TIKULI
ART
Sona Art - Patna
Aditya
Arslaan
Divya
Randheer
Saurabh
Vijaya
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TIKULI
ART
By the Fashion Communication Department National Institute of Fashion Technology Mithapur Farms Patna - 800001 Bihar All rights are reserved by NIFT. No part of this publication can be reproduced, stored in a retrieval system of transmitted in any form or by any means, electronic, mechanical or photocopy without prior permission. Printed in Patna
P R E F A C E Craft Promotion was the one subject where the students were left to explore, learn and research any craft of India. This gave us the opportuinty to travel along with informative learning andthereby, landing ourselves inthe field of craft. Mountains, weather, sunrise and sunsets are the views for every walkerby. But there is so much more to the place- in budding habitat of several communities, thrives the craft of Bihar Tikuli Art. This craft is famous for its styles and utility products. This book is an attempt to bring to the notice of the young minds of India to look more into a place than just the usual placesto-visit. It is a medium to give insights to the readers into this beautiful craft detailing, inticacy and perfect usage of moulds. The main objective is to spread more awareness among the people of India towards thenexistence of real Incredible India which is full of people carryingout their cultures and legacies
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ACKNOWLEDGEMENT Foremost, we would like to express our sincere gratitude to God Almighty for the gift of life, resources and everything else that enabled me to go through the course and we will be forever be grateful. We are grateful to Fashion Communication Department,NIFT Patna for giving us this wonderful opportunity to study this craft through the craft promotion . We acknowledge with gratitude to Mr. Deep Sagar Verma my respective subject faculty who has been sincere and helpful in making us to understand this craft promotion. We are also very thankful to Mr. Kumar Vikas our CC for guiding us throughout the module and helping us at all the stages of the development of this craft cluster project. The Upendrav Maharathi NGO family for making us feel welcome throughout the stay and giving us information and guiding in our research. And Mr. Kumar Vikas and all the faculty of Fashion Communication department for giving us their valuable tips and suggestion for improvement in our project. We have tried hard to gather all relevant information regarding this subject. There may be shortcomming, factual error, mistaken opinion which all are our and we alone an responsible for all those but we will try to give a better in future.
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C O N T E N T S Introduction to Bihar Introduction to Handicrafts of Bihar Introduction to Tikuli Art History Present Scenario of Tikuli Art Making of Tikuli Art Introduction to Sona Art About Ashok kumar Biswas Existing Product Range Marketing and Retail Medium Revival SWOT Analysis
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NIFT
PATNA tikuli art | fc 2015-2019 |
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NIFT PATNA was started in June, 2008, from its transit campus situates in the prestigious Udyog Bhawan, Gandhi Maidan, Patna and from July 2014 it has start functioning from its own permanent campus at Mithapur Farms, Patna.NIFT as a Institute is a pioneer in envisioning and evolving fashion business education in the country, and this endeavor saw opening of four New Centers in 2008. Patna being one of them. The institute boasts of a very close contact with the intellectual art and design sector of the society all over the country. Due to the advantage of being one of the pioneer institutions coming in the state, the institute is now very well networked to satisfy the academic requirements of NIFT Patna. The institute portrays itself as a leader in fashion education in the state. NIFT Patna has committed itself in exploring growth paradigms and to act like catalyst in formulating the structural roadmap for the apparel and allied industry. NIFT Patna is looking forward to contribute towards upliftment of the craftsmen through workshops and design intervention.
Overall project direction, strategy, management and coordination of activities and schedules. Overall implementation along with specific tie-ups and networking with various stakeholders.Expertise of enhancement and conversion of knowledge through multidisciplinary research, across design, management and technology. Assessment and enhancement of capacities and capabilities through knowledge transfer programs. Mapping opportunities and potential markets, branding and promotional strategies and networking of potential commerce patronage. Products, processes and tools innovation through design and development.Technical know-how enhancement, trend studies, quality norms and sourcing. Information sharing and creating grass-roots technical support systems for intelligence development and market accessibility. Integration of academic activities to provide real life learning opportunities and employ students’ creative abilities towards various initiatives.
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Despite the influence of countless empires and cultures, India has never lost its unmistakable flavour, it’s essential richness and warmth. Pure, timeliess and prized world over the heritage of India is legendary.
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Bihar is a state with rich culture and heritage, which is evident from the innumerable ancient monuments spread all over the state. A large number of tourists from all over the world visit Bihar every year. The state also possesses many sacred and religions places where large number of people visits for pilgrimage. This is the place where Buddhist religion also flourished. Besides, the handicrafts of Bihar are also very popular and noteworthy.
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DIFFERENT CATEGORIES OF BIHAR HANDICRAFTS Sujini and Khatwa Embroidery Madhubani Paintings: Wood Inlay Lacquerware Stone Work Printed Textiles Sikki Work Village paper mache handicrafts Sujini and Khatwa Embroidery is famous as well as beautiful work of handicraft in Bihar. Sujini is a traditional quilt made with layers of old cloth for inner stuffing and this craft is mostly practiced in rural areas. For embroidery cotton or colorful threads are mostly used. The design in this craft mostly depicts village scene or religious scene. Khatwa is a kind of applique work in Bihar used to create decorative items like tents, canopies, shamianas, etc. This craft uses Persian designs and circular central motif designs. Artist Bihar showing madhubani painting Madhubani Paintings in Bihar is a craft practiced in Mithilanchal. This is a creative folk painting done by women in the traditional way. These paintings portray symbolic motifs, and religious scenes. For paintings natural colors are used, which range from red, yellow, green, ochre, brown and black. Originally, these painting were done by women on the walls of their houses, while these days the paintings are professionally produced on paper, canvas and textiles for international and national exhibitions.
Handicrafts
The crafts of Bihar are popular across the country. Of the many interesting crafts of Bihar, the Madhubani Paintings are most famous, which are mostly practiced in the region of Mithila. These paintings are painted during weddings and festivals as these are regarded as auspicious. These paintings mostly depict religious subjects like marriages of god and goddesses. Other crafts like bangles of Muzaffarpur are very famous. The Stone Work of Bihar is also a popular craft. Some beautiful exaples of stone images can be seen in cities like Gaya, Nalanda and Patna. Another craft in Bihar is Khatwa, which is an appliquĂŠ work of designing by cutting of one fabric and stitching the pieces to another fabric.
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Wood Inlay is one of Bihar’s ancient crafts that continue to be done with different materials, like metal, ivory and stag-horn. This craft makes lovely decorative pieces, wall hangings, tabletops, trays, and a number of utility articles used for daily household needs. Wood Inlay is one of Bihar’s ancient crafts, which is now being done with different materials, like metal, ivory and horn and so on. This craft makes lovely decorative pieces, wall hangings, tabletops, trays, and a number of utility articles used for daily household needs Lacquerware is a famous craft of Bihar. The use of lac has been going on for making beautiful items like boxes and bangles since early age. It is used to make decorative items and small boxes that most women use for keeping sindur. These boxes are designed with beautiful motifs. The rich legacy of Bihar can also be seen in its Stonecrafts. Artisans in Bihar craft Buddhist icons, images and household articles. Gaya district has traditional stoneware center in Bihar. Textile printing of Bihar is renown. This craft is done on cotton, wool and silk. Beautiful designs of floral and animal forms are printed in chunris Sikki Work is a craft that uses grass, which is then hand-woven into nice baskets and mats Village paper mache crafts from India are generaly made in every village of India, although village paper mache of Bihar is more famous, due to its painting style and making style. Artisans of Bihar use to make beautiful crafts with colourful paintingson them.
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TIKULI
ART 19
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History TIKULI
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Tikuli is an uncommon and one of a kind bit of hand painting, over 800 years of age and has its source in Patna. Tikuli is gotten from “Tikli” or “Bindi”- the dab like frivolity with glass base and gold foil leaves in an assortment of plans decorating the temple of most ladies in India. Patna and Harihans urban areas are well known for assembling of Tikuli specialty. The central markets of Tikuli are Banaras, Patna, and Kolkata. It includes dissolving glass, blowing it into a flimsy sheet and making and including followed design in characteristic hues and a while later decorating it with gold thwart and gems. Tikulis were principally enhanced by Queens and Aristocrats ladies of yore. Gems were put on gold leaves as per the status of the ladies in the general public and these delightful high quality Bindis were a pleased ownership of ladies in India. The specialty, nonetheless, turned into a casualty of quick industrialization with machine created “bindis” attacking the business sector and lost all sense of direction in hallways of industrialization. Patna-based Ashok Kumar Biswas has practically without any help restored this art. He has fused the tikuli craft with another art form of Bihar, Madhubani, to make decorative wall plates, coasters, table mats, wall hangings, trays, pen stands and other utility items.
After being in oblivion for decades, the art of making tikuli is showing signs of resurrection as an art as well as a good business proposition for poor families of Bihar villages. The only difference now is that instead of embellishing foreheads of Indian women, tikulis are adorning drawing-room walls and tables not only in various parts of India but countries across the globe. This painting is done on the glazed surface of hardboard plates. The process of making these paintings is a very tedious and timeconsuming. From cutting the hard board in different sizes to painting sharp black lines in one stroke for smoothness and fineness, the process involves 15 stages. Fine brushes and enamel paints are used to make these paintings. These paintings are available in different sizes and shapes and are heat proof and water proof and are used for interior decorations like wall hangings and utility items like table mats and coasters. Tikuli is also one of the main themes for Nepali and Bhojpuri folk songs. In many of the Hindi literature books, it has been used as a symbol of happy wedded life, an identity of a married woman. Tikuli is still the part of tribal jewelry worn by the Santhal tribe of Bihar. The glass tikuli/tikuli used as bindi are sometimes found in village fairs. An ancient craft of the Mughal times, it is truly beautifulin the current times as well.
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SCENARIO TIKULI
The art of TIKULI is slowly dwindling away, due to the increasing competition pose by other crafts in modern times. Also the erosion of culture has resulted in the shrinking market for Tikuli Art. However, the Tikuli craftsmen are diversifying their craft to produce novel and innovative products that beautifully brings out the fusion of the old with the new. From modern looking Tikuli Art to home dÊcor like tabletop, wall art and – there are a lot of other products that are increasingly gaining popularity.
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MAKING of TIKULI ART 23
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The creation of tikuli art is a tedious process that requires a great deal of patience. Artists employ hardboards as their surface to draw on, and cut it into ornate shapes. These are coated with four or five layers of enamel. After each coat is applied, the surface is rubbed with sandpaper to give a glossy, polished effect. After applying the final layer of enamel coat, the designs are drawn on with paint, and embellished with gold foil and crystals. The brushes used are made of squirrel or sable hair, and they are of a very fine thickness. Spring and summer are the best seasons to create this form, since an optimum temperature for drying the enamel and paint is achieved. Tikuli is known for eliciting influence from forms such as the Madhubani. It becomes interesting to look at how even fine art can be so intertextual in the Indian context, much like literature. MAKING TIKULI ART IS A DELICATE AND TEDIOUS PROCESS. Making Tikuli art is a delicate and tedious process. Simply put, one can divide it into three steps: 1. Tikuli artists use hardboard to create paintings. They cut the hardboard into various shapes like circular, rectangular, triangular, or square. 2. The artists apply 4-5 coats of enamel thereafter on the cut wooden piece. After every coat, they rub the wood with sandpaper, thus giving it a polished surface. 3. After the final coat of enamel, the artisans paint the design. It is also embellished with gold foil and jewels.
Tikuli were mainly adorned by Queens and Aristocrat women of yore. Jewels were put on gold leaves according to the status of the women in the society and these beautiful hand crafted Bindi’s were a proud possession of women in India. Later, post British raj and industrialisation machine made bindi’s in felt replaced tikuli. For more than a decade thereafter tikuli artists were jobless. Many shifted their occupations, others lost their houses. Hence, Shri Upendra Maharathi, a renowned artist then, re established the craft in the form of enamel painting on hardboard. The base was prepared out of wood which was coated and smoothed using sand paper 4-5 times till the base was a dark brown/black glistening surface like polished granite. Now ready to be embellished using enamel paint and a finesable/squirrel hair brush , it was painted by women in single strokes in a complimentary colour scheme using primary colors to create a piece of art. Themes, shapes, colour schemes and style of composition has seen changes since then. Since, enamel paint makes the surface heat proof and water proof, making utilitarian items like coasters, trays and mobile stands have been practised. tikuli art | fc 2015-2019 |
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SONA ART The ‘Tikuli’ or ‘Bindi’ which has adorned the forehead of Hindu women for centuries has now found a new incarnation as an art form, thanks to the artist, painter and craftsman Shree Ashok Kumar Biswas. With humble beginnings at Dehri on Sone in Rohtas district of Bihar this man had a skill and a talent to match his dreams. He may safely be called the lone crusader in the battle for the revival of the dying Tikuli craft and he has kept the battle going at Patna since 1974 with his wife Shibani. The centuries old dying Tikuli art exhibits the many faces of our rich Indian culture including the famous Madhubani Paintings of Bihar. .The motifs of the Madhubani art and other mythological characters have been widely used in the Tikuli Paintings. It needs to be mentioned here that the Tikuli a’rt owes some of its allegiance to the famous painter Shree Upendra Maharathi too; as it was during his tour of Japan that Shree Maharathi came across colorful hardboard paintings depicting the centuries old Nipponese motifs and being sold commercially to both foreigners and locals. Impressed’ and inspired by such paintings, Maharathi adopted the Japanese method to portray the dying Tikuli art on glazed hardboard.’ But all his efforts came to a standstill as after his death neither the local artists, nor did the Bihar govt. show any interest or inclination in promoting this legendary art form. But this art form did not reach its annihilation and found its salvation in painter Ashok K. Biswas whose single-handed crusade has brought Tikuli art to our homes today. Working on this particular form of painting since 1974, Biswas has never looked the other way even with blatant government apathy or at a time when its commercial viability could be questioned. But there was a time some how years ago when the Tikuli was a commercially flourishing trade item serving as a beauty aide for the royal ladies and attracting traders from the far off states of northern and western India to Patna where bulk purchases were made of the gorgeously embellished Tikuli made in gold and silver foils with glistening glasses acting as a solid bases. During this time the Tikuli enjoyed a vast Mughal patronage and the maze of dingy, and dark lanes clustering around over populated habitations in Patna were also engaged in manufacturing thousands of such bright and beautiful Tikuli. But the downfall of the Mughal empire also capsized the flourishing Tikuli trade and the British regime paved the way for cheaper and more westernized factory made fashion products in India. Thus by the year 1900, the Tikuli art was facing the threat of extinction. However due to the intervention of Shree Upendra Maharathi in providing a new dimension to the Tikuli art by its indigenous portrayal on glazed hard boards but above all of utmost significance is the undeterred efforts and undying spirit of painter and craftsman Ashok Kumar Biswas who has been the whole and soul in helping the Tikuli art reach its zenith tikuli art | fc 2015-2019 |
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CONTACT DETAILS Address: 101-A Devashray Apartment, Bhikhna Pahari Patna-800004 Phone No.(S) : Phone : +91-612-2662868 FAX No : +91 – 612-2699678 Mob : +91 94314 26715, 94318 81120 E-mail : sonaart00@yahoo.com
WEBSITE: http://www.biharmahilaudyogsangh.com/ ashok-vishwas/ OBJECTIVE OF THE ORGANIZATION Key Objectives: Identification of Entrepreneurs - Providing the products produced by them national - International market. Implementation: Organizing industry fairs twice a year - this program is very successful. Entrepreneurs with a large number of entrepreneurs as well as entrepreneurs came forward. Result: Before the establishment of the union, the sales of the entrepreneurs who were not equal to today is the annual turnover of lakhs.
MR. ASHOK KUMAR BISWAS Artist, craftsman, and painter Shree Ashok Kumar Biswas took Tikuli art to a whole new level. He, along with his wife Shibani Biswas, revived the art and developed it into a source of livelihood. Tikuli art now serves as an economic beneficiary for over 300 women in Bihar. The noble efforts of the Biswas and the workmanship of these women are nationally and internationally acclaimed. In 2012, Ashok was selected to participate in the Bihar Divas Celebrations organized in Delhi and Jaipur. He also explained the subtle art of Tikuli to the visitors of the International Fair held in Seoul.
Federation’s Vision and Mission: Cottage - Fairs to Domestic Home of the House of Villages
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EXISTING PRODUCT RANGE Lifestyle products Mobile holder Tray Coaster with coaster stand 3” X 3” Round Coaster 3” x 3” Square Coaster 4”x 4” Round Coaster 4” x 4” Square Coaster Wall Hanging/Table mat 4.5 x 4.5 Sq. To 24’’x 12’’ Rectangle
Market Size and Current Output Market size and share International and national market share Exports has more than 50% share in the market size of Tikuli. Online retail and international exhibitions are the major source of marketing. National exhibitions and display through govern - ment emporiums play a significant role in national and local sales. Some unique wall paintings are also sold trough curators and art collectors Current output Per unit has one artisan Their productivity per month is as follows... During dry weather/favour - able climate... Paintings (up to 4 ft X 2 ft) 8-10 per pieces Paintings (10 sq inch) Up to 15 pieces Tray (up to 1.5 ft X 10”) 15-20 pieces Coasters (up to 4 sq inches) with stand 25-30 sets Mobile stands and boxes 20-25 pieces The productivity reduces by 25 during rainy season/humid conditions/non - favourable conditions Packing and dispatch Coasters, wall hangings, coasters are packed in plain boxes fro exports with a sticker for branding. During exhibitions individual pieces are wrapped in newspaper and packed in carry bags. Branding is required. Transportation Through courier services available for exports/ national orders. It is packed in metal trunks for exhibitions. There, purchased products are carried by customers them selves during exhibitions.
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MARKETING AND RETAIL MEDIUMS E - commerce/online retail etsy.com Biharmahilaudyogsangh.com craftsvilla.com Mjb.org.in Conceptsnfashion.com Umsas.org Gallery.getquicker.net Arthomepatna.com Tikuliart.com Quickr.com
NATIONAL AND LOCAL STORES Umsas, Patna, Bihar Bihar emporium across the nation Local art stores in Patna, Lucknow, New Delhi, Vadodara EXHIBITIONS International, national and local Curators and art galleries Some unique wall paintings are also sold trough curators and art collectorsgs/lack of perspective in objects
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REVIVAL It was brought back to the modern mainstream by Chitracharya Padmashree Upendra Marathi, who portrayed the form on glazed hardboards at an exhibit in Japan. Craftsmen are also undertaking efforts to revive the form in the contemporary context. Mr. Ashok Kumar Biswas is one such craftsman who has devoted his time to reviving the form. Along with his wife Shibani Biswas, he has managed to turn tikuli into a form of livelihood for artisans once again. The form provides employment and financial independence to over 300 women in Bihar. Mr. Biswas has given recognition to the art form in the Indian and international context as well, having participated in the Bihar Divas celebrations in Delhi and Jaipur, as well as an International fair in Seoul.
WHY DOES IT NEED TO BE REVIVED? The intricacy of tikuli art is what makes it a popular product for export. Forms like these showcase the diversity and intricacy of Indian art to the rest of the world. The themes used mainly portray myths from the life of Krishna, as well as Indian wedding scenes and the festivals of Bihar, thus forming a visual text for the Indian context in some way. Thus, it is necessary to preserve and revive these forms from the archives of India’s cultural past.
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SWOT
ANALYSIS tikuli art | fc 2015-2019 |
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STRENGHT • Low investment infrastructure. • It is a symbol of Craft Heritage. • Scope of making designer products range for future generations. • Traditional design, style and motifs, which are the most important elements of this craft, add a lot of value to this craft. • Raw material is available at low cost.
WEAKNESSES • Regular degradation in the quality of design and painting at production level. • Completion of orders not on time due to laborious and time taking process. • Presence of moisture absorbing component in body. • There is no protocol to check the quality of the products and process at various level. • Fragileness of products creates difficulty in transportation. Lack of infrastructure for storage of raw material, dried models, fired products and finished ones. • No testing lab for research and technical suggestion. • Appropriate process of costing is not followed by some artisans. No costing idea about the product. Sudden changes inprices. • Artisans are mostly dependent on mediators and exporters for marketing of the product. • The units do not have marketing arrangement for a larger direct sale of goods.
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OPPORTUNITY • There is an urgent requirement of new design interventions in the field of content, body composition, tools, and machines. • Scope to develop new design patterns according to the need of the current market. • More scope in handicraft export market. • Easy availability of raw material. • Provision of loan and profitable policies for small units. • There is an opportunity to employ more women in this sector, as they can work in various stages of the process. It is also possible to continue with the production process in small groups. • Vocational training of making small utility products like potteries, jewelries and lifestyle accessories could be helpful to provide employment during throughout the year. • Training program should be arranged. It should look into the raw material and the products in various levels of production procedure. So the quality of the products can be improved. • Awareness program for craft identity should be held to common people to make them aware about the identity and value of this craft. It can be done in the exhibitions and fairs.
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T H R E AT S • Lack of Unity. • Due to the gradual degradation of quality, there is a large rejection in the exports. Finally, it reduces the possibilities in the international market. • Unhealthy competition with cheaper products made of plastic and glass fiber. Similar looking products made in other mediums are available in market. • Young generation not interested in taking this craft as their profession. • No scope to regulate and judge the reasons, if there is sudden increase in the of breakage and defects occur during the firing process. • Due to no reasonable wages, laborious work, and regular job artisans are migrating to other regular jobs. • Because of less education the craft people will not be able to follow the proper process of costing and to deal with a buyer. So sometimes they have to sell their products in minimum margin or at the cost rate only. • New trend of producing cheaper products, realistic in approach and finish, are visible in the open market.
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BRANDING tikuli art | fc 2015-2019 |
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