Handloom and Handicrafts
of
Gujarat
Handloom and Handicrafts
of
Gujarat Edited by Villoo Mirza and Vinutha Mallya
Government of Gujarat Gujarat State Handloom & Handicrafts Development Corporation Limited in association with
Mapin Publishing
CONTENTS
14
Messages
20
Preface
28
Craft and Art of Clay
48
Wall Art Traditions
56
Rich Inheritance of Stone Crafts
76
Metal Objects of Daily Use
94
Jewellery and Ornaments
One Soul from Many Parts Intuitive Strokes Timeless Edifice
Crafted Opulence
Metaphors of Identity A Blend of Textures
110
Printed, Dyed and Woven Textiles
156
Hand Embroidery
Revelry of Seams
Glistening Elegance 178
Colourful Beadwork
186
Wood Crafts
204
Bamboo and Cane Crafts
212
Revisiting Leather Artisanship
224
Puppets, Soft Toys and Dolls
234
Paper Crafts
240
Gujarat Crafts in the New Millennium
248
Glossary
251
Bibliography
253
Gujarat State Handloom & Handicrafts Development Corporation Limited Offices
254
Acknowledgements
255
Copyright and Credits
Carved Wonders Grassy Weaves Hide and Sleek
Animated Eloquence Vehicles of History
First published in India in 2012 on behalf of
PAGE ď›œ | Kirti Toran at Vadnagar, made of red
Government of Gujarat
sandstone and built during the reign of Solanki dynasty.
Gujarat State Handloom and Handicrafts Development Corporation 1st Floor, Handloom Technology Institute Building, Nr. Mahatma Gandhi Temple, Sector 13, Gandhinagar 382 016 T: +91 79 23247059, 23247033, 23241712 F: +91 79 23230738, 23247059 & DPOUBDU!HVSKBSJ DP JO t XXX HVSKBSJ DP JO t XXX DSBGUPGHVKBSBU DPN by Mapin Publishing Pvt. Ltd 706 Kaivanna Panchvati, Ellisbridge Ahmedabad 380006 INDIA 5 t ' & NBQJO!NBQJOQVC DPN t XXX NBQJOQVC DPN Text Š Gujarat State Handloom and Handicrafts Development Corporation Limited, 2012 Images Š as listed Note: All images reproduced in this book are copyright of the parties listed on page 255. None of them should be reproduced in any manner, nor by scanning or photocopying without the written permission of the owners. All rights reserved under international copyright conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. ISBN: 978-81-89995-71-3 (Mapin) ISBN: 978-1-935677-26-0 (Grantha) LCCN: 2012944019 Edited by Villoo Mirza and Vinutha Mallya Copyeditor: Vinutha Mallya/Mapin Editorial Cover and Book Design: Gopal Limbad/Mapin Design Studio Production: Mapin Design Studio Distributed in North America by Antique Collectors’ Club 5 t ' & JOGP!BOUJRVFDD DPN t XXX BOUJRVFDPMMFDUPSTDMVC DPN Distributed in United Kingdom and Europe by Gazelle Book Services Ltd. 5 t ' & TBMFT!HB[FMMFCPPLT DP VL t XXX HB[FMMFCPPLTFSWJDFT DP VL Distributed in Southeast Asia by Paragon Asia Co. Ltd 5 t ' E: info@paragonasia.com Distributed in the Rest of the World by Mapin Publishing Pvt. Ltd Printed in India by Aegean Offset, New Delhi
PAGES 2 –3 | Chabdi bhat motif. Detail of patola sari (see pp. 130–131). PAGES 4 –5 | Man outside his home, in Kachchh,
with his child and his goat. Pastoral communities are settled all over the state. PAGES 6 –7 | Metal latch on an elaborately carved pataro. The patara are large wooden chests with lots of space to store valuables and given as heirlooms. The wooden surfaces are embossed with metal elements, and held together by metal joinery. Saurashtra region is the centre for patara making in Gujarat. PAGE 11 | Kachchhi Rabari woman. PAGES 246 –247 | Harijan women and a child. Veils and jewellery are metaphors for identity in Gujarat. PAGE 252 | Stack of colourful bandhani cloth. Bandhani textiles, which were once dyed with natural dyes, have great contemporary appeal and they are now produced in a range of colours, with chemical dyes, to suit the urban market needs. PAGE 256 | Elaborately bedecked bullocks with their caretaker at the Tarnetar Fair.
LIST OF CRAFTS Agate Craft
Handmade Paper
237
Patchwork
155
Ahir Embroidery
172
Handwoven Textiles
133
Patola
128
Ajrakh
113
Household Articles in Stone
Applique
155
Aari Embroidery
162
Jat Embroidery
158
Ashavali
133
Jute Furniture
245
Bamboo Baskets
74
208
Bamboo Utility and Home Décor Products
210
Bamboo-based Musical Instruments
211
Bandhani – tie-dye
120
Batik – Wax-resist BlockPrinting
119
Beadwork
178
Bead Accessories
184
Bead Jewellery
106
Beaded Textures
181
Beadwork Embroidery
181
Block Making
197
Block Printed Textiles
113
Built Environment in Stone
59
Carved Stonework
69
Carved Woodwork
198
Clay Relief Work
41
Clay Vessels
34
Copper Bells Crewel-embroidered Leather
93 223
Dabu – Mud-resist BlockPrinting
118
Decorative Hangings
231
Dhabla
Kamangari Wall Painting
73
52
51
Puppets
226
Rabari Embroidery
172
Rag Dolls
230
Rogan kaam
152
Khadi Cloth
137
Kharek Embroidery
163
Sadeli
200
Kharel
146
Sadu Bharat Kaam
162
Khhadi Printing
117
Sankheda Furniture
193
Kite-making
239
Saudagiri
116
Shawls
138
Lacquer Work (Kachchhi)
199
Sheet Metal Craft
91
Latticed Leather
217
Silver Jewellery
98
Lota
81
Silverware
233 162
200
Soof Embroidery
Mashroo
134
Stone Craft
Mata-ni-pachhedi
149
Structural Elements in Stone
Matlu
32
Metal Implements
89
Metal Ceremonial Utensils Metal Icons
90
Soft Toys Marquetry (see Sadeli)
56 68
Sujani
136
86
Tangalia
134
88
Tribal Jewellery
106
Metal Utensils and Containers 80
Tribal Wood Carving
200
Mochi Bharat Kaam
164
Terracotta
31
Moti Bharat Kaam
181
Mud Mirror Work
40
Votive Terracotta
44
Mukka Embroidery
170
Mutwa Embroidery
174
Namda
144
144
Dhabu
47
Paako Embroidery
161
Dhurrie
144
Pachchhikari and Kundan
109
Dyed Textiles
120
Pachhedi
144
Painted Textiles
149
Panetar
125
Gambhiro and Khudi Tanka
168
Gharchola
125
Parsi Embroidery
177
98
Pastoral Footwear
220
Patara
202
Gold Jewellery
Pithora Painting
Warli Painting
55
Woodwork
186
Wood with Metal
202
Wooden Ship-making
201
Wooden Vernacular Architecture
190
Zardosi
168
MAP OF GUJARAT N
J
A
S
T
H
Deesa
Ambaji
Palanpur
R a n n
S A BA R K A N T H A
Ludiya K A C H C H H
Banni
Rapar Nirona
PATAN
Patan
Himmatnagar
MA H E S A N A
Mundra
Chotila
R A J K O T
Junagadh
J
International Boundry
B
U
N
A
Chhota Udepur Sankheda
H
AR
A
Sihor Bhavnagar
Veraval
Rajpipla
UCH
N A R MADA
Bharuch
L I A M R E
G A D H
T A PI
SURAT
Gulf of Khambhat
State Boundry
Tapi
Surat Navsari
N
A
VS
Valsad
District Boundry
T
Vadodara
VADODARA
Amreli
R
A
Khambhat
Dahod
Godhara
D A NGS
ARI
Ahwa
VALSAD T
R
State Capital
A
A
ANAND
BHAVNAGAR
Jetpur
D
R
Nadiad
A
H
Rajkot
A R J A M N A G
A
D
J
E
U
Ratanpur Anand
M
G
Surendranagar
Vankaner
Jamnagar
N
DAH OD
P A N C H M AH AL
KHEDA
B A D
SURENDRANAGAR
Morbi
A
Ahmedabad
Gulf of Kachchh
Porbandar
GANDHINAGAR
Anjar
RB
Poshina
Mahesana
Modhera
Bhuj
PO
N
H
D
BA N A SKANTH A
G r e a t
A
District Capital
H S
Major Centres of Crafts
Ar ab ian Sea
I
N
D
I
A
Boundaries based upon Survey of India map with the permission of Surveyor General of India. ©2012, Mapin Publishing. Responsibility for the correctness of internal details shown on the main map rests with the publisher.
P R A D E S H
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M
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M A D H Y A
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The beauty and wonder of Gujarat is represented in its rich handmade craft traditions. Gujarat is blessed with rich and vibrant traditons of handicrafts. From the shimmering mudmirror work of Kachchh, the intricate double ikat patola weaving in Patan, the colourful Sankheda furniture, the sturdy pataras of Saurashtra, and the dexterous bamboo work of Chhota Udepur; to the block-printed textiles, embroideries and jewellery from across the state—all crafts collectively create a sense of identity and pride among the people of Gujarat. Many of these, today a way of life that emerged in the Indus Valley civilization, preserve the wealth of human knowledge accumulated over centuries. From historic times, Gujarat has remained successful in trading handicraft products around the word and in spreading the glory of techniques and skills of Gujarati artisans across the globe. The textual and visual contents of the book to be published enlightening the beauty of Gujarat handicraft and artisans will prove to be delightful to the readers for exploring the Gujarati handicraft creation and creators. The publication of this book is a humble gesture to pay tribute to the innumerable artisans who add the aesthetic values to the life and give us a reason to be proud of being Gujarati. My sincere congratulations and best wishes on occasion of presenting this book to you.
Narendra Modi CHIEF MINISTER, GUJARAT
Craft activity in Gujarat is located in cottage and rural industries which come within the purview of Department of Industries and Mines, Government of Gujarat. They have great value in domestic and international markets because of their unique designs, colours and forms. With the help of a range of schemes, we are able to help link artisans with the global market place, which also helps them to cope with changes brought in by mechanization and industrialization. The artisans of Gujarat not only demonstrate a range of skills, but also a unique aesthetic that guides their design. For them, their expertise is more than a source of livelihood—it is embedded in their daily life and social landscape. Over time, these kaarigars (artisans), have innovated with materials and techniques like artists do, and found ways of doing so by being in complete harmony with Nature and the environment around them. In this book we have showcased the special aspects of every craft being practiced in the state. This unique publication highlights the potential that can be turned into opportunities and thereby to benefit the entire crafts sector. The Government of Gujarat is glad to be a part of every endeavor that leads to the growth of the handloom and handicrafts sectors.
Ranjitbhai Gilitwala MINISTER OF STATE FOR COTTAGE INDUSTRIES, GOVERNMENT OF GUJARAT
The crafts of Gujarat have covered the distance today, from the craftsperson’s home in the village, to hotels and urban homes in India and abroad. The demand for the fine skills of our artisans is ever-growing. Ever since the Gujarat State Handicrafts Development Corporation was established in 1973—and subsequently the Handloom Corporation in 1979—the GSHHDC has focused on the revival and development of handicrafts and handlooms of Gujarat. Very early on, the Corporation saw the benefits of making quality raw material and design inputs available to create products with contemporary appeal, but without altering traditions of the craftsmanship. Several thousands of artisans and weavers living in rural, urban and remote tribal areas of Gujarat, are covered by various schemes of training and design development. The Corporation implements the schemes of Government of India and Government of Gujarat that benefit artisans and weavers. The GSHHDC’s activities have helped in creating sustainable employment opportunities and income generation in this non-farming and non-manufacturing sector of Indian economy. To provide the link from creation to usage, marketing opportunities are available to artisans and weavers through the GARVI–GURJARI chain of emporia across the country. In addition to these activities, GSHHDC also organizes exhibitions and local melas to sell and create awareness of handloom, handicrafts and tribal crafts of Gujarat among perspective buyers. This publication is a first-ever book which features a complete list of crafts that are practiced in the state. It is a celebration of the artisans in the state as well as a documentation which displays the varied array that encompasses the term ‘crafts of Gujarat’. I am confident that this visual treat will supplement our efforts in developing this sector, whose potential is yet to reach the zenith.
A.K. Joti, IAS CHIEF SECRETARY, GOVERNMENT OF GUJARAT
On the occasion of Swarnim Gujarat celebrations, this book manifests the continuing realization of the importance of handloom and handicrafts in the state. It also provides descriptions of every craft practiced in Gujarat. I wish every reader finds this book invaluable, and recommends to others, that they experience the magnificent crafts of Gujarat at least through this book.
Maheswar Sahu, IAS PRINCIPAL SECRETARY, INDUSTRIES & MINES DEPARTMENT, GOVERNMENT OF GUJARAT
I am pleased that this book documents major developments of Gujarat’s handicrafts. Not only does it delineate the history of all major crafts of the states, it also offers glimpses into some unknown ones. The documentation of contemporary developments in the craft sector is a good appendage in the book, one that reflects the new directions that our crafts are moving in. By highlighting the crafts unique to specific locations within the state, this book does great service in furthering the development of handicrafts and textiles of Gujarat. I feel very proud to present this showcase of Gujarat’s handicrafts and hope that this book reaches to readers far and wide.
A.M. Solanki, IAS SECRETARY (COTTAGE & RURAL INDUSTRIES), INDUSTRIES & MINES DEPARTMENT, GOVERNMENT OF GUJARAT
This book desires to be an indispensable addition to the library of any person or institution interested in handicrafts of Gujarat. Its unique feature is that it is the first such book on the crafts of Gujarat to be commissioned by the state government. This book captures the historical evolution of the craft sector in Gujarat and covers all the well known and lesser-known crafts of the state. It is adorned by photographs that reveal the glory of handmade objects, produced by thousands of craftspersons. I am particularly pleased with the quality of printing and production. I hope you readers will find this book to be of great value.
A.K. Jha, IFS MANAGING DIRECTOR,
GUJARAT STATE HANDLOOM & HANDICRAFTS DEVELOPMENT CORPORATION LTD.
PREFACE
The story of Gujarat is one of amalgamation and continuity of the human potential, demonstrated by the glorious kaarigari, craftsmanship, in the state. The kaarigars (artisans) of the state have for centuries produced exquisite objects for daily and ceremonial uses. They have taken aid of locally available materials and applied ingenious skills and techniques, combining it with right imagination. Every natural resource— clay, wood, stone, metal, cotton yarn, animal hide and various flora—has been adopted and fashioned, in an array of designs. What we have, as a result, is a fascinating balance between Nature and humans, and between form and function. Most of the craft traditions that remain alive today are traced to the ancient Indus Valley civilization, of which present-day Gujarat was once a part. The rich maritime history of the state also dates back to that period. In mythology, Gujarat is where Lord Krishna came to settle, in Dwarka. Over centuries, many communities and tribes arrived and established a place for themselves here. Coming from all directions, by land and sea, some from as far away as Central Asia and Africa, these communities assimilated with the local population and they have together created a unique milieu. As a part of many empires and kingdoms—from Mauryan to the Greek, Gupta, Maitrak, Chaulukya, Delhi Sultanate, Gujarat Sultanate, Mughal, Maratha and finally the British—Gujarat constantly benefited from new influences, the imprints of which are still found abundantly in the stone architecture of the state.
Wall painting in Kachchh Art and design pervade daily life in Gujarat. This wall art represents folk traditions that are replete with motifs borrowed from Nature.
Wrist bangle Jewellery is a metaphor of identity in Gujarat. Women and men adorn themselves in metal and bead jewellery. This is a fine example of beaten wire and assembled work in silver.
Gujarat is made of four distinct cultural zones— north Gujarat, Kachchh, Saurashtra (including Kathiawad) and south Gujarat—each displaying the uniqueness in terrain, people and practices that exist here. Today, the state is home to 289 distinct communities that follow different faiths, customs and traditions. Hindus, Jains, Buddhists, Muslims, Parsis, Christians and their sub-sects, along with pastoral and nomadic tribes, have co-existed for centuries. What bind the people together are the Gujarati language and the activities of day-to-day life. Preservation of self-identity in this multicultural environment is an innate impulse that is magnificently manifested in the craft traditions, folklore and festivals of the state. In the dry, desert region of Kachchh, women work for months, creating beautiful costumes and dowry items, and embellishing them with motifs that reveal their group identities. They adorn themselves with a fantastic array of jewellery, the designs of which embody their customs. Each village or a cluster of villages was once a self-sustained unit, where specialist artisans produced clay ware, textiles, metalware and other items for local consumption. Over a period of time, certain unique crafts have evolved in a particular place or region of the state: the patola at Patan, the lac-coated turned wood crafts of Sankheda, the Ajrakh in Kachchh, the sadeli work of Surat, and a range of embroideries within each region, are just some examples. That the crafts of Gujarat remain alive since prehistoric times until today, can be attributed to the process of continual evolution and the adaptation to changes in social, political and economic trends. Royal patronage ensured that crafts like stone and wooden elements in architecture, textiles and embroidery and metalware reached the zenith. The mercantile ethos of Gujarat, aided by the presence of many ports, ensured that these crafts received acclaim in far away lands. The ports of Gujarat, located on the spice route and the silk route, made the land a hub of exports and imports of goods. Merchants travelled and traded in Arab regions, southern India, and Southeast Asia—traversing the seas and land. Not only did the crafts reach different corners of the world, the trade routes also ushered in influences of material, form and techniques from those regions. The period after Independence in 1947 brought into focus the need to recognise the craft traditions that existed across the country. As an integral part of India’s rural and urban economies, the craft sector was identified as an area
22
deserving of special emphasis. Many individuals at the national level were instrumental in reviving the craft heritage of the country. The most notable of them was Kamaladevi Chattopadhyay, whose vision led to the creation of many cultural institutions, of which the Central Cottage Industries Emporium and The Crafts Council of India are just two. The India Report prepared by Charles and Ray Eames in 1958, resulted in the establishment of the National Institute of Design in 1961 in Ahmedabad, as an autonomous national institution for research, service and training in industrial design and visual communication. A few years after Gujarat was demarcated as a separate state on 1 May 1960, the state government established a Handicrafts Corporation, and later a Handloom Corporation, that could look into the needs of artisans in the state. The Department of Industries of the state government oversees Cottage and Rural Industries, and is responsible for the expansion of opportunities for employment generation among artisans and workers in the informal sector. Training for skill upgradation, marketing support, credit support and technology advancement are provided to craftspersons. The implementing agencies for these activities are the office of the State Commissioner for Cottage Industries at Gandhinagar; District Industries’ Centres; Gujarat Khadi and Village Industries Board; Gujarat State Handloom and Handicrafts Development Corporation; Gujarat Rural Industries Marketing Corporation; Gujarat Matikam Kalakari and Rural Technology Institute; Indext-C; NGOs; and co-operative societies. Schemes for training and skill enhancements are being implemented through TCPC and Kutir Mandir, cluster developments, establishment of the Gradmodyog and Vikas Kendras. The state agencies run various several vocational courses related to Tailoring, Printing/Binding, Cotton/ Woolens weaving, Embroidery, Patchwork, Bamboowork, Block-printing, Tie-and-dye, Metal-craft, Beadwork, Woodcraft, Zardosi, Minakari, Jute furniture, Leather, Carpet, Paper articles, Soft-toys making, and Clay-art among others. Trainers are encouraged to obtain support from banks through Bankable Schemes. Bank-support is also given to start new cottage industries or to provide service to the sector. As part of the Manav Kalyan Yojna, toolkits are provided to lower income group families to help them with creation of self-employment opportunities. Additionally, the State Tribal Development Department has established DSAG and provides high quality employable skill training through PPP mode. The Cottage Department has entrusted to the CEPT University a project on researching design innovation in stone, metal and bamboo crafts in Gujarat.
ABOVE | Door handle
Animals inspire many designs and motifs and they are stylised to provide decorative elements. Seen here are a lion and two peacocks. BELOW | A scale
Gujarat’s mercantile history has been instrumental in the development of its craft traditions.
23
24
Marketing and outreach are looked after by number of agencies that arrange Fairs, Festivals, and Exhibitions within and outside the state. The Indext-C has launched a website (www.craftofgujarat.com) which facilitates sale of artisans’ products. Customers are offered rebates of 5%–20% for khadi, Poly-khadi, handloom and handicrafts, while assistance is provided for artisans who require replacement of the khadi charkha (loom). A permanent structure, Khadi Mandir, and haats (markets) are encouraged for sale of khadi, handloom and handicrafts. Artisans are given facilities of an ID card and credit-card billing. Welfare activities have also been introduced. The handloom weavers of the state are covered under a health insurance scheme. A new project ‘Mission Mangalam’ envisions the integration of the women’s Sakhi Mandal with selfemployment oriented economic activities. This will facilitate women’s participation in development and ensure that the benefits of these schemes would reach women too. The Gujarat State Handicrafts Development Corporation Limited was established in 1973 by the Government of Gujarat. The main objectives of the Corporation were to identify, revive, and develop handicrafts of the state. The head office of the Corporation was established in an old bungalow in Ahmedabad and a branch office was set up in Bhuj. Later, a showroom was also set up in a shopping complex on Ashram Road in Ahmedabad, and this was called Gurjari (to mean ‘of Gujarat’). The interiors were designed in a way that it beautifully represented the many crafts of the state. An assortment of antique furniture, utensils and embroidered textile samples were procured to create installations that showed the richness of the crafts of the state. This spurred a trend of enhancing home décor with crafts. Around the same time, a drought in parts of the state had forced the pastoral Rabari and Maldhari families to come and settle in the outskirts of Ahmedabad city, in the Sarkhej Roza area. In desperation and distress, members of these migrant groups were selling their belongings, jewellery, embroidered textiles and cattle. The situation was exploited by middlemen, and the idea to create an outlet emerged from this situation—to provide a platform by which these artisans could sell their ware, with the help of the state. The emporium was a first-of-its-kind showroom in India, where all the handmade merchandize produced by the artisans—ranging from textile, embroidery, wood, metal,
FACING PAGE | Rabari man embroidering
Gujarat is famous for the variety that exists in embroidery styles. It is the women who embroider, and pass on the skill to their daughters. The sight of a man sitting down to do embroidery is unusual and indeed rare. ABOVE | Hand fan
An exquisite example of beadwork of Gujarat. In this museum piece, beadwork, mirrorwork and woodwork have created a utilitarian object.
25
bead, clay and leather work—were on display. Gurjari quickly became popular among the elite and the middle class, who were happy to procure crafts, which were designed in a way that was relevant to their lifestyle. Such lifestyle products made from handicrafts thus received emphasis, and this continues even today. Block printed yardage and garments produced through tailors with the help of students of textile design from NID, became a runaway success. The blockprinted saris and dupattas (veils) became fast-selling items.
Bohra caps Turbans and caps are signifiers of religion and faith in Gujarat. The style and design changes every few kilometers. Bohra caps are worn by men of the Dawoodi Bohra community of the state. The women in every Bohra household make these caps for the men.
There was no database of craftsmen available at that time since the sector was unorganized, but the market demand for utility items of heritage value, such as wooden cabinets (damachiya), metal and wood boxes (patara), Sankheda furniture, and bird feeders (chabutra) grew. They were procured from rural areas and contemporised for urban demand. By the 1970s urbanisation had taken over and industrial products were competing with handmade utility products, as the consumer profiles were changing. The Corporation created a supply chain to link the handmade products to a wider market. By the year 1983, outlets of Gurjari were opened in Mumbai and Delhi. The procurement of raw material was made easier for craftspersons and productivity was encouraged to meet the demand for large volumes. Gurjari soon began exporting to other countries like Portugal, Spain, Greece, Italy and the UK. One of the most exported items was the hand mill accompanied by a circular wooden basin that held the ground flour. Known as ghanti na thala, container loads of this apparatus were exported to Europe. Carved doors and sheet-metal encased doors from Gujarat were in great demand in the ‘80s and ‘90s in the Middle East market. In the ‘80s, Gurjari achieved national and international fame after participating in the Festival of India, and in the international expos that were held in Paris and New York. Lifesized puppets, stuffed toys with embroidered decorations, and wood-carved pillars and brackets were displayed in the themed pavilions. From 1980 to 1990, apparel made with block-printed fabric and embroidered patch became the signature product of Gurjari. By the 1990s, Gurjari became an established brand, and branches of the emporium were opened in Chennai, Lucknow, Kolkata, Hyderabad and
26
Bengaluru. In these cities, the vegetable-dyed fabrics at affordable rates became a quick favourite with young girls. In Ahmedabad, the popularity of fashionable garments made with local fabrics led to the setting up of a designated market at Law Garden, which is today popular among locals and tourists alike. A number of women entrepreneurs set up boutiques across the state. A good range of women’s wear was produced in the small production centres in the city. Many entrepreneurs acquired antique furniture and other household objects of curio value for export and local markets. They also began to create new products with antique finishing that resembled the old pieces, to meet the demand. The state government set up the Gujarat State Handloom Development Corporation in 1979 for commercial and economic development of handloom weavers, and later gave it the brand name, Garvi (“Pride”). Over time, 22 Garvi showrooms were established within and outside the state, to promote handlooms. In June 2002, the Government of Gujarat merged the two Corporations to create a unified company— Gujarat State Handloom and Handicrafts Development Corporation Limited. The two marketing brands, Garvi and Gurjari, were brought together as Garvi–Gurjari. The GSHHDC has undertaken a continuous process of providing design inputs to artisans to ensure that the products meet the demands of contemporary markets without altering the traditional values of craftsmanship. Thousands of artisans and weavers, who live in rural, urban and tribal areas of Gujarat are covered under various schemes that provide training and design development. The Corporation’s activities have helped create sustainable employment opportunities and income generation for artisans working with handloom and handicrafts. The Garvi–Gurjari chain of emporia across the country markets products created by these artisans and weavers, and it also supplies to exporters, creating a market in overseas countries.
Foldable stool Urbanisation in the state has led to a great demand for products that suit contemporary lifestyle. This example combines the skills of woodwork and leather work in creating a popular design.
The crafts of Gujarat have received acclaim in India and abroad since they combine beauty and design. In this book, readers will be introduced to the many crafts—traditional and modern—with a rich display of illustrations supported by brief text about the crafts. The aim of the book is to not only represent the exhaustive range of crafts, but to also highlight the unique techniques and tools that craftspersons use while making them. It also catalogues important changes in traditional practices, and at the same time acquaints readers with the skills that are now transferred to create contemporary products.
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craft and art of clay
ONE SOUL FROM MANY PARTS
Clay is one of the oldest materials known and worked on by mankind. It is the very tap root of every civilisation in the world. Modern-day Gujarat is geographically located in the most ancient region of the sub-continent—the Indus Valley civilisation. This glorious lineage is visible even today in vessels, figurines and toys that are used in everyday life for agriculture, cooking, rituals and festivals. The clay objects of Gujarat demonstrate sophisticated forms, intricate pattern and ornament, and ergonomic functionality for daily use. The artisan behind this dazzling array of objects is the humble kumbhar from the Prajapati community, who is an integral part of every village. There are several differing stories from Hindu mythology as to the origin of the first prajapati and the first kumbh or pot that was a gift from the gods.
PREVIOUS PAGES | Potter moulding clay
A pot is skillfully moulded by a kumbhar, potter, using a potter’s wheel. The potter’s role is traced to stories of Hindu mythology. Clay is dug locally from lakes or ponds only a few times a year and then stored in large open heaps at the potter’s home, which also serves the dual purpose of a workshop. Sometimes, the women of the family take charge of this chore. The potters still use a donkey to transport the dry clay to the home. LEFT | Replica of an elephant
Gujarat has a unique tradition of votive terracotta, perhaps due to the Indus Valley heritage. Figurines of animals and humans, coated with lime and painted upon, are placed in shrines and sacred groves.
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The main raw materials and tools that the potter uses come from his surroundings and the neighbourhood mati—the terracotta or red clay. Preparation of the clay is always done by the women who pound and sieve it to remove stones, leaves and twigs. The heavy spoked wheel or chaak is made of teak wood and cement nowadays, while the older versions were made in stone. It is thought that Lord Brahma is present when the clay is being formed into a pot—hence the women are not allowed to work on the wheel. Besides the clay preparation and firing, the women do all the clay relief work on walls, the hand-modelling of toys and small votive figurines, and also the delicate, painted decoration on the pots that look remarkably akin to the embroidery motifs on their garments.
Family at work Traditionally, the entire family is involved in making of the pottery. Preparation of the clay is always done by the women—it is pounded and sieved to remove stones, leaves and twigs, then water is added to the entire mass and it is kneaded by the bare feet in a circular manner. The men work at the potter’s wheel and later beat the pots to enlarge them. They also harden the pots on an open fire created by using straw and cow dung cakes. The women paint and decorate the pots.
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ABOVE | Pots left to dry
The wooden pole is set in a notch at the edge of the wheel. This is used to turn the wheel to gain momentum. Once fully accelerated, the wheel can maintain its momentum for 8–10 minutes, and if it slows down before the completion of the pot, the potter uses the pole again to gain speed. The drying pots are in ‘leather hard’ stage. They are first moulded on the wheel and when half dried beaten into a fully spherical shape with a tapalu, wooden paddle, on the outer edge and supported on the inside by a pindi, stone disc. RIGHT | Women painting clay utensils
Painting is done using either a small bamboo tool which is beaten at one end to form a frayed end like a brush, or with the end of a shred of cloth tied to a twig. Decoration is based on geometric patterns with abstract stylisations of human, animal and floral motifs.
Matlu There is a great amount of dexterity and skill required, which takes years of experience, to make one of the most basic of pots—the matlu or water pot—which is made first on the wheel with a thick base and broad rim. Later, when half dried, it is beaten into a fully spherical shape with a thapa or wooden paddle. The surface is later refined with the application of geru or red slip, and burnished with a small stone pebble before the delicate abstract bands of black, white and dark red pigments are painted with patterns. Each pot is spun on the base of an overturned concave shard on the ground while the horizontal banding that clearly demarcates the neck, shoulder, body and base of the pot is done. After it is fully dried, the pots are fired to red heat (around 750 degrees centigrade) in an open elongated triangular pit kiln fired with agricultural waste, wood and dried cowdung cakes.
Geru The surface of a pot is refined with the application of geru or red slip, derived from rich agricultural soil collected from fields. Geru is prepared into a fine liquid by pounding the pigment and grinding it with water.
Terracotta utensils with geometric designs This set of kitchen utensils is made by Muslim potters in Khavada, Kachchh. The distinctive red, black and white ornamentation is a specialty of the region. It reveals a direct connection to the Indus Valley sites. Delicate abstract bands of black, white and dark red pigments are painted with patterns of loops, dots, diagonal and vertical lines, chevrons, cross hatching, animal motifs and swirling curves.
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LEFT | Kachchi tavdi
Used for making the large rotlo, homemade bread, this cooking vessel has a thicker outer rim for easier handling. BELOW | Hando
A storage vessel.
Cooking Vessels Besides the matlu, there are cooking vessels like the tavdi or open dish used to make rotlo, the flat bread. Cooking vessels are specially designed to withstand thermal shock and thus have enlarged thickened rims, gentle contour and spherical bases to accommodate even heating on a wood fire. Cooking is done on a chulo, raw mud hearth, fuelled by small sticks or cowdung cakes, and it is believed that food cooked in an earthen vessel has a superior flavour. The tavdi used to make rotlo comes in two sizes. One of them is the kachchi tavdi used for making the large rotlo. It has a thicker outer rim for easier handling. Many of the cooking vessels such as sakio and tavdo have a sharp angle between the rim and neck, providing a grip for easy handling.
The decoration is based on infinite variations of geometric patterns with some abstract stylisations of human, animal and floral motifs. No pot is left undecorated as this is considered unaesthetic; customers have a choice between the white base with red and black painting, and the red base with black and white painting. The flattened circular water pot with an elongated neck and small rim is especially designed to be carried while on a camel. The women of the Rathwa tribe of Chhota Udepur produce beautiful concave vessels with square rims, using a slab of clay and an old broken water pot shard as a mould. The special characteristic of this vessel is the application of natural lac on the interior surface when the pot is still hot from the firing. This creates a dark red, shiny impervious layer similar to a glaze.
Rice and milk are boiled in a kunnu, which has a wide mouth to allow for stirring. The taplo is a wide mouthed vessel with a nearly flat base in which food that needs constant stirring is placed. Other cooking vessels like the kathrot are open and shallow with a flat base, and those used as eating utensils such as tabak, nani patar, sanak are also open and shallow, with a rim base to add stability while eating. The decoration on the vessels from Bhuj, Lodai and Khavda in Kachchh and Surendranagar, in the distinctive red, black and white ornamentation, is a specialty of the region. This reveals a direct connection to the Indus Valley sites.
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LEFT | Lac-coated pottery
The women of the Rathwa tribe of Chhota Udepur produce these beautiful cooking vessels, in which the interior surface is coated with natural lac, giving it a glazed look. BELOW | Matlu in Gundiyali
Generations of craftsmen have been making earthen pots in the village of Gundiyali in Mandvi taluka, in the same shapes and designs as those seen in Harappan excavations.
Different shapes of pottery These replicas demonstrate the different shapes of storage utensils.
Storage Vessels
Ritual Vessels
Storage vessels for grains like the tas and uthrod have wide mouths for easy access of a hand or scoop to be inserted easily. These are made in different sizes with flat lids so that they allow for easy vertical stacking—as many as seven in one row.
Ritual vessels made for ceremonies include divada, lamps, for Diwali and the stacked pots of differing sizes for the wedding ceremony, which are placed in the four corners of the mandap, the sacred square space, filled with offerings of rice.
The hando or water vessels are usually in pairs, which the women carry to the well to fill water. The larger one is stationary and used for storage, and is filled by the smaller one. The stationary large hando is normally placed on a platform in the home, where a small depression is created to allow stability for the spherical base. The ghado, bhambho and bhambhali are water pots that are used to transport water over distances and are specially designed with small necks and rims so as to reduce spillage. Each has a unique groove under the rim around which a rope can be tied to secure the vessel during transport.
Ritual pots for marriage, death and birth are modifications of the vessels of daily use but with different sizes and decorations. There is no distinction between religious groups as both Hindu and Muslim potter communities make a wide range of vessels and ritual objects for dozens of tribal communities including the Rabari—nomadic sheep and cattle herders, Ahir farmers, and others like the Bhils, Rathwas, Chodhris, Dublas, Naikas and Vasavas, as well as the mainstream urban population. However, each vessel or object is deeply integrated with the community and reflects group identity in its shape and decoration. It is the creative expression and visual signifier of each people’s distinct cultural and religious identity. Every significant act of life and rite of passage is marked by special ceremonies involving a clay object.
Vessels for milk and buttermilk have relatively high necks with narrow openings. The uthadi doyu—a special vessel for milking the camel— has a very high neck to catch the milk while the pot is balanced on the knee of the milkman.
Raw ware and ready pots The raw ware is stacked on a bed of ash and broken shards—approximately 300 pots and other objects—and then covered with layers of shards, straw, ash and clay.
ABOVE | Interior of a bhunga
A Rabari home in Gundawadi, Kachchh. The interior is laid with clay relief work, including niches, lintels, partitions and cupboards for storage. As very little light is let in thanks to the desert climate, the decorative mirrors inlaid into the clay walls brighten up the room inside by reflecting light. RIGHT | Clay bhunga of Kachchh
The bhunga is a round mud hut with dome-like thatched roof, unique to the Kachchh region. The thick clay walls insulate the inside from the unrelenting desert heat.
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Clay Relief Another specialty of Kachchh, in the districts around Ludiya, Gorewali, Banni and Baniari, is the unfired clay relief work embedded with mirrors in the domestic architecture of the region. White clay known as chikni mati or babro mati from the Kaalo Dungar hills is mixed with dung to make lipan, a sticky mortar plaster, which is applied on the indigenous bhunga, the circular huts. These huts are built with a bamboo infrastructure and have straw thatched conical roofs on a wooden frame. The thick walls are an excellent insulation from the searing summer heat. The lipan provides a lasting thick foundation for the walls, inner partitions, doorways, lintels and niches of the bhunga. It is applied by creating okli, textural patterns, or smeared with the fingers and palms. After the base coat, strips and coils of finer clay are sculpted into intricately detailed floral and geometric shapes that are inlaid with small circular mirrors to create an effect similar to embroidered garments. Among the most popular designs are the kangari (border), butti (small flowers), vel (creeper), sandhia (camels), and mor (peacock). The surface is then mainly painted with chunna, a white lime wash. The furniture in the hut is also decorated in a similar manner with the sanjiro, the storage cupboard for valuables, holding pride of place. There is also the kothalo, large granaries for storage, chausar (another type of grain storage) and kothi, the cylindrical storage container set on a platform called pedlo. Dhadablo, the seat for babies; utroni, clay stand; chulo (stove/hearth) and paniyarun, the clay platforms —all are adorned with elaborate creative relief work, which gives a rich visual fantasy especially at night when the reflected light of candles or oil lamps is repeated hundred times over. The outer walls are painted with geometric patterns in earth colours: pink, yellow, ochre and black; these incorporate symbols believed to ward off the evil eye and ensure the health and well being of the family. There is constant maintenance required and in order to maintain cleanliness, the women of the family resurface floors and walls regularly with a mixture of clay and gobar (dung), at important seasonal times such as harvest, planting and winter.
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Sculpting of okli, textural patterns Intricately detailed floral and geometric shapes are sculpted and inlaid with mirrors to create an effect similar to embroidered garments. RIGHT | Mor, peacock motif
Such wall decorations are found in Rabari homes in Saurashtra and Kachchh. The motifs are generally derived from embroidery patterns.
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“Handloom & Handicrafts of Gujarat is a glimpse into the rich heritage of the state...A pictorial delight, the book has fascinating pictures that compliment the text on each craft. It takes you to each region and introduces you to the craft..., its origin, revival, continuity and contemporary trends.” —Rupam Singh Gupta, The Times of India
CRAFTS
Handloom and Handicrafts of Gujarat Edited by Villoo Mirza and Vinutha Mallya
256 pages, 274 colour photographs 1 map 8.25 x 11.7” (210 x 297 mm), hc ISBN: 978-81-89995-71-3 (Mapin) ISBN: 978-1-935677-26-0 (Grantha) ₹2500 | $55 | £35 2012 • World rights