Marble
Carving
Copyright Š Manpreet Singh
Published, January 2014
National Institute of Design
Contents 3 Introduction
4
Tools
15
History
5
Process
17
About the City
6
Cutting
17
Geography
7
Mould Making
18
Climate
7
Carving
19
Economy
8
Buffing & Painting
23
Flora & Fauna
9
Marble Inlay
24
People
10
Products
26
Attire
10
Craftsmen
31
Fairs & Festivals
11
Marble in Architecture
32
Marble Carving
12
Conclusion
37
Raw Material
14
Acknowledgments
38
Introduction 4 Marble is the last word in stone. Its sheer opulence draped in flawless white is the epitome of stone sculpture. Amongst various stone crafts, marble is one of the most cherished crafting stone. Only marble possesses a slight surface translucency that is comparable to that of human skin. It is this translucency that gives marble sculptures, a visual depth beyond its surface and this evokes a certain realism when used for figurative works. Through centuries, Rajasthan has emerged as the magical fountain which sprouts out marble. Jaipur, the capital city of Rajasthan, has been a centre for marble carving ever since the reign of Sawai Jai Singh II. The craftsmen of this city particularly specialize in carving murtis (idols) and delicate jaalis with floral and geometrical patterns. There is a great influence on architecture, as many buildings have carved marble murals and domes. The sheer scale and variety of work done is astounding. The craft of Marble Carving is a great example of how artists can turn even a piece of rock into something of extraordinary beauty and magnificence.
History 5 Rajasthan meaning ‘the abode of Rajas (kings)’, was formerly called Rajputana ‘the Country of the Rajputs (sons of Rajas)’. It is the largest state of the Republic of India and is located in the west. Rajasthan was formed on 30 March 1949, when
The scenic Amber Fort in the Jaipur district of Rajasthan.
the erstwhile princely states merged into the Dominion of India. Rajasthan’s formerly independent kingdom created a rich architectural and cultural heritage, seen even today in their numerous Mahals and Havelis (Forts and Palaces).
About the City 6
Jaipur, the capital and largest city of Rajasthan, has a very rich cultural heritage and is one of the most popular tourist destinations in the country. Jaipur was founded on 18 November 1727 by Maharaja Sawai Jai Singh II, the ruler of Amber, after whom the city has been named. Jaipur is known as the Pink City of India, because of the colour of the stone used exclusively in the walled city. Jaipur is steeped in history and culture. Here the past comes alive in magnificent forts and palaces, blushed pink, where once lived the maharajas. The major sights are Amber Fort, Hawa Mahal, City Palace, Jantar Mantar, Nahargarh Fort, Jal Mahal, Rambagh Palace, Alber Hall Museum. Top: Jal Mahal (Water Palace) is a palace located in the middle of the Man Sagar Lake in Jaipur. Bottom: The palace complex situated in Amber Fort.
Jaipur is a treasure trove of handicrafts. It is famous for Bandhani (Tie & Dye), Block Printing, Stone carving & Sculpture, Blue Pottery, Tarkashi (Brass/Copper Inlay), Leatherware – jootis & mojdis, Zari, gota, kinari & zardozi, Silver jewellery, gems, kundan & meenakari Jewellery, Ivory carving, Shellac work and Miniature Paintings.
Geography 7 The main geographic features of Rajasthan are the Thar Desert (the Great Indian Desert) and the Aravalli Range, which runs through the state from southwest to northeast from one end to another for more than 850 kms. The Northwestern thorn scrub forests lie in a band around the Thar Desert,
between the desert and the Aravallis. The geographical location of Jaipur is 26.92°North Latitude and 75.82°East Longitude. It covers an area of 11,117.8 sqkm. On three sides, the city is enclosed by the Aravalli hills and is safeguarded from the rough desert.
Climate Rajasthan has a wide range of climate varying from extremely arid to humid. The heat during the summer is great everywhere, with temperatures in June -the warmest month- typically rising from about 30 °C to 45 °C. Hot winds and dust storms occur in the summer, especially in the desert tract.
In January -the coolest of the winter months- daily maximum temperatures range from low to mid 20 °C to about 7 °C. The western desert has little rain, averaging about 4 inches (100 mm) annually. In the southeast, however, some areas receive almost 20 inches (500 mm) of rainfall.
Economy 8 Minerals : Rajasthan is pre-eminent in
quarrying and mining in India. The Taj Mahal was built from the white marble which was mined from a town called Makrana. The state is the second largest source of cement in India. It has rich salt deposits at Sambhar, copper mines at Khetri, Jhunjhunu and zinc mines at Dariba.
Agriculture : The agricultural sector is the
mainstay of Rajasthan’s economy, employing about two-thirds of the state’s working population. Wheat, barley, pulses, maize, rice, sugarcane, and oilseeds are the main crops. Cotton and tobacco are the cash crops. There is a large livestock population and it is a major wool-producing state.
Manufacturing : Textiles, vegetable oil,
Top: A marble quarry in Rajasthan. Bottom: Women sifting through dried red chillies.
minerals, and chemicals are among the major manufactures of Rajasthan. However, handicrafts, such as leather goods, marble work, jewellery, pottery, and embossed brass, have earned much foreign exchange.
Flora & Fauna 9 The predominant vegetation of Rajasthan is scrub jungle. Trees are scarce, limited mostly to small, scattered forest areas in the Aravallis and in the eastern part of the state. Less than 10 percent of Rajasthan is under forest cover. Tigers are found primarily in the Aravallis. Leopards, sloth bears, Indian sambar (dark brown Indian deer), and chital (spotted deer) occur in the hills and forests. Nilgais (bluebucks) are also found in parts, and blackbucks are numerous in the plains. Common birds include snipes, quail, partridges, and wild ducks; they occur everywhere except in the desert.
Top: Tigers at the Ranthambore National Park. Bottom: Flamingoes at the Keoladeo National Park.
Numerous sanctuaries and wildlife parks have been established in the state. Among the most important of these are the Sariska National Park near Alwar, the Desert National Park near Jaisalmer, the Ranthambore National Park located in Sawai Madhopur, and the Keoladeo National Park of Bharatpur.
People 10
Total Population of Jaipur: 30,73,350 Males: 52.68% Females: 47.32%
Literacy rate: 76.44%. Literacy rate for Males: 87.27% Literacy rate for Females: 64.63%
Attire Men wear dhotis, kurta, & paggar or safa (turban headgear). The Pagri is 82 feet long and an 8 inch wide piece of cloth used as a turban. Chudidar pyjama (puckered trousers) frequently replaces dhotis in different regions.
Rajasthani women clad in traditional Rajasthani attire.
Women wear sarees or ghagra (long skirt) and kanchli or choli (top). Odhni (a long piece of cloth) is used to cover the head in a short veil. Coloured stones, tinsels and silken threads are used to create beautiful floral patterns and traditional motifs.
Fairs & Festivals 11 Rajasthan has a rich and vibrant cultural heritage and hosts many fairs and festivals. All the major festivals like Diwali, Holi, Dusshera are celebrated. Gangaur is the most significant and colourful festival which is celebrated in the Hindu month of Chaitra (between March and April). It is mainly celebrated by women and girls; they worship Lord Shiva and Goddess Parvati by making clay idols. Teej is another important festival. On this day, women and girls wear new clothes, jewellery and make designs on their palms and feet with mehndi (henna); they perform folk dance, sing traditional teej songs and enjoy swinging.
Top: Folk performers at the Desert Festival in Jaisalmer. Bottom: A decorated elephant for a procession in the Elephant Festival at Jaipur.
Makar Sakranti (Kite Festival) is celebrated on 14th of January and the sky is adorned with beautiful and colourful kites. Elephant Festival and Camel Festival are also celebrated in Rajasthan. The state also hosts an annual desert festival near Jaisalmer with fairs with snake charmers, puppeteers, acrobats, folk performers and artists.
Marble Carving 12
The word Marble is derived from Latin word ‘Marmor’ which itself comes from the Greek root ‘Marmaros’ meaning thereby a shining stone. About 300 years ago Sawai Jai Singh II, the ruler of Jaipur summoned sculptors for marble carving and the city has since become a centre for marble carving. At that time sculpture was seen as a forte of the Brahmin caste, who were believed to be the descendants of Atri Rishi. They were commissioned to sculpt idols of the religious deities. Today an overwhelming 4 to 5 thousand people from across the boundaries of cast and creed are pursuing this ingenious art here. They particularly specialize in carving murtis (idols), delicate jaalis floral and geometrical, and other sculptures.
A murti (idol) of the Goddess Saraswati, crafted in the purest form of white marble.
Today every sculptor in Jaipur’s ‘Khazane walon ka Raasta’ wishes to imbibe extraordinary brilliance as he chisels the stone into an awe inspiring threedimensional wonder. The entire lane is dotted with shops and workshops of marble sculptors who
carve idols of gods and goddesses out of marble and granite. The profession that was initially limited to just one lane, has now spilled over surrounding lanes which are locally recognized as ‘Bhindon ka raasta’, ‘Kalaamji ka raasta’ and ‘Hijaron ka raasta’. In present times, the craftsmen have added variety to their work and they also sculpt animals, politicians and other native popular figures in stone.
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The limiting scapes of the current urban scenario within the city have restricted the spread of this ever-flourishing industry. Therefore, even though ‘Khazane walon ka Raasta’ is the main seat of activity for the art, some recently established setups on the outskirts of the city also assist these artisans. Only final finishing, buffing and painting are carried out within the workshops in the lanes in the city.
Top: Craftsmen working on marble sculptures in their workshops in Khazane walon ka raasta. Bottom Left & Right: Shops selling idols and other sculptures in these lanes.
Raw Material 14
Marble is a metamorphic rock derived from limestone, composed mostly of calcite (a crystalline form of calcium carbonate CaCO3). The quality of marble is defined by its whiteness and density. The finest marbles for sculpture have few or no stains. The less porous and whiter the marble, the more expensive it is. Rajasthan is the richest state in the country with regards to marble deposits both in quality and quantity. The state is the most important centre of marble processing in the country with about 95%
Left: Big blocks of Marble. Right: A band saw machine for cutting big boulders of Marble. These machines are owned by big workshops who supply smaller blocks of marble to the craftsmen.
of the total processing units. Rajasthan has large reserves of about 1100 million tonnes of good quality marble. The marble that is used for the art of sculpting is mined from quarries situated within a 100 to 150km radius around Jaipur and is acquired in the form of big boulders. The most important marble deposits are Makrana, Andhi (near Jaipur), Rajnagar (near Udaipur), Alwar, Kishangarh, Ajmer. Makrana marble and black marble are the preferred choices for sculpting.
Tools 15 Chisels: Chisels are the primary shaping tool in marble carving. It is used to roughen the stone. These come in various types - pointed, flat, round, toothed - depending on the kind of use. Mallet: Mallet is used for hammering while carving the stone. Different sizes of hammers are used while cutting, carving and smoothening the stone. Sand paper: It is used to smoothen the surface of the stone after carving is done. Different count of sand papers is used.
Top: Various kinds of Chisels used for carving marble. Bottom: Mallet used to strike the chisel.
L shaped Scales or Right angle: It is used to do the measurement and to draw the straight lines on the stone surface. It also helps the sculptor to make a right angle straight-line and corner with ease and comfort. Filers: These are used to soften the stone.
Power Drilling Machines: This machine is used to drill the stones according to the designs. Power Cutting Machine (Hand operated): Power Cutting machine are used to cut the bigger stone blocks.
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Power Buffing Machine: Different types of buffing blades are fixed to the Power buffing machine and used according to the need during carving, smoothening and polishing and also to create depth rise (3D look) of the idol. Measuring Compass Machine: This compass is large in size and is used for measuring and marking in three dimensions.
Top: Power Drilling machine. Bottom Left: Measuring Compass machine. Bottom Right: Toli - a type of a buffing blade used with the power buffing machine for smoothening the marble surface.
Process 17
Cutting Cutting is the most dusty of all processes. The big pieces of stone are first sliced into slabs using an electric band saw. These pieces are then supplied to the craftsmen who mark the shapes with a pencil according to the size of the product required. These are then cut out according to the required specifications. Finally the piece is rubbed with sandpaper. For simpler and smaller products, all the slicing is done with the hand held saw. These pieces are then sent to the carving experts.
A craftsman cutting slabs of marble with a hand held saw.
Mould Making 18 Before starting work on an actual marble piece, the craftsmen make full size moulds in clay to see the details and finesse to be included in the final sculpture. This is done for every new piece, so that they achieve precise finishing in the final sculpture. Also these moulds are helpful for taking dimensions and sizes for the final sculpture in marble.
Top: Various moulds made in clay, these act as references for the final sculpture in marble. Bottom Left: A mould depicting an angel made in clay. Bottom Right: A mould depicting a lion made in clay.
Carving 19
Hollow Firstly, rough outlines of the pattern to be carved are etched on the stone as guidelines and basic holes are drilled. Then the fine carving work begins and textural details are added. Carving is done using a hand held drilling machine. Though the tool is operated by hand, it runs on a motor. A variety of bits are used depending on the desired intricacy and effect of the jaali work. Different bits, chisels and files are used for drilling, etching, engraving etc. Since the pieces are hollow, the amount of pressure while carving is crucial - a little bit extra and the piece would break.
Top: Intricate jaali work being done by hand held bit. Bottom: A jaali lattice work in a furniture piece.
Since drilling holes generates a lot of dust, precautions like masks, fans to blow away the dust etc. are being taken too. These beuatiful jaali patterns are incorporated into products, furniture and lattice work in architecure.
Solid The two-dimensional drawings of the imagined sculpture are first sketched on a boulder, roughly the size of the sculpture, with some margin for wastage. The sketch is translated on stone using a scale, compass and pencil.These are carved without a flaw and each piece takes more than a day to finish. Larger pieces require more than one craftsman to work on them. The craftsmen use drilling machines, chisels and mallet to carve out the sculpture. With the process of hammering and chiseling around the sketch, they achieve perfection three - dimensionally.
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Top: Pencil markings on the marble piece which act as reference points for the sculptor. Middle: Three craftsmen working on a large marble fountain base. Bottom Left: Intricate solid carving in marble. Bottom Right: Two craftsmen working on a sculpture.
Once, the sculpture is carved a mixture of powdered red stone (geru) and water is applied on the marble sculpture, essentially to demarcate the regions on which finishing is pending from the rest of the stone canvas. Finally the most intricate features like the pattern on the fabric, the design of the ornaments, are engraved into the stone. The sculpture is roughly polished using a long stick made of porous sandstone (batti). This erases the redness caused by geru and indicates the finishing of the area. The sculptures are also washed with soapy water to remove dirt, grit and other stains.
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Top: A craftsman using an electric grinding machine to add final finishing to the marble sculpture. Bottom Left: A sculpture showing a python wrapped around an alligator. Bottom Right: A craftsman washing a sculpture with soapy water.
The art of marble carving has been passed on from generation to generation and these craftsmen have inherited supreme skill and command over their dexterous hands and can directly start sculpting idols of Shiva, Radha-Krishna, Hanuman, Ganesh or any other deity, without the need of any guiding tools. Alongwith making idols of gods and godesses, the craftsmen also make animal forms (especially elephants and lions), Victorian statues, furniture, fountains, vases and garden accessories.
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Pure white marble is used to make idols of worship. The intricate tools are carefully kept in marble dust to avoid any dirt staining the God-figures! A ceremony called ‘pranprathishtha’, invoking the God or Goddess that the idol represents to come to life, is performed before the idol is installed.
Left: An ornately carved marble elephant with floral motifs. Right: Detailed carving on the mane of a marble lion. The craftsmen are very skilled and take great care to do very fine detailing on each and every sculpture.
Buffing & Painting 23 The eventual finishing and polishing is done using buffing machines to give a gloss to the stone. The sculptures are finely colored using a combination of acrylic colors and oil paints. Painters point out that as against real gold and silver cladding during the times of Maharajas, the sculptures are now covered with thinner foils of the metal, used to highlight areas with ornamentation. Lacquer polishing is done to make the paint ‘pakka’ so that the paint doesn’t wash off or fade easily.
Left: Artisans painting on idols of deities. Right: Hand-painted marble decoration piece depicting Lord Ganesha.
Marble Inlay 24 Pietre dura is the term for the inlay technique of using cut and fitted, highly-polished coloured stones to create patterns or images. Coloured precious and semi-precious stones are inlaid in white, black or green marble stone. It is considered a decorative art, used to ornate marble products.
Top: Pietre dura and jaali work on a piece of white marble furniture. Bottom Left: Beautifully decorated marble elephant. Bottom Right: Inlay detail on a black marble tabletop.
The stonework is glued stone-by-stone to a substrate after having previously been sliced and cut in different shape sections. It is assembled together so precisely that the contact between each section is practically invisible. This art form evolved in Rome and as it became popular it even reached India. In Mughal India, it was known as Parchin kari. The art form was reinterpreted in a native style, its most sumptuous expression is found in the Taj Mahal. There is a flourishing industry of Pietra Dura artefacts in Agra ranging from tabletops, elephants, jewellery boxes and other decorative items. The patterns in these designs are more Persian than Roman. This art form requires high skills and dexterity in precision. In Jaipur, highly specialised artisans are called from Agra to work on the inlay in marble artefacts.
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Top: Inlay detail on a white marble furniture seat. Bottom Left: Inlay detail on a black marble tabletop. Bottom Middle: Motif of Persian origin used in Parchin Kari. Most of the patterns are floral. Bottom Right: Marble tabletops with inlay work.
Products 26 Over the years, the craftsmen have diversified this art form and craft many different kinds of products. Sculptures, Idols, Furniture, agarbatti stands (incense stick holders), coasters, statues, trinket boxes, candle-holders, aroma lamp oil diffusers, vases, table tops, decorative animal forms and lamps comprise their ever-selling product range.
Top: Hand-crafted marble vases and elephants. Bottom Left: Vases with jaali work in marble. Bottom Middle: Hookahs, lamps with beautiful ornamentation of semi-precious stones. Bottom Right: A translucent vase depicting Lord Krishna.
Flowers, leaves and animals are the regular patterns seen in carving. However, with modern influences the craftsmen are also adapting to Victorian themes. They make sculptures of Victorian women and angels, try out newer products and combine different materials with stone to evolve their design and sensibility. These largely cater to an international clientele and the flourishing tourist industry. A lot of the work done is commissioned, so they produce specifically for a particular market.
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Top: Large elephant sculpture and architectural columns. Bottom: Victorian themed sculptures of women. Also a sculpture of a panther.
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Left: Fountain with a Victorian lady hoding a pot. The sculpture is made from one block of marble, with another block for the flower base. Right: Intricately carved fountain with floral motifs. These pieces are very large and require a lot of work over days involving many craftsmen.
There is great diversity in the scale of the objects. The craftsmen make larger than life sized sculptures of dieties, women and animals. They also make furniture - sofas, tabletops - with beautiful detailing in jaali work and inlay. They carve lattices for buildings, as well as columns and pillars and other architectural features.
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They also make smaller products like vases, lamps, holders, boxes and decorative objects which are sold in shops and tourist spots.
Top Left: Solid carved marble furniture. Bottom Left: Marble furniture with intricate jaali and inlay work. Top Right: Marble tabletop with jaali and inlay work. Bottom Right: Tabletops with inlay work in white and green marble.
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Top Left: Idol of Lord Shiva and Goddess Parvati. It has been painted with gold varak finishes. Top Right: A mix of sculptures depicting Indian women, a bust of a Victorian woman and animal forms. Bottom: Lord Ganesha placed next to animal sculptures. It is only in the world of marble sculpture that one can see so many diverse form coming together in harmony.
Craftsmen 31
Rajesh Sharma: He has been working for a few years, under the training of Gautam Das. A brahmin from Bengal he came to Jaipur to find work in the marble industry. Many others just like him work in the city.
Baburamji: A highly skilled craftsman, he has been working for the past 40 years in Khazane walon ka raasta. The craft of marble sculpture is a family occupation and his sons also work with him in their shop.
Gautam Das: A master craftsman hailing from Bengal. He has been working for more than 15 years for a local company that sells and exports marble sculptures. He trains new craftsmen who work for the company.
Padmashree Arjun Prajapati: An internationally acclaimed master craftsman. He has established two institutes where he trains craftsmen. He has received many national awards including the Padmashree in 2010.
Marble in Architecture 32 Throughout centuries marble has been used to construct magnificent structures. It was a symbol of royalty and power in the olden times, used exclusively by emperors to show their opulence. The sheer flawlessness and beauty of marble reflects beautifully in buildings. It has been used extensively all over the world. Exquisite and intricate carvings are made on the marble to add detail. Inlay technique is also used to emboss patterns and motifs on the buildings.
Top: Marble features in the palace gardens at Amber Fort in Rajasthan. Bottom Left & Right: Details of marble carving and inlay in the palace complex of Amber Fort.
Marble is not only used for decorative purposes but also for its cooling properties. The craftsmen have exploited this property very well in the cooling system in the Amber Fort palace. Winds coming in pass through the carved marble filter and get purified and cooled. It would keep the palace cool even in the harsh summer heat of Rajasthan.
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Left: Intricate detailing of Marble carving and inlay on walls and columns. Top Right: Marble carving filter to cool air at the Amber Fort palace in Rajasthan. Bottom Right: A carved flower with a hidden motif of a scorpion.
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The Birla Lakshmi-Narayan Mandir, Jaipur. It has been constructed entirely with the finest quality white marble. It is a modern architectural marvel. The exterior of the temple is carved splendidly with beautiful sculptures based on mythological themes, while the interior has a large marble panel portraying mythological events.
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Top: Marble carving detail form the Birla Mandir, Jaipur. Bottom Left: The landmark statue circle, Jaipur. Bottom Right: Statue of Maharaja Sawai Jai Singh II, at the statue circle. He patronized the art of marble carving and it is because of his efforts that the craft has flourished ever since in the city.
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The Taj Mahal ‘crown of palaces’ is a white wonder of marble in Agra, India. The crown jewel in architecture, it was built over a period of 21 years by thousands of craftsmen and artisans. One of the seven wonders of the world, it is also a UNESCO world heritage site. It is the finest example embodying the art of marble carving and is the epitome of beauty, magnificence and splendour.
Conclusion 37 The craft of Marble carving and sculpture is a flourishing art form. Jaipur is known for this craft and it has been the centre of marble carving in India for ages. The traditional art form has evolved as newer machines have been introduced. The craftsmen have adapted newer forms and patterns into their
designs. There is no limit to the scope of work. The craftsmen make wonders from just pieces of stone. Most of the craftsmen still live in the shadows, but some of them have received recognition for their work, making a name for themselves and for this exquisite craft.
Acknowledgments 38 Gautam Das (craftsman) Mahinder Das (craftsman) Padmashree Arjun Prajapati Rajendra Prajapati (craftsman) Rajesh Sharma (craftsman) Baburamji (craftsman) Alok Sharma (artisan) Arun Das (artisan) Staff at Unique Art Age Staff at Arjun Arts & Sculptures