Mysore Rosewood Inlay

x'g/ Art of Rosewood Inlay

x'g/ . Hunar Art of Rosewood Inlay Dipika Das, Kapil Sanjay Vedak, Sakshi Jain, Sonali Gupta, Vibha Jha

National Institute of Fashion Technology, Bengaluru

x'g/ | Hunar page 3

“Within the mind are all the resources required for successful living. Ideas are present in the consciousness, which when released and given scope to grow and take shape, can lead to successful events.�

- A.P.J. Abdul Kalam, Wings of Fire

“There is something deeply satisfying in shaping something with your hands. Proper artificing is like a song made solid. It is an act of creation.”

-― Patrick Rothfuss, The Wise Man’s Fear

x'g/ | Hunar page 5

The research study on artisans of Mysore and publication of this book were made possible by National Institute of Fashion Technology, Bengaluru.

First Piblished in year 2018

Printed and Published by Kolor Kode 12, Berlie St, Langford Town, Shanti Nagar Bengaluru, Karnataka 560025, India.

Contact : 080 4151 7780

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronical or mechanical, photocopying, recording or otherwise, without the prior written permission of the National Institute of Fashion Technology, Bengaluru.

BONAFIDE CERTIFICATE

This is to certify that the document “x'g/ | Hunar” submitted to National Institute of Fashion Technology, Bengaluru is the original work done by DIPIKA DAS, KAPIL SANJAY VEDAK, SAKSHI JAIN, SONALI GUPTA, VIBHA JHA regular students of B.DES programme and Fashion and lifestyle accessory design department Batch 2016-2020 has successfully carried out the project.

Subject Name : Craft Research and Documentation Duration : C/2.0Cr/63 hrs Dipika Das Kapil Sanjay Vedak Sakshi Jain Sonali Gupta Vibha Jha

Place: Bangalore

BD/16/5587 BD/16/2423 BD/16/322 BD/16/1806 BD/16/354

Date: 24th, Aug 2015 Under the Guidance Ms. Shipra Roy Center Coordinator(Intern) Department of Fashion and Lifestyle Accessory Design National Institution of Fashion Technology Bangalore – 560102

x'g/ | Hunar page 7

ACKNOWLEDGEMENT

All the artisans who gave their time, experiences and wisdom are central to this work. It is their book, for them, and in a sense by them. It is difficult to get anyone interested in anything beyond coffee table books on handicrafts and rosewood inlay, so the support given by National Institute of Fashion Technology, Bengaluru to study the lives of some Indian Artisans is something we shall be grateful.

Mrs. Shipra Roy, Dr. Yathindra L. And Divya Krishna professors of National Institute Of fashion Technology, kept everyone going with his unflagging enthusiasm. We worked as a group and raised many useful questions at the manuscript stage and helped with his unerring eye for flaws and gathered secondary data, performed our tasks with dedication and more than the required amount of involvement. Mr. Harish guided us in Mysore with relation to our safety and security.The team members including Vibha Jha for interviewing artisans and talking about their problems, Sakshi Jain and Sonali Gupta for beautiful sketches and designing the cover of the book, Kapil Sanjay Vedak for editing and converting ordinary pictures and videos and also for compiling the video of the journey and Dipika Das for pre primary research about Mysore. A special thanks to Nassir Ahemd for taking us to Karakushala Nagara and introducing us to the world of rosewood inlay. Also we are grateful to V. Ramesh, the artisan who told us a lot about his journey with rosewood inlay and how it has changed with time, Mahesh is the wood carver, has shared his life difficulties and finally we would like to thank Bala Subramaniam he works with patchwork in rosewood inlay has shared us the problems faced by the art in present day scenario.

Dipika Das Kapil Sanjay Vedak Sakshi Jain Sonali Gupta Vibha Jha

BD/16/5587 BD/16/2423 BD/16/322 BD/16/1806 BD/16/354

x'g/ | Hunar page 9

PREFACE India is known for its ethnicity. Handicrafts form the gateway to this ethnic nation. So far as art and cuture is concerned, India is featured amongst the culturally rich country in the world. The country is fortunate enough to possess some highly skilled artisans. They have increased the fame of Indian handicrafts around the globe and till now, many rural people have earned their livelihood from their creative pieces of art. The need of the our assistance for the artisans is to improve their techniques, availability of good raw materials, direct marketing channels, credit of their work ,enough wages and socio-economic benefits. Through this document we have made an effort not only to study the craft, but also the craftsperson by studying their life style and their views pertaining to the craft, become a part of their lives by staying with them and learning their art and techniques.

x'g/ | Hunar page 11

MYSORE

S.W.O.T ANALYSIS

Map Introduction History Current Day Situation Climatic Conditions Ways of Transportation Tourism Attire Cousine of Mysore Culture KalaKushalanagara

ABOUT THE TRIP ARTIST GLOSSARY MONOLOUGE BIBLOGRAPHY

ROSEWOOD INLAY History Evolution

PATCHWORK History Evolution Materials Evolution of materials Tools Process Business Structure

WOOD CARVING Introduction History Evolution Materials Evolution of materials Process Business Structure

x'g/ | Hunar page 13

Kalakushalanagara

Mysore

gSzf | Map Destination arrived

x'g/ | Hunar page 15

d};"/ | Mysore An Introduction to a beautiful city

x'g/ | Hunar page 17

HISTORY

The word Mysore was earlier called as “Mysuru”, which is derived from the word “Mahishur” which means the town of Mahishasura in Kannada, inthe local language. Mysore has been associated with the Puranic story found in the Devi Bhagavatha. According to the story in the Devi Purana, Mysore was ruled by the demon Kind Mahishasura. He was a buffalo-headed monster. In response to the prayer by the Gods and Goddesses to save them from the demon, Goddess Parvathi, took birth as Chamundeshwari and killed the monster on top of the Chamundi hill near Mysore. Hence the hill and the city have the name Chamundi Hill and Mysore respectively. It is said that after killing the monster the Goddess stayed on top of the hill, where she is worshipped with great devotion till today. The famous 10 daylong Dasara of Mysore is in the honor of the Goddess Chamundeshwari and is a celebration of victory of good over evil. Bettada Chamaraja Wodeyar, the raja of Mysore rebuilt the fort of Mysore and made his headquarters and called the city ‘Mahishura Nagara’ meaning the city of Mahishur. Many inscriptions done in the 17th century and later refer to Mysore as ‘Mahishuru’. Raja Wodeyar moved the capital from Mysore to Srirangapatna. After the death of Tippu Sultan in 1799, Mysore became the capital of the Wodeyars once again. During the reign of Krishnaraja Wodeyar III the town of Mysore expanded and moved beyond the walls of the fort.

Krishnaraja Wodeyar IV developed Mysore into a beautiful city with excellent planning. Under his reign Mysore became famous for its wide roads, magnificent building and elegant parks. Today Mysore is a modern city that has managed to retain its quaint old world charm. Today Mysore in famous in the world for its sandalwood and rosewood artifacts, stone sculptures, incense sticks, inlay work with ivory and its exquisite silk sarees.

www.iicd.ac.in

x'g/ | Hunar page 19

CURRENT DAY SITUATION

Mysore has become a cosmopolitan city with people from different walks of life living together peacefully. In Mysore people practice different faith and live in harmony, 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 Hindu community is the largest religious community in the city. Muslims form another prominent community in the city and there is an existence of Jain community as well. One finds people from different parts of the country, speaking different languages, celebrating different festivals all co-existing peacefully. Though Mysore has become a modern city it has not lost touch with its tradition and culture. The ultimate expression of cultural unity is witnessed during the 10 daylong Dasara festivities that is synonymous with Mysore. The celebration not only includes religious ceremonies but also the decoration of houses, display of dolls, distribution of sweets to neighbors and children, The residents of Mysore have celebrated Dasara in this manner for decades. The high point of the celebration in the olden days was the “Jamboo Savari” or the procession of the Maharaja on elephant back through the streets of Mysore. It is said that Dasara was celebrated in this manner from the times of the epics and was continued by all the Kings of Mysore. Even today Dasara is celebrated with the same pomp and splendor with some minor changes. Now the Royal Elephant carries the golden idol of Goddess Chamundhi in the splendid procession through the streets of Mysore. Though Mysore has become a modern city and has all the comforts of modern development, this city has managed to retain all its old world charm.

x'g/ | Hunar page 21

CLIMATIC CONDITION

Mysore is a major city of Karnataka. Mysore has a rich and vibrant history and heritage and hence attracts a huge number of tourists. Mysore is known all over the world for its sandalwood and classic silks. Mysore has grand palaces, majestic temples and beautiful gardens all of which retain their old world charm to this day.Mysore is located in the southern part of the Deccan Plateau. The district of Mysore is an undulating tableland that is partly covered by granite outcrops and fringed with lush green forests. The city is at 770m above sea level and 140kms from Bangalore, the state capital. Mysore has an area of 6,268 sq. km and a population of 22, 81,653 (1991 census).

The city is also known as the City of Palaces, Mysore has always enchanted its visitors with its quaint charm.Mysore has a warm and cool climate throughout the year. It has a salubrious climate. The climate of Mysore is moderate. The weather in winter is cool and the summers are bearable. The minimum temperature in winter is around 15 degrees Celsius and in summer the maximum temperature is around 35 degrees Celsius. Mysore gets most of its rains during the monsoon between June to September. Mysore average rainfall annually is around 86 centimeters.

x'g/ | Hunar page 23

WAYS OF TRANSPORTATION

By Road

Mysore is 139kms to the south west of Bangalore. The state highway that connects these two cities is very well maintained. Travelling from Bangalore to Mysore by road is a pleasant experience and will take about 3hrs. The Karnataka Road Transport Corporation has excellent bus service to Mysore. There are ordinary buses, semi-luxury buses and luxury buses operated by the Government of Karnataka. Every half an hour there is a non-stop bus to Mysore from Bangalore Bus Station. Corporations of other states and private tour operators have buses plying to Mysore as well. All these facilities have made Mysore extremely accessible by road.

By Train

Mysore is connected with a number of trains to Bangalore. The super-fast luxury train the Shatabdi Express connects Mysore to Madras. The quickest and most comfortable way to reach Mysore is via Bangalore.By Air the nearest airport to Mysore is Bangalore (139 km). All the domestic airlines in the country operate their flights to Bangalore from all the major cities in the country. Some international airlines too have flights to Bangalore. Bangalore is to have an international airport shortly.

LOCAL TRANSPORT Auto Rickshaws

This is the most reliable and accessible mode of transport in the city. In the day pay by the meter.

After 10pm the drives will charge you 50% more than the meter reading and after midnight you will have to pay twice the meter reading.

Private Taxis

There are private taxis available that you can hire for a day. There are a number of Car rental companies. Most hotels provide this service; therefore you can check with your hotel. This mode of transport is reliable and affordable.

Buses

Buses run by the State Government ply in and around Mysore. They run along fixed routes and the cost is nominal. If you want to be part of the everyday life of the common Mysorean then hop onto one of these buses and you could have quite an adventure.

Tongas

Tongas are horse driven carts that are also means of transport in Mysore. They will take you around the city but at slow and steady pace. If you want a close look at the city and catch some rare sights that you would not otherwise see then you could try this mode of transport.

x'g/ | Hunar page 25

TOURISM Mysore is a place that beautifully blends splendor of history with the living vibrancy of the traditions and culture which is reflected in the lives of its residents. All this is accompanied by the serenity of nature, making Mysore a dream destination of every travel enthusiasts. Presenting excellent architectures, historical sites, shrines and scenic beauty. Mysore Palace or Amba Vilas palace is the most popular among all. It is one of the largest palaces in India. Designed by a British architect, Henry Irwin. Other palaces that are worth exploring are Jayalakshmi Vilas Mansion, Jaganmohan Palace and Lalitha Mahal Palace. Tipu sultan’s Summer Palace and Srirangpatna Fort are also quite popular and usually visited by everyone on a Mysore tour. There are many places to visit in Mysore for nature lovers too for instance Mysore Zoo, Ranganathittu Bird Sanctuary and Brindavan Gardens are the ideal places to visit. There are many beautiful lakes in the city, offering captivating scenic beauty. Krishnarajasagara dam (KRS Dam), Lingabudi Lake, Kukkarahalli and Karanji Lake present refreshing setting to relax amid the best of nature. Sri Ranganathaswamy Temple, Chamundeshwari temple and Chamundi Hills are popular religious shrines in Mysore. Other popular religious sites to visit are Jama Masjid of Srirangapatna, St. Philomena’s Church and Bylakuppe Buddhist Golden Temple.Shopping in Mysore is also an important part of every Mysore tour. For food lovers, Mysore Pak is the best option. Sandalwood items are other popular souvenirs that tourists buy from Mysore. Ganjifa painting of Mysore are nothing less than a dream gift for art lovers. Mysore silk saris and the Mysore Peta are also worth buying and are bought by almost every tourist in Mysore.

x'g/ | Hunar page 27

ATTIRE 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. 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.

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.

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 (moogu-bottu), 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 karimani Sara (a chain of black beads).

x'g/ | Hunar page 29

CUISINE OF MYSORE Mysore is in South India and like all the other states in this part of the country, most of the food is rice based. There is more to Mysore cuisine that the famous dosa and idli that is well known all over the world as the food of the South. Though idli and dosa form an important part of the cuisine of Mysore but the different types of dosas and idlis and chutneys to accompany them will take one by surprise. Traditional Mysore breakfast is simple, wholesome and delicious. Most of them are rice based and are normally served with chutney. Though the all-time favorite is dosa with potato filling eaten with sambar and coconut chutney and onion chutney. There are other types of dosas like set-dosa, rava or semolina dosa. Another type of idli that is commonly eaten is ‘thatte idlis’ (flat idlis). The other popular breakfast is ‘uppittu’ (roasted semolina laced with chilies, coriander leaves, mustard and cumin seeds). The other dishes that are common eaten as breakfast are puri palya, uthapam, vada sambar and kesari bath (a sweet made of semolina and sugar laced with saffron).

A traditional lunch of Mysore is a splendid spread that includes a number of essential dishes.

These includes a cereal salads like kosambri, palyas (vegetable salads made of parboiled vegetable chopped finely and tossed with grated fresh coconut, green chilies, curry leaves and mustard seasoning), gojju (a vegetable cooked in tamarind juice with chilli powder), tovve (cooked dal without much seasoning), huli or saaru (a thick broth of lentils and vegetables cooked together with ground coconut, spices, tamarind and chilli powder) and pappad.There is a range of rice-based dishes as well that include chitranna (rice with lime juice, green chilli turmeric powder sprinkled with fried groundnuts and coriander leaves), vangibath (spiced rice with eggplant) and pulliyoigrae (rice flavored with tamarind juice and garnished with groundnuts) are part of the traditional food of Mysore. The most distinctive Mysore dish is the famous bisibelebath a sumptuous combination of rice, lentils, tamarind, dried coconut, chilli powder and spices. In rural Mysore like in the other parts of Karnataka ragi muddae (steam-cooked finger millet powder rolled into large balls) eaten with soppina huli or saaru(thick broth made with edible green leaves and lentils) or mutton curry.

Desserts: To complete your delicious meal, indulge in some of the unique sweets of Mysore like chiroti (a light flaky pastry made of flour, sprinkled with powdered sugar and soaked in almond milk), Mysore Pak (gram flour fudge), obbattu or holige (a flat, wafer-thin chappati filled with a mixture of jaggery, dried coconut and fried gently on a skillet) and shavige payasa (made of milk, vermicelli, sugar, dried fruits and cardamom pods).

x'g/ | Hunar page 31

CULTURE Mysore was the capital of the Wodeyar kings who ruled over the Mysore Kingdom for many centuries. Wodeyars were great patrons of art and music and have contributed significantly to make Mysore a cultural center. Culture of Mysore is a fine combination of the historic heritage and the contemporary achievements of the city. 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. Karnataka’s the best quality jasmine flowers are referred to as Mysuru Maligae (Mysore Jasmine). Mysore has also lent its name to popular dishes like Mysore Masala Dosa and Mysore Pak. Mysore is also the origin of the popular silk sarees called as Mysore silk sarees and has also given rise to a popular form of painting called as Mysore painting.The Wodeyars and Vijayanagar kingdom were known to have spread the message of brotherhood and allowed the peaceful co-habitation of multi-religious people in Mysore. The Kings of Mysore have laid a strongfoundation for communal harmony by making generous contributions towards religious centers of all religions. Mysore has been a city where all religions have co-existed in harmony for many centuries. Over the years Mysore has become a cosmopolitan city with people from different walks of life living together peacefully. One finds people from different parts of the country, speaking different languages, celebrating different festivals all co-existing peacefully.

Though Mysore has become a modern city it has not lost touch with its tradition and culture. The festivals of Mysore are a fascinating indicator of the cultural unity of the place. Inhabited by people of different faiths and beliefs Mysore becomes a common cultural canopy under which the various social festivals are celebrated by one and all. Dasara is one such major festival followed by the people of Mysore with enough mirth and enthusiasm. Representing the inherent charisma of the oldest of traditions and events, Mysore Culture stands as a distinct identity of the place.

x'g/ | Hunar page 33

ABOUT KALAKUSHALANAGARA

Kalakushalanagara also known as Multicraft complex,the area is spread over in 18.11 acres of land and is beatuifully built with all the facilities related to electricity and water. As the history says it was gifted by Neatherland government to India to flurish the beautiful art taken from Persia, Rosewood Inlay. The Indian government listed the number of artisans registered themselves to accquire the area, and with experience and skills 480 artisans got the house in the area. The number of Registered Artisans were 2017. Common facility centre has been established for the benefit of artisans. Wood seasoning plant has been established for the benefit of artisans. When interviewed the tartisans never faced the problem of water. There was a well established with water purifier.

The surroundings of the area was green and had a good source of fresh air, the area was not known by many people who live in the mysore city, there were no proper restuarants but people were humble enough to serve you with food, we faced a major problem as their was no public toilets.

They even had a electric power plant, and as the major popultion of Kalakushalanagara belongs to hindu community, thee was a huge temple for praying and as the area developed the demand for schools arises and a school was established with well equipped infrasturcture.

www.cauverycrafts.com

x'g/ | Hunar page 35

zLzd h*gf | Rosewood Inlay Unforgettable art form

x'g/ | Hunar page 37

HISTORY

Mysore Rosewood Inlay covers a range of techniques used by artisans in around the area of Mysore in sculpture and the decorative for inserting pieces of contrasting, often colored materials like ivory shells, mother-of-pearl, horn and Sandalwood into depressions in a rosewood object to form ornament or pictures that normally are flush with the matrix. Rose wood mostly got about around from forestry area covering Mysore regions has been used for furniture and artifacts from the time of Tippu sultan about 1800’S, was further promoted by local Mysore Maharajah Wodeyar during 1914 sent a casket with a photo frame with ivory inlay for British empire exhibition which own a gold medal, from then onhave been a major touristic attraction and supply from the region around Mysore. Under Wodeyars the rosewood inlay work grew and got patronized, the early records says this art is as old as 400 years and was initially patronized under Vijayanagara Kings after their downfall, it was Wodeyars who started patronizing this work. Predominately Rosewood, is used in inlay work, along with Mango, Jackfruit, Doodhi, Champa, Rubber, etc., White wood articles are mainly made out of either Shivani or Kadam wood.

EVOLUTION OF ART Age is deliberated about as a pillager of aesthetic. But, art is something that grows more venerable and comely as it gets older. Age adds but an element of timelessness, pricelessness, and a precipitous sensation of reverence to the artists and craftsmen who work on perfecting minuscules of details of a piece of craft. Mysore Rosewood Inlay is one such art. Age is deliberated about as a pillager of aesthetic. But, art is something that grows more venerable and comely as it gets older. Age adds but an element of timelessness, pricelessness, and a precipitous sensation of reverence to the artists and craftsmen who work on perfecting minuscules of details of a piece of craft.

Mysore Rosewood Inlay is one such art. The creativity of the artisans was kindled by the flora and fauna of the region as also the social traditions as evident in the themes depicted in the inlay works.

The Mysore Dasara procession, rural scenes, the wildlife found in the jungles nearby and the khedda operations were the favorite themes of the artisans who moved away from geometrical patterns. The Mysore Rosewood Inlay, along with a number of other kinds of crafts, thrived by a great extent during the reigns of kings. Gradually, the effect of this art begun to fade until it was accorded Geographical Indication tag 13 years ago by the Government of India. Rosewood inlay work is unique to the region andevolved due to the dexterity of artisans. It was accorded the coveted Geographical Indication (GI) tag in view of its distinctive nature. But its future is uncertain as it is plagued by a lack of interest among the new generation to pursue the craft, rising costs of raw material and dwindling demand. Patchwork is a part of rosewood inlay, to enhance the beauty of art.

www.craftscouncilofindia.org

x'g/ | Hunar page 39

k}r sfd | Patch Work The beauty well handcrafted

x'g/ | Hunar page 41

HISTORY OF PATCHWORK Patchwork is also known as Marquetry, Marquetry and inlay were inspired by the ancient craft of intarsia - the making of decorative and pictorial mosaics by the inlaying of precious and exotic material into or onto a groundwork of solid wood. Three thousand or so years ago, the Egyptians decorated much of their woodwork with inlay. In fact, in the tomb of the Pharaoh King Tutankhamon, the throne, chest, coffers, and nearly all the furniture are literally covered with inlay, Precious stones, miniature glazed tiles, and little brackets of wood, gold and ivory wonderfully embellished items of special prestigious and ceremonial importance.In the Orient--in Persia, India, China and Japan--inlay workers created all sorts of decorative delights, from complex wood parquetry designs set into floors to wood mosaics on walls and furniture, to small inlay picture designs on boxes, caskets, tombs, reliquaries and ceremonial regalia. Through the centuries, in ancient Egypt, Imperial Rome, Persia, eighth-century Japan, and sixteenth-century Italy and Germany, rich patrons employed inlay craftsmen to create beautiful works of art. The process was both expensive and painstaking because, traditionally, the craft involved many long steps: importing rare and exotic hardwoods; slowly carving, lowering, and trenching a groundwork; sawing and slicing the small amount of difficult-to-cut, expensive hardwood into 1/4-1/2-inch-thick tiles; fitting and setting the mosaic tiles into a bed of glue or mastic, one piece at a time; and then finally scraping, rubbing down, waxing, and burnishing the inlay surface. And so it might have continued, had not an anonymous German clockmaker invented the jigsaw blade near the end of the sixteenth century. The blade made possible new mass-production methods.

No longer was the craft slow and prohibitively expensive, nor was it greedily gobbling up vast amounts of rare exotic woods. With the revolutionary fast moving, frame-held saw blade, it was possible to double, triple and even quadruple production simply by repeatedly cutting the expensive slab woods into thinner and thinner sheets. Better still, it was also possible to sandwich stacks of veneers together and cut six or so designs all at once.As they say, the rest is all history. From the seventeenth century right through to the end of the nineteenth century, tools improved, and techniques became increasingly swifter and more refined. By the end of the nineteenth century, thin inlay veneer, or marquetry as it had now come to be called, was an extremely popular and accessible form of furniture decoration. The early twentieth century heralded a revival of interest in special high-quality, exotic wood inlays and marquetries, with designers, hobbyists and artists creating pieces considered works of art in their own right.

EVOLUTION OF PATCH WORK Marquetry, also known as Patchwork in wood, it has not evolved much since the sixteenth century.

There is a slight change in the technique where earlier the wooden pallete was kept vertically and to cut the design artisans had to stand and perform the task, now they have proper workstations with all the equipments. There has been a drastic change in the jigsaw blades which were used in the saw for cutting purpose later they evolved in much more thinner blades which gives less tolerance while cutting. Initially, the artisans used to get inspired from the Vedas, Purans and mythology like Ramayana and Mahabharata and designs were self – initiated by the artisans with these as core theme, in the recent scenario people have broader access to knowledge due to globalization, thus the demand for contemporary modern designs has increased.

www.originalmarquetry.co.uk

x'g/ | Hunar page 43

MATERIALS USED

Decades ago, during the reigns of kings, the primary material used for the inlay work were rosewood and ivory. However, the advent of the ‘ivory ban’ in India led artisans to find alternatives to the elephant tusks. Nowadays, cedar, chill pine, sandalwood, and rubber tree wood are the most widely used base frames preceding to rosewood for inlay work. In East Asia, wood inlay flourished in China and Japan. Red lacquered boxes inlaid with carved mother of pearl were important pieces in the Ming and Ch’ing dynasties, while in Japan mother of pearl inlay was used in black lacquered wood. Other materials used for inlay in China, especially in furniture, were ivory, jade, silver, gold and amber. During the Indus valley civilization shell inlay was quite common at Mohenjo Daro and other urban sites. After a progressive decline, the industry revived since the 1940s, but is nowadays again in downfall. In Mysore the artisan clusters, still employs a few thousands craftsmen located in Mandi Mohalla and Bannimantap. If earlier Ivory, bone and sandalwood where being used for the inlay, they are now being replaced by other less costly and rare materials, including plastic. Plywood is used for base frame of the art piece. Different colors of wood like mentioned above 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 preferred colors used in the work pieces are orange, light blue, medium blue, dark blue, yellow, green (not natural), brown, dark brown, maroon etc.Ivory is a type of dentine a hard, dense bony tissue which forms most of the teeth and tusks of animals - which has been used for millennia as a material for carving sculpture and other items of decorative art, as well as a range of functional items. Ivory was valued by both artists and patrons for its rarity, exceptional durability, and was especially prized among sculptors for its creamy colour, smooth texture and soft sheen.

The art of ivory carving has been part of the cultures of many different civilizations including those of Egypt, Ancient Greece, Rome, Russia, Japan, China, and India. The fact that ivory - unlike other precious materials - cannot be melted down or re-used was a major factor in its endurance as one of the most specialized of traditional crafts. Although ivory carving has been practiced in India for more than 4,000 years, few carved pieces have survived to illustrate this tradition. The main centres for ivory carving in India included Murshidabad, Mysore, Orissa, Tamil Nadu, Uttar Pradesh and Rajasthan. Famous for its beautiful smell and sturdy uses, Rosewood has become one of the most widely used and prized materials in India. In fact, it’s so popular, Rosewood is used for nearly everything; from furniture, to walking canes, carvings, boats, musical instruments, and agricultural tools. Rosewood can vary in color from a darker chocolate brown to a lighter purplish or reddish brown, with darker contrasting streaks. The black streaks can sometimes form a unique grain pattern that is sometimes referred to as “spider-webbing” or “landscape,” very similarto ziricote. Lighter yellowish sapwood is clearly demarcated from the heartwood.

www.wood-veener.com

x'g/ | Hunar page 45

Heartwood is rated as very durable to decay resistance, and is also resistant to insect attack. Easy to work with both hand and machine tools, though it may have a slight blunting effect on cutting edges. Brazilian rosewood turns, and finishes well, though it can sometimes be difficult to glue due to its high natural oil content. But more than just for utilitarian purpose, rosewood has been used in the healing process for centuries. In particular, the leaves and sap of the tree are frequently ground to a paste to place on the skin in order to heal blemishes, pimples, or boils. Even heartburn, indigestion, and certain heart diseases are thought to be preventable with the intake of rosewood pastes and remedies. it is found all over tropical Asia.

Properties & Uses: the heartwood is of a stunning dark red brown, almost black while the other parts are of a light yellow or cream color often with grayish or brownish streaks. These amazing contrasts in color make it a beautiful choice for furniture as well as for accessories and ornamental items. This is a fruit tree that can be widely found all over South East Asia. Properties & Uses: it is a very strong and hard wood with a beautiful unusual yellow brown color, which makes it another excellent choice for stunning pieces of furniture.

WOOD VENEER

Wood Veneer has a long and elegant history. Through the centuries from ancient Egypt, Imperial Rome, ancient Persia, Japan, etc, wealthy patrons employed veneer craftsmen to create beautiful works of art. It is doubtful if any real date for its beginnings can be established. Veneers were already an established technique for handling wood in Old Kingdom Egypt during the age of the pyramid builders. By the end of the 19th century, thin inlay veneer was an extremely popular and accessible form of furniture decoration.

DYED VENEER

Wood River Veneer sells dyed veneer in many colors. We offer two shades of blue, four shades of green, two shades of orange, red, yellow, purple, and Bordeaux in .6 mm and .9 mm poplar. We sell .6 mm, .9 mm and 1 mm dyed black Poplar veneer. We also sell bleached Anigre in .6 mm, plain European sycamore in .6 mm and .9 mm and .6 mm NA Maple. Currently we have purple in .9 mm poplar and .6 mm Koto. Our .6 mm and .9 mm poplar and sycamore colored veneer averages 5 to 10 inches in width and 39 to 50 inches in length. Our dyed Poplar, Anigre, koto and plain Sycamore veneers will typically be 6 to 9 inches but generally 5 to 9 feet long. We do our best to provide our customers with the best dyed veneer that we can find. We expect the color to be consistent all the way through each and every piece. With the way things are going in the world of global economics we have been experiencing some issues when acquiring new inventory. Right now we have a good inventory and we will continue to work hard to keep it that way.

www.wood-veener.com

x'g/ | Hunar page 47

TOOLS

CABINET SCRAPER Designed to be pushed or pulled in operation the Cabinet Scraper is a finishing tool that takes a cut finer than a handplane. The Cabinet Scraper has two uses are on flat surfaces it can remove marks left by a plane or, it can prepare the surface for painting or finishing. On cross-grained, highly figured wood, where planes tear-out, it produces smooth cuts. The Cabinet Scraper’s blade which sets in a beveled positon in metal frame with two handles that project laterally can be removed for sharpening or for replacement by loosening the adjusting screw and the clamp thumbscrew. Before using a Cabinet Scraper, the blade is adjusted so that it is even with the bottom of the scraper. Place it on a flat wooden surface and -- by pressing it down lightly against the wood -- adjust the blade.

After tightening both the clamp screw and the adjusting screw, make a test cut on scrap wood.

Continue to tighten the adjusting screw between test cuts until the blade projects far enough to produce a thin shaving. To use the Cabinet Scraper, clamp the workpiece in a vise or secure it on the top of the workbench. Hold the tool in both hands and either push or pull it over the surface of the work.

TABLE SAW The invention of the first circular saw happened in 1777. It is credited to Samuel Miller of England.

Miller created a metal disk with teeth around its edge, and discovered that at fast speeds the disk was very adept at cutting. His spinning saw blade would eventually be used in sawmills to cut lumber. It did not use electricity, and it was not portable. A table saw, also known as a circular saw, is a tool used for cutting wood and other materials. It is popular for its versatility. It’s the go-to machine for any woodworker. The tool has a long history of well over 200 years. In that time, it has undergone several technological advancements and is now more convenient than ever. A table saw, also known as a circular saw, is a tool used for cutting wood and other materials. It is popular for its versatility. It’s the go-to machine for any woodworker. The tool has a long history of well over 200 years. In that time, it has undergone severaltechnological advancements and is now more convenient than ever. Typically, the material to be cut is securely clamped or held in a vise, and the saw is advanced slowly across it. In variants such as the table saw, the saw is fixed and the material to be cut is slowly moved into the saw blade. As each tooth in the blade strikes the material, it makes a small chip. The teeth guide the chip out of the workpiece, preventing it from binding the blade.

www.encyclopedia.com

x'g/ | Hunar page 49

HAND DRILL Historically, drilling holes has always required considerable time and effort. The first human tool for drilling was the awl. The awl was simply a sharp stone that was attached to a stick, then pressed against the work piece and rotated by hand. Sand and other abrasive materials were often used to make the awl more effective at drilling . The first step forward in drilling was the strap drill, which had a leather cord wrapped around the shaft of a stick. The advances in materials and accuracy of manufacturing during the 19th century also led to the next invention in drill technology. The hand drill, which was first pictured in 1816, used a handle attached to a drive gear to turn a pinion, which spun the drill bit. Hand drills could achieve much higher turning speeds than other drills. This meant they were far better for drilling metal which required a higher cutting speed.

FRET SAW Fret saws likely were invented by the Romans, it wasn’t until veneered marquetry was developed in the 16th century that the delicate bow saws required for the intricate work appeared. In 1676, world saw a modern coping saw which can even see that the teeth point away from the handle. By the 18th century, these sorts of saws were called “Morris saws” which relates to the inlaid game board for an old game called “Nine Men’s Morris.” These saws were used for all sorts of intricate cuts, both by cabinetmakers and jewelers. And the saws had blades designed to cut not only wood, but tortoise shell, brass and other semi-precious materials. Soon the saws spread to the schools, where 19th-century craft-based schools, By the early 20th century, the saw had acquired its modern name, “coping saw,” as carpenters found the tool handy for coping inside miters when cutting molding. coping saw is a descendant of the early marquetry saw, but from a user’s perspective these saws are functional equivalents: a metal frame that tensions a thin blade that is used for curved and intricate cuts.

www.encyclopedia.com

x'g/ | Hunar page 51

HAMMER A hammer is a hand held tool used to strike another object. It consists of a handle to which is attached a heavy head, usually made of metal, with one or more striking surfaces. There are dozens of different types of hammers. The most common is a claw hammer, which is used to drive and pull nails. Other common types include the ball-peen hammer and the sledge hammer. In rosewood inlay claw hammer is majorly used as it serves dual purposes, first in striking the wooden pieces in place and fixing them with nails and secondly in removing the nails.The use of simple tools by our human ancestors dates to about 2,400,000 b.c. when various shaped stones were used to strike wood, bone, or other stones to break them apart and shape them. The dawn of the BronzeAge brought a shift from stone to metal in the toolmaker’s art. By about 3,000 b.c., axes with bronze or copper heads were being made. With the development of commerce and the specialization of trades, many different hammer designs evolved. Coach builders, wheelwrights, blacksmiths, Prick layers, stone masons, cabinetmakers, barrel makers (coopers), shoe makers (cobblers), ship builders, and many other craftsmen designed and used their own unique hammers.

Having survived for thousands of years, it is unlikely that the hammer will disappear from civilization’s toolbox anytime soon. It does have some serious competition though. The most formidable competitor is the gas-driven nail gun.

NAILS A nail consists of a metal rod or shank, pointed at one end and usually having a formed head at the other, that can be hammered into pieces of wood or other materials to fasten them together. A nail is usually made of steel, although it can be made of aluminum, brass, or many other metals. The surface can be coated or plated to improve its corrosion resistance, gripping strength, or decorative appearance. The head, shank, and point may have several shapes based on the intended function of the nail. In general nails under 1 inch (2.5 cm) in length are called tacks or brads. Nails 1-4 inches (2.5-10.2 cm) in length are called nails, while those over 4 inches (10.2 cm) are some-times called spikes. These categories are roughly defined, and there is considerable crossover between them.

Nails may have been used in Mesopotamia as early as 3500 b.c. and were probably made of copper or bronze. Later, iron was used to make nails. Early nails were shaped, or forged, with hammers.

They were usually made one at a time, and were consequently scarce and expensive. By the 1500s a machine was developed which produced long, flattened strips of iron, called nail rods. These strips could then be cut into lengths, pointed, and headed. Two early nail-making machines were patented

by Ezekial Reed of the United States in 1786 and Thomas Clifford of England in 1790. These machines cut tapered pieces from flat iron sheet, then flattened the head. In rural areas, black-smiths continued to make nails from wrought iron right into the 20thcentury. The first machine to make nails from metal wire was introduced in the United States in about 1850, and this technique is now used to make most of the nails today.

www.encyclopedia.com

x'g/ | Hunar page 53

ANGLE GRINDER An angle grinder is an electrically or pneumatically operated, hand-held grinding machine. A cutting-off wheel or grinding disc clamped onto it rotates at a high speed compared to other tools.

The development of the angle grinder, also known as Flex, came from a cooperation between Ackermann and Schmitt and the abrasive manufacturer Klingspor, which developed the first synthetic resin-bonded cutting-off wheel for these high-speed machines and which was launched onto the market as the Kronenflex product. Today, angle grinders are used in almost every commercial and industrial enterprise and in nearly every hobbyist’s workshop. The tool is available in a large variety of models and suitable for a wide range of different applications. Common disc diameters are 100, 115, 125, 150, 180 and 230 mm; the surface speed of the cutting-off wheel can reach up to 80 m/s. Thomas Joseph invented the angle grinder in 1973. So, the facts about the origin of this tool are more than a little murky. The one thing we do know for a certainty is that somebody, somewhere, at some point in time invented them because they’re around and in use.

SAND PAPER Paper with a layer of fine sand has been fixed on one side by means of an adhesive. In wood working using an abrasive motion used to smooth and/or polish surfaces. An abrasive material prepared by coating stout paper with glue and sifting fine sand over its surface before the glue sets.

Abrasive paper sold as “sandpaper” is sometimes actually glasspaper made of powdered glass. The cutting property of glass-paper is relatively low. Quartz-paper, also sold as sandpaper, has a higher cutting property but not so high as garnet. Sandpaper was patented in the United States on June 14, 1834 by Isaac Fischer, Jr., of Springfield, Vermont. His invention was covered by four different patents. Powered sanding machines probably appeared in furniture manufactories simultaneously with power transmission systems. In their most basic form, sanders consisted of sandpaper sheets attached to a rotating disk or drum, or a sandpaper belt rotated between two cylinders. These simple devices generally required that the workpiece be hand held or placed on a table and advanced to the sandpaper by hand. Gauging the amount of wood to be removed depended on the judgment of the operator. More complex variations of the machine included a rotating sandpaper disk or belt mounted on a flexible frame moved by hand across a large, flat workpiece such as a table top. Machines that automatically fed the work to sanding drums appeared in trade literature by the 1880s.

www.encyclopedia.com

x'g/ | Hunar page 55

CLAMP A clamp is a fastening device used to hold or secure objects tightly together to prevent movement or separation through the application of inward pressure. In the United Kingdomand Australia, the term cramp is often used instead when the tool is for temporary use for positioning components during construction and woodworking; thus a G cramp or a sash cramp but a wheel clamp or a surgical clamp.There are many types of clamps available for many different purposes. Some are temporary, as used to position components while fixing them together, others are intended to be permanent. In the field of animal husbandry, using a clamp to attach an animal to a stationary object is known as “rounded clamping.” A physical clamp of this type is also used to refer to an obscure investment banking term; notably “fund clamps.” Anything that performs the action of clamping may be called a clamp, so this gives rise to a wide variety of terms across many fields.

In the beginning, there were weights, wedges, and wraps. Egyptian tombs provide the first illustrations of clamping devices or techniques, applied to gluing boards by their edges. The boards would be held vertical by two uprights, and weighted down, until the glue set. For more oomph, the boards might be placed horizontal, and wedged between an upright and a wall. The wedging action might come from bent sticks, or from opposed inclined planes.The boards could also be bound with cord. By inserting a stout stick into the cord and twisting, significant additional holding power could be gained in little space.

PLANE The plane is a cleverly hafted cutting edge, the function of which is to skin or shave the surface of wood. Used to finish and true a surface by removing the marks of a previous tool, a plane leaves the surface smooth, flat, and straight. The plane and the related spokes have are unique tools because both depend upon a constant depth of cut that is given by the slight projection of the blade beyond the sole, or base, of the instrument. The plane is an anomaly for which no line of descent has been identified. It has been suggested that the Paleolithic flat scraper is the remote ancestor of the plane.

While it is true that localized planning of a very poor sort, such as removing high spots, can be done with such a scraper, the difference in design and action between the two is too great to proclaim the scraper the forerunner of the plane. Early adzes were beveled (sloped) on the outside, although later, with better hafting and longer handles, the bevel was moved to the inside. The blade and thandle of an outside-beveled adz could be used in a plane-like fashion to lift a shaving; however, the control of the blade projection, or depth of cut, is critical to the concept of the plane and is met in only one other tool, the spokes have.

www.encyclopedia.com

x'g/ | Hunar page 57

PROCESS OF ROSEWOOD INLAY AND PATCHWORK

Step 1 : The first and foremost step involved in any type of wood work is cutting of wooden logs are cut in the cutting saw machine. The wooden log is cut horizontally and different thickness of rectangular wooden pieces are formed, as per the need for inlaying.

Step 2 : The second step is seasoning of wood. Seasoning is the process of removal of moisture content from wood, so as to make it useful for construction and other uses. This reduces the chances of decay, improves load bearing properties, reduces weight, and exhibits more favourable properties like thermal & electrical insulation, glue adhesive capacity & easy preservative treatment etc. Seasoning is a process by which moisture content in a freshly cut tree is reduced to a suitable level. By doing so the durability of wood is increased.

Step 3 : After the seasoning the wood is ready to be cut and used. But before cutting the wood, the design is given either by costumer or by the local designer, he takes inspiration based on occassional themes. Then the template is photocopied multiple times.

Step 4 : Then the templetes are stuck on different color woods and with the help of fret saw each and every minute pieces and cut and stuck on the base wood. Generally the base wood used is plwood, beacause of its strength and strudiness.

Step 5 : After all the pieces are cut and stuck on plywood, to fix the blocks properly, it is nailed with the help of hammer and is compressed for eight hours under high pressure.

Step 6 : Once the pieces are fixed, it is ready to be sanded with the help of hand grinder. Hand grinder removes all burrs and gives flat smooth surface.

Step 7 : Then comes the final stage, where the inalyis polished with beewax and turpentine. After this the rosewood inlay is packed in bubble wrap sheet and parcled to the final consumer.

x'g/ | Hunar page 59

Jofj;flos (f+rf | Business Structure (Rosewood Inlay and Patchwork) How the artwork reaches costumers

x'g/ | Hunar page 61

Business structure of Patchwork folowed by Bala Subramanium

Business structure of Rosewood Inlay folowed by V. Ramesh

x'g/ | Hunar page 63

ns*L k/ gSsfzL | Wood Carvings Life carved out with chisels

x'g/ | Hunar page 65

INTRODUCTION

One of the oldest types of art, woodcarving is an art-form common to all cultures, from the Stone Age onwards, not least because of its widespread availability, plasticity and low cost. Its only real drawback as a medium for sculpture is its perishability. Being water absorbent and vulnerable to insects and airborne fungi, wood can degrade quite rapidly. As a result, bronze, marble and other types of stone have been preferred for monumental works. Even so, wood was the principal type of African sculpture used to produce masks, statuettes, religious objects and general decorative items.

The medium was also widely used in Oceanic art for the carving of ceremonial canoes and other objects, as well as in the totem pole culture of American Indian art and in the Aboriginal art of Australia. Unfortunately, most of this type of ancient tribal art has perished. Woodcarving was also common in Greek sculpture, although it was far less prestigious than ivory carving, and used mostly for small-scale works. The medium flourished later in Europe, alongside medieval, Romanesque and Gothic architecture, chiefly in churches and cathedrals, and later alongside fine furniture and interior decoration, notably in the idiom of Rococo art. During the 20th century, plastic art has used wood in a number of innovative ways, not least in the assemblage art of Louise Nevelson (1899-1988) and others, while 20th century folk art continues to depend on the medium.

www.finewoodworking.com

x'g/ | Hunar page 67

HISTORY Woodcarving has probably been around about as long as man has been upon the earth. So the history of wood carving begins at the beginning. Man has always used and manipulated wood. Adam was probably the first wood carver. He must have used wood as one of his first tools, maybe for a club or a walking stick. He could have even tied a rock to a stick of wood and used it for a hammer. When he found a way to make an instrument sharp enough to hunt with, an arrowhead or spearhead may have been first but if so the knife could not have been far behind. What do you think a man with a knife living in the forest or jungle that is surrounded by standing and fallen trees would do to pass his time? Woodcarving just got its beginning. Was the date recorded in a book?

There probably were no books. Besides, carving was so much fun who would take the time to write it down. He probably started out whittling or maybe carved other tools or utensils out of wood.

After a while, he must have discovered he could carve or make just about anything he wanted out of wood. Carving could have been his favourite pastime, at least until Eve came along. Due to wood being a material that will not withstand the test of time, woodcarvings must be protected and taken care of if they are to endure. Unlike stone carvings or sculptures that might be buried for thousands of years and survive, imagine what would happen to a woodcarving or wood sculpture under those conditions. Between the elements and the insects, in just a short time nothing would be left. There is a country where conditions are favourable enough that wood could survive for long periods without the best of care. The climate in Egypt is the only climate where this could happen. In 1860, eleven wooden panels were found that had been preserved under the sands for over 4000 years.

Each of these panel measured two feet by one and one half feet. These panels are what us modern wood carvers would call relief carvings. They were found in the tomb of Pharaoh Hesy-Ra. The earliest three-dimensional figure yet found is thought to have been carved around 2500 B.C. The carving is three feet high and is in the usual Egyptian pose, walking forward with both feet flat on the ground and holding a staff in one hand. Wood was not plentiful in Egypt and the Acacia and the Sycamore were the only trees growing suitable for carving. These trees were so scarce that they were considered sacred. While there are indications that in almost every country people practiced the art of woodcarving, the carvings did not survive as they did in Egypt.Woodcarving is mentioned in the Bible in the book of Exodus, Chapter 35 that was probably written by Moses. It reads as follows: “29 The Children of Israel brought a willing offering unto the Lord, every man and woman, whose heart made them willing to bring for all manner of work, which the Lord had commanded to be made by the hand of Moses. 30 And Moses said unto the children of Israel, See, the Lord hath called by name Be-zal’e-el the son of U’ri, the son of Hur, of the tribe of Judah; 31 And he hath filled him with the spirit of God, in wisdom, in understanding, and in knowledge, and in all manner of workmanship; 32 And to devise curious works, to work in gold, and in silver, and in brass, 33 And in the cutting of stones, to set them, and in carving of wood, to make any manner of cunning work”

www.finewoodworking.com

x'g/ | Hunar page 69

Notice how the Bible says God gave these people the wisdom, understanding and knowledge to do this work. Any wisdom, skill or talent that we have is not due to our own greatness, but are gifts from God and we should thank Him for them.During the Dark Ages, woodcarving had its difficulties.

In Europe, the art of woodcarving was pretty much confined to Monasteries, as that was the only place that was safe enough practice it. There were many wars and acts of barbarism taking place at that time. From about 700 A.D. to about 900 A.D., the art or practice of making images was strictly forbidden in some parts of Europe. This included images of any kind such as woodcarving and even paintings. Artists who were copying Roman sculptures of pagan gods, pagan emblems and symbols brought this about. Many artists left for other parts of Europe where Monasteries employed artisans and artists of all kinds to work on the monasteries themselves. The woodcarving that was done in these monasteries was mostly relief carvings done in doors and wooden panels. Carvings done in each country in Europe were remarkably similar which can be attributed to the fact that the carvers travelled from monastery to monastery practicing their trade.After the year, 1000 artists felt more freedom and began to open up with their work. Wood carvers were influenced by stone carvings and based some of their work on remains uncovered in parts of Europe such as Italy. In England, carvings were also based on stone carvings. These carvings were not usually statues but decorative carvings. Some of these seem to be based on carvings done in Denmark and Norway.

Over the centuries, woodcarving has undergone may changes but has never died. Like in the beginning when the man was alone in the garden with his knife, as long as there is wood and there is man, there will be woodcarvings. Scandinavian woodcarvers seem to have been influenced by stone carvings done in England. Some carvings done between 1000 A.D. and 1200 A.D. can still be found in old churches in England. These woodcarvings naturally were protected from the elements otherwise, they could not have survived. Many woodcarvings over the years have been destroyed due to neglect. Others have been intentionally destroyed by wars and acts against the churches.

Many also were destroyed in the name of improvement, such as replacing older carvings.Over the centuries, woodcarving has undergone may changes but has never died. Like in the beginning when the man was alone in the garden with his knife, as long as there is wood and there is man, there will be woodcarvings.

www.finewoodworking.com

x'g/ | Hunar page 71

WOODCARVING IN INDIA

India itself has a rich wood carving history and contributes prolifically to the array of carved handicrafts produced in wood. Being a climactically diverse nation, India is blessed with a variety of soft and hard woods — each being used to produce a different family of wooden crafts.

Moreover, the cultural, lingual and religious diversity is reflected in the different handicrafts that emerge from different regions. In Assam, they are reflected in the unusually carved thrones in the shape of peacocks which are called ‘namghar’ or ‘kirtanghar’ and the figures of the one-horned rhinoceros. In Uttar Pradesh, we see elegantly chiselled screens or ‘jaalis’ patterned with floral and vine-like details reminiscent of the Kashmiri origins of the craftsmen who first brought them here.

Large, chests called ‘pataras’ carved out of rosewood, teak or sandalwood in Gujarat is part of wedding trousseau for brides to this day.Although woodcarvings in Tamil Nadu come in a variety of themes such as animals, mythological creatures and dance forms, one of the most prominent of these themes is the depiction of mythological scenes with gods and goddesses mounted on their chariots. From doors to wooden brackets and panels, one can find this theme running across different handicraft items produced in the state. Idols of Lord Shiva, Lord Ganesha, Dashavtara idols of Vishnu are some of the most highly demanded products in the region.

When creating a wood carving idol, the artisan begins with a single large block of wood. Designs are first drawn on paper, which is then imprinted upon the wooden block. Then, using a hammer and chisel, the artisan carves out the wood from the appropriate places in the design, layer by layer.

Soon the idol begins to take shape. When the artisan is satisfied with the carving, he buffs the wood so that its natural shine appears. Then it is painted or polished suitably and is ready to go on the market. The whole process takes days and even months depending upon the complexity and size of the idol.

Rosewood and sandalwood is most commonly used for creating wood articles produced in Tamil Nadu. Over 2 lakh artisans in Tamil Nadu work behind the scenes to uphold our cultural heritage through sheer hard work without proper recognition and appreciation.

woodcarvingillustrated.com

x'g/ | Hunar page 73

TYPES OF WOOD

Wood used is primarily of two kinds; softwood and hardwood. Both the kinds have distinct properties, which are advantageous and disadvantageous for carving. Varied kinds of flora across the planet have been the primary cause behind a wide variety of wood carved artifacts.

Softwood • Cottonwood • Butternut • Basswood • Sycamore Maple • Plum Hardwood • Mahogany • American Walnut • Rosewood • Teak • Pine The southern part of India is known for exquisite wood carving culture and the artisans here carve various religious and cultural figures on the wood. Rainforests in the region provide abundant supply of wood to be carved upon. Methods and styles of woodcarving include chip carving, relief carving, and Scandinavian flat plane. Both softwoods and hardwoods are used, principally oak, mahogany, walnut, elm, lime wood, chestnut, ebony, boxwood, cedar, cypress, olive, teak and pine.

Wood has both advantages and drawbacks as a sculpture medium. Because of its fibrous strength, it can be carved more thinly and precisely than stone or animal bone. For large compositions, two or more pieces of wood may be carved then joined. Hardwoods are more difficult to sculpt but possess greater lustre and endurance, while softwoods are easier to shape, but less durable. No wood is as durable, weatherproof or insect-immune as stone, and thus is used mainly for indoor works. Lastly, whatever wood is used, it remains an anisotropic material (its properties differ when measured in different directions), and is strongest in the direction of the grain. Thus, sculptors carve their most delicate lines with the grain rather than against it.

woodcarvingillustrated.com

x'g/ | Hunar page 75

WODD TEXTURE FOR WOOD CARVING

Carving Wooden Handicrafts: It is always necessary to first identify the texture of wood before the process of woodcarving is initiated. Wood used for carving may be classified into two kinds, namely, hardwood and softwood.Wood Carving Hardwood refers to wood that is obtained from deciduous broadleaved trees, which shed their leaves annually. Examples of hardwood trees are teak, oak, rosewood, sandalwood, walnut etc.Softwood comes from trees bearing cones, most of which are evergreen. It is ideal for woodcarving, since it is easy to cut, does not splinter, glues well and is good for laminating. Softwood includes pine, cedar, and fir trees.Since hardwood is quite brittle and difficult to carve with a knife or chisel, the most desirable texture for best carving results is softwood with a very featureless graining.Wood Carving TechniqueIndian artisans are proficient in the art of woodcarving. They use various techniques to carve wood. Woodcarving may be broadly classified into four types: • Deep woodcarving is usually two inches deep, or more. These carvings are replete with intricate floral and animal motifs. This requires a lot of labour and skill, and is the most expensive form of carving.

• Shallow woodcarving is usually half an inch deep. In this form of carving, skilled artisans carve patterns on a flat surface. This form of carving is characterized by mythological themes.

• Latticework in woodcarving, involves ornate designs, which are carved onto the wood. Mostly used for windows, this form of carving portrays carved motifs of interlaced foliage, animals, and birds, besides others.

• Semi-carving of wood is done on a thin panel along the rim of a surface. This form of carving is a carver’s delight since it allows the grains of wood to be displayed along with the carver’s skills.

The above-mentioned wood carving techniques give birth to various wood carving styles such as Whittling, Chip Carving, Relief Carving, Intaglio Carving and Carving in the Round.

woodcarvingillustrated.com

x'g/ | Hunar page 77

WOOD CARVING TOOLS

A set of tools is extremely essential to carve wood into desired shapes and designs. While carving knives are basic tools for woodcarving to begin with, a small set of chisels and gouges would be of great use while carving comprehensive pieces.The more intricate the design, the more mechanized the tools have to be. The most common tools used to carve wood include: Carving knives are basic carving tools. They are available in various shapes and sizes.Chisels have a cutting edge, and are forced into the wood to produce carved patterns. They may be of two kinds - square, and skew.Gouges are chisels with a partly cylindrical blade. They have curved cutting edges.Rasps and files are used fordetailed carving. They have separate conical teeth, and are excellent for shaping decoys.Grinding Tools for woodcarving are also called Rotary tools, these are one of the most commonly used and preferred tools. Grinding tools should be used in ventilated areas as they generate a lot of dust.V-tools are also known as parting tools, have cutting edges in the shape of a ‘V’. V-tools are used to make sharp incisions and fine carving. The angles of the ‘V’ come in degrees ranging from 25 to 90 degrees.

woodcarvingillustrated.com

x'g/ | Hunar page 79

EVOLUTION IN TOOLS AND TECHNIQUES The contemporary sculptor is much more reliant on power tools than his or her predecessor is and part of the reason is due to advances in electronics. Power tools have come down in price over the years, yet they have more features and greater power with less weight. Twenty-five years ago the standard right-angle grinder used in most sculpture studios was a nine-inch model, which was very heavy and powerful, but left one exhausted at the end of the day. In today’s studios, the four-and-a half-inch model is prevalent. A tremendous range of abrasives and accessories are now available for this versatile tool, allowing the sculptor to do many processes formerly done by hand or with hand tools. For example, with the development of non-woven abrasives and coatings, materials such as metal, stone, and wood can be given their finish with power tools. The ubiquitous four-and-a-halfinch grinder can also be equipped with a woodcarving blade. In this configuration, a large amount of carving can be accomplished in a short period with little effort and moderate skill.The difference between carving wood with the traditional mallet and chisel, and power-carving wood with the four-and-a half-inch grinder illustrates the differing skills and knowledge level required for each method. The traditional process demands a good understanding of the nature of wood, such as its hardness, grain structure (face or end grain) and direction. The type of wood (i.e. conifer, deciduous, or tropical), whether it is a hard or soft species, and how abrasive it is on the carving chisel must be understood. A selection of mallets and chisels with different shapes and sweeps (the amount of curve a gouge possesses) is needed, and the carver must have some experience with which tool to select for each particular situation in order to achieve the desired result. The traditional carver needs the skill to sharpen and hone the various chisels, which are shaped to suit individual carving styles and types of wood. It is readily apparent that a moderately proficient woodcarver needs a fair amount of technical knowledge and skill in order to produce a sculptural form. The length of time that it takes to acquire these skills will, of course, vary greatly from person to person.

woodcarvingillustrated.com

x'g/ | Hunar page 81

WOOD CARVINGS DONE IN MYSORE SANDAL WOOD Sandalwood is known as Santalum. The Ancient Sanskrit word for the wood is CHANDANA. This is a high priced wood and has a pleasant fragrance. This wood has good oil content. Sandalwood and the oil, which is extracted, have made its routes to different parts of the world for its great medicinal value.Sandalwood is a controlled wood and it is the Government (Respective State Governments under Ministry of Forests) which has the appellate authority to cut / sell / issue for any purpose. This tradition of control has been coming down from the era of the Sultans (which dates back to 1800A.D.), who during their regime termed Sandalwood as “ROYAL “so as to maintain its preciousness. This wood is considered Sacred by different societies. The wood so issued by the Government is used to make figurines or artwork by artists who attain their skills by the generations.

ROSE WOOD Rosewood is characteristically dark and highly grained wood. The grains run differently in different logs of wood when cut. An Artist draws an imagination and shows that the grain is in some form (i.e., like a man / woman’s face, waterfall, etc...). Rosewood ranges in color 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.

Inlay Work on Rosewood is done with various depictions laid inside the wood to make the Subject The depictions so Inlaid is made by cutting different pieces of Natural colour wood and then assembled like a puzzle. The work of Inlay is quite famous in Mysore and has been done from the time of the Maharajas of Mysore. The Mysore Palace has some work of Inlay in its Doors.

woodcarvingillustrated.com

x'g/ | Hunar page 83

SHIVANI TEAK WOOD This wood is a substitute for Sandalwood Carvings. As Sandalwood is not got in abundance and the high price of the wood, Artifacts are made in Shivani Wood. This wood does not have any fragrance as that of Sandalwood nor does it have any medicinal value. The color of the wood is slightly close to sandalwood thus making it a perfect substitute.

WALL HANGINGS We use different Natural Colour wood in this art form. The wood shall be cut individually to the desired size / shapes and assembled to form a subject. There is no touch of colour in this art form as we take only the natural colour wood, but every other piece shall not be the same as we are dependent on Mother Nature. So this is one of the unique art form done only in Mysore and no other place in the world. Portraits / Landscapes / Sceneries / Wild life / Animal depictions and customized artwork can also be made.

DOOR CARVINGS Teakwood Doors depicting Gods, Floral and other designs.

woodcarvingillustrated.com

x'g/ | Hunar page 85

PROCESS

Wood carving tools include the following: a special carving knife used to cut and pare the wood; a gouge with a curved cutting edge used for making hollows and curves; a specialist gouge called a veiner, with a U-shaped edge; a straight-edge chisel used for lines; as well as various mallets and hammers.

• Wooden logs are bought from the nearby market and stored in the artisan’s house.

• The wooden log is cut as per the required size.

• The wooden piece that is cut and cleaned properly and sanded neatly to get the even surface.

• On this piece of wood, the design of the toy is drawn and unwanted wood is chipped off.

• The outer line of the toy is chiselled carefully to give the proper shape.

• The sculptor starts by choosing a block of wood appropriate to the shape and scale of his intended design.

• Employing gouges of various sizes, he then reduces the wood to an approximate shape, which he refines with a variety of tools like veiners and v-tools.

• When the detailed work is complete, the sculptor smoothes the surfaces with implements like rasps and rifflers, and with different grains of sandpaper.

• Lastly, to enhance and preserve the sculpture, he stains it walnut or linseed oil, and then coats it in varnish, resin or wax.

x'g/ | Hunar page 87

Jofj;flos (f+rf | Business Structure (Wood Carving) How the artwork reaches costumers

The business structure of wood carving followed by Mahesh.

x'g/ | Hunar page 89

x'g/ | Hunar page 91

SWOT ANALYSIS STRENGHTS

Historical art form, one of the art form which is still retained in the market.

Handicraft, it is hand crafted which enhances the beauty of work.

Each and every peice is unique.

Well known in international market.

Easy availability of raw materials.

Well established wood seasoning plant.

WEAKNESS

Multiple copies of excat same thing can not be produced.

Needs highly skilled labour.

Decline in labour force.

Lack of intrest of new generation.

Lack of Government support.

THREATS

Lack of marketing statergies followed by artisans.

Increase in competition through chinese market.

Paintings are sold on the name of Rosewood inlay.

Cutting of trees on a large extent is a danger to nature.

OPPORTUNITIES

Marketing of Rosewood inlay can be increased.

Increase in huge demand in international market.

Increase in demand of hanicrafts in luxury hotels.

x'g/ | Hunar page 93

ofqf s] af/] d] | About the trip Unforgettable memories

x'g/ | Hunar page 95

TRIP TO MYSORE

Day 1 Date : 1st september,2018

Saturday

Finally it was happening, our whole class was going on a trip to Mysore. On 1stSeptember 2018, we assembled in the NIFT campus and by 6’o clock in the morning we left the campus for satallite station. We boarded the bus and around 12 noon we reached the beautiful and pollution free city of Mysore. We hd already booked our stay at Youth Hostel for 6 days. Everyone was filled with enthusiasm and was ready to explore the city. Ms. Shipra Roy our faculty guide assigned particular areas to each and every group. The area assigned to our group was Udyagiri. Uyagiri is spread in large area and we had six artisans to contact, thus we had lots of work in exploring the area. But the excitiment was not less, so we started our work from first day itself, we went around the area and asked people about the artisans living there. They were really humble and helpful, we finally found the lane but by that time it was too late so we came back to hostel. Then we went for dinner in a nearby restuarant.

Day 2 Date : 2nd September,2018

Sunday

We went to udayagiri and reached at the same place from where we left. From there we reached to the houses of the artisans, the places were abandoned for almost 4-5 years. From there we went Mohan Sir’s workshop there all our senoirs were getting their products manufactured from the artisans. Then we went to Naasir Ahmed’s workshop in search of a group of women artisans who work on rosewood inlay. From there we contacted Salma Rehman the head of the group who then confirmed that they will be working from Monday. After that we thought of capturing the environment and culture of Mysore so we went to Rail Museum near by, the rail museum had different eras of trains from the Victorian era of how the kings and Queens travel to the modern era of how we travel in trains. From there we went to Devaraja market, one of the biggest and busiest market in Mysore. There we saw different cultures and religions working together, and it was a huge market for shopping for economical stuffs. There we had lunch and procceded our journey towards another Museum called Jaganmohan Palace, which was closed for renovation. From there a man guided us to an emporium NI Saree center and handicrafts which deals with famous Mysore silk sarees and sandalwood products, it was a good experience as we got to know about the pricing of the art works produced by the artisans in the Indian market. This was the end of second day, then we came back to hostel relaxed for some time and we went to Forum Mall to shop and eat our dinner.

x'g/ | Hunar page 97

Day 3 Date : 03/09/18

Monday

Today we went to Nasir Ahmed’s place in BM shree nagara. From there Nasir bhai directed us to kalakushalanagara. Finally, we reached a place where the work actually started. Kalakushalanagara or Multi craft complex is a place where there are 480 houses and all the houses are involved with woodcraft. We got the opportunity to have an in depth knowledge about them. Therefore, we went to the first artisan house named V.Ramesh. He works with rosewood inlay. We had a talk with him about his life. What all problems he faces and how it can be resolved. He explained many things in detail about all the problems related to his work. While we were talking with him, we met Ms. Divya Krishna our second faculty guide. We had a small talk with her about what exactly are we doing there. Then she left. Then V. Ramesh directed us to another artisan named Balasubramanyam. He is involved in patchwork. We had a talk with him about his work and its process. Then he told us about his orders and business. After talking with him we were searching for more artisans and then we met Mahesh, a wood carver who does door designs and figures. Mahesh introduced us to his teacher Prakash, a state award winner for woodcarving. We got to know a lot about him and his works. After gathering all the information required for the day, we left for hostel. We came back to hostel and relaxed for some time. In the evening, we planned to leave for Mysore palace. As we reached in the evening, palace was already closed. Therefore, we roamed around in the premises and then we took a tanga ride as well. Finally we were done for the day so we had dinner and came back to hostel.

Day 4 Date : 04/09/18

Tuesday

Today again, we went to kalakushalanagara to gather more information. We reached there and headed straight to Mahesh’s place, as we had to get a small sample piece carved. We reached there and Mahesh was already working on a piece. We asked him to carve a small piece for us. He agreed and carved a beautiful piece for us. He finished the piece within 10 minutes. After the piece got finished, we went to Balasubramanyam’s place to cover the rest of the patchwork process. After spending some time, we got a call from Divya mam, our faculty guide that she wants to meet us.

We met her near Bala’s house and then we discussed our work with her. As we were done with our work we decided to accompany with mam. We left from there to Lashkar mohalla for having lunch as there is a very famous biryani corner named Hotel RRR Biryani. We had our lunch and then we planned to go to nearby places. Divya mam accompanied us. We went to Mysuru Sand Sculpture Museum where we had a lot of fun. From there we went to Guinness World Record Sea Shell Art Museum. We saw many beautiful shell sculptures over there. Then from there we left for Mysore palace. Finally, we went inside the beautiful palace. It was an amazing experience. As we were very tired we finally came back to hostel.

x'g/ | Hunar page 99

Day 5 Date : 5th September,2018

Wednesday

Today this morning we went the most religious place in Mysore, Chamundi Hills. It is also one of the major tourists attraction of Mysore. Then as planned yesterday we went to Bala Subramaniun’s place to capture the sanding process. There we met Dr. Yathindra L., our faculty guide with him was Suresh Kamat, he was a NRI who worked in US for a long time and he is now in India to startup his own company and help overcome the problems faced by artisans. He kept discussing the problems and by the time we went back to Bala, he booked us an auto to the mandi mahulla, the main market from where they buy rosewood and other wood. We observed how the wooden log is cut and seasoned and the rate at which it is sold. After accquiring the wooden pieces we went to Folklore Museum, it is a renowened University and they have a Museum where preserved different cultural costumes and writers and poets. There our stomach started grumbling, so we went to Kfc near by and ate a lot. The day ended here as we were tired so we came back to hostel.

Day 6 Date : 6th September, 2018

Thursday

The last day in Mysore, it was a relaxed day with no plans for the day as we were leaving for Bengaluru with lots of memories, knowledge about the art and moreover a beautiful experience of staying with our classmates, knowing about the artisans, and exploring a new city. We woke up in the morning, took a grup selfie with Youth hostel as a remenbrance, we left for bus stand had our breakfast and headed to Bengaluru. Before leaving one thing we are sure about, is whenever in our life anyone of us if goes to Mysore, the city will have our memories of this wonderful trip.

x'g/ | Hunar page 101

;fIfftsf/ | Interview To known about the artisans

House 1- V. Ramesh He is 60 years old, living in kalakushala nagara and is working with rosewood inlay from past 50 years. He started working at the age of 8 years. He has studied till 2nd std. He couldn’t continue his studies after that due to financial condition. Though he is not educated, his work experience has taught him more than that and he never faced problem in communication. It wasn’t a family tradition to work with inlay, he started working on his own but he didn’t teach his children the same.

In current time he is mainly working with the mantapa designs for puja rooms. Workplace has been taken on lease. Nasir Ahmed, one of the artisans under Mohan sir has learnt from him. He wanted his children to support him in his work but they did not wanted to do inlay so he never forced them to do so, and he is happy for them. His working hour is from 10am to 10pm. The workplace is of around 18x38 sq. ft. he needed a small place to start his work. He himself bought all the machines and tools. The raw materials are sourced from nearby forests. The price of the wood depends on its size and thickness. He gets it in bundle and modifies it accordingly. He started working in this workplace from 2001 and at that time only he bought all the tools and machineries. The drill machine costed him around 8,000 rupees at that time. There is no power cut problem, as it is an industrial area, which was a gift by the government of Netherlands to Karnataka government. At first, he was working in Mysore city but from past 33 years, he is working in kalakushala nagara.

Within the range of 2kms, everything is available. The area is secured as well as it has Indian oil petrol, fc storage, railway line and RBI. Each one of them is located on the outskirts surrounding the area. Water and power is available 24x7. He has worked in Bangalore for 10 years as a construction labour. He has clients in Bangalore so he travels frequently there. He has a man working under him who does polishing for the finished pieces. He receives orders in person only. The rate is decided depending on the size and intricacy of the work piece. He earns around 30 to 40 thousand rupees a month. The wood for mantapa is seasoned for 2 years to give the workpiece a longer life. He is not receiving any help or support from any source. He is living with his whole family in kalakushala nagara itself. His son works in transport business as well as a tourist guide. He has travelled to different places in India that is the reason he never had communication problems. A local artist named Ganesh Kar, according to the client’s desire provides the designs. There are in total 470 houses and all of them are involved with woodcraft only. The demand of this craft is decreasing day by day. The market value is very low. None of the organisation is providing any support or publicity to this craft. The pieces are finished based on the clients need and the value received. 40% of the payment is received in advance and rest of them after the work is delivered. Due to the decreased market value, only 30% of the people are involved with this craft. They don’t want to work because investment is more and profit is less. Half of the population living in Mysore does not even know about this craft. The export system is also closed now. There are lot of people who are spoiling the name of rosewood inlay by selling paintings in the name of inlay work. That has affected the market and people do not easily trust them to buy these handcrafted pieces. Wood cutting machine, lathe machine, sanding machine, drilling machine, hand drill. Polish- Asian paints shenlac. Araldite for sticking the pieces. Sourcing of tools and machineries from Mysore city or Bangalore city. There is a layer of coating of laminate from Asian and mrf to protect the workpiece from water.

x'g/ | Hunar page 103

Q&A

1. Name - V.Ramesh 2. Age - 60 yrs.

3. Work experience - 50 yrs.

5. Education level - Primary school (until std 2nd ) 6. Why you didn’t study after that?

- Due to financial condition. We didn’t have enough food to eat so I had to start working.

7. Do you face problems like has your education created any hindrance in your work?

- No, nothing as such. My experience has taught me everything. I never had any problems related to my work. I have travelled so much and have experienced so much in life that just by looking at a material I can tell what it is.

8. Is it a family tradition to work with rosewood inlay?

- No. my parents didn’t work with this craft. I myself started this and I didn’t send my children in the same. They completed their education and wanted to go in some other field. That’s their choice and that’s their life to decide what they want to do. They are married now.

9. How many children do you have?

- I have two kids a boy and a girl. They both are married now. My daughter is older than my son.

10. Where is your daughter’s in laws house?

- In Mysore city itself.

11. What’s your daughter’s name?

- Vasudha (35yrs. Old, has two daughters) 12. How did you start working at the age of 8?

- I started working with my maternal uncle. I used to get 25 paisa as a one month salary at that time.

13. Does your wife works as well?

- Yes. She also does the same work. She learned it before we got married at my maternal uncle’s factory itself.

House – 2 Bala Subramaniyam (patch work) Name- Bala Subramaniyam Father’s name- Raju Age- 32 Married and has two kids (a boy and a girl) Work experience- 15 yrs Workplace and home is nearby Living in kalakushalanagara He owns workplace.

Education- completed 2nd year (science) and then started working with this craft He started working only because of his interest. No one forced him. He could not continue his studies due to financial problems. His father is also involved in the same from last 40-45 yrs. He has 5 women workers working under him. One of them has a work experience of 42 yrs. mainly the cutting work is done by women workers and he does fixing of the cut pieces. Except engraving he has learn all the techniques. His younger brother Vijay Kumar works with engraving. Currently his brother is working with Toyota company production unit in Bangalore as he has less interest in this craftwork. He does not want his wife to work with this craft, as it is very hard work to do. This crafts value is also decreasing. None of the people wants to get involved and work with this craft.

Earlier there were 12-13 factories were there but now only 3-4 of them are left. Most of them were shut down because woodcutting is being banned. Quality of the materials is no longer the same. He gets order from different places in India. He has an intermediate helper who transports the orders to the required places. He is not getting support from any organisation. Normally a workpiece takes almost 20 days to finish. The designs are already available so the clients just ask for the desired design name and it is done. He needs many photocopies of the master design. There is a Xerox shop nearby which costs him 2 rupees a copy on A3 sheet. He does not want his kids to work with this craft. All the benefits are gained by the showrooms as they have price tags on these pieces. The workers are working with him since 12 years. Only one man is there who does the work of polishing. He gets majority of the orders from Kolkata and Hyderabad. He used to live somewhere else before. Government to restore the craft allotted this place. The finished workpiece should be kept away from direct sunlight and water. The workers are paid on the intricacy of the piece. The tools are supplied from local shops. Different qualities of glue are used based on the order value.

The demand in the market has reduced drastically within past 3 years. 12% GST is applied on the pieces. He recently got an order from England.

Types of wood: Doodhi wood, maddi, blue wash, silver, different artificial coloured woods, patang and acrylic is also used. These woods are available in 4’’x18’’ size.

x'g/ | Hunar page 105

House-3 Mahesh (engraving) Name- Mahesh Age- 35-40 Work experience- 15yrs Education- 10th standard He works with his father and his younger brother. His father has an experience of 40 years in this work. He is working since he was in class 7th. Due to financial problem he started working. His mother was also involved in the finishing process now she stays at home. He does door designs and figures. He receives orders from different showrooms as well as homes. His father mainly works with elephant designs. He works 8 hours a day. It’s a family based business. Designs are mutually done by the clients and him. He gets his other works like laser cutting g done from Hebbal industrial are, Mysore. Material sourcing from timber merchant in Mysore city. One sq. ft. costs him around 5-6 thousand rupees. Polish used- shenlac and kamal polish

x'g/ | Hunar page 107

snfsf/ zAbsf]if | Artists Glossary The unkown hits

x'g/ | Hunar page 109

Amrita Age - 37 years Occupation - Rosewood Inlay Amrita, works unser Bala subramanium she basically is employeed there to perform wood cutting and pasting operation which is very vital role in the inlaying process, this requires highly skilled artisan. She has been doing this for 20 years, she learned this art form after her marriage, in the government institute ODPL, it was one year or two year training course where they were paid monthly stipned and at the end thry got certificate of excellence and a land in mulyicraft complex was alloted.

Bala Subramanium Age - 32 years.

Occupation - Rosewood inlay, patchwork Father’s Name - Vijay Subramanium Bala Subramanium, is an aspiring artisan who is working on patchwork for about 15 years. He studied till second year of S.S.c. in Mysore University then due to financial crisis faced by the family, he dropped out of the college and he started helping his father with his inlay business. Since childhood he had keen intrest in the art thus he now owns a workshop where he employees artisans and encourages women empowerment. He produces art on client based orders and due to increase in technology he has benefited enough to smoothly run the business in India.

Mahesh Age - 35-40 years Occupation - Wood Carving, Chiseling Mahesh has an experience of more then 20 years in wood chiseling and carving. He and his brother creates wooden temples ‘mandapa’ with their skills set inherited from their father who is best known for his work of carving elephant head on Rosewood with realistic anatomy. His main focus is on carving out mandapas but on the other hand he also carves Indian Gods and Godesses for the clients.

Nagraj Age - 60 years Occupation - Rosewood inlay Nagraj, is working under Bala subramanium, he has an experience of about 40 years and currently is was doing polishing but he is well known with all the steps involved in inlaying. Each and every art peice is polished multiple times to get the glossy finish. He learned the art when he was 10 years old, as his father was carpenter. His daughter was married and moved to the city and his son has his own workshop of Rosewood inlay.

Nasir Ahmed Age - 35-40 years Occupation - Wood carving and Rosewood inlay furnitures Naseer Ahmed, a man of experience and good contacts in the wood industry, he has been learning art since his childhood, and now he has established clients and a good name in the business. He has worked with V. Ramesh in his initial days, and now he employees many artisans under him who are expertise in Rosewood inlay and Wood carving.

Prakash Age - 56 years Occupation - Wood Carving Prakash is a well known teacher of wood carving and a award winning artisan. He also taught mahesh as well as other artisans the art form. He was blessed with two children, one of them has good drawing skills and is learning from his father and carves out his drawings in wood. He had tools which were used by his father, they were preserved in his memory.

V. Ramesh Age - 70 years Occupation - Rosewood Temples and Inlay V. Ramesh, has an experience of over more than 55 years, in the stream of rosewood inlay and creating temples. He dropped out of school in sixth grade due to ďŹ nancial crisis, he learned rosewood inlay from his uncle and developed keen intrest, thus started working for him. He is on the edge of retirenment thus he is working all alone for his daily earnings. V. Ramesh also sells his art in Cauvery Emporium as well as he personally deals with clients. He maily encourages people to buy art works directly from artisans to get better quality product which will last longer. Even though he has keen intrest and experiencce in the art form he didn’t forced his childern to get into business as he states this art form is declining.

x'g/ | Hunar page 111

:jut efif)f | Monolouge Identifiying Ourselves

x'g/ | Hunar page 113

Dipika Das "Only I can change my life. No one can do it for me."

- Carol Burnett My research work started with our journey to Mysore. The main motive of me and my group was to explore the art of rosewood inlay and study the area where Rosewood Inlay is done. After visiting there, we were assigned Karakushalanagara to gain all kinds of information from different artisans about the techniques which they apply in wooden products. Most important was the study of market from where wood is supplied and the quality to be maintained for the finished products. Our work started from capturing photos and videos. I along with my group members helped them in taking the relevant photos of steps involved in process of the product. Then I researched about Mysore its history and culture while documenting the book.

Kapil Vedak Yesterday I was clever, so I wanted to change the world. Today I am wise, so I am changing myself.�

In the quest for writing character-driven stories, it is easy to fall into the trap of having a character musing to oneself too much. On my journey, to mysore we actually met the characters of the story, the artisans are the real - life heroes, who are keeping the history alive by continuning the age old tradition even in this world of strong competition and no major facility. Talking about the character, each and every person is unique with different opportunities and obstacles faced in the time span of existance and while defining myself, I figured my keen intrest in capturing those wonderful moments which enhances my perseption for the world around me. I would always be beholden for the chance given to capture and feel the art along with understanding the business involved. My experience verbalizes in brief about the different levels and sources involved while selling the art to consumers.

Creating the chronicle and the video was the most intresting and time - consuming process, but beyond this was the memorable journey of mysore.

Sakshi Jain Don’t define yourself, explore yourself�

On the way far from Bengaluru, I found the art, beautifully conceived Rosewood Inlay. The art is the livelihood of many artisans in Mysore. It was a great opportunity to get involved in the development of the art and meeting the artisans personally and talking about their lives. About the art, it needs great motivation and inspiration to keep the art alive for the next generation, and I would feel proud to be a part of it. The strong asset of me is sketching which I have included and compilation of data was the most important role played while documenting the book. This six days journey was a bag full of experiences and unforgettable memories of meeting new people, finding out ways with out Google maps, talking about the problems faced by the artisans and eating guavava (amrud) with them, capturing their lives with camera and my pencil and finally getting up early in the morning and coming back tired still playing games and spending time with the classmates and more......

Sonali Gupta Optimism is the faith that leads to achievement - Helen keller I, Sonali Gupta, a member of this group for craft cluster, went to Mysore. In Mysore, we explored their culture and the environment and then we had a chance to explore Kalakushalanagara to know, observe and learn about Rosewood inlay. Further we went to three artisans for rosewood inlay and wood carving. There I observed the way they work, process, artisans included in the environment and difficulties they face etc. Artisans believe and are interested in doing their work from long time and want to promote it further more. They live a very simple life and have a strong bounding among them. According to my observation, I came to know these things about this craft cluster. After observing this we together documented all our information, learning. Mainly my focus was on rosewood inlay origin and I worked on its history and evolution as well, and the main part is the way, I observed artisans and their work that I have showcased it all through my sketches in this document.

Vibha Jha “Travelling - it leaves you speechless, then turns you into a storyteller�.

- Ibn Battuta It all started when I heard that we are going to Mysore trip for a week. I was so excited that finally something like this is happening. Though it was an assignment but we made sure that we all have fun over there. I had an amazing time in Mysore with all my friends. Some days were hectic and tired some days were fun and relaxing. Overall it was a wonderful time spent with wonderful people. My part of contribution in our group started right from the starting when we had to travel and roamed around Mysore and it was so tiring. I was there in each and every move of our group. May it be photography, traveling, research till the documentation of the work. There were ups and downs but we managed to stand through it. It was an amazing experience that will be remembered forever and ever.

x'g/ | Hunar page 115

c!ft sxfgL | Untold Story Ever wondered why no one is allowed in Palace after 6:00pm ???

Behind the curtains of extravagant life, king-sized lifestyle and luxury-filled, lies the darkest of secrets, and of the several royal secrets that were kept away from public, was the curse of King Tirumalaraja’s widow to the erstwhile rulers of Wadiyar royal family, which left them heirless ever since.

Since 400 years, the royal family of Mysore, the descendants of the Wadiyar dynasty has been trying to ward off the deadly curse, which was meted out on them by Queen Alamelamma, right before she jumped to her death. Back in 1612, Mysore was under the reign of Vijayanagara Empire and was ruled by King Tirumalaraja. After a fatal disease weakened him, his enemies planned an attack; forcefully dethroned him by murdering him. One day, after the change of guard, Tirumalaraja’s widow Queen Alamelamma decided to run away; she took along all the royal ornaments and documents with her. Upset over the fact that her husband her sons were killed and her husband King Tirumalaraja was ousted unceremonious from the ruler’s chair, she took refuse in Talakadu, an area in the vicinity. Soon after learning of her escape, the Wadiyar ruler sent his soldiers to track her down, and confiscate all the royal ornaments and documents. Afraid that she’ll be killed and all the crucial royal treasure would be taken back, Queen Alamelamma committed suicide by jumping into the Cauvery River, along with all ornaments and documents. According to some onlookers and soldiers, before jumping to her death, the Queen cursed the Wadiyar dynasty to a heirless future, “May Talakad turn into a barren expanseof sand; may Malangi turn into an unfathomed whirlpool; may the Wadiyars of Mysore not have children for eternity.” When the Wadiyars were informed of Queen Alamelamma’s suicide and her curse upon their future, the former were shaken beyond belief. In a move to repent, they put in a statue of Queen Alamelamma at the Mysore palace, and religiously offered prayers to ward off her curse. Even to this day, her statue stands upright in the hidden area inside Mysore royal palace. Did you know, as a result of Queen’s curse, there has been no real heir born into the Wadiyar family? Whenever, a King or Queen could not have a child, the monarch would adopt a child from the extended family.

www.speakingtree.in

BIBLIOGRAPHY www.cauverycrafts.com www.iicd.ac.in www.craftscouncilofindia.org wood-veneer.com www.originalmarquetry.co.uk theclampguy.info www.encyclopedia.com www.ferm.com www.allure.com www.ehow.com www.finewoodworking.com www.wood-database.com www.visual-arts-cork.com www.itslife.in www.thesculpturestudio.com woodcarvingillustrated.com www.tradeindia.com blog.directcreate.com www.sculpture.orgwww.cristinsculpture.com www.visual-arts-cork.com www.wooden-handicrafts.com www.thewoodcarverscabin.com tnpoompuhar.org www.visual-arts-cork.com www.scholastic.com www.indianmirror.com www.speakingtree.in

x'g/ | Hunar page 117

x'g/ | Hunar page 119

xg ' /

Indian artisans are central to the substance of a vast tradition of skills which have passed from generation to generation. While handcrafted artefacts and intricately inlayed products have acquired fame at different times in history, their makers are a marginalized, almost forgotten people in the eyes of those who fashion their country’s economic potential.

In this book, the authors, takes us into the lives three artisans engaged in the craft of rosewood inlay and wood carving. Mohandas Karamchand Gandhi once said, “ The supreme consideration is man”. It is therefore the human being, the human spirit, human potential and human aspirations that need to be understood in order to guide policies for the development of the craft sector.

As descendants of Hunar, the Gods of art and crafts. India’s artisans come alive, demanding and deserving attention in this important study of their present socio - ecomonic condition.

x'g/ | Hunar page 121