Nakkashi Jaipur (Engraving on metal) by prachivyas97

nakkashi engraving royalty

Picture Clicked by Aayushi Sejpal

© Nakkashi – Jaipur | MRID 2018 This craft documentation is written, edited, illustrated, designed and photographed by students of MRID, Faculty of fine arts, Maharaja Sayajirao University, Baroda. 1) Aayushi Sejpal Bachelors of Moving Images 6th Semester Batch 2015 - 2019 2) Dishunee Pandya Bachelors of Accessory Design 6th Semester Batch 2015 – 2019 3) Prachi Vyas Bachelors of Communication Design 6th Semester Batch 2015 – 2019 Publication year February 2018 Craft documentation is for academic learning purpose only. Guided: Ms. Avani Varia Maharaja Ranjith Singh Gaekwad Institute of Design (MRID) Sayaji Bhawan, behind msu head office, Pratapganj, Vadodara (Gujarat) All rights reserved under international copyright convention. No part of this document may be reproduced or translated in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the copyright owner.

nakkashi engraving royalty

Picture Clicked by Aayushi Sejpal

Acknowledgement Any task with a motive cannot be accomplished alone. We would like to acknowledge and pay our sincere gratitude to all those who helped us, supported us throughout the documentation process. We would like to thank MRID (Faculy of Fine Arts), M.S. University, Vadodara for giving us this wonderful opportunity to study the rich craft, Nakkashi of Jaipur, Rajasthan. We would specially like to thank our guide Ms. Avani Varia, who introduced this course and believed in us, that we will be able to justify the craft. We thank her for her guidance and significant contacts provided of Mr. Yunus Khimani, director of City Palace, Jaipur and Ms. Khushboo Mathur, designer at Indibini, Jaipur; who showed us the path and encouraged us. We appreciate the efforts of Mr. Hritesh Kumar, head of archaeological department, Albert Hall Museum, Jaipur for helping us with secondary data. We would also like to thank Mr. Brajesh, manager at virasat rerstaurant who got us the contact of Nakkashi artisan Mr. Bashir Mohammad. We are grateful to all the artisans, Mr. Abdul Salam, Mr. Hanif Mohammad, Mr. Abdul Razak, Mr. Abdul Rahoof for their time and knowledge. We appreciate the MRID staff for always helping us in all ways. We are also grateful to our friends and batch-mates for their feedbacks and support.

introduction to craft documentation Craft documentation is a process of recording, categorizing and dissemination of information, through both graphic and written mediums. The process of documentation explains the significant characteristics of a craft; the materials, process, tools, and techniques involved in creating it. The recording process initiates with gathering information through literature study, followed by recording through field drawings and photographic documentation, which would later take form of a document or report, depending upon the number of stages involved in order to carry out a particular craft. The craft documentation expects the students to get in depth understanding about the chosen craft by being physically present in the field where that craft is concentrated and by studying the experiences, lifestyles and hardships that the artisans have to go through by keeping their tradition and heritage alive although it barely provides them the means of subsistence. We get an opportunity to understand the micro level industry as well as establishing relationship with the craftsmen. We feel humble and sense of strong urge to help in uplifting their position in society and bring their art to foreground.

Focus of Study The unique properties of Nakkashi craft, its luxurious feel as well as the workmanship inspired us towards knowing more about this craft. The main focus of our study intends to be the journey, from raw to final product, as well as the way that it is processed at the various stages before its final outcome and a market study. We therefore intend to collect some information regarding the current practice of Nakkashi and its relevance with the market during the course of the documentation. Picture Clicked by Aayushi Sejpal

INDEX JAIPUR

10-17

NAKKASHI

18-30

_________________________________________________________ Introduction of the city ___________________________________ 11 History & Origin ___________________________________ 12 Geography and climate ___________________________________ 13 Culture & heritage ___________________________________ 14 Folks & festivals ___________________________________ 15 Crafts of the city ___________________________________ 16-17

_________________________________________________________ Introduction of the craft ___________________________________ 19 History of the craft ___________________________________ 20 What is engraving ___________________________________ 21 Artisans details ___________________________________ 22-23 Casting & Mouding ___________________________________ 24-25 Engraving ___________________________________ 26-27 Colour & Polishing ___________________________________ 28-29 Process ___________________________________ 30

Packaging

_________________________________________________________

Market

__________________________________________________

Craft Interventon

__________________________________________________

SWOT

__________________________________________________

Suggestions

__________________________________________________

people we met

__________________________________________________

Our learning

__________________________________________________

37-39

Glossary

__________________________________________________

40-41

References

__________________________________________________

42-43

jaipur

rajasthanifolksong.blogspot.com

introduction of the city Jaipur, popular as â&#x20AC;&#x153;Pink Cityâ&#x20AC;?, is known for housing some of the best architectural structures andheritage sights of the country. Everything in and around the city appears like the watermark of the rich heritage of the city in the erstwhile days. The local handicrafts, the ancient monuments, the Royal Palaces and the colorful saris, everything around Jaipur give a glimpse into the glorious lives of monarchy.

HISTORY & ORIGIN The city is named after its founder Maharaja Jai Singh II. His rivalry with rulers of Mewar, Sisodia Rajputs formed his alliance with Mughals and gave him importance in Rajasthan. He ruled from Amber Fort and took over Mewar (Udaipur) and Marwar (Jodhpur) kingdoms. He tried to support Aurangzebâ&#x20AC;&#x2122;s son Azam Shah to get the throne after Aurangzebâ&#x20AC;&#x2122;s death, but it went to Bahadur Shah, who asked for his banishment from courts (Dr. Shikha Jain 2011: p.7). Jai Singh then formed alliance with other Rajput clans and defeated Mughals and reinstated his position (Ashish Khokar 1994: p.8). Jai Singh ordered construction of a city around Amber fort and named it as Jaipur. Maharaja Ram Singh, in 1876, ordered the whole city to be painted in Pink to give a warm welcome to Prince of Wales who visited Jaipur. This tradition is maintained till date and now all the residents are ordered by law to be colored in Pink only in the old city of Jaipur (Sarkar Jadunath, Sinh Raghubir ed. 1994: p.8).

GEOGRAPHY & CLIMATE The weather of Jaipur is semi-arid type. Temperatures remain comparatively on the higher end all around the year. The summer season begins from April and continues till July. The temperature rises to an average of 30Â° C (tiltson Giles 2006: p.11). The city experiences monsoon showers in the months of August and September. With pleasant weather in the month of October; November to February, are the months when city observe winters. The temperature ranges in between 5-15 oC during this season (Sara Wheeler 1997: p.9). Jaipur is extremely warm during summers and cold during winters, though the nights are cooler throughout the year. (Sarkar Jadunath, Sinh Raghubir ed. 1994: p.9) JAIPUR: Established on: November 18, 1727 Founded by: Jai Singh II Location: The city is located in the desert state of India, Rajasthan

CULTURE & HERITAGE Located in the eastern Rajasthan, this city of Jaipur is popular of the amazing forts and stupendous palaces. This royal town has magnificent architecture and is the first planned city of India. The buildings here are made with pink-painted sandstone which brings it the name of Pink City (Richa Thakker 2009: p15). Jaipur's rich cultural heritage is displayed in the traditions, customs, lifestyle, art and architecture of this place. In fact the best understanding of Jaipur's culture can be attained through its art, music and architecture. Their colourful outfits and unique jewellery are the part of their culture displayed in a flamboyant way (tiltson Giles 2006: p11). Picture Clicked by Aayushi Sejpal

FOLKS & FESTIVALS This city witnesses various fairs and festivals at different time of the year. Some of the festivals are Gangaur festival, Jaipur Literature festival, Kite festival, Teej festival, Shitla Mata Fair, Chaksu Fair, Elephant Fair, Chhat ka Mela in Amber during Navratri. The colourful city becomes even more lively and lovely (Kanwar Dharmendar 2004: p.13). They love to dance to the tunes of Rajasthani folk songs. Famous dances of Jaipur include Ghoomar, Chari and Kaalbeliya where the dancers got to dance on a pot with a lit diya on their head. Traditional instruments like Sarangi, Ektara, and Jhalar are also played while singing folk songs(tiltson Giles 2006: p.11). Performing Arts This land of Jaipur has its own performing arts. The Jaipur Gharana for Kathak is widely popular and apparently an example of rich cultural heritage of Jaipur as far as performing arts is concerned. Tamasha is another such example (Kanwar Dharmendar 2004: p.15).

CRAFTS OF THE CITY The Mughal and Rajput rulers used to invite skilled artists and craftsmen from India and abroad to display and share their abilities with the people of Jaipur. Many of them settled here leading to development of Jaipur as the haven of rich art and culture. Some of the artful talents of artisans include: Bandhani; Block printing; Nakkashi; Stone carving and Sculpture; Tarkashi; Zari, Gota, Kinari and Zardozi; Silver Jewellery; Gems, Kundan, Meenakari; Blue Pottery; Leather ware, etc ( Durga Prasad [n.d.]: p.3). Also famous for its handicrafts, Jaipur has markets flooded with handicraft items. Known for blue pottery, miniature paintings and traditional clothes with work of bandhni, zari and zardosi, are certainly the best examples that depict rich culture of Jaipur (Kanwar Dharmendar 2004: p.12).

luxurylaunches.com

nakkashi

Picture Clicked by Aayushi Sejpal

INTRODUCTION OF THE CRAFT Nakkashi is an elegant craft with a royal touch of Mughal era and fine Jaipuri motifs engraved on metal surface. The main objective of this craft is surface ornamentation of any product. Each piece of nakkashi craft is hand carved with an artisanâ&#x20AC;&#x2122;s dedication, creativity and patience.

HISTORY OF THE CRAFT Engraving is a very ancient art, engraving on stone and signets is mentioned in early part of testaments (Whetzel 1973: p.60). Engraving on brass started around 1810 (Anon [n.d.]: p.9) .Initially engraving was done on stone to prepare sculptures and designs, statues of different kind. Later, this technique was started on wood, when artisans worked on wood, they thought engraving can also be done on brass and finally engraving started on metals. They made tools of iron for engraving on brass, which was successful (Whetzel 1973: p.60). Before paper was discovered, brass and other metals were used for writing on, keeping accounts of noteworthy events, familyâ&#x20AC;&#x2122;s name, animals, and landscape were typical subjects of early works for kings(Craftmark [n.d.]: p.3). This text was maintained as a permanent document by the king and later this technique was developed by the craftsmen as a medium of expression where they can show their skill by means of engraving (Hasluck 1912: p. 9). The artisans wear influenced by the monuments and artistic work of Mughal dynasty and they started engraving pictures of horses, elephants, palaces, flowers and leaves on brass, which looked marvellous Craft Tradition (Craftmark [n.d.]: p.3).

2021

WHAT IS ENGRAVING Engraving on metal is an art of incising figures and designs on any flat or curved metal surface by cutting grooves into it with gravers or chisels, which are made to cut by force of muscles of hand (Hasluck [n.d.]: p.7). For large or heavy work chisel is stuck with a hammer whereas for small or light work chisels is stuck with a wooden piece. Engraving is majorly done for surface ornamentation on utilitarian and nontrinitarian products. The engraving process practiced in Jaipur is traditionally a very fine piece of work, it takes years to master this hand engraving technique of Jaipur (Whetzel 1973: p.60). The process of Nakkashi is segregated at three major stages like moulding and casting, engraving and colouring and polishing where the process of colouring is an optional process.

ARTISANS DETAILS Mr. Bashir Mohammed, 50 years (M) 9829772499 He has five siblings. All of them practice nakkashi at different stages. Elder two are into engraving, younger two goes to different exhibitions around India. He does colouring and polishing and manages the chain of production. He is the connection between market and artisans.

Mr. Hanif Mohammed, 72 years He is elder brother of Mr. Bashir. His Father, late Mr. Fateh Mohammed taught engraving to many artisans. He has 50 years of work experience He is working since age of 12. Practices traditional motif as well as writing on metal.

Mr. Abdul Razak, 75 years Working from age of 15 One of Mr. Fateh Mohammedâ&#x20AC;&#x2122;s student practicing from more than 55 years. Most experienced and skilled artisan we met. No further knowledge passed to next generation. Quite upset with government policies and officials.

Mr. Abdul Rahoof, 55 years Working since age of 15 years He has got the workshop from his mentor where all his family members live and do casting and moulding work. he has four brothers who work along with him. Female members of his family use to do embroidery work. His brothers segrigate work accordingly and perform particular.

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CASTING & MOULDING Casting is a process by which a molten metal is introduced in the mould and kept in it to solidify (Dasgupta 2012: p.47). The mould is known as pattern, as it carry the replica of what is to be made by casting (Anon 2013: p.10). It is then taken out and made into a fabricated part. There exits many number of Brass casting processes like Sand casting. Plaster casting, Die casting etc. (Dasgupta 2012: p.50-53). Sand based metal casting process is majorly used in making metal handicraft items. Sand Casting and Moulding have 3 major process: 1. Sand casting: forming a mould 2. Pouring: casting the item in the mould. 3. Filing the surface of the casted item to make the surface (Bashir Mohammed artisan, Jan 24, 2018). Tools required and their sourcing Sand: Rajasthan dessert; Molasses (jagerry): local market; Mould: Moulds are prepared under their guidance by blacksmiths; Moulding box; Coal: Gujarat; Metal (brass, aluminium, etc.); Filer (Reti); Clamp Sand casting: forming a mould The use of sand mixture in sand casting is known as binder. The binder is made using sand and molasses for sand casting. Sand is used as a refractive material in sand moulding system and Molasses is used as a binding material (Anon 2013: p.11).

Picture Clicked by Aayushi Sejpal

Pouring: casting the item in the mould. First, the mould is placed on a board sand binder material is sifted over the pattern until the model is covered by a few inches of sand and the outer circumference of the same is covered around metal ring (Anon 2013: p.13). lt is reversed and put into the moulding box and covered with the binder sand and pressed. This process creates an impression on the binder material filled in the mould. This creates the upper portion of the sand mould. Similarly the lower mould is prepared by making the impression on the sand binder material. The upper half of the mould is placed over the lower half of the mould. Both carry their respective mould impression on the sand binder material (Anon 2013: p.14). The casting process is conducted in a container which is known as flask or moulding box (Anon [n.d.]: p.14). lt is a tool used to contain a mould covered with sand mixture in metal casting. The bowl like opening, known as sprue, is the inlet for the molten metal to be poured inside the mould and to fill-up the space (cavity) created by the mould impression. The mould box is left for cooling down and providing time for the molten metal poured in to solidify and take the desired shape. The mould box is opened and the binding material is removed (Anon 2013: p.15). Filing the surface of the casted item to make the surface smooth and even. The granules and a rough texture appear on the surface of casted goods, to make surface of goods even and smooth scratching is done on the surface by a filer. The good is fixed in the jaws of the wooden mould for firm grip of good. (Dasgupta 2012: p.52).

ENGRAVING Metal Engraving is the art of producing figures and designs on metals by incision. Engraving Tools Two types of engraving tools are used in engraving. The Kalam(chisel) and the thapki (Striker). Working bench, basically a tripod stand for engraving is referred to as tipayee with a groove of circular cross section to hold objects. Dividers, compass scribers are used for putting marks and outlines on brass articles Ranga: cleaning tool Pathri: used for sharping tools Kalams are basically chisels used for removing the material from the object whereas striker is used to govern the cutting direction of Kalam. The cutting angle of Kalam is maintained by the hand, Kalam is firmly held in hand and the little finger is used to guide the cutting direction. For deep cuttings, the inclination of Kalam is increased and for fine cutting.

Picture Clicked by Aayushi Sejpal

An engraver makes his own tool box. He first purchases steel (mild steel or kachha loha and alloy/carbon steel or heavy steel or pakka loha). Then the engraver visits a black smith and asks him to make kalam(s) from the steel. After preparation of the kalam, a wooden base is fixed on one end of it, which will receive the blows of the striker. The selection of kalam and striker depends on two factors; the material on which engraving is to be done and the design which is to be engraved. Material of Kalam and Thapki for engraving on Hard brass: - Kalam: pakki kalam with wooden handle, Striker: Thapki For engraving Soft brass: - Kalam: kachhi kalam with wooden handle, Striker: Thapki Steel: - Kalam: Pakki kalam without wooden handle, Striker: Hammer For fine work on brass:- Kalam: Kachhi kalam with thin cutting edge and wooden handle, Striker: Thapki For deep cutting on brass: - Kalam: Pakki kalam with wooden handle, Striker: Thapki The product has to be supported with either of the knee while both hands are engaged in engraving (Abdul Razak, Hanif Mohammed, Abdul Salam Artisans Jan 23 â&#x20AC;&#x201C; 28, 2018).

COLORING & POLISHING Applying colour on engraved surface and finishing it to reach the final product. After engraving this process is to be followed. In this colouring is an optional process. PROCESS: Before colouring, the product is cleaned by mud oil by rubbing it on the surface then the product is rubbed by sawdust. Acid is mixed with water to clean the deep engraved surface of the product. Drift ( balu reti) is rubbed on engraved surface and the final cleaning of the product is done by clean water. After cleaning is done product is to be heated by placing it on the coal. Lac is applied after the product gets heated on a particular temperature then extra colour is removed with the help of ranga. The product is then ready to get polished. And to clean the product oil and saw dust are rubbed again (Bashir Mohammed artisan, Jan 31, 2018). After following this process final product is ready to be sold. MATERIALS USED: 1. oil 2. sawdust 3. acid 4. water 5. drift (balu reti) 6. coal 7. lac 8. ranga

Picture Clicked by Chandan Singh

PROCESS Colour ing Filing

R aw Me ta l

Mou ldi ng

Cas ting

E ng raving

Filing

Jo ining

Polish ing

Picture Clicked by Dishunee Pandya

PACKAGING After polishing the product is complete and ready to be sold in the market. The products are generally packed in a plastic cover or wrapped in paper if it is to be sold in local market. If it is to be sent to the retailer in bulk, it is wrapped with paper or put in plastic and bulk packaging is done with jute bags or carton boxes. While travelling for exhibitions in other places artisans carry the products in a carton box.

MARKET

Picture Clicked by Aayushi Sejpal

The royal craft with fine art is not the same as it used to be before in the present market. High pricing with the labour costs quite expensive to a customer. As engraving on metal is a royal craft with fine handiwork, it doesnâ&#x20AC;&#x2122;t get justified with its cost. The hand-made products are affordable only for high class customers. The raw materials itself are expensive with fine handwork makes it affordable to high elites only. Earlier, less formalities and duties on import-export made it feasible for the artisans to sell their products overseas. But this has become quite tough and hectic these days, which results in less sale of this art form.

CRAFT INTERVENTION The Indian culture has been rigid and thatâ&#x20AC;&#x2122;s why this elegant craft is facing difficulties for its survival in the modern era. With the changing lifestyle of urban India, a priority shift has happened which has put heavy weight and high maintenance product to lesser priority. Earlier the craft was practiced on gold and silver but due to high price of this precious metals this craft shifted to a comparatively cheaper material i.e. brass, an alloy of copper and zinc, copper. Even after this major material intervention the craft has not lost its royal touch, it still manages to please the eyes with its beauty and elegance. Earlier they were stuck with their particular motifs, nowadays we can have all product with customised designs or motifs on it. Present products of nakkashi include two major ranges utilitarian products and decorative products Animal and bird statues (camel, elephant, peacock, horse, etc.), decorative wall hanging plates, flower vases, decorative pots, etc. are included in decorative range and; Surahi, ash tray, vermillion case, wine glasses, bottle, hookah, incense stick holder, candle holder, bowls, etc. are major utilitarian products.

Strength:

-Fine detailed hand work, which canâ&#x20AC;&#x2122;t be replicated by any machinery -Royalty and uniqueness of each product -Can be done on all metals except steel. -It can be customised as no particular motifs and patterns are to be followed.

Weakness:

-Work segregation -Less government support and export problems -Weight of the products -Laborious work

Opportunities:

-Decorative as well as Utility products -Luxurious product range with customized designs

Threat:

-Machinery -Changed lifestyles -Diminishing craftsmanship

SUGGESTIONS 1. Cultural artists /artisans need access to urban and commercial spaces. 2. Mobilization of craft through exhibition, events and other social convention that will enable people develop an understanding of the craft and generate an appreciation and respect for the same. 3. The use of computers and mechanical processes are not antithetical to craftsmanship, but essential to it. 4. To record through the written word and videos as many of these dying skills as possible. 5. Making cultural and creative industries work in tandem for growth and employment. 6. Recruit more young people and set up more clear â&#x20AC;&#x2DC;Made inâ&#x20AC;&#x2122; labelling systems.

PEOPLE WE MET Name: Mr. Yunus Khimani Designation: Director, City Palace, Jaipur Name: Ms. Khushboo Mathur Designation: Founder of Indibini (Design Department), Indibini, Jaipur Contact info: www.indigifts.in Name: Mr. Hritesh Kumar Designation: Head of Archaeology Department, Albert Hall Museum, Jaipur Contact info: alberthalljaipur.gov.in

OUR LEARNING

Aayushi Sejapl 6th Semester, Moving Images E-mail Id: sejpal.aayushi@gmail.com On the first day of module I didnâ&#x20AC;&#x2122;t know much about the craft that we later selected and was excited to learn the process of the same. By referring libraries and online existing data, I learned about Nakkashi. I learnt to be patient and work in a group. During this module my confidence level also increased and I can speak in front of group of people now. I developed a skill to talk with craftsmen. Making and managing budgets was one of the learning. Not only personal learning but there was also growth in technical aspects. I learnt to make layout and use software like Illustrator. Even got knowledge about importance of citation in Harvard style and learnt few terms like plagiarism and how to avoid it.

Dishunee Pandya 6th semester, Accessory Design e-mail id: dishuneepandya@gmail.com Nakkashi was a term about which I barely knew before the advent of this module. The process of craft documentation of Nakkashi has made me acquire new knowledge and alter my existing knowledge about many technical and personal aspects. As an individual who runs far away from reading books and visiting libraries, I learnt how to find a book on a chosen subject, refer it and make notes. I learnt about importance of citing the content, Harvard style referencing and research methods. I also enhanced my hands on experience on illustrator software. Working in time limitations, monetary budget and compiling the data collection were my key learnings. Time discipline is the most important aspect which I tried to achieve while working and somewhere achieved it in the process.

Prachi Vyas 6th semester, Communication Design e-mail id: prachivyas97@gmail.com Before starting of this module I was expecting to learn the process of craft documentation and it got fulfilled very well. My technical learning during the process is I got to know the importance of citation, plagiarism and research methods. Not only in academics but I have some learnings which are very useful for daily life as by working in a group I learnt team work and coordination with the mates. I also had some great learnings like how to deal with the situation we face in a positive way, exploring all the aspects of the work, contacting with professionals, dealing with budget and work schedules. The most important thing in this module is increasing in patience level.

GLOSSARY 1. 2. 3. 4. 5. 6.

Bandhani Chaksu Fair Chhatka Mela Gangaur Gota Hookah

7. 8. 9. 10. 11. 12. 13. 14. 15.

Jaipuri kachha loha Kachhi kalam Kalam Kinari Kundan Meenakari Nakkashi Pakka loha

: Indian handicraft : Indian festival fair held once a year during March-April : Indian festival fair organised every year in December : Most vividly rejoiced Indian festival of rajasthan : Indian handicraft : An oriental tobacco pipe with a long, flexible tube which draws the smoke through water contained in a bowl. : Of, from, or pertaining to, Jaipur : mild steel : chisel with mild steel tip : chisel, a tool : Indian handicraft : Indian handicraft : Indian handicraft : engraving : alloy/carbon steel or heavy steel

16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

Pakki kalam Pathri Ranga Shitla Mata Fair Surahi Tarkashi Teej Festival Thapki Tipayee Zardozi Zari

: chisel with alloy/carbon steel or heavy steel tip : used for sharping tools : cleaning tool : Indian festival fair : an indian pot with a long neck, used for storing water : Indian handicraft : Indian festival : wooden striker : tripod working bench : Indian handicraft : Indian handicraft

REFERENCES 1. 2. 3. 4.

5. 6. 7. 8. 9. 10. 11.

(2013) the geographical indications of goods (registration and protection) act, 1999 Form GI-1. Moradabad metal craft (10-15) [Accessed 30th Dec 2017]. Ashish Khokar, M. (1994) Jaipur. Rupa and co. M. (2001) Jaipur: Rajasthan. Natmo brass metal engraving. [Online] (3) Available from: http://www.craftmark.org/sites/default/ files/Brass%20Engraving.pdf [Accessed 3rd Jan 2018]. Dasgupta, A (2012) Brass metal cluster. Design awareness programme report. [Online] (47-53) Available from: https://www.google.co.in/search?q=Brass+metal+ cluster.+Design+awareness+programme+report.&oq=Brass+metal+cluster.+Design+ awareness+programme+report.&aqs=chrome..69i57.1981j0j7&sourceid=chrome&ie=UTF-8 [Accessed 18th Jan 2018]. Dharmendar Kanwar, M.(2004)Jaipur 10 easy walks. Rupa & co. Dr. Shikha Jain, M.(2011) Walking into the microcosm of Jaipur. New Delhi. Durga Prasad, A historical trip to Jaipur. Giles tiltson, M.(2006) Jaipur nama tales from the pink city. London, penguin books. Harnath Singh Dundlod, M.(1970) Jaipur and its environs, Raj educational printers. Hasluck, P. (1912) engraving metals. [Online](9) Available from: https://ia800309.us. archive.org/9/items/engravingmetals00unkngoog/engravingmetals00unkngoog.pdf [Accessed 11th Jan 2018]. Hasluck, P. (1912) engraving metals. [Online](9) Available from: https://ia800309.us. archive.org/9/items/engravingmetals00unkngoog/engravingmetals00unkngoog.pdf [Accessed 11th Jan 2018].

12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

J. R. M. Albrecht, M.(1924) The postage stamps of Jaipur, S. Gibbons. Jadunath Sarkar, Raghubir Sinh ed. M.(1994) A history of Jaipur. New delhi, Orient longman limited. Jai Narayan Asopa, M.(1979) cultural heritage of Jaipur. United book traders James B. Meek, M. (1973) the art of engraving. F. Brownell Keshar Lal Ajmera Jain & Jawahir Lal Jain, M.(1935) All about Jaipur. R.K. Gupta & S.R. Bakshi, M.(2008) Rajasthan through the ages. Volume 4. New Delhi, Sarup and Sons. Richa Thakker, M.(2009) 1727-1840: Life in the havelis of Jaipur, CEPT University Sara Wheeler, M.(1997) Majestic Jaipur, local colour. Shri Gopal Kabra and Ramji Narayan, M.(1991) The Jaipur ankle foot prosthesis, Rawat publications. Vibhuti Sachdev & Giles Tillotsan , M.(2002) building Jaipur the making of an indian city. London, reaction books. Whetzel, D. (1973) the art of engraving. Mountain discoveries. [Online] (60) Available from: http://ww w.mountaindiscoveries.com/images/fw2012/engraving.pdf [Accessed 16th Jan 2018]. William young Ottely, M. (1816) the origin and early history of engraving. Volume 1. London, J. Mâ&#x20AC;&#x2122;CREERY. Trainerâ&#x20AC;&#x2122;s guide basic art of engraving. [Online] (9, 14-16) Available from: http://textilescommittee.nic.in /writereaddata/files/Engraving.pdf [Accessed 30th Dec 2017].

Picture Clicked by Aayushi Sejpal