Solapur Wall Hanging by mahawarlakshay

CHITRKATHA SOLAPUR WALL HANGINGS

Documentation on Solapuri Wall hangings Name of the Students: Aparna Pandey Deepanshu kumar Lakshay Mahawar Pradnya Patankar Sameeksha Nagpal Tanishq Jain

National Institute of Fashion Technology Campus: Mumbai Copy right @National Institute of Fashion Technology, Year 2016-20 All rights reserved: no part of this book may be reproduced, stored in retrieval system or transmitted in any form by means of electronic, mechanical, photo copying, recording or otherwise without prior permission from National Institute Fashion Technology, except by a review reader who wishes to quote brief passage in connection with a paper review/essay written for inclusion in a periodical, newspaper or broadcast. Faculty/Mentor (s): Dr. Reena Aggarwal

PREFACE NIFT with the active support from the Ministry of Textiles, Office of Development Commitioner (Handlooms)and Office of Development Commissioner (Handicraft) has developed and implimented a Craft Cluster Innitative Programme which aims to provide the students with continuous exposure to the handloom and handicraft clusters, providing an opportunity for creative innovation and experimentation. Through this innitiative, NIFT aims to reach out to the artisans and craftsmen at the grassroot level. The Craft Cluster Innitiative at NIFT is designed with the objectives to sensitize NIFT students to the realities of the craft sector and give insight into regional sensibilities and diversities, resources and environments. Through this inniative, NIFT has been successful in creating a widespread awareness and sensitivity in assimilating crafts into fashion and vice-versa. Under this dynamic inniative the students of NIFT work closely with the artisans and weavers in clusters of India and undertake activities like diagnositic studty, design intervension and prototype development.

ACKNOWLEDGEMENT The success and outcome of this project required constant guidance and assistance from our mentor Dr Reena Aggarwal, Course Coordinator and our institute National Institute of Fashion Technology , we were extremely privileged to have recieved the same all along the completition of our project. Our endeavors could only be achieved because of the close scrutiny, supervision and assistance extended by the craftsmen of Solapur, specially Mr. Srinivas Jindham who guided us throughout the clusterand made sure that our stay was comfortable. Mr Jindham who was kind enough to devote entire process of making Solapuri Wall Hangings. Mrs Jindham who not only welcomed us in their home , but also went out her way to help us with raw materials and material handling. We extend our heartfelt gratitude to all who were a part of this project, for giving us an opportunity to attempt to explore an entirely new and intriguing craft.

CONTENTS INTRODUCTION 1.1 HISTORY OF WALL HANGINGS.............................................................................................................................................2 1.2 DEMOGRAPHICS..................................................................................................................................................................3 1.3 GENERAL INFORMATION.....................................................................................................................................................4 2.1 HISTORY..............................................................................................................................................................................6 2.2 LOCATION...........................................................................................................................................................................6 2.3 PEOPLE...............................................................................................................................................................................6 2.4 ENVIORNMENT...................................................................................................................................................................6 2.5 CULTURE.............................................................................................................................................................................10 3.1 THE WEAVING COMMUNITY...............................................................................................................................................12 3.2 DAWN OF THE CRAFT..........................................................................................................................................................14 4.1 RAW MATERIALS................................................................................................................................................................15 4.2 THE LOOM .........................................................................................................................................................................17 4.3 THE PROCESS......................................................................................................................................................................20 4.3.1 TECHNIQUES....................................................................................................................................................................25 5.1 MOTIFS.............................................................................................................................................................................. 27 6. EVOLUTION..........................................................................................................................................................................30 7. BRAND STUDY.......................................................................................................................................................................31 8. ABOUT JAMINI ROY...............................................................................................................................................................35 9. CHITRKATHA.........................................................................................................................................................................37 10. EXPLORATIONS AND SKETCHES..........................................................................................................................................39 11. PRODUCT DETAILS.............................................................................................................................................................40 12. PRODUCT PHOTOSHOOT...................................................................................................................................................48

Fig No. 1 - Akalkot Palace

INTRODUCTION 1.1 HISTORY OF WALL HANGINGS Wall hangings have been around since Ancient History, since well past 300 BC. Wall hangings or tapestry is a form of textile art, woven on a vertical loom and is as ancient a form as rug making. A fancy piece of art work that could be hung, taken down, rolled up, and moved to a different location. That made them extremely popular, more so than paintings. Kings and noblemen could roll up and transport tapestries from one residence to another. In churches, they could be displayed on special occasions. Tapestries were also draped on the walls of castles for insulation during winter, as well as for decorative display. Tapestries have been used since at least Hellenistic times. Greek tapestry has been found preserved in the desert of Tarim Basin dating from the 3rd century BC. Tapestry reached a new stage in Europe in the early fourteenth century AD. The first wave of production originated in Germany and Switzerland. Over time, the craft expanded to France and the Netherlands. Some Native American rugs are also types of tapestry work. In wall hangings, India is recognized as one of the most diverse nations in the world. The combination of diversity and skill has produced some of the most breath-taking creations. Indians have always been fond of adorning the walls of their home. Wall art that is not created directly on the wall, but that adorns the room in the form of wall hangings, also gained immense popularity.

1.2 DEMOGRAPHICS Maharashtra Maharashtra is a state in the western region of India and is India’s second-most populous state and third-largest state by area. It has over 112 million inhabitants and its capital, Mumbai, has a population of approximately 18 million. Nagpur is Maharashtra’s second capital as well as its winter capital. Maharashtra’s business opportunities along with its potential to offer a higher standard of living attract migrants from all over India. It is bordered by the Arabian Sea to the west and the Indian states of Karnataka, Telangana, Goa, Gujarat, Chhattisgarh, Madhya Pradesh and the Union territory of Dadra and Nagar Haveli. Maharashtra is the wealthiest and one of the most developed states in India, contributing 25% of the country’s industrial output and 23.2% of its GDP (2010–11). As of 2011, the state had a per capita income of 1.0035 lakh (US$1,600), more than the national average of 0.73 lakh (US$1,100). Solapur Solapur is a city located in the south-western region of the Indian state of Maharashtra.. Solapur is located on major road and rail routes between Mumbai and Hyderabad, with a branch line to the cities of Bijapur and Gadag in the neighbouring state of Karnataka.

Fig No. 2 - Solapur Map

Fig No.3 - Solapur Railway station

2. SOLAPUR GENERAL INFORMATION Area: 14895 sq. km (district) Population: 604,215 (1991 Census) Climate: Tropical Rainfall: Average 897.8 mm Summer: 42° C to 28º C Winter: 27° C to 13° C Latitude: 17° 42¢ to 18° 32¢ Longitude: 74° 33¢ to 76° 54¢ Clothing: Light Cotton and Woolen in winter STD Code: 0217

2.1 HISTORY ‘Solapur’ spelled in (It is believed to be derived from the combination of two words: ‘Sola meaning “sixteen”and pur meaning “village”). The present city of Solapur was considered to be spread over sixteen villages : Aadilpur, Ahmedpur, Chapaldev, Fatehpur, Jamdarwadi, Kalajapur, Khadarpur, Khandervkiwadi, Muhammadpur, Ranapur, Sandpaper, Shakur, Solapur, Sonallagi, Sonapur and Vaidakwadi ,all these villages are now merged with Solapur Municipal Corporation. The Solapur District was ruled by various dynasties like the Andhrabhratyas, Chalukyas, Rashtrakutas, Yadavas and Bahamanis. The inscriptions of chief deity of Solapur Shivyogi Shri Siddheshwar of the time of the Kalachuri (Basavakalyan) suggest that the town was called “Sonnalage” which came to be pronounced as “Sonnalagi”. A Sanskrit inscription dated Shake 1238, after the downfall of the Yadavas found at Kamati in Mohol shows that the town was known as Sonalipur. One of the inscriptions found in Solapur fort shows that the town was called Sonalpur. It was the main commercial hub of the Devagiri Yadavas and an important trading city. The town was known as Sonnalagi even up to the times of the Yadavas of Devagiri. 2.2 LOCATION Solapur is located at a distance of 410 km from Mumbai, capital of the state. Solapur is the fifth largest urban agglomeration in Maharashtra state. It lies entirely in the basins of rivers the Bhima, the Seena, the Nira, and the Maan. The Bhima demarcates the border between Maharashtra and Karnataka States in Solapur District. The shape of the district resembles a flying eagle. 2.3 PEOPLE The secret of the successful conversion of Solapur from a small town to a full-fledged commercial and tourist hub is nothing but the hard work of people here. Solapur inhabitants are generally warm, tolerant and extremely enduring. The multilingual, multiculture, multi-art, multi-folklore, multiindustrial and multifaceted features of Solapur are a proof of it. The unique culture of Solapur taught people to coexist within themselves and the attitude of people broughtprosperity to the city. 2.4 ENVIRONMENT Solapur is one of the most-polluted cities in Maharashtra due to the effluent chemicals produced as the waste products from the textile industries in its region. As many vehicles in the city utilise diesel fuel, it also generates tremendous smog emitted by sugar factories and heavy textiles industries in the city’s suburb. Various efforts are being made by Maharashtra Pollution Control Board (MPCB) to reduce air pollution and its environmental effects. The city has launched a go-green scheme by planting trees in the city and developing greenery with the help of various eco-friendly people in the city. 7

Fig No. 4 - Lifestyle of Solapur

Fig No. 5 - Culture of Solapur ( Women making Bidi )

2.5. CULTURE Solapur is a city with multi-linguistic and multi-cultural features. Even though Solapur is a district in Maharashtra, it happens to be a gate way to other states, because it shares its boarders with two other neighbouring states; Karnataka and Andhra Pradesh. Hence Solapur has a mixture of Marathi and Kannada speakers. However Kannada is the Main Language to Communication and Official Language is Marathi. Religion and Education are the two important factors of culture. Solapur city is fertile for religious activities and has been the land of Martyrs, and saints. A spiritual leader named Siddarama had dwelled here long time ago, around 12th century. Siddeshwara temple stands as a symbol of devotion in Solapur. ‘Shri Siddheshwar Mandir’, ‘Chowpad Vitthal Mandir’, ‘Rupabhavani Mata Mandir’ are the most famous temples in the city. The festival of Makar Sankranti is one of the largest festivals celebrated by the Lingayat community in Solapur. Along with Makar Sankranti people also celebrate Shiv Jayanti, Dr. Ambedkar Jayanti, Gudipadwa,Diwali,Ganesh Chaturthi and some more. Agriculture is the main occupation of local people here. Solapur is famous for its Chadder, Handloom, Powerloom and Beedi Industries. Solapur developed as a commercial center for cotton and other agricultural produce. Solapuri Chaddars have earned fame and reputation for their novel designs and durability.

3.1 THE WEAVING COMMUNITY The development of Handloom Weaving in Solapur seems to have commenced in the regime of the Peshwas.Most of the weavers are from Telangana and Andhra Pradesh. Migration, it is commonly believed, aroused principally from the difficulty of finding adequate means of livelihood in oneâ&#x20AC;&#x2122;s native place as a result of over population, low wages, failure of crops or any other calamity etc. are the reasons for the migration of Padmashalis to Solapur. The handloom industry in Solapur was prosperousand wages were high, therefore large number of Padmashalis were settled in Solapur. The organisation of local handloom weaving industry remained fundamentally unaltered till the rise of the modem factory industry in India in the seventies of the 19th century. There were numerous small independent artisan weavers in the industry. Each artisan-house had one or two looms, which were worked by the head of the family. The family was the unit of workand the women andthe children helped the weaver in preparatoryprocessesand in some cases in dyeing also.

Fig No. 7 - Weaving Wallhanging

3.2 DAWN OF THE CRAFT Wall hangings are the outcome of sheer hard work of artisans. They are made up of cotton threads woven on the handloom. They are essentially ornamented in nature and involves cutwork which it makes it unique in its own sense. It was initially started with designs made of gods and goddesses and now they have evolved with the changing time and suited according to customer needs. This art of weaving is nearly 50 years old finding its way in the shops and households and offices around the world. It was started by Mr Bhumaiya Padma who used to work in the weavers service center, it occurred to him that a whole bunch of threads could be woven to give a thick texture with embroidery done over it to enhance the effect. He left his job to work over this idea and the wall hanging craft of Solapur was born. Mr Bhumaiya Padma was the great grandfather of Santosh Bhai Soma who has carried on the legacy of making wall hanging craft and has kept it growing further. The designs made earlier were very basic and monochrome while now sceneries portraits and pictures can be easily converted into wall hangings due to his efforts. But the lack of sufficient pay has decreased the number of artisans working in this field by multifold. While 25 years ago there were around 200 people in this craft whereas nowthere are onlyaround60-70 artisans workingon it.

4.1 RAW MATERIALS YARN Yarn is the most important constituent of raw materials. Two different qualities of yarn are used for warp and weft. While the warp comprises of black cotton yarn of 15’s or 10’s. The count of yarn for warp is 5’s, 10’s, 15’s and count of weft is 12’s and 25’s . These yarns are obtained from Solapur itself . These hanks are cleaned, wetted and bleached before dyeing in the required colours. Zari, silk and jute yarns are also used at times according to the design of the wall hangingor customer requirement. DYES AND BLEACHING AGENTS Initially vegetables dyes were used but now chemical dyes, namely, Direct, Vat and Reactive dyes are used. The reason of this change being more convenient, more permanent and availability in a variety of shades. Dyes are also brought from Solapur. The cost these dyes are increasing at fast rate and now with greater availability in market the weavers have good options on what to choose. Approximately 100 kgs ofyarn is dyed in a day. PATTI (WOODENRODS) These are used in the beginning and end of the hanging for support as well as to embellish the wall hanging. They are inserted between the wall hangingat the time of weaving. The wood rods are made out of Sagwan wood and Teak wood, also called Lemon wood. These woods being light weight , soft and less prone to termites, hence they are preferred. EMBELLISHMENTS Lastly bells, wooden beads, shells and mirrors are also added as a final setup in beautifying the wall hanging hence rendering it complete. Earlier the bells used were made of pure brass which would not rust and gave a very elegant look to the finished product. They were locally obtained at Rs 2 each earlier and Rs 10 each now. Due to this price surge, the artisans have started using Iron bells which tend to rust but are cheaper in price, i.e., 20p each.

Fig No. 8 - Dyed Cotton Yarns

TOOLS SHUTTLE The flying shuttle was one of the key developments in the industrialization of weaving during the early Industrial Revolution. It allowed a single weaver to weave much wider fabrics. KNIFE A small knife which is attached to the loom with a string to make it handy for the weaver to cut the threads. BOBBIN The cylindrical structure onto which the thread in wound and then inserted into the flying shuttle.

Fig No. 9 - Tools

4.2 THE LOOM The looms used in weaving is a simple throw shuttle frame loom . Since the only weave used is plain weave, no special attachment is required for the loom, it consist of two shafts which are operated by the weaver through peddles at the base of the loom. It also has a wooden bench attached to it where the weaver can sit. The looms used today have been the same since the start ofthe craft in the year 1972. The length of the black warp which is wound around the warp beam is decided based on the number of wall-hangings to be produced. The weft by which pattern and textures is created is passed by hand, Is wound into reels which is attached to the loom above the healed shaft. As and when the weft of a specific colour is required 8- 10 strands are pulled pout and passed through the warp. However when a single weft yarn needs to be passed a shuttle is used. Making the loom the house of the weaver having hand held accessibility to all the tools and materials.

Fig No. 10 - Process of colour selection

4.3 PROCESS It starts with the visualization of design PRELOOM PROCESS MAKING OF THE DESIGN ON A NAKSHA The first step involved in the process of making Solapur wall-hanging is making of the design on adesign paper. Design paper is a starched cotton cloth or canvas which has graph like The designs are drawn in exact proportion as the wall hanging.For detailed figure work wallhangings, the design paper are made in exact colors. The design paper is placed under warp and the weaver can see the design under the warp and weave accordingly. The design paper can be reused. It is made according to the customer. PROCUREMENTOF RAW MATERIALS Procured from local markets, the base Raw Materials required is dyed cotton yarn and wooden rods. Dyed yarns are procured in bulk from the local market and wooden rods from furniture mills or from fallen trees which is then reshaped. DYEING PROCESS Dyeing of yarn hanks can be done in two ways i.e. the tradition wayor the contemporary way. CONTEMPORARY METHOD The first step involved in the modern process of dyeing is Scouring . In this process natural impurities like wax , oil and gum as well as added impurities are removed to make the fibre hydrophillic in nature. This is followed by sodium hypochlorite bleach or hydrogen peroxide bleach which is used to obtain light coloured fibre shade. This process is carried out for an hour. The next process in line is Antichlore treatment which is done only for sodium hypochlorite bleach to remove the traces ofchlorine. The commonly used brand is Rozaricaâ&#x20AC;&#x2122;s green which is used with acetic acid. After all these pretreatments the fibres are passed through an hydro extractor to drain out the excess water. Further more it is kept in open air for complete drying. After the fibres are pre treated they are dyed using reactive dyes. The yarns are then washed with hot or cold water , 2-3 times. After this the soaping process is carried out to fix the colour and get rid of any excess colour. Futhermore the yarns are again washed with hot or cold water. To drain away the excess water the yarn are passed thriough an hydro extractor.

TRADITIONAL METHOD WETTING The first step involved in the process of traditional dyeing is wetting. The yarn hanks are put in the water bath and soaked for a day . Then it is put on sticks to drain out the excess water. BLEACHING This is followed by bleaching of the grey yarns by hypo-Chloride bleaching. The yarns are dipped in a tank containing bleaching agent and water which again takes over a day and after this process the hanks are rinsed in water and left for drying. DYEING For the process of dyeing either direct ,reactive hot brand or vat dyes are used. For direct dye along with the dye Soda ash, salt and fixer are added to the dyeing tub. The hanks are placed onto wooden sticks and are rotated continuously for even dyeing. Hanks are kept in the dye bath for 15 to 20 minutes. Then the hanks are dipped in side the water to fix and remove excess dye. The dyed yarns are then dried in open space under sunlight. WARPING The warping is done with the black coloured yarns. Hundred meter of yarn is warped at a time or it depends upon the number of wall hangings to be made. No sizing material is added to the yarn because later it cannot be washed and making it prone to bugs or mites attack. PLYING AND WINDING The number of yarns are plied depends to the width of the wall hanging. Example- 14â&#x20AC;? warp, 13 plied yarnis used. The weft required is wound onto the bobbins making it easier to use.

Fig No. 11 - Traditional process of yarn spinning

Fig No. 12 - On loom process

ON LOOM PROCESS First an inch or two of plain weave is woven after which a wooden rod is inserted. This is followed by a small length of plain weave after which the weft is changed. One pick comprises of 13/14 strands of yarn. The weave now used is an imitation of the tapestry weave. Every pick usually comprises of more than one colour. The coloured pick is taken through the warp shed and at the point where the colour changes first colour threads interlock with the second. This way the weaver completes the pick, after which the beating up of the operation is performed. In the next pick the weaver weaves in the opposite direction from the left to the right interlocking wherever the colour changes. To get a more raisedeffect when desired, extra warpis used. Once the base weft been passed, two to three strands of extra weft of the desired colours are used to do embroidery or embossing effect on the wall hangings. The knotting begins from the right side. The weft yarn encircle every warp end, of the raised warp. The same way they come back to where they started in the reverse direction as the extra weft encircles itself only around the raised warp ends, the texture which formed is seen only on the right side of the hanging. The base weft is visible on the wrongside. POST LOOM PROCESS Once the weaving is complete, the wall hanging is taken off. The finish is done by cutting the extra warp threads to create empty spaces. These warp threads are then sewn into the reversible side to seal the edges. The uneven wooden rods are cut to size. Metal bells, cowries, mirrors are given to add ornamentation, whenever required. Thread is attached to the top for hangings. These wall hangings are tied up separately and are wrapped in papers. After this they are packed in cartoonsandready for export and sale.

4.3.1 TECHNIQUES LOCKING â&#x20AC;&#x201C; BATHAN This technique is used to secure the ends of the weft thread. When a particular coloured weft thread gets over midway through the process , it is seamlessly merged with threads of the same colourand continued further more. YEMRADI This Technique is used to create the embroidery / embossing effect over the base of the already woven wall-hanging. Yarns of two ply are used create designs such as dots , triangles or any other minute detail. The design create is not visible on the backside. CUT WORK For cut work wall hangings, empty spaces are incorporated in the design. In such cases the weft yarn is not passed through the particular space, and the warp ends in that space are cut off during the finishing process. Whenever required, the woodensticks are inserted in the hand treating as weft. BUSHING Bushing is an old technique used in Solapur wall hangings. Now it is rarely seen in wall hangings. It gives a 3D effect to the wall hangings. Bushing is done by knotting wool yarns or thick yarns on the warp threads and then cutting all the yarnsknotted together to give a feel of a bush. TAPESTRY Tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike cloth weaving where both the warp and the weft threads may be visible. Weft yarns are typically discontinuous; the artisan interlaces each coloured weft back andforth in its ownsmall pattern area. Apart from these, techniques like sumak, cut pile, loop pile, extra weft, variations of plain weave, decorative weft insertion,extra weft etc are also used.

Fig No. 13 - Techniques of weaving

5.1 MOTIFS The Artisans start their weaving journeys with simple motifs like flowers, basic shapes, animals etc. As they start mastering the craft, weaving complicated andintricate designs without the help of a naksha also becomes possible. Traditionally motifs derived from the surroundings, Rangolis, Gods and Goddesses are made. Ganesh, sun, Laxmiâ&#x20AC;&#x2122;s foot, Saraswathi , elephants, swastika, shree, om motifs are very famous. Even geometrical motifs such as y shaped motifs and rhombuswas used. Worlimotifs are quite popular as well. Contemporized designs by making random color patches similar is very popular and has a great demand especially among the youth. While contemporizing is not something most artisans would do by choice, but it is something that has been in trend in the market. COLOUR PALETTE The traditional color palette has simple earthy shades and primary colors such as red blue yellow, mostly the colors pertained to that of a sunrise or sunset, shades of orang, red and yellow were used. Despite the changing colors of the weft with time, the color of the warp has remained constant, that is black, as it makes the weft look bright and lively against the black backdrop of the warp, the weavers persist on the fact that changing the color of the warp might compromise with the originality of the craft.

Fig No. 14 - Motifs used in Wall hangings

Fig No. 15 - Evolution of Solapur wallhangings

6. EVOLUTION Solapur wall hangings evolving at its ownpace. It all started in 1970â&#x20AC;&#x2122;s . Wall-hanging started with monochromatic colour schemes and designs inspired from natural phenomenon like sunrise, sunset, rainbow etc. with the passage of time weavers experimented with colours, design. They got inspired byfamous paintings etc. Now a days internet plays an important role, weavers get to know about various trends, trending colours like one of includedpastel shades in their designs. Design and aesthetics are vital part of Solapur wall-hangings. Earlier simple designs and motifs were made. As time passed, weavers acquired skills and more complex designs and motif are being made. With experience some highly skilled weavers can weave portraits , still live paintingsetc. In terms of tools and machineries there has been no significant changes. Looms that were used in past years are still used. Over the years minute changes can be observed in weaving techniques like bushing technique cannot be seen in the wall-hangingsnow.Other than cutworkone can find embossing,interlocking, piled up warppatterns etc. Significant changes can be seen in usage of raw materials, earlier only cotton threads were used. Now the wallhangings are made with wool, silk, zari threads etc. chemical dyes replaced natural dyes. Experimentation with white yarn for warpis also done. The wall-hanging industry experienced a major loss when the export to Osaka and Kobe stopped and shifted to Dubai. Due to decline in the demand there is a shift of laborers and now only a handful artisans are practising this craft. The succeeding generationis also not interested in practicing this craft. For more revenue artisansare experimenting with productssuch as cushions,Shabnambags, table Lenin,jackets etc. For the products to reach the wider audience artisanshave ventured into onlinemarketing

BRAND STUDY

BRAND RESEARCH Designer/creator - Tzachi Nevo iUmasqu, since 2015. Products- Wall decor

$204

Inspiration- mid century modern, steampunk and cubism etc Size- 3 different sizes 15.7 x 10.57 inches 25.1 x 16.9 inches 46.8 x 31.4 inches Price range - Rs9600- Rs29085/-

$204

Collection- True Bugs, Modern Africa , Chili Tribe, Cultural Icons Material- All masks are made from a combination of different materials such as Veneer, MDF, Formica, Perspex, Plastic and Felt and are all colored with quality Molotowâ&#x201E;˘ Premium colors for best UV- and weather-resistance. Specification: * The mask comes with a hook on the back for hanging. * All of our masks are hand painted, unique with their own character and just like us, humans, they have some imperfections but thatâ&#x20AC;&#x2122;s what makes them perfect.

$204 31

Fig No. 16 - Umasque Brand Board

$59

BRAND RESEARCH Urban Outfitters, Inc. is a multinational lifestyle retail corporation Products- a wide range of clothing, lifestyle and home products. In home decor, it consits wall art, mirrors, shelves, tapestry etc . Inspiration- following the current trends like boho, floral etc $49

Size various variety of sizes Price range: 1300- 45000/- ( wall decor) Material- wood, metal, plastic, china clay, ceramic etc

$44 $55

$49

Fig No. 17 - Urban Outfitters Brand Board

BRAND RESEARCH Anthropologie is an American clothing retailer operating over 200 stores worldwide which offer an assortment of clothing, jewelry, home furniture, decoration, beauty, and gifts. Products- clothing, jewelry, home furniture, decoration, beauty, and gifts. Home decor consists of wide variety of wall decor ( mirror, word art, frames etc) Price range- 1270- 20,000 Material- Combination of various materials such as wood, metal, alloy, plastic etc. $128.00â&#x20AC;&#x201C;$248.00

$128.00â&#x20AC;&#x201C;$248.00

$148

$138

Fig No. 17 - Anthropologie Brand Board

CHITRKATHA The concept we chose is an ode to Jamini Royâ&#x20AC;&#x2122;s legecy of how he changed the Kalighat paintings in his own way. Simple yet distingtive style of his paintings were the key inspiration of this collection which further got amalgamated with the nostalgic feel of card playing traditions that are no where to be seen . Further combining both these themes we came up with our own assorted collection of wall decor items solely curated for people who are always on a hunt for something new and through these Chitras we try to conve a katha of Jamini Roys paintings and lost card playing traditions. Hence the theme Chitrakatha.

CHITRKATHA AN ODE TO JAMINI ROY

KING OF CHITRKATHA

QUEEN OF CHITRKATHA

GULAM OF CHITRKATHA

CLUBS OF CHITRKATHA

SPADES OF CHITRKATHA

REFERENCES ▪ http://www.brandbharat.com/english/maharashtra/districts/Solapur/Solapur 2018 BrandBharat.com ▪ http://solapur4u.com/index.asp 2011 solapur4u.com web site is property of Microlink Infotech Pvt. Ltd ▪ https://www.maharashtratourism.net/cities/solapur Maharashtra Tourism ▪ Solapur District by Books LLC Publisher: Books LLC, Wiki Series 13 August 2011 ▪ http://www.solapuronline.in/city-guide/culture-of-solapur 2018-Pan India Internet Private Limited (PIIPL) ▪ Report on Market for Promotion of India Handloom Brand By Majestic MRSS ▪ The Solapur Gazetteer Gazetteers Department, Government of Maharashtra 1977 ▪ Arts Of India By C M Birdwood1880 ▪ Exhibition of Handloom Wall Hangings and Dhurries – Souvenir Jayabhabani Weavers Co-Operative Society Limited, Solapur