Kettane
Mysore Rosewood Inlay
Namaskaram
This is a research work project on Mysore Rosewood Inlay is Compiled and edited by Navneet Singh along with Aastha Agnihotri, Ashit Barwa, Mohammad Zeeshan and Surbhi Soni, students of Department of Fashion Communication, National Institute of Fashion Technology, under the guidance of Sangeetha Rajan.
About The Institute
National Institute of Fashion Technology was set up in 1986 under the aegis of the Ministry of Textiles, Government of India. It has emerged as the premier Institute of Design, Management and Technology, developing professionals for taking up leadership positions in fashion business in the emerging global scenario. NIFT has been granted statutory status under the act of Parliament of India in 2006, empowering the Institute to award degrees and other academic distinctions. The Institute is a pioneer in envisioning and evolving fashion business education in the country through a network of fifteen professionally managed domestic centres at Bangalore, Bhopal, Bhubaneswar, Chennai, Gandhinagar, Hyderabad, Jodhpur, Kangra, Kannur, Kolkata, Mumbai, New Delhi, Patna, Raebareli and Shillong. NIFT has set academic standards and excelled in thought leadership by providing a pool of creative genius and technically competent professionals. The Institute provides a common platform for fashion education, research and training.
Certificate
This is to certify that the craft cluster project titled “� is record of work done by students of B.Des Fashion Communication Aastha Agnihotri, Ashit Barwa, Mohammad Zeeshan, Navneet Singh and Surbhi Soni during the period of July 2017, which is represented as an independent work and not done from the base of any previous work. Place : Bangalore Date: 18th, August 2017
Under the guidance of
Sangeetha Rajan Assistant Professor Department of Fashion Communication National Institute of Fashion Technology Bangalore-560102
Acknowledgement
The completion of this document would not have been possible without the combined efforts of our experienced and knowledgeable lecturers who have taught us through the years at NIFT. We would like to express our gratitude to the Director, NIFT Bangalore, Mr. Shivalingam for providing us with this wonderful opportunity to study karanataka’s most enchanting and eternal crafts and create and unforgettable experience in our lives. We are obliged to our mentor, Mrs. Sangeetha Rajan who has been there for us with her constant encouragement and guidance. It was under her guidance and mentorship that we could successfully plan and carry out our required tasks to complete our research comprehensively. Also we would like to greatly express our appreciation towards the craftsmen and their families for taking out their valuable time for us . We highly appreciate the patience and willingness of the artisans to teach their craft to us. Lastly, this document would not have been possible without the effort of all the group members.
Vision
The nation is sufficiently lucky to have some very gifted craftsmen as they expand our culture. Indian crafted works- over the world and till now, has provided numerous rustic individuals with their livelihood from their imaginative bits of craftsmanship. The need of great importance is to help for the experts to enhance their procedures, accessibility of good crude materials, coordinate promoting channels, credit and enough wages and financial benefits. Through this document we have attempted to think about, consider the specialty, as well as the craftsperson, the way they live and their perspectives relating to the art and we have endeavored to end up plainly a piece of their lives through our own work in our own way.
Contents
2
5
9
About Mysore
Demography
Culture
15
18
23
Crafts
Rosewood Inlay
Process
28
33
35
Marketing
Challenges
Case Studies
‘’The belief is that, the best learning process of any craft is to look at the work of others, done with pride’’ Pride of Mysore- Rosewood Inlay
1
About Mysore Mysore city is popularly known as the culturalcapital of the state of Karnataka. Mysore is also known as the city of palaces and it is situated 140kms away from Bangalore. Mysore the cultural heritage of Karnataka it is the home of the wonderful and world popular ancient temples, waterfalls, magnificent palaces, historical monuments, hill stations, sight- seeing garden, rivers sunny beaches and museums. According to Hindu mythology, the city was ruled by a demon named MAHISHASURA who was killed by goddess CHAMUNDESWARI. Till the 15th century Mysore was ruled by many well known warriors Wodeyar I,Tipu Sultan and Hyder Ali were few distinguished rulers of Mysore. Apart from the hub of art, culture, wonderful nature and tourist attractions, the city is also recognized for its excellent education systems, technology, Business Corporation and small industries.
2
More about Mysore Etymology As per Devipurana, there was an Asura (Demon) called Mahisha (Mahisha + Asura), who became famous by the name Mahishasura. The Demon resided in the Mysore city, and caused many troubles to the people. There was no specific name for Mysore till then, but when the Demon Mahishasura started ruling the city, people started calling the city as Mahishana Ooru. As time passed, they started calling it as Mahisha Ooru, which then became Mahishuru; later, Mysuru or Mysore. This is how Mysore got its name. Later, the Demon was destroyed by the Goddess Chamundeshwari (Chamundi), and hence, Mysore includes the Chamundeshwari Temple or Chamundi Betta (Mountain) in the city of Mysore.
Geography The city of Mysore is located between 12 18’ 26” North Latitude and 76 38’ 59” East Longitude and has an average altitude of 2,526 feet from the sea level, with the spread across area of 128.42 km2. Its neighbouring states are Kerala and Tamil Nadu. It is the third largest city in the 3
state of Karnataka, India. The city is located between two famous rivers: the Kabini river that lies to the south and the Kaveri river that flows through the North of the city. The city is gifted with wonderful lakes, waterfalls, rocky mountains and other sightseeing natural beauties. Mysore city is governed by Municipal Corporation which comes under Mysore Metropolitan Region.
Climate Mysore has a semi arid -climate. Summer is the main season in Mysore from March to June. The monsoons usually arrive in Mysore in July and December welcomes the winter in the wonderful city. The weather condition of the city can be described as a Tropical Monsoon type wich is the result of the interplay of northeast and southwest monsoons. The highest temperature in the the city varies between 30 – 38 degree Celsius. The city’s average rainfall is 31.7 in. In short Mysore has a delightful climate throughout the year.
4
Demography It is the third most populous city of the state. As per provisional reports of Census India, population of Mysore in 2011 is 893,062; its metropolitan population is 990,900 of which male and female are 446,676 and 446,386 respectively. The sex ratio of Mysore city is 999 per 1000 males. Child sex ratio of girls is 958 per 1000 boys.
5
Mysore Literacy Rate 2011
Mysore Child Population 2011
In education section, total literates in Mysore city are 708,130 of which 365,233 are males while 342,897 are females. Average literacy rate of Mysore city is 87.67 percent of which male and female literacy was 90.61 and 84.75 percent.
Total children (0-6) in Mysore city are 85,346 as per figure from Census India report on 2011. There were 43,582 boys while 41,764 are girls. The child forms 9.56 % of total population of Mysore City.
Mysore Slums 2011
Mode Of Transportation In Mysore
Total no. of Slums in Mysore city & its Out Growth numbers 8,843 in which population of 39,029 resides. This is around 4.24% of total population ofMysore city & its outgrowth which is 920,550.
Mysore is beautifully interlinked with with other areas of the state. It is easily accessible by road, rail and air. Mysore is connected with National Highway NH-12, which reduces the distance from two two states including Tami Nadu and Kerala.
6
Tourist Places
7
Mysore is recognized as the city of sandalwood, city of palaces and city of cultural heritage of Karnataka. There are several tourist attractions in Mysore. Some of the most popular are • Mysore Palace • Brindavan Garden • Chamundi Hill • St. Philomena’s Church • Mysore Zoo 8
Culture of Mysore Mysore has been a city where all religions have co-existed in harmony for many centuries. The continuous patronage and support of the Kings in every field led to the evolution of a distinct style known as the “Mysore Style” in the all the fields like painting, architecture, music, poetry etc. Over a period of time as this culture spread far and wide it was prefixed with the word “Mysore” to identify the unique cultural heritage. To this day in Karnataka the best quality jasmine flowers are referred to as Mysooru Maligae (Mysore Jasmine). Over the years Mysore has become a cosmopolitan city with people from different walks of life living together peacefully. In Mysore people practicing different faiths live harmoniously. This has helped the city develop. The people of Mysore take part in each other’s festivals and celebrations. The Kings of Mysore have laid a strong foundation for communal harmony by making generous contributions towards religious centers of all religions. This tradition is still followed in Mysore. The culture of Mysore represents the innate charm of the old events and traditions of Mysore and its culture stands in the form of a discrete identity.
9
Life in Mysore The City has a charm because of its amazing weather throughout year. Life in Mysore is slow. One would rarely be seen in a hurry which is very different from other big cities like Delhi and Bangalore in India. The Mysore can be seen to have strong roots associated to the rich cultural side of India, be it in the Dusshera festivities or its handicraft markets. The food here is simply amazing and so cheap that one won’t feel the pinch while paying for it. The traffic here is very organized and under control, which makes locomotion here, very easy and enjoyable. One never has to stop at a signal for more than 80 seconds. The result of traffic being under control is that the pollution in this area is also at a bearable level. Overall the city has a very positive vibe, with great atmosphere, friendly people, delicious food and an array of festivals for people to get lost in.
10
People of Mysore People belonging to different cultural backgrounds are found staying in this country and living harmoniously with the people of different other religions. A certain increase in the population of Mysore has been found in the recent years because of the development of the IT industry in this city. It can be said that Mysores population is an assimilation of modern technologists who have gathered in Mysore for work and traditional locals who have been staying in Mysore since the times of the kings of Mysore. The most common languages that are used in Mysore are English and Kannad. Two other languages that are very popular in Mysore are Hindi and Tamil. It is the presence of different religions in the city that has resulted in the vibrant culture of Mysore. The fairs and the festivals in Mysore play a very significant role in the lives of the people. Mysore also consists of a large number of pilgrim sites. The locals possess traditional lifestyle that is very religious and simple. Local people belonging to Mysore follow old rituals and customs. But with changes being found in several economic activities of Mysore, the culture of the city is also changing gradually. Traditional clothes are worn by the people of Mysore. Silk and cotton saris are usually worn by women. The people living in Mysore are simple, jovial and hospitable. It is the nature of the people that has made Mysore a good place to visit in India.
Religion Hinduism is majority religion in Mysore city with 73.65 % followers. Followed by Islam with 21.92 %, Christianity 2.71 %, Jainism by 1.13 %, Sikhism by 0.09 % . Around 0.02 % stated ‘Other Religion’ and 0.42 % stated ‘No Particular Religion’.
Traditions in Mysore Mysore possesses a very rich tradition and it is evident in the citys possession of gardens, palaces and pilgrim sites. The city is considered to be the best investment and travel destination which has resulted in large scale growth of Mysore. This growth has brought about major changes in the lifestyle of the people of Mysore who were following the tradition that 11
was handed over to them by their rulers. People have changed their lifestyles steadfastly and they are not found to follow the old traditions anymore. Various symbols of the rich tradition and heritage of Mysore such as Mysore Tongas, traditional wrestling and Mysore Unde Neshya have now become endangered and this is because of the changes that have taken place in the lifestyle and the habits of the people. It is urbanization that has altered the traditional look of the city.
Customs in Mysore Historically, Mysore has remained under the rule of various dynasties of rulers such as The Cholas, The Gangas, the Hoysalas, The Chalukyas, The Wodeyars and last but not the least Hyder Ali and his son Tipu Sultan. It was after the death of Tipu Sultan that the Britishers took over of Mysore and reinstated the Wodeyars who still remain to be the Rajpramukh possessing legal authorities that have been granted to them by the Indian Constitution.
Cultural Influence in Mysore The impact of the culture and the tradition of several dynasties that have ruled Mysore is found in the culture and the custom of Mysore at present. The architecture found in the learning centers and the temples of Mysore bear an imprint of the tower structure and carvings of the Hoysalas while British influence is found in the government buildings. The city possesses a green cover and wide roads and the credit for this development of the city goes to Raja Wodeyar III. The city claims its forte and its specialties in the form of “Mysore style� which has become a brand for the city representing the unique culture and custom in Mysore with great pride. Mysore paintings depicting the scenes and epic figures from scriptures carry traditional interior work by the use of Mysore gold and they form a distinct tradition in Mysore. The literature and the music of Navodaya writing style is found in the short stories, novels, dramas and poems that came into existence under the basic influence of the Christian missionaries and the Britishers in Mysore. Even today, there are a lot of musicians and writers found budding in Mysore in search of a good platform. The era of Tipu Sultan marked the origination of Mysore silk which is considered to be the purest form of silk and is very popular for its shimmering looks and rich feel. Dishes like Mysore pak and Mysore Masale also have a significant role in adding to the popular and well preserved cultural heritage of Mysore. 12
Festivals Dassara Festival: Mysore is synonymous with Dassara celebrations. Several religious, cultural and other programmes mark the 10-daylong celebrations, which falls generally in the month of september-October. Tourists from India and abroad come to Mysore to see the various tourist attractions and witness the special programmes arranged during the 10-days of festival. It’s really a great opportunity to see on all the ten days, the Mysore Palace is illuminated and renowned musicians of the State and outside give performances in front of the Palace. During the nine days, the State Government arranges music, dance, folk dance, doll shows, wrestling and sports competitions. The celebrations conclude with a colorful State-organized procession. Yugadi: The Kannadiga New Year day of Yugadi that falls on the second half of March or early April is celebrated with devotion and delight. Mysore also celebrates the national festivals of Independence Day, the republic day. Religious festivals like Sri Ramanavami, Deepavali, Christmas, Eid-ul-Fitr, Eid-ul-Adha etc. are celebrated in harmony.
Traditional Attire of Mysore Mysore was the capital of the Mysore State. During the reign of the Wodeyars, a person visiting the Durbar of the King had to wear the traditional Durbar dress, which consisted of white trousers, black long-coat and a turban. The only thing that has survived and continues to be identified with Mysore is the turban. During the reign of the Wodeyars wearing the turban with or without the golden lace around was necessary. The turban was a status symbol. A person’s social status and position in the hierarchy of status was judged depending on the type of turban he wore. Today though the traditional clothing like saree and dhothi is still used western clothing has become common. Especially among the younger generation western clothes have become more popular as they are more convenient and easy to maintain. Traditional attire is used only of special occasions like festivals, weddings etc. Young men prefer wearing western trousers to the traditional dhoti though they may use it within the confines of their homes. Young girls too prefer to wear the salwar-khameez instead of the traditional langa (long skirt) and dhavani (half saree). However the older generation continues to wear traditional clothing namely the saree and dhoti. Mysore is famous for its silks. Silk sarees continue to be a favourite among women of all generations.
Jewellery Both men and women use ornaments, though women wear more gold jewellery. Married men usually wear a gold ring or a simple gold chain around their neck. Most women wear a nose-ring , earrings, bangles and rings. Nearly all the married Hindu women wear the Mangala Sutra, which consists of a Tali made of gold strung on a chain of black beads. 14
Crafts Of Mysore
15
Mysore painting The traditional form of painting called as Mysore painting is an offshoot of the Vijayanagar school of Painting. The Wodeyar king, Raja Wodeyar (1578–1617 CE) rehabilitated these artists in Srirangapatna and under his patronage, a new form of painting called as Mysore painting evolved. The main attraction of these paintings was the “gesso� work in which gold foils were pasted on appropriate regions on the painting. Gesso was used for depicting intricate designs of clothes, jewellery and architectural details. Stories from the Ramayana, Mahabharata, Bhagavata Purana and Jain epics formed the basis of these paintings.
Ganjifa Art Ganjifa or Ganjeefa was a popular card game in ancient India. Played extensively in the Mughal period, Ganjifa is now known more for the art work on the cards than the game itself. Cards made for royalty were inlaid with precious stones and were also made of ivory, mother-of-pearl and wafers of lac. One of the fi nest exponents of Ganjifa Art, Raghupathi Bhatta is a resident of Mysore and has set up an International Ganjifa Research Centre at Mysore. The cards are generally circular and sometimes rectangular in shape with lacquered backs with exquisite paintings on them.
Rosewood Inlay British writers mention the existence of thousands of workers in Mysore involved in inlaying etched ivory motifs into rosewood to create intricate wood work. This intricate work involves many stages. The fi rst step is to designand draw the images and patterns on the rosewood. Then the rosewood is cut into proper shape by carpentry. The motifs that have to be inlaid are then carefully hand cut to shape. The areas where the motifs have to be inlaid on the rosewood are carefully scooped out. Next the motifs are inlaid and fi xed. The wood is then smoothened using sand paper and polished to give a bright look. 16
17
Rosewood Inlay
18
Rosewood inlay is the process of decorating the surface of wood by setting in pieces of material such as ivory, bone, plastic, or wood of different colours. This craft originated in Mysore of Karnataka where its roots can be traced back to a family by the name of Mirza Yousuf Ali who were pioneers in the field. It is a technique used by artisans, in and around Mysuru, of inserting pieces of contrasting, often coloured materials like ivory shells, mother-of-pearl, horn and Sandalwood into depressions in a rosewood object to form ornament or pictures.
19
History
Jayachamaraja Wodeyar Bahadur was the 25th and the last Maharaja of the princely state of Mysore. During his reign artisan practiced several crafts including ivory inlay in rosewood, as rosewood was available in abundance locally. Lately a Master Craftsperson of the craft ‘Shokat Ali’ brought a totally new evolution in the craft by using locally available wood of different colors to create wonderful art pieces. These art pieces were well appreciated by the king and it was easy to learn and practice for the other people too. The unique material culture and simple technique brought the revolution in the world of art and craft and also in the life of people. The artisans flourished with unique style in their products in Ivory & Rose wood Inlay craft.
Origin
Historically the Maharajas patronised the artisans who are reckoned to have settled first in Srirangapatna around the 18th century A.D. during the period of Hyder Ali and Tipu Sultan. Subsequently, the Wadiyars — to whom the Mysore kingdom was restored by the British continued to encourage them. Skilled artisans chipped away at the surface of the wood used as the base and chiselled intricate patterns. The chiselled interiors were filled with woods of different shades and hues. Ivory and ebony predominated the inlay works but after a ban on the use of ivory the artisans shifted to coloured woods and increasingly to white plastics to highlight the contrast set against a dark background provided by rosewood.
Cluster
To give rise to the crafts of Karnataka, the government has set up a Multicraft complex, a cluster which includes 480 houses built with the help from both central and state governments. The government supported set-up provides living and working spaces for about 2000 crafts person and their families. The procurement center set up by the govt. of Karnataka is a unit of ‘Cauvery’ Karnataka State Arts & Crafts Emporium that provides the artisans raw materials like Sandalwood and purchase craft objects from the artisans and market them through their own outlets at different parts of the state. The organization conducts training programs sponsored by Development Commissioner of Handicrafts with the help of in-house design center and ‘Chamraja Technical Institute’, Mysore. 20
Raw Materials
Initially Rosewood and Ivory was used for inlay works but when ivory was banned in India white and beige plastic has been used as substitutes. Plywood is used for base frame of the art piece. Different color woods like white cedar, rose wood, chill pine, rubber wood, red sandal, jackfruit wood etc. are used to add multiple colors to the art piece. A mixture of wax and charcoal is used to fill fine details. The wood, plastic sheets, and other materials are bought from the local market. The preferred colors used in the work pieces are orange, light blue, medium blue, dark blue, yellow, green, brown, dark brown, maroon etc
21
Ivory was initially used for inlay works but after the ban of ivory in India, white plastic is being used as a substitute. The main framework of the art piece is done using plywood. Colours are obtained mostly from natural dyes, coloured woods like white cedar, rosewood, chill pine, rubber wood, red sandal, jackfruit are used to add multiple colours to the art piece. Wax and charcoal are mixed together and used to fill fine details. Raw materials like the wood, plastic sheets, etc., are bought from the local market. Most commonly used colours in the work pieces are orange, light blue, medium blue, dark blue, yellow, green (not natural), brown, maroon, etc.
Tools BOW is a fine wire blade is affixes to a C-shaped iron frame. The finest available blade is used to cut slabs of wood also exceptionally curvilinear pieces. These blades brake easily when heated due to friction produced by sawing through the wood. To reduce the chances of breaking off it is cooled with wax. CHISEL is used for scraping and shaping the wood. It is generally available in different siz- es, depending upon the type of work involved. A large chisel can be flat tipped with 0.2 cm thickness and 1.5 inches broad. Whereas the smallest chisel which is used to carry out minute scraping is like a thick needle but with a flat tip of 1 cm. PATTA at times it is not easier for the craftsmen to use a hammer, because the whole force is concentrated on one point therefore a broad flat iron rod called the patta is used to beat the chisels. Patta generally comes in the dimesions of 1.5’ x 12” x 125”. It weighs around 500 gms. to 750 gms A number of nails, of various sizes are used by the wood inlay craftsmen for the purpose of putting the inlay pieces into sequence in the process of pressing them. The lengths of these pieces are generally 1 inches to three inches and are usually very thin FORCEP is a small picker made out of steel locally known as a chimti. Forcep is used to keep the small pieces for inlays in the grooves and cavities created in the wood. It helps to arrange fine pieces of wood and plastic which may slip from the hand otherwise.
Patta
Bow
Chisel
Forcep
22
Process
Paper Design The work starts with decisions for the motifs and the basic shapes of the product to be made. First, the design of the art piece is finalised and drawn on a white or butter paper and colours are marked on the drawing. These designs are sourced locally, supplied by the distributor or extracted from newspapers and magazines. The patterns and designs that they use are vastly geometric or floral. Religious themes have been all time best- sellers. A village scene, portraits, a herd of elephants walking, women working in paddy fields are some of the themes whose depiction has become popular. Keeping with the expanding consumer market of tourists from various countries, there has been introduction of abstract contemporary designs with a traditional touch.
Cutting The next step is cutting of the desired design on wood. Different woods are used for different colours; woods are dyed with desired colours by using food dyes like kesari and left in the sun for drying. Then small sections are traced onto a separate paper and used as stencils to stick on wood, they photocopy them for similar designs. The motifs are then pasted on the fibre plastic sheets with the local or home-made glue. The wood with the design outline is held on the table by means of table vice or otherwise held firmly and bow is run on the tracing or outline of the design. Different parts of the design are thus sawed off different parts of wood.
23
Scooping The motifs are then arranged together and transferred onto the desired position on the base wood, which can be rosewood or a combination of other woods. The design traced is then chiselled to make grooves of a certain depth, usually equal to the depth of the cut-out. For inlay with a thin base, drill is used to give minor depths and the pieces are fit into. There is a danger of breakage of the base and hence great caution should be taken while drilling. Scooping is a difficult task and requires much amount of attention and skill. As an alternative, the shape of the inlay piece is cut out onto the base leaving a gap, and the piece is then fit into the hollow.
Filling Once the process of scooping is done, the paper pastings are removed and are fit into the grooves like a puzzle. The various coloured woods are arranged by referring to the initial drawing and then are put in place with a strong adhesive like araldite or fevicol. Further, nails are hammered onto them in order to fix the motifs and the composition is then left for two to three days to dry out completely for the finishing process to start.
Finishing The work piece is levelled using a chisel and then rubbed using several grades of flint papers in order to bring all the pieces to the same level. Then the frame is rubbed with kala moum (mixture of bee extract and charcoal) by a brush made of cloth for gloss and then scrapped by a chisel. So that the wax remains in the groves and the rest of the surface is removed. There are some pieces in which slight dimensionality is involved and the thickness and depth of each article in the composition is made to vary to give appropriate relief and depth. Sand powder mixed with glue is also used to fill the gaps between pieces.
24
Why rosewood is in demand ? Rosewood is the major raw material of the cluster. Rosewood is characteristically dark and highly grained wood. The grains run differently in different logs of wood when cut. Rosewood ranges in colour from rich red to dark brown. The wood is heavy and fibrous. This wood is priced historically as they have a close, dense grain which makes them extremely strong and durable. Rosewood grows in large areas of the forests of Mysore. Due to indiscriminate cutting of rosewood and other precious woods like teak and sandal wood, the state government decided to enforce strict control over the forests in general and enforce tough regulations for growing and harvesting precious wood like rosewood, teak and sandal wood not only in government forests but also to cultivate the wood for the craft purpose. The government enacted the Karnataka Forest Act, 1963 and Rules 1969. Since then cutting of any type of wood from the government forests and specified woods from private lands/forests is subject to licensing, fees etc. But the licensees are not allowed to cut woods like rosewood, teak and 25
sandal. The government cuts these wood from forests, stocks them in depots at different places and sells to licensed traders and users under public auction periodically, approximately once in 3 months. Large users of wood like the manufacturer and dealers have licenses to buy wood from the government depots. They regularly participate in auctions and procure their requirements of wood. Traders also purchase wood in auctions. Many of them own saw mills where they cut the timber blocks into different sizes, plain them and make it available for retailers and small consumers like wood working micro enterprises. In addition, there are more than 50 retailers of wood concentrated in Akber Road area (where the manufacturers of handicrafts and furniture are also concentrated) in Mysore city who stock and supply all types of woods according to the requirement of customers. The manufacturers by and large say that there is heavy shortage of wood supply. Due to heavy demand and hassles in procuring, transporting and taxation on wood (14.5% VAT)
the prices have gone up enormously. From around Rs.1500 to 2000 per ft. of rosewood ten years back, the prices have gone up to Rs.5000 to 6000. Due to procurement delays the manufacturers are required to maintain sufficient stocks all the time with consequential financial burdens. Imported wood is also available in the market; but the prices are equally high due to 28.8% import duties. There is no easy solution for making the supply of wood comfortable and keeping the prices at reasonable levels. Forests resources are becoming scarce due to various reasons, mainly deforestation. Even though government has been making concerted efforts for afforestation supply cannot be increased in the short term due to the long maturity period of these precious woods. The manufacturers are of the opinion that the supply and price situation would be eased to some extent in future.
Present Senerio The dearth of skilled workforce is not so much in a good situation. There are 4000 artisans who have been issued with ID cards by the Deputy Director, Office of the Development Commissioner for Handicrafts, Mysore. According to industry sources, at one point of time around 2005 there were 10,000 artisans in Mysore but the number of active artisans has declined in the last 10 years due the following reasons: -Export of handicrafts suffered a setback since 2008 due to recession in EU and USA, the major destinations for Indian handicrafts. -Stiff competition from China and Indonesia has adversely affected exports from India. -Due to the decline in business most of the manufacturers in Mysore have reduced their intake of artisans and also reduced orders given to home based artisans. For the same reasons, there has not been increase in wages, even though cost of living has increased enormously. The wage level remained almost static around Rs.400-500 per day. - Due to lack of employment opportunities in the industry many artisans have gone in search of jobs in other industries, notably in construction industry where the wage level are around Rs.900-1000 per day. -According to industry sources, the number of active artisans in the cluster may be around 2500-3000 as of now. -Artisans have discouraged their children from following their profession. Developing artisanal skills take long time and rigorous practice for which the younger generation neither has the patience nor the interest.
26
Intervention of Technology
The manufacturing offices and procedures of the rosewood inlay have not experienced any progressions since decades. The manufacturers, having the rosewood business extended would utilize the innovation to make the work less demanding in bigger scale however the mind boggling procedure of cutting decorating still continues as before. Also, in some miniaturized scale endeavors the main power driven apparatus utilised are the same old machines and grinders. Every single other operation is done physically with chisel, saw, planer, hammer, sawing board, brace and bits, file, spoke shave, pincers, screw driver, sandpaper block, wing compass, twist drill and whetstone.
are exorbitant. Because of their high efficiency, the workloads that individual makers may won’t be adequate for their ideal use. Since the cluster has never confronted deficiency of exceptionally talented craftsmans at ostensible wages no maker has felt the requirement for greetings tech machines.
KHDC has endeavored to make a Common Facility Center in the Artisans Village (Karakushala Nagara). It has built work sheds for introducing current hardware; however because of absence of enthusiasm for the business no apparatus has been introduced. The area additionally is by all accounts an impair as it is to some degree distant from the core of There is a hope for utilization of CNC machines the business in the city. However, it is time the in furniture making without trading off the bunch genuinely pondered utilization of refined aesthetic contribution of the craftsmans. Yet, no apparatus to upgrade its aggressiveness in the individual maker can stand to purchase and make household and universal markets. Regardless of utilization of these refined machines since they the possibility that the bunch is not in a position
27
to make utilization of advanced high profitability hardware there is no motivation behind why it should not go for basic automation of the operations with hand-held and table best power worked carpentry apparatuses that will go far in considerably expanding efficiency and decreasing expense. Most current wood workers use an assortment of power tools. The present power devices are lightweight, quick and incorporate various security highlights that make short work of numerous monotonous carpentry assignments. In this unique circumstance, the requirement for a Common Facility Center in the cluster needs no accentuation. A CFC eventually will be totally vital for the development of the art in future. Actually, CFC outfitted with CNCs are inescapable, if the specialty plans to survive what’s to come.
Marketing
Authentic craft of rosewood inlay has made its place in the Indian market and is broadly valued. The most generally utilized scope of items in this workmanship is that of furniture’s and beautifying things. Different items, for example, confines rosewood frames, mirrors, chess sheets, key holders and so forth are likewise done by the craftsmen. These products are generally found at the Cauvery Emporium under the Karnataka State Handicrafts Development Corporation Ltd (KSHDCL), or they should likewise be possible by the craftsman on coordinate demand of the client. Art products done by the state or national awardees are additionally sold to presentations and galleries to be shown. Variety in the craftsmanship is viewed as interwoven works of art which in the market are sold at overflowing costs in showrooms in the city. These canvases and items are additionally transported in different parts of the nation where they increase great gratefulness as well.
Truth being told, the items in the market that are sold at high costs to the clients while their benefit picked up in the market is not being achieved by the genuine craftsmen who build up these items. The majority of the craftsmen are uninformed about the genuine costs of their items in the market. These costs are a stunning 10-15 times higher than what the craftsman offers it in. Indisputably one might say that the market and the benefit both are great in rosewood decorate yet the benefit is not genuinely isolated or given in the hands that really merit it. The market then again is advancing admirably and has new items coming in view of new contemporary craftsmen who need to set up their own business and bring a radical new scope of items and modernize the specialty of decorating in rosewood. Rest of the promoting for the little specialists is word of mouth. Though few of the maturing skilled workers who wish to take this specialty to the next contemporary level are likewise advancing their items through web-based social networking.
28
Few samples of rosewood inlay top left : paper design cut-outs top right : wall hanging bottom left : table top
29
SWOT Strengths: • • • • • •
• • • • • •
Traditional skills honed over decades Supply of raw materials Extensive support given by Central and State Government. Good USP of product designs Well known in international markets Renowned academic institutions of arts and crafts
Weaknesses: • • • • • •
• • • • • •
Absence of technology up-gradation Inactive Association No mutually beneficial collective initiatives No vision or mission Declining skilled workforce Failure to take advantage of government support
Threats: • • Emerging strong competition from modular furniture manufacturers • • Competition from China, Malaysia and Indonesia in domestic and international markets
Opportunities: • • • •
• • • •
Increasing tourists Huge demand from local areas due to high incomes of IT employees Extensive support from governments for export Increasing demand of the craft products in hotel industry and other major corporations. 30
Product Range • • • • • • • • • • • • •
31
• Wall plates • Geethopadesha inlaid panel • Jewellery • Gift items • Krishnaleela screen design • Khedda design dining tables and chairs • Side boards • Cabinets • Chests • Inlaid elephants- brass and plastic • Dashavtaram panel • Wall hangings • And all other furniture on orders
32
Challenges faced by Craftsmen Health Problems With this delightful specialty, tags along perilous medical problems. There is a not insignificant rundown of medical issues emerging from the extend periods of time went through with this specialty. A standout amongst the most widely recognized disfigurements is that of the lungs because of undesirable utilization of rosewood clean and furthermore other wood tidy. This may likewise prompt epidermal medical problems. Another issue is solidifying of the skin because of ceaseless use of the metal instruments. The fingers and the palms begin having nodes too. Since the apparatuses are made out of metal and are sharp, there can be cuts and wounds while working with them, as a result of the unpredictable outline and the moment points of interest that the eyes need to get while cutting the wooden pieces, it additionally may prompt eye issues. For which the greater part of the craftsmen would be wearing glasses. 33
Lack of Female Contribution The universe of rosewood inlay is for the most part driven by the men in this field. Beforehand, ladies were not permitted to function as they should deal with the house hold and the family. Yet, following a urbanized way to deal with this workmanship, these days even ladies has begun acting as a decorate craftsman and adding to the art and to the family also. Yet at the same time in parcel of firms and associations the ladies working for the specialty are kept as a mystery, since they consider it to not be a thing to be glad upon.
Raw Materials
Low Wages
The main issue right now confronted by the skilled workers is in the acquisition of the rosewood. The supply from the forest department is constrained and the skilled workers need to purchase the rosewood in the administration open sale held in Virajpet in Coorg, where high bidders come to buy the rosewood. The Karnataka handicraft development corporation has developed an art complex to house whatever number of craft men’s families as would be prudent; the organization buys the items as well as makes different offices, for example, basic office focus, credit, crude material stop, and so forth the skilled workers require help with the acquirement of crude material at sensible rates during the time so the value factor could be kept up.
The majority of the rosewood inlay crafts mans have a place with the lower white collar class and with the wages that they get makes it hard for them to add to the family’s cost. The base wages every day begins from Rs.200 and goes up to Rs.500 even in the wake of working for 8 to 10 hours. This hasn’t changed over the most recent couple of years, notwithstanding working in a similar organization for quite a long time. and subsequently will blur away. Which it shouldn’t.
Design Knowledge
Dealers And Emporiums
Scarcity Of Craftsmen
The most exasperating issue among the crafts men is the lack of information and mindfulness about their own particular rights and the correct worth of the wonderful items that they make with such commitment and constancy. For them the craftsmanship has turned out to be recently any irregular method of work. They don’t know much about where their diligent work goes and who receives the genuine benefit in their place. And even if the few of them are aware, they still don’t want to rise above the situation and help themselves. For the most part the emporiums contact the production lines and the handiworks for these careful crafts men, and pay them a less sum for their diligent work and get them selves a benefit of an unfathomable sum.
Regularly the craftsmen who offer through merchants and emporiums are gravely deceive as the items are sold up to right around 150% profit, while the craftsmen are paid a less sum. The installments are additionally given late making it unmanageable for the craftsmen to proceed with their day by day, fill in as they depend just on that cash. The emporiums additionally add to their difficulties by dismissing the little scale businesses wherein these little craftsmen work makes the arrangement with the huge organizations.
The inlay craftsmanship is step by step cautioning without end as there are not really any craftsmen left nor does any youthful craftsmen need to proceed with this as a genetic workmanship in their families. They need their kids to grow up, get appropriately instructed not at all like them and go for occupations and not turn out to be any trivial rosewood inlay craftsmen as they seem to be. Prior it has been gone down through the eras as the request at that point was similarly high than now. With the rate starting at now and the request, in the coming 30 to 40 years, the rosewood inlay will soon get debilitated and subsequently will blur away. Which it shouldn’t.
34
Case Studies
Name: Syed Ali Age: 52 Profession: Cutting of wood Family: Wife, 2 daughters, 1 boy Searching for the most famous artisans in Moomthabooth street of Mandi Mohalla, a known area in Mysore known for inlay craft, we met a hardworking 52 year old illiterate man ‘Syed Ali’ who does not shy away to claim that his work is almost perfect. He knows that the craft is not going to last a long time but still somehow manages to convince his son to work for the same craft. He is emotionally connected to what he does, 9 hours a day, 5 days a week. He has been working in the same field since he was 12 years old. He earns 350 Rs/day which eventually is not enough for him to feed his family. He knows that there is not much future in this craft but he still wants his kids to learn every aspect of the craft along with attaining proper education at the same time. 35
Name : Abdul Rauff Age: 40 Profession: Owns Sri Laxmi Handicraft Abdul, a proud son who has carried on his late fathers business of rosewood handicraft which has now become a profitable source of livelihood for him. He was solely responsible for the growth of the business. He talks about the time when his father started the business with 2 others and where it has reached now. Today he has a big shop in Mandi Mohalla where he not only makes the final product but also sells the end products. 15 artisans works under him who are well versed in the craft whereas he takes care of the marketing. He has his customer spread all over the world and provides export facilities in different parts. They supply products to cauvery Emporium, Mysore. Also artisans create unique custome made products for customers qho approach them directly. “We have recently started our own website. So online business feeds us too�, he says. Though there is not much demand of rosewood inlay nowadays but Abdul manages to earn pretty well and take pride on his accomplishment. 36
Name: Viris Age: 35 Viris who came from Australia is staying in Mysore since last 3 years. He came to visit India 3 years back for a holiday and decided to work here. He says, “Best place to learn marketing in the whole world is Mysore. He along with his wife are working on a startup called ‘SkillsTourism’ that provides the foreigners with the opportunity to learn something on their next holiday. It invites people to get involved in the local community and work with artisans and learn something new in Mysore. The crafts that are included in his startup are : • Cast Metal Sculpture • Stone Carving • Textile Block printing • Garment Making • Silver Jewellery Making • Marquetery According to him, “I find Mysore the most peaceful and cleanest city. It’s a small convenient city with no traffic problem. And its absolutely tourist friendly as people do not react on seeing the foreigners”. This not only helps him with his startup but also supports the local artisans. Under his program, foreigners come here and involve in craft so it gives a certain prestige to the craft. 37
Conclusion
The multifaceted rosewood inlay work demonstrates a striking refinement of workmanship. Tireless specialists smoothen the rosewood and painstakingly scratch plans describing stories of the past on its surface. Today, because of the prohibition on ivory, specialists fastidiously inlay woods of various hues, acrylic, shell or plastic to make these faultless masterpieces. The art of rosewood inlay has developed to fulfill present day patterns. It has progressed from just beautifying articles to way of life items today. This work is not just observed on the royal residences any longer. As Rosewood has made its way in different forms like entryways, chests, mirrors, foot stools, boxes, parcel screens, pantries, cupboards and eating tables embellishments. There is a decent market for these items today, as individuals really do welcome it and wish to possess such furniture and items for themselves. Other than outfitting things there are things like strolling sticks, chess sheets, gems boxes, bangles, bowls, plates, cutlery sets, and so forth which are additionally advancing nowadays. In the present scene, the craftsmen generally offer their items through Cauvery; an activity by Karnataka State Handicrafts Development Corporation Ltd (KSHDCL) in 1964, to guarantee that the State’s rich custom of stunning craftsmanship is safeguarded, created and advanced. A future recommendation could be setting up self improvement gatherings for the town based craftsmen and helping them begin their own framework where they can be in coordinate contact with their clients. This is for the reason that the present situation has its restrictions of the craftsman not having the capacity to comprehend their client and additionally not getting much input. The striking bit of the government frame work is not exactly sufficient enough to help the craftsmen to make decent enough wages for a progressive living. The craft pieces are sold at a profit margin of 10 to 15 percent from the actual cost, at which they are bought from the craftsmen by the emporiums or dealers. Due to which the actual workers of the craft stand absolutely insufficient of what they actually deserve. In any case, with little salary who were cheerful doing their work. We seek after better offices by the administration and money related guidance. It was extremely pleasant to see and comprehend the art, understanding the bits of the craftsmanship and venturing ahead in learning.
References
Image Refrences http://gomowgli.in/blog/wp-content/uploads/2015/10/Dasara-8-Oct-2015.jpg https://content3.jdmagicbox.com/comp/mysore/89/0821p821std4000189/catalogue/tholasi-jewels-ashoka-road-mysore-0eti.jpg http://www.thomaskirchner.com/wp-content/uploads/2013/01/IMG_7296.jpg
Research Refrences https://en.wikipedia.org/wiki/Mysore_Rosewood_Inlay https://www.cauveryhandicrafts.net/pages/rosewood-products http://www.craftandartisans.com/rosewood-inlay-of-karnataka.html http://mysore.ind.in/mysore-city https://www.karnataka.com/mysore/ http://www.skillstourism.com
Dhanyawad
An initative by NIFT to promote and preserve the Crafts of India.
Š 2017 National Institute of Fashion Technology. All rights reserved.