are distributed? 36. How many maximum colour are used in one product? 37. Have you received any training recently for upgrading your skill? 38. How many products do you sell in a day? 39. How many materials have you used in making sujani? 40. Have you work with any of the designer with this craft?

10.2 APPENDIX - 2

standard living

Literacy

Working hours

Name

Age

Address

Rafiq sujaniwala

D-339, chaar rasta,pikathi road maliwad bharuch

Middle class

Education under SSC

D-339, chaar rasta,pikathi road maliwad bharuch

Middle class

Education under 5 hours SSC

8735914891

D-339, chaar rasta,pikathi road maliwad bharuch

Middle class

Education under 8 hours SSC

8735914891

Sayera Bibi sujaniwala

Amin Bhai sujaniwala

Abrarhusen sujaniwala

Nathik sujaniwala

Munil Hussain sujaniwala

Mohammed mujjakir sujaniwala

Contact.no

8 hours 8735914891

Fatalav bavdi behind salman bakery katopore bajar bharuch

Middle class

Education under 8 hours SSC

9825729556

Fatalav bavdi behind salman bakery katopore bajar bharuch

Middle class

Education under 8 hours SSC

9825729556

Furja char rasta road, katopore bajar bharuch

labour class Education under 8 hours SSC

9825729556

E/2497/B fatatalav bavdi behind salman bakery, katopore bajar bharuch

Middle class

9825729556

under-graduate

8 hours

11. BIBLIOGRAPHY 11.1 Craft Documents Preserving Crafts through Architecture - A case of Sujani Quilt by rupali ekbote

11.2 Books - Aditi Rajan and M. P. Rajan handmade in India, craft of India series, 2007 - Patrick J. Finn’s “Quilts of India: Timeless Textiles” -Census of india - 1961: Gujarat by R.K Trivedi , C.C Doctor, R.M vakhani

11.3 Website references https://www.textileschool.com/182/history-of-textiles-ancient-to-modern-fashion-history https://www.bharuchonline.in/city-guide/history-of-bharuch https://www.fibre2fashion.com/industry-article/7808/patola-a-legendary-heritage-of-indian-textilesfrom-north-gujarat https://www.bharuchonline.in/city-guide/about-bharuch https://www.shethepeople.tv/news/nupur-jain-is-trying-to-revive-a-150-year-old-unique-art-throughsujani-looms/ http://seekoutfashion.blogspot.com/2016/06/sujani-weaving-art-of-bharuch.html http://www.servehappiness.org/BharuchSujniCraft http://lsi.gov.in:8081/jspui/bitstream/123456789/3715/1/22396_1961_SEL.pdf https://www.sahapedia.org/kalamkari-of-gujarat-mata-ni-pachhedi https://www.fibre2fashion.com/industry-article/7808/patola-a-legendary-heritage-of-indian-tetilesfrom-north-gujarat Plate No - 92

11.4 IMAGE SOURCES Plate no 1 : - https://www.unnatisilks.com/blog/wp-content/uploads/2019/05/DSC_0341.jpg Plate no 2 : - http://seekoutfashion.blogspot.com/2016/06/sujani-weaing-art-of-bharuch.html Plate no 3 : - https://www.gujarattourism.com/content/dam/gujrattourism/images/other-images/banner-1.jpg Plate no 4 : - https://edge.ixigo.com/ixi-api/img/5142cd67e4b09702078bd12f_600x315.jpg Plate no 5 : - https://cdn.pixabay.com/photo/2017/08/12/12/00/thread-2634182_960_720.jpg Plate no 6 : - https://pixels.com/featured/textile-manufacture-1839-granger.html Plate no 7 : - https://in.pinterest.com/pin/167688786108440354/ Plate no 8 : - https://www.internationalwardrobe.com/wp-content/uploads/2020/07/IMG_6073.jpeg Plate no 9 : - https://in.pinterest.com/pin/552324341798327950/?nicv2=1amGxA3ne Plate no 10 : - https://www.exportersindia.com/zabreca/khadi-cotton-faric-4661184.htm Plate no 11 : - https://asiainch.org/craft/tangaliya-weaving-of-gujarat/ Plate no 12 : - https://artsandculture.google.com/ Plate no 13 : - https://sarmaya.in/objects/indigenous-tribal-art/meladi-mata-mata-ni-pachedi/ Plate no 14 : - http://www.asanjokutch.com/ Plate no 15 : - https://amounee.com/ Plate no 16 : - http://www.dsource.in/gallery/patola-saree-weaving-patan-1 Plate no 17 : - https://thedesigncart.com/ Plate no 18 : - https://rugrabbit.com/node/150190 Plate no 19 : - https://www.indianeagle.com/travelbeats/gujarats-textile-handicraft-a-legacy-of-indian-culture/zari-work-designs-textile-handicraft-tour-of-g Plate no 20 : - https://www.bharuchonline.in/city-guide/history-of-bharuch Plate no 29 : - https://archinect.com/people/project/150062698/preserving-crafts-through-architecture-acase-of-sujani-quilt/150202567 Plate no 27 : - https://www.jagranjosh.com/current-affairs/longest-extradosed-bridge-across-river-narmada-dedicated-to-nation-at-bharuch-1488961846-1 Plate no 22 : - â&#x20AC;&#x153;Brotschâ&#x20AC;?, by Peeters Jacob, 1690 - https://en.wikipedia.org/wiki/Bharuch Plate no 23 : - https://commons.wikimedia.org/wiki/File:Narmada_River_near_Bharuch.jpg Plate no 26 : - https://new-img.patrika.com/upload/images/2017/03/02/646-1488473689_83

5x547.jpg

Plate no 32 : - https://www.youtube.com/watch?v=r_x2P1C-Gew Plate no 34 : - pablo es Gastesi - https://www.nativeplanet.com/travel-guide/visit-the-ancient-port-city-ofbharuch-in-gujarat-003986.html Plate no 31 : - https://www.tripadvisor.in/Attraction_Review-g1152632-d8496434-Reviews-Golden_ Bridge-Bharuch_Bharuch_District_Gujarat.html Plate no 33 : - /Bharuch/Jami-Masjid-Chickoo-Wadi-Bharuch-HO/9999P2642-2642-141226165950-L5B5_ BZDET Plate no 35 : - Bharuch/BAPS-Shri-Swaminarayan-Mandir-Zadeshwar-Road-Bharuch Plate no 36 : - https://www.123rf.com/clipart-vector/gujarat.html?sti=ob7l8z6i8lb926mw05| Plate no 37 : - https://en.wikipedia.org/wiki/Gujarati_script Plate no 38 : - https://www.tripadvisor.in/ShowUserReviews-g1152632-d9705992-r338595569-Raichand_ Deepchand_LibraryBharuch_Bharuch_District_Gujarat. Plate no 39 : - https://www.dreamstime.com/illustration/gujarati-food.html Plate no 40 : - https://www.isrgrajan.com/what-is-the-real-reason-or-story-behind-celebrating-janmashtami. html Plate no 41 : - https://www.google.co.in/ur-navras-navratri-dandiya-festivalPlate no 42 : - ood.ndtv.com/food-drinks/ganesh-chaturthi-2017-how-does-south-india-celebrate-this-festival-1742068 Plate no 43 : - BharuchMyCity/posts/meghraja Plate no 45 : - https://indianexpress.com/article/lifestyle/art-and-culture/makar-sankranti-happy-uttarayan2018-why-do-people-fly-kites-5023957/ Plate no 44 : - https://www.facebook.com/200897576732875/posts/day-1-meghraja-no-medo/1087664031389554/ Plate no 46 : - https://www.columbusdirect.com/content/6-of-the-best-places-to-celebrate-holi-festival-ofcolours/ Plate no 49 : - https://www.internationalwardrobe.com/wp-content/uploads/2020/07/IMG_6054.jpeg Plate no 61 : - https://textilelearner.blogspot.com/2012/03/different-parts-of-loom.html Plate no 77 : - https://www.internationalwardrobe.com/wp-content/uploads/2020/07/IMG_6069.jpeg Plate no 86 : - https://i0.wp.com/dutchindianheritage.net/wp-content/uploads/2017/06/000090.jp-

g?fit=1818%2C1228&ssl=1 Plate no 88 : - https://www.internationalwardrobe.com/wp-content/uploads/2020/07/IMG_6050.jpeg Cover page - https://miro.medium.com/max/11924/1*LB8qitmMZmDL_NwWOZdlEA.jpeg Back Cover Page - https://i0.wp.com/www.internationalwardrobe.com/wp-content/uploads/2018/09/ IMG_1922.jpg?fit=800%2C1067&ssl=1 92

The “Weaver’s Lounge” History, the Handwoven Created I Sujani Weaving Bharuch I PPSU 2020