Bastar Bol Raha Hai Documentation by Kanika Chaudhary Pearl Academy Communication Design Batch ( 2013-17 ) Mentor - Mr. Manas Barua c Pearl Academy (2017)
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PROJECT 4 Bastar Bol Raha Hai SPONSOR
Self Sponsored STUDENT : KANIKA CHAUDHARY MENTOR : MANAS BARUA PROGRAMME : GRADUATION PROJECT
2017 Communication Design
This project is dedicated to the Gond tribe , artisans of Bastar, Chhattisgarh.
Declaration This is to state that I , Kanika Chaudhary,. student of cohort 2013 - 2017, Communication Design B.A. (Hons.) course at Pearl Academy have done this project as a part of my B.A. (Hon.) Degree course from Nottingham Trent University, U.K. This is my original work and to the best of my knowledge and understanding, none of this has been done earlier by any other person.No content has been plagiarized but has been used for reference with proper citation at the end of document.
Acknowledgement I would like to take this opportunity to thank the Pearl Academy to have given me this opportunity of undertaking this project, as part of my curriculum. I would like to express gratitude and deep regards to my mentor Mr. Manas Barua who motivated me to work beyond my limit at every step. I am also grateful Miss. Riddhi Manna for supporting me and for sharing her knowledge of design with me. I would like to thank Mr. Tajinder Singh for providing me support with the technical part a special thanks to all my other teachers for their constant feedback. I am forever indebted to the artisans and Gond tribe of Bastar, Chhattisgarh for their valuable information and kind co-operation. I would like to extend my gratitude towards Saathi Samaj Sevi Sanstha for guiding me in various stages. Lastly, I would like to thank my batchmates including Mohit Prakash, Sonu Kumar, Anamika Lal, Ashish Kumar in developing the project and all the people who have willingly helped me out with their abilities. I am grateful to my parents, brother and other family members for their constant encouragement and their emotional support.
introduction
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About Bastar Saathi Samaj Sevi Sanstha
culture of bastar 31
POTTERY 47
Lifestyle Haat and Cock Fight Hulki Dance And Bastar Dussehra
Introduction Process Ashok Chakradhari
CONTENT
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WOOD CARVING 59
DOKRA CRAFT
Introduction Process Pandiram Mandavi
Introduction Raw Materials,Tools And Process Phul Singh Besra Rajendra Baghel
WROUGHT IROn 93 Introduction Process
TUMBA
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Introduction Process
LOCATION Introduction Process Project Site
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BAMBOO 109
GOND PAINTING 117
Introduction Process SadauRam Potai
Introduction Process Belgur
DELIVERABLE Autocad Plans 3D Rendered Space Posters Tickets Bag & Badges
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BIBLIOGRAPHY 175 Webography Images
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DESIGN BRIEF The project brief given to us was to choose any topic of our interest and passionate and communicate it through spatial design.
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DECODING THE BRIEF My passion is to do something for the betterment and growth of the society.Therefore, I started off my research with looking for the different types of tribal communities in India. Hence, I came across the Gond Tribe which are also known as the ‘face of the Indian tribes’ because of their population strength. A unique ideology and thought process about the religion makes the Gonds tribe stand apart from any other tribe in India. Moreover, while doing the tertiary research I concluded that in Bastar, Chhattisgarh there were many artisans which belongs to the Gond tribe.I decided to visit Bastar and explore their lifestyle, religion, festivals, costume, food habits, living conditions, language etc.I realised while doing the research that Bastar being home to this indigenous tribe, this district boasts of a varied style of craftwork. But the nearly 20,000 tribal families in Chhattisgarh who crafted the artwork remain mired in poverty, with no direct access to the market that is giving increasing shelf space to the figurines and wall hangings. The thickly forested Abujmad area is part of the 40,000 sq km tribal-dominated Bastar region, a stronghold of Naxalites. Hence, for thir economic upliftment I decided to give these artisans a platform near Bastar, Jagdalpur which is a well developed and safe district where locals and international tourists can visit that space and interact with these artisans,can learn from them the process of different craft making and also can buy their products.
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TIME SCHEDULE NOVEMBER
TOPIC SELECTION
DECEMBER
RESEARCH
jaNUARY FEBRUARY
CONCEPTUALIZATION
MARCH APRIL
FINAL EXECUTION
PROJECT BUDGET TRAVEL AND CONVEYANCE CAMERA EQUIPMENTS Collaterals DOCUMENTATION
RS RS RS RS
40,000 9,000 5000 5000
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INTRODUCTION Bastar, the biggest tribal district of Chhattisgarh, is famous for its colorful tribes. The Bastar Tribes constitute about 70% of the total population. This comes approximately to 26.76% of the total tribal population of Chhattisgarh.The Gonds of Bastar, especially, play a significant role in the Tribal Culture of Bastar, Chhattisgarh.The Gonds are known for their unique Ghotul system of nuptials. Tribal Culture of Bastar showcases a unique and distinctive tribal heritage and culture across the world. The Gonds are known for their passion for dance, music and colorful festivals. The magnificent art and craft of these people is worth seeing.The tribal women of this region love to adorn themselves with lots of ornaments that are made of beads, shells, cowries, bones, bronze, feathers, mixed metals and copper. Among festivals, Dussehra in Bastar is the most prominent event of this area. An area where Handicraft is most widely practiced in Bastar is Kondagaon. There are various handicrafts including Bell Metal(Dokra craft), Wood Carving,Bamboo work,Terracotta(pottery), Tumba Art,Wrought Iron and Gond Painting. All these handicrafts includes a long process which calls for a great deal of precision and skill.
Late. Bhupendra Banchhore (Left), Bhupesh Tiwari (Middle) and Harilal Bharadwaj (Right) are the founders of Saathi Samaj Sevi Sanstha.
Entrance of Saathi Samaj Sevi Sanstha.
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Samadhi of Late. Bhupendra Banchhore made of rought iron.
ht iron.
saathi sAMAJ sevI sanstha KONDAGAON Saathi was founded in 1989 in a village called Kumharpara, Kondagaon and district Bastar.Its history is linked to the creative skills of the three people who founded Saathi- Bhupesh Tiwari, Late. Bhupendra Banchhore and Harilal Bharadwaj.They are ceramic professionals trained at the Gramodaya Sangh in Bhadrawati, Maharashtra. Saathi’s stated vision is exploitation free artisan societies in Bastar where the poor, land less artisans are able to earn a decent living out of their traditional livelihoods. During my visit to Saathi I learned the objectives set out by the team of Saathi’s are: Revival of traditional craft of Bastar and Income generation for the craftspeople and other needy communities.Saathi currently works with artisans of pottery, bamboo work, wrought iron work,bell metal work all over the region which comprises the districts of Bastar, Kanker, Dantewada, Bijapur and Narayanpur. Moreover, during my interaction with Saathi NGO, I had an indepth knowledge about the artisans which are drawn from kumhars(potters), lohars(blacksmiths), ghadwa(metalworkers) and nahar(bamboo workers) all of whom are primarily OBC’s and some of whom are also adivasis.
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CULTURE The Koitures or Gonds are organically connected with nature. Their pantheon represents all the aspects of nature. Badadev, the greatest of all gods, is represented by the saja tree. Thakur Dev is associated with the pakri tree. Gonds believe in the supernatural forces. Their protectors are the spirits, the gods and goddesses who keep them away from harm. Their songs, dance forms, myths and legends, folk tales, customs and rituals reflect a close bond with nature and are all inter-related. The Gonds express themselves through different forms of dance like the Saila, Rina and Dadariya, which are performed during festivals. The Saila was once performed with swords. Now these have been replaced by sticks. The Gond economy is agricultural, so the cycle of sowing and harvesting is the subject of any number of songs and oral narratives, which express the joy, anguish, apprehension and exhilaration of a farming community. Oral narratives, like the Gondwani and Ramayani hold the community together. The Gond creation myth tells of the greatest of gods, Badadev who fashioned the earth and every creature on it. There are myths about the origin of the Gond kings, of different trees, especially the mahua, the flowers and fruits which are an integral part of their life.
The village has typical several hamlets and houses which are made of hatch and mud.
Gond huts are erected of mud, grass, branches, bamboo.
Agriculture, is their main source of income which includes breeding of cocks for famous cock fight.
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Houses were mainly of blue colour as they worshipped natural forces like sky,water etc.
Gond women are good singers. They are inventive in composing new songs, folktales, legends and myths.
This man was the Pardhan(type of gond who are singers) of Balingapara village in Kondagaon where his main income was agriculture.
This picture was clicked with me where all the women were singing and making me learn their songs.
Fema the b
Imli Mahua school in Balingapara teaches all the young adivasis children.
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Females often dress in simple garments that do not cover the breasts.
The Gondi people are unique in their own way of practicing ‘runaway marriages’.
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The weekly local market, or haat, is when Adivasis from many miles away meet up to trade and to socialise. There are more than 3500 villages in Bastar, so there are markets happening every day of the week. I visited this weekly market in Gadbengal. The people were spread out beneath the tall trees, the women squatting next to fires and cooking rice cakes, or selling Mahua (home-made alcohol) from glass bottles and large metal containers. One man had a table offering areca nuts wrapped in betel leaves and various spices, such as cardamom and cloves, stored in small, rusty tins.
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Drinking is perfectly acceptable, for both men and women, among most Adivasis, and they are accustomed to alcohol from a young age. There is usually a separate area set aside for drinking in the markets, and large quantities are consumed over the course of an afternoon. The cock fights is the main attraction of the Haat. Later in the afternoon there would be some serious gambling on cock fights, and several young men were protectively clutching birds. The cocks have blades strapped to their claws and are encouraged to fight to the death
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The Gond tribals of Balinga village,Kondagaon are trained in all types of their community dances. At the start of dance sequences they begin with an invocation to the phallic deity of their tribe and the founder of the Ghotul institution. The site chosen for the dance is near the Ghotul compound. During marriages, the Muria boys and girls perform Har Endanna dance. Their Hulki dance is the most beautiful of all the dances while the Karsana dance is performed for fun and enjoyment. In the Hulki dance, boys move in a circular fashion while the girls make their way through them.
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BASTAR DUSSEHRA
Dussehra is one of the most important festivals of Chhattisgarh and Dussehra of Bastar is well known for its grand celebration and for different purpose especially. All the tribes participate in this ten day event and celebrate Dussehra as a congregation of Devi Maoli, who is Bastar’s native deity and revered as the “elder sister” of Devi Danteshwari and all her sisters. During this festival, hundreds of priests from all over the state bring flowerbedecked local deities to the Danteshwari temple in Jagdalpur. Thus, Bastar Dussehra is celebrated in a different way with great fun and frolic.
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POTTERY Terracotta, the word stands for baked earth. It is made from natural clay, which gives it a characteristic reddish-brown color. The inexpensive and durable craft form is also widely used in decorative arts. Traces of terracotta pottery can be found in one of the earliest civilizations of Mohanjodaro, Harrapa, Kausambi, Mathura and Kashi. Vedic period also displays a significant tradition of pottery and terracotta prevalent at those times. This craft of Bastar, which is known for its unique and intricate style, is famous for its elephant and horse figures. The craft form is an outcome of various social, religious, and functional needs of the region. The clay of Bastar region has tremendous plasticity and strength, hence good for making big pots. Initially only handis, pitchers and pots were made for sale in the local market. It gradually increased to creating masks, animal figures and sculptures. Now contemporary forms like penholders, lamps, and paperweights are also made. Animal figures of Bastar elephant and horse are the most famous ones, renowned for their unique style and ornamentation.
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Process 1.First the river sand is collected from the river, preferable red clay.Then its purified and processes through several stages. Impurities are cleared with water by sedementation.When a ery fine particles remain, it is sundried for a day and soil is ready for use. 2.The clay is knealed by the woman of the house by stamping on it mix it with the quartize. 3.Then the clay smeared feet after a day’s work is then transferred to spinning potters wheel to get desired shape of object. 4.Three coatings of varnish are applied to the baked artifacts. 5.Later the artifact is add on by the surface details and ornamentation .This is followed by baking a kiln. The expetise and skills required for producing the terracotta artifacts have been handled down from one generation to anotherof the kumbhara community. The Kumhara source the raw material from the Indravati river ,the upper river soils are used to create the forms by employing rudimentary tools like the potters wheel and wooden spatula.
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ASHOK CHAKRADHARI STATE AWARDEE POTTERY In terracotta the Bastar works have maintained both the continuity and adaptability to changing needs. The beautiful elephants and other figures, humans as well as animals are both decorative and functional .The bastar terracottas were most popular as owning was not difficult for even the poorest.To have it was essentially considered an omen of good luck and as driving evil spirits away. Ashok Chakradhari, is a prominent face in the field of terraccota in Kumharpara village , Kondagaon. During the interview he showed me his massive workplace where he and his wife works all day. Most of his work are exported or are sold in various workshops and fairs like Surajkund Mela.He has visited several countries including Belgium ,Italy etc. The transportation of the artifacts is the major problem that he faces as mostly the artifacts breaks down despite packing with layers of thermocol or newspaper.
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Shaped and moulded both by hand as well as on potters wheel the animal represents the ethos of ancient cultural stages in human life.
Each artifact is given design before drying up under the sun.
Workplace of Ashok Chakradhari where he and his wife creates beautiful artifacts.
The white shaped tomb is known as the Bhatti where mud is stored
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Participated in terracotta workshop at S.V. Govt School of Arts and Crafts in 1998..
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Participated in terracotta workshop in Raipur, Chhattisgarh in 2001.
AWARDS AND RECOGNITION
Ashok Chakradhari was awarded by Maharashtra Governor for his pottery skills.
Awarded in 2003 by External Affairs Minister.
Awarded by Raman Singh, Chief Minister of Chhattisgarh.
Awarded by Governor of Chhattisgarh K.M. Seth.
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WOOD CARVING Bastar ia a region with extensive land cover, with large forests of Sheshum,Mango, Teak and Shivna thriving in the area. Initially, the tribals used the forest to source wood for basic needs like firewood and building shelters.Over a period of time they began to use wood for carving and other forms of carpentry, percipitating in the emergence of a community of people skilled in this craft called the Badais. And the craft is also called Hashta Shilp. The Badais then diversified into two groups one making agricultural instruments and other making decorative and totemic pillars.Simple tools made of wood or bamboo are used by them. The Kaas is employed to remove the bark of the trees and and scrape the wood surface.When carving, scraping and shaping has to be done, the Pah chisel and smaller Sala Pah are used. A great importance is given on the productive species in Bastar and over a period, these have flourished, covering the entire region.
process 1. Simple tools made of wood or bamboo are used to carve the piece of wood. 2.Craftsman drawing the blueprint of the pattern on a paper, and then it is been tracd on the smoothened plank of wood.Some patterns are not from the blueprint its pleasure to carve directly. 3.The coarser details are chiseled off first. 4.The finer details are then carefully carved into the wood. 5.Once the carving has been completed, it is smoothened with the sandpaper 6.Finally the finished product is varnished to look brighter. 7.Now it is involving the work of blueprints so the technical skill is required and some details are so much intricate that it must be carved out very carefully.
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Pandiram Mandavi with his team showing me his workshop in Gadabengal, Narayanpur.
Pandiram Mandavi showing me his old photographs where he’s travelled to various countries incluing Italy,Belgium,America etc.
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Each wooden piece that is cut to make an item is subjected to a process of slow heating to draw out all moisture.
PANDIRAM MANDAVI STATE AWARDEE WOOD CARVER Gadhbengal is a small village in Narayanpur tehsil with majority of Muria tribe (sub tribe of Gonds) living in the area. Surrounded by the lush green forest full of trees like teak, shisham and sal, woodcraft is widely practiced here. The community of wood craftsmen is also known as badais. Pandi Ram Mandavi, who is a wood carver, is one of the living legends of the region. Pandi Ram Mandavi is a wood carver and belongs to the Muriya tribe. He is also known for the present commercial form of Bastar flute. At the age of 12, he learnt the art of carving wood from his forefathers. An encounter with a tourist, who showed interest in the wooden combs, made Pandi Ram realized that even these are saleable items. His exposure to the country began when Adivasi Lok Kala Parishad started frequently calling Pandi to Bhopal. He became famous in 1960s and has traveled all around the world with his art works. His works include relief sculptures in wooden panels, standing sculptures, bamboo flutes, wooden combs and tobacco pouches. He is a popular figure and one of the legends of Bastar. People know him as Pandi Ram.
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Each wooden piece that is cut to make an item is subjected to a process of slow heating to draw out all moisture. Decorative combs, ritualistic masks and doors are few of the famous artifacts in Bastar.
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Mandiram Pandavi has conducted exhibitions in several Indian cities and has participated in exhibitions in countries like Russia, France, Germany. Mandavi is the head of a whole skilled carvers.He has won many awards including the Kerala Lalithakala Akademi award
IN MEDIA 65
FOREIGN TRIP According to Phool Singh, Dhokra was initially sold within the village. In his village in Bhelwapadar Para (in Bastar) while the sculpture of Raav Devta is put under a bush in the field for protecting the crop from evil forces, sculptures of other deities were offered on the fulfilment of a wish. He has visited and exhibited his works in many cities in India and has participated in various workshops in abroad including France, Italy, Belgium, Russia etc.
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AWARDS AND CERTIFICATES
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DOKRA CRAFT Dokra (also called Dhokra) art is an ancient method of making metal artifacts by a waxcasting technique. An art that is 4000-5000 years old, its earliest known lost wax artefact is the dancing girl of Mohenjodaro. The name comes from the Dokra tribes, the metal-workers of Bastar, Chhattisgarh.Today, Dokra art is admired all over the world for its primeval simplicity and enchanting folk motifs. Every piece of Dokra art has a distinct identity. According to artisan Sushil Sakhuja, the tribes originally used this art form to create idols of deities, but over a period of time, as spiritual erosion took place, they started making more secular forms used more as artefacts than objects of worship. His craft collective has a vast repertoire – gods and goddesses, tribal and animal figurines, vases, door handles, and photo-frames. Nandi (Lord Shiva’s Bull) is one of the fast-selling favorites.
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Raw materialS USED
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Black Soil - In Halwi it is called Mun Maati
Ant hill soil- In Halwi Dengur Maati
River side clay- In Halwi Rui maati
Wood for firing
Wax (Beewax)
Rice husk
Cow dung
Patiya(Small knife for cutting)
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tools
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Brass
Matni(Wooden tool for burnishing)
Hammer (basically used in wax modelling) For beating
1. Chimta -For taking products from kiln and pouring Crucible-For melting brass
Blower
Blower
Hammer - For crushing fired moulds
Chisel
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Heck saw blade
1. Doongni- Used for taking out waste from molten metal. It is like a big spoon.
Wire brush
1. Peedha- Working table.
Step 1-
Rice husk is mixed with black soil and kneaded properly so that it can be easy to handle and rice husk is mixed to make model light and easy to fire. Ater kneading model is made from this clay. In regional language model is called Kutan. After model made it is dried in sun for 2-3 days.
Clay
Step 2-
Soil from river side is crushed and sieved and then cow dung is mixed in it and this mixture is kneaded properly and make paste of it. This paste is applied on the dry model and kept in sun for23 days to dry.
Step3-
After model is dried it is finished by sand paper after finishing it is burnished by leaf of sem so that a green layer forms on model which helps in adhesion of wax.
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Step4Wax is heated a little and transformed into thread like structure from a coil making machine, which contains different sizes of seives. this machine is kept under high pressure so that wax come out in the form of thread.
Step5-
Now design is made with the help of wax thread and also all detail works are done with the help of wax.
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Step
River becom on th After
Step 6River side clay and coal is crushed and seived by a fine cloth and cow dung is added in this powder and kneaded properly as a result it becomes fine and smooth. Smooth clay is needed to prevent detailed work from getting damage. Now this clay is applied very carefully on the surface of wax so that details does not go out. Thumb is used to apply first layer. After covring model with clay one place is remained open as channel for pouring. This is now kept in sun for 2-3 days for drying
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Step7-
Putting all the waste metals into the furnace.
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Step8-
After putting into the furnace it gets melt, and they collect it using chimta.
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Step 9After mould is baked and metal is melted moulds are taken out from kiln by the help of tongs and then melted brass is poured through the channel . And if mould damage at the time of pouring and melted metal starts to come out at that time river ber soil is used to cure it.
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Step 10-
Now products are kept for cooling for 4-5 hours and after cooling it is break to take out the product and extra soil from product is taken out with the help of heck saw blade and then it is filed for finishing.
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PHOOLSINGH BESRA STATE AWARDEE DOKRA CRAFT
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Phool Singh Besra has no second thoughts when he says that his Dhokra-style craft is inspired by the age-old culture of his community with moorings in central India. “My sculptures are inspired by the life, rituals and ceremonies of Muriya tribals of Bastar,” he notes even as the works of art have of late entered the living rooms and art galleries around the world. Dhokra, the craft of bell metal work, has indeed found a wider likening. The culture it draws from makes it even more attractive. As for Phool Singh, he started with Dhokra at the age of eight. “There was no school in our village. My father was a traditional artist and I started with lending him a helping hand. My family has been doing it since generations and my son is also doing the same.”
FOREIGN TRIP According to Phool Singh, Dhokra was initially sold within the village. In his village in Bhelwapadar Para (in Bastar) while the sculpture of Raav Devta is put under a bush in the field for protecting the crop from evil forces, sculptures of other deities were offered on the fulfilment of a wish. He has visited and exhibited his works in many cities in India and has participated in various workshops in abroad including France, Italy, Belgium, Russia etc.
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Phool Singh Besra has participated in various workshops by the Lalit Kala Akademi and has been awarded by various renowned organisations.
AWARD AND RECOGNITION 86
RAJENDRA BAGHEL NATIONAL AWARDEE DOKRA CRAFT Award-winning sculptor Rajendra Baghel’s “workshop” spreads across the yard of his cottage and under two sheds at the far end. A haze of fragrant wood-smoke rose from his furnace; workers sawed and hammered metal, others worked meticulously on figurines which had been rough cast. A man wrapped what seemed to be fat thread around another small sculpture. Two women made a mixture of red earth and crushed leaves. Baghel’s pretty wife, Savitri, prepared an aromatic curry of coriander leaves, onions and potatoes. And curiously, there was a pile of discarded torch cases, motor parts and other metal scrap piled in one corner. A bare-bodied worker, patched with soot, squatted at the scrap pile, picking and choosing carefully. Against the wall of Baghel’s compound stood a row of finished metal figurines: as attenuated, and retro-modern, as those of Amadeo Modigliani. Rajendra Baghel accompanied us as we picked our way around his establishment. At one spot, people were working on a plasticine-like substance exuding the strong aroma of honey. “That’s beeswax,” Baghel explained. “We get it from the forest. Here we make the first models of the figurines. Beeswax is very easy to handle.” A small figure of a thin old man was taking shape under the swift fingers of one of the craftsmen. We stepped forward. A worker was spreading a black, tacky, mush on another wax model. “That’s a mixture of field clay kneaded with rice husk,” Baghel explained. “The rice husk binds it for the first firing. In the furnace, the wax melts, flows out through these two channels, and turns into gas.” The “lost wax” process has been used by metal-crafters worldwide for many centuries. “Then,” said Baghel, “we pour molten metal into the hollow mould left by the evaporated wax.” The metal figurines that emerge from the mould are rough, indented with the texture of the clay. “Now we have to cut and chisel them, making them smooth, bringing out their features.”
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Haze of fragrant wood-smoke rose from his furnace; workers sawed and hammered metal, others worked meticulously on figurines which had been rough cast.
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AWARD BY MINISTRY OF TEXTILE GOVERNMENT OF INDIA 89
Newspaper articles of Rajendra Baghel.
DR.JAIDEV BAGHEL ALSO KNOWN AS SHILP GURU NATIONAL AWARDEE
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Jhitku Mitki According to popular folklore in Bastar, ‘Mitki’ was the only sister of seven brothers of a ‘Gond’ family that lived in Newta Bandha village. As part of tradition, her brother ‘Lamsena’ brought a youth ‘Jhitku’ to home for marrying ‘Mitki’. Both fell in love but one day her brothers dreamt that the Goddess was demanding sacrifice. On not finding anyone, they sacrificed ‘Jhitku’. ‘Mitki’ could not bear the separation and took her life. Poet Jogendra Mahapatra Jogi said tribals believe that their ‘mannats (desires)’ get fulfilled by worshipping ‘Jhitku Mitki’. ‘Mitki’ is also regarded as deity ‘Gapa Gosai’. ‘Jhitku Mitki’ are worshipped as ‘Dokra Dokri’ in some places of Bastar.
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WROUGHT IRON CRAFT Lohshilp or wrought iron craft is one of the most unique and the oldest craft form in Bastar region. It has an aesthetic appeal inspite of its simplistic form. The art originated from the ironsmith community that used to make farming and hunting implements for tribes. Over the years, the craft has beautifully evolved into an artistic form and so has its worldwide demand. Wrought iron work is mainly concentrated in Bastar district of Chattisgarh with Kondagaon, Umargaon and Gunagaon being the main centers. Wrought iron products include Deepak, which is made of many shallow bowls like lamps (diya), bird and animal figures, small diamond shaped leaf like structures and vertical and horizontal rods. These deepaks are the specialty of the ironsmiths in this area. These are available in the forms of Laman Diya (hanging diya) and Khut diya (stand diya). Many new forms like masks, hangers, innovative lamps, wall hangings and showpieces are also available. The horse of Raodev is most popular and is made with just two legs. The new forms in the craft reflect the realities of the changing times and a craftsman’s response to it
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The process starts with scrap iron being beaten repeatedly when hot. It requires no casting and molding. Desired shape is given carefully by beating it at necessary spots. Then unnecessary portions are cut away and filed to remove sharp objects. On completion, varnish coat is applied to enhance the luster.
Tiju Ram Vishwakarma lives in the Kedaichepda village, which is about 20 kms from Kondagaon. Famous for ironsmith community, the village has about hundred people dedicated to wrought iron craft.
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The craft that started from catering to farming, hunting and ritualistic needs is now a beautiful work of art in demand. Wrought iron products include Deepak, which is made of many shallow bowls like lamps (diya), bird and animal figures, small diamond shaped leaf like structures and vertical and horizontal rods. These deepaks are the specialty of the ironsmiths in this area. These are available in the forms of Laman Diya (hanging diya) and Khut diya (stand diya). Many new forms like masks, hangers, innovative lamps, wall hangings and showpieces are also available. The horse of Raodev is most popular and is made with just two legs. The new forms in the craft reflect the realities of the changing times and a craftsman’s response to it. Both hollow and solid figures are made. For making a hollow figure, iron sheets are folded, cut and filed as per the need of the form. In a solid figure the main body parts are made first and then the detailing is done with the help of small chisels.
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TUMBA CRAFT Tumba craft, which uses dry gourds, is considered as one of the unique crafts of Chattisgarh. A recently developed craft is an example of craft innovation and exists in the region of Bastar in Chattisgarh. Dried gourd is etched with hot knifes with beautiful patterns and made into various products ranging from wall hangings to pendants. Jagat Ram Devangan of Kondagaon is the craftsman behind the innovation of the Tuma craft. Tuma products include lampshades, planters, wall hangings, utensils and masks. The recent jewellery range is a good example of innovation. Bitter gourds, which are normally not consumable, are used for the craft. Earlier the waste gourds were taken from the villagers, but now they grow it. Generally jewellery is made from the waste part of it. Designs are made keeping transportation in mind, like small lampshades are put inside big lampshades and filled with the jewellery products. Final product is made in such a way, that it doesn’t rot for years
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A recently developed craft is an example of craft innovation and exists in the region of Bastar in Chattisgarh. Dried gourd is etched with hot knives with beautiful patterns and made into various products ranging from wall hangings to pendants. Jagat Ram Devangan of Kondagaon is the craftsman behind the innovation of the Tuma craft. Tuma products include lampshades, planters, wall hangings, utensils and masks. Final product is made in such a way, that it doesn’t rot for years.
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Learning the process of tumba craft.
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BAMBOO CRAFT Chhattisgarh also has a rich tradition of bamboo and cane crafts. Items like, mats, baskets, hunting and fishing tools, agricultural implements etc are made from bamboo. The tribal belt of Chhattisgarh and Bastar are main centres for production of items made from bamboo. Bamboo thickets are common sight in the State and tribal of Chhattisgarh have been putting their craftsmanship to work. Craftsmanship of Chhattisgarh tribal can be seen from varying articles of craft produce they make out of bamboo. Articles for daily as well as decorative use are produced by these artisans. Some of the well known Bamboo produce include agricultural implements, fishing traps, hunting tools and baskets. Bamboo is used more more of an utilitarian basis rather than a craft.It is being used to make tools and other utility products, still the flute is an extraordinary use of bamboo for recreational process.
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Bastar Basoori is famous musical flute of Bastar.
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SADAU RAM POTAI STATE AWARDEE Bamboo craft Sadau Ram Potai is a famous state awardee of bamboo craft. In the interview he gave me some insights of his workplace Shilpgram. Shilpgram Sevagram Narayanpur was setup by Chattisgarh Handicrafts Development Board in 1993. The purpose of setting it up was to boost the local crafts of the culturally rich region of Narayanpur. It also aimed at rehabilitating the locals from the naxal hit zones and give them a source of livelihood. Currently five hundred craftsmen work for shilpgram and 41 families stay at the campus. Apart from specializing itself in Bamboo craft, it also focuses on wrought iron, stonework, terracotta and seeshal craft. The campus runs training programs for the locals. Many craftsmen from different states are called to teach the locals. Around 3500 people from Abhujmadh region alone have been trained in bamboo craft. The centre has installed new machines like bamboo treatment plant, furnace etc. to help the craftsmen. Mr B.K. Sahu is the current officer in charge of Chattisgarh Handicrafts Development Board in Bastar region
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The process of famous bastar basuri involves to make the flute is very simple, they use very special bamboo which has less or no knots and at one end of it they use older brass hollow coines which increases the air pressure which makes beautiful sound if moved in air, and those coines are joined with the help of beeswax. Then its time to decorate the flute with the help of simple tools like sharp chisel, kept in the furnace and used as a pencil to make expression of other lifestyle and tradition.
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ake oo y air air, ax. f and le
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gond painting Gond paintings are a form of painting from folk and tribal art that is practiced by one of the largest tribes in India with whom it shares its name. Gond comes from the Dravidian expression, Kond which means ‘the green mountain’. According to the Gond belief system, each and everything whether it is a hill, river, rock or a tree is inhabited by a spirit and, consequently, is sacred. So the Gond people paint them as a form of respect and reverence. Gond paintings are a reflection of man’s close connection with his natural surroundings. However, while a majority of Gond paintings do take inspiration from nature, it isn’t the only source of inspiration. Gond paintings can also take inspiration from myths and legends of India or alternatively, they may also showcase images from the daily lives of the tribe. It can also showcase abstract concepts like emotions, dreams and imagination. Gond paintings can best be described as ‘on line work’. The artist makes sure to draw the inner as well as outer lines with as much care as possible so that the perfection of the lines has an immediate effect on the viewer.
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BELGUR STATE AWARDEE GOND PAINTING Another very striking facet of Gond paintings has to be the use of bright vivid colours such as white, red, blue and yellow. The paints are usually derived naturally from objects such as charcoal, coloured soil, plant sap, leaves and even cow dung. More specifically, yellow from Chui mitti which is a type of local sand, brown from Gheru mitti which is another type of sand, green is readily procured from leaves while the colour red is obtained from the Hibiscus flower..
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JAGDALPUR
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WHY JAGDALPUR ? I have chosen Jagdalpur as my site city as it is the safest place in Chhattisgarh. Jagdalpur is a city in Bastar district in the Indian state of Chhattisgarh. Jagdalpur City is governed by the Jagdalpur Municipal Corporation. Jadgalpur is the administrative headquarters of Bastar District and Bastar Division, and was the capital of the erstwhile princely state of Bastar. Jagdalpur is well known for its greenery, lush green mountains, deep valleys, dense forests, streams, waterfalls, caves, natural parks, monuments, natural resources, herbs, exuberant festivity and peaceful solitude. Other tourist attractions relate to Bastar’s royal past and its tribes. Currently two steel plants are being built near Jagdalpur by NMDC and Tata Steel Plant. After completion these projects will be Jagdalpur city’s industrial hubs. The city’s demographic is changing rapidly and it has the fastest-growing population in Chhattisgarh state. The main challenge is existence of Naxalism. Hence, in Jagdalpur district there is no challenge of Naxalism.It is a green belt, near to Raipur and Vishakhapatnam airport.There are various resorts in Jagdalpur where tourists can feel safe
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Chitrakote Falls Distance : 38.7 Km Duration : 1 Hr(approx.)
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Kutumsar Cave Distance : 40 Km (approx.) Duration : 30 min (approx.)
Tirathgarh Waterfall Distance : 33 Km (approx.) Duration : 50 min (approx.)
Dalpat Sagar Distance : 06 Km (approx.) Duration : 20 min (approx.)
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BarsoorTemple Distance : 92 Km (approx.) Duration : 1hr 40 min (approx.)
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DanteshwariTemple Distance : 03 Km (approx.) Duration : 10 min (approx.)
In Jagdalpur district the area which I have chosen is Bhangaram Chounk. It is a 2.16 acres land surrounded by forests and Indravathi river which is a tributary of Godavari river.Tourists can have beautiful scenic beauty and can enjoy the place without feeling unsafe.
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INSPIRATION FOR LOGO
ABOUT THE LOGO
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The name selected for the space is ‘Bastar Bol Raha Hai’ which means Bastar is talking to you. This space will provide the visitor to interact with the artisans of various field. The graphic element is inspired from ‘Todi’. The Gond tribal man use this musical instrument to communicate to other Gond dancer to come and dress up and exhibit to the visitors.Hence, ironically also this logo represents Bastar Bol Raha Hai clearly.
LOGO EXPLORATION
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LOGO EXPLORATION
FINAL LOGO
color code : #ab0808
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plan EXPLORATION
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autocad plan exploration
autocad plan
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autocad final plan
final plan
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sketches
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BAMBOO SECTION EXTERIOR
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OR
BAMBOO SECTION INTERIOR
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WOODCARVING EXTERIOR
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WOODCARVING INTERIOR 149
WROUGHT IRON EXTERIOR
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OR
WROUGHT IRON INTERIOR 151
TUMBA EXTERIOR
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R
TUMBA INTERIOR
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CAFETERIA SECTION
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ON
CAFETERIA EXTERIOR
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GOND PAINTING EXTERIOR
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GOND PAINTING INTERIOR
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POTTERY EXTERIOR
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POTTERY INTERIOR
OR
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DOKRA CRAFT EXTERIOR
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OR
DOKRA CRAFT INTERIOR
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Sadau Ram Potai State Awardee Bamboo Craft Bastar,Chhattisgarh
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Rami
Gond Tribe Bastar,Chhattisgarh
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Pandiram Mandavi Lalit Kala Awardee Wood Carving Bastar,Chhattisgarh
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O;Ld ( Hkkjrh; ) 100
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Adult ( Indian ) 100
ADMIT 1
---------------------------------------------------------------------------------fons’kh 200
Foreigner 200
ADMIT 1 171
---------------------------------------------------------------------------------fo}kFkhZ 100
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Student 100
ADMIT 1
---------------------------------------------------------------------------------dSejk 250
Camera 250
ADMIT 1
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badges
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bag 175
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WEBOGRAPHY 1. Chhattisgarh state records 60% rise in number of foreign and domestic tourists. 2017. Chhattisgarh state records 60% rise in number of foreign and domestic tourists. [ONLINE] Available at: http://thehitavada.com/Encyc/2016/7/5/Chhattisgarh-staterecords-60--rise-in-number-of-foreign-and-domestic-tourists.aspx. [Accessed 02 March 2017]. 2. D’Source. 2017. D’source Design Gallery on Shilpgram Sevagram of Narayanpur, Bastar - Shilpgram | D’source Digital Online Learning Environment for Design: Courses, Resources, Case Studies, Galleries, Videos. [ONLINE] Available at: http:// www.dsource.in/gallery/shilpgram-sevagram-narayanpur-bastar. [Accessed 03 March 2017]. 3. Chhattisgarh state records 60% rise in number of foreign and domestic tourists. 2017. Chhattisgarh state records 60% rise in number of foreign and domestic tourists. [ONLINE] Available at: http://thehitavada.com/Encyc/2016/7/5/Chhattisgarh-staterecords-60--rise-in-number-of-foreign-and-domestic-tourists.aspx. [Accessed 02 May 2017]. 4. http://isha.sadhguru.org. 2013. Hands of Grace – Dokra Art. [ONLINE] Available at: http://isha.sadhguru.org/blog/ inside-isha/isha-yoga-center/hands-grace-dokra-art/. [Accessed 9 March 2017].
6. Utsavpedia. 2017. Getting To Know The Gond Painting: Unique Style, Art | Utsavpedia. [ONLINE] Available at: http:// www.utsavpedia.com/motifs-embroideries/gond-painting/. [Accessed 02 May 2017]. 7. Indian Art & Craft: Gond Paintings: A Mystic world created by Dots and Lines. 2017. Indian Art & Craft: Gond Paintings: A Mystic world created by Dots and Lines. [ONLINE] Available at: http://theindiacrafthouse.blogspot.in/2012/01/gondpaintings-mystic-world-created-by.html. [Accessed 02 May 2017]. 8. Tourism in Bastar: Things to do in Bastar. 2017. Tourism in Bastar: Things to do in Bastar. [ONLINE] Available at: http:// www.tourism-of-india.com/bastar/. [Accessed 02 May 2017]. 9. District-Bastar,Chhattishgarh. 2017. District-Bastar,Chhattishgarh. [ONLINE] Available at: http://bastar.gov.in/bastar_ art.htm. [Accessed 02 May 2017]. 10. Bastar ~ Siva Travelogue. 2017. Bastar ~ Siva Travelogue. [ONLINE] Available at: http://sivatravelogue.blogspot. in/2014/04/bastar.html. [Accessed 02 May 2017
5. D’Source. 2017. Shilpgram | D’source Digital Online Learning Environment for Design: Courses, Resources, Case Studies, Galleries, Videos. [ONLINE] Available at: http://www. dsource.in/resource/wrought-iron-craft-bastar/shilpgram. [Accessed 02 May 2017].
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IMAGES 1. Palash Vaswani, (2017), Shilpgram Sevagram of Narayanpur, Bastar [ONLINE]. Available at: http://www.dsource. in/gallery/shilpgram-sevagram-narayanpur-bastar#14717 [Accessed 7 March 2017]. 2. Visit to trip, (2016), Chitrakote fall [ONLINE]. Available at: http://www.visitortrip.com/2822-thickbox_default/chitrakote-falls.jpg [Accessed 7 March 2017]. 3. Palash Vaswani, (2017), Wrought Iron craft of Bastar [ONLINE]. Available at: http://www.dsource.in/gallery/wroughtiron-craft-bastar [Accessed 4 March 2017]. 4. Palash Vaswani, (2017), Terracotta craft of Bastar [ONLINE]. Available at: http://www.dsource.in/gallery/wrought-ironcraft-bastar [Accessed 4 March 2017]. 5. Bastar, (2017), Bastar Dussehra [ONLINE]. Available at: http://bastar.gov.in/images/culture/bastar_dusshera_2.jpg [Accessed 10 March 2017].
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