chamak
NATIONAL INSTITUE OF FASHION TECHNOLOGY, NEW DELHI CAMPUS DEPARTMENT OF FASHION COMMUNICATION Copyright © 2018 by NIFT, New Delhi All copyrights reserved. The publication is the intellectual property of the Department of Fashion Communication, National Institute of Fashion Technology, New Delhi Campus. It is purely for academic purposes and no part of it may be reproduced, distributed, or transmitted in any form through photocopying, recording, or other electronic or mechanical methods.
2
chamak
4
6
Udaipur
We express our sincerest appreciation to National Institute of Fashion Technology and the Ministry of Textiles, India to have given us the opportunity to go for a ‘craft cluster visit’. This document wouldn’t have been possible without the spirited support and constant guidance of our Cluster Mentor – Ms. Lavina Bhaskar along with our Department Faculty – Mr.Vishesh Azad, Ms.Pika Gupta, Ms.Dimple Bahl and Mr.Anupam Jain. We would also like to thank the guest lecturers who took out their precious time for our learning. We also wish to convey our gratitude to our immensely loving and doting craftsman and his family to overwhelm us with their warmth. We thank you for making this experience educational and helping us in exploring the hidden corners of the city.
Boating in Lake Pichola
July, 2018
acknowledgement
8
Udaipur
July, 2018
preface The city that is named after a king itself has to have a majestic aura enveloping it at all times. Udaipur is one city that forms the perfect setting for a tale of Kings and Battles and Horses and Chariots. It all seems a work of fiction until you yourself step into the magnificent forts and the glorious palaces. This city, apart from being a live setting of historic tale, is also the home of some beautiful crafts which have always adorned India with their intricacy and beauty. Silver jewellery is being practised in the narrow streets of Udaipur and we had the golden opportunity to visit this city and explore this craft. We met craftsmen and had a talk with them regarding their craft, its past and its future.
Spotted on city streets
10
1. THE TIME KEEPER
Clocktower i.e. the narrator
I N D E X
12
2. FABLED LAND OF LAKES 14 An Introduction to Udaipur
3 AN IMPERIAL CHRONICLE 18 3.1 3.2 3.3 3.4 3.5
History of the City About Geographial Location Climate Demographics
4. THE TIME CAPSULE Monuments
30
5. MUSINGS OF MEWAR 38 5.1 Culture: 5.2 Festivals 5.3 Dances 5.4 Paintings 5.5 People
6. A METAL’S METTLE 54 About Silver Jewellery
7. ART TO ADORN 7.1 Products 7.2 Motifs
60
8. MEWAR’S KALAKAAR 70 Artisans of Udaipur
9. CHISELS TO CHAIN
82
Process and tools
10. BUSTLING BAZAAR’S 96 Market Study
11. A DISTANT MIRAGE 11.1 SWOT Analysis 11.2 Influences on the Craft 11.3 Initiative By NIFT
BIBLIOGRAPHY GLOSSARY
112 115
102
July, 2018
Udaipur
I, the Clocktower; Chandpole. 12
“
Born in the city of London and adopted by the streets of Udaipur , I was named “clock tower” for no batter reason than I was a clock, placed at the top of a tower. One would argue that my adoptive parents didn’t love me enough to put any thought into my name, but this is the pre-internet era where googling “unique child names” was not really an option. I cannot complain however, while the rest of my kind were trapped in a room with four walls and a roof I got to witness the metamorphosis of the miraculous place that is Mewar. Residing in the heart of the market, I never got bored. The aroma of freshly ground spices would fill the air, the hawkers would scream, shout and sing to attract customers; if the streets weren’t so narrow I am sure they would even resort to dancing if they had to. Men and women worked tirelessly until sundown. People would go back to their homes and have dinner with their families before retiring for bed. The nights were lonesome and quiet, but the sight of the stars always brought me joy. I dedicated my life to my people. Sounding my bells as loud as I could , I singlehandedly put all the roosters out of a job. It’s been over a hundred years and things have changed now, the trotting of horses on the streets has been replaced by honking of the cars and the sound of my bells are just as redundant next to a jingle on a digital alarm. Old age might have caught up to me; my hands don’t work and my voice has gone silent but what still remains undeterred are the memories of this beautiful place I have had the privilege to call home. Silly old me, so lost in nostalgia it almost slipped my mind to get you acquainted with my humble abode, Udaipur.
”
14
2
Fabled land of lakes
July, 2018
Udaipur
16
City Palace, 7:38 a.m.
Introduction Nestled in the midst of Girwa Valley and bestrewn with azure lakes , Udaipur is popularly known as “Venice of the East”. With its enchanting palaces, lush gardens and hillside fortresses, it’s a city that will take you back in time.The streets and market place of the old town of Udaipur are considerably untainted by the progress of the modern world , keeping intact the rich culture that the fabled land of lakes has to offer. A visit to the Gangaur Ghat will leave any in awe of the life of the locals ;kids diving into the waters of Lake Pichola as flocks of birds fly across the sky at sun dawn is a sight to behold. Famed across the world for it’s majestic architecture and culturally rich heritage, Udaipur is also home to Jaisamand Lake, the second largest man-made sweet water lake in Asia. It also boasts of having the only island observatory in India, located on Lake Fateh Sagar.
18
3
AN
IMPERIAL
CHRONICLE
July, 2018
Udaipur
20
Jagdish Temple
history Udaipur, Chittor and Bhilwara formed Mewar, the largest erstwhile princely state in Rajasthan. Maharana Udai Singh II founded Udaipur as his capital in 1567 after the final sack of Chittor by the Mughal Emperor, Akbar. Udaipur’s rich history and culture is linked to the royal Rajput rulers, “The Sisodias of Mewar,” one of the world’s oldest surviving dynasties. Legend has it that they descended from the Sun God through Lav, the elder son of Rama. Even today 36 Rajput clans trace their family to this mythological root and call themselves Suryavanshi. Historians however believed they were descendants of Central Asian tribes that entered the subcontinent via Kashmir early in the Christian era. By the 2nd century they had moved south, discovering several coastal cities along the way, in what is now Gujarat.
One of these was Vallabhi. The Queen, who was away on a pilgrimage and pregnant at the time, escaped to the Aravali hills where her son, Guhil was born. Entrusting him to the care of the tribal Bhils of the area, she committed sati. In AD 568, Guhil , who was then 11 was granted his first territory by the Bhil chieftain. This is said to be the birth of Mewar. Mewar prides itself on having played a glorious role in medieval Indian history as tireless defenders of Hindu traditions and sovereignty. They fought many bitter wars with Turkish, Afghan, Tartar and Mongol invaders and resisted alliances with the Mughals. This sense of pride persisted during the British period as well. Maharana Fateh Singh of Udaipur had the singular distinction of not attending the Delhi Durbar for King George V in 1911. When India became independent in 1947, Mewar was one of the first of 500 princely states merged to the Union of Greater Rajasthan, with the ruler of Udaipur as the acknowledged head.
July, 2018
Udaipur
22
View from the Monsoo Palace
about the city Known as the White City of Rajasthan, Udaipur is built around four man-made lakes, Pichola, Fateh Sagar, Rang Sagar and Swaroop Sagar. The earliest of these is Pichola, constructed in the 15th century. According to legend, Udai Singh II found the site of his future capital while hunting, when he came across a hermit meditating on a hill, who advised him to build his capital on the very spot.
Built like a traditionally planned walled city, huge bastions pierced with eleven gates strengthened it’s ramparts. Each gate was studded with iron spikes as protection against enemy war elephants. Of these only 5 remain, the Hathi pol to the north, the Kishan Pol to the south, Delhi Gate to the northeast, Chand Pol to the west and Suraj Pol to the east. Stretching across the east bank of Lake Pichola, is the majestic City Palace. Founded in W1567 by Udai Singh, it continued to be rebuilt and expanded by as many as 22 Maharanas who inherited it. It is made of Aravali stones, and is composed by four major and several minor palaces forming a single facade in a blend of Rajput
July, 2018
Udaipur
Lake Pichola 6:33 p.m. 24
geographical location Udaipur is located at 24.525049°N 73.677116°E, in the southern region of Rajasthan, near the Gujarat border. The city covers an area of 64 km2 and lies at an altitude of 598 m above sea level. The city lies 403 km (250 mi) southwest of the state capital, Jaipur and 250 km (155 mi) northeast from Ahmedabad. Udaipur lies on the south slope of the Aravalli Range in Rajasthan. The Northern part of the district consists generally of elevated plateaus, while the eastern part has vast stretches of fertile plains. The southern part is covered with rocks, h=ills and dense forest. There are two important passages in the Aravali ranges - Desuri Nal and Saoke which serves as a link between Udaipur and Jodhpur District.
26
Climate
Demographics
Udaipur has a hot semi-arid climate, owing to it’s location in the desert lands of Rajasthan.The three main seasons, summer, monsoon and winter respectively, dominate the city of Udaipur, though the climate and weather is usually hot. The summer season runs from mid-March to June and touches temperature ranging from 23 °C to 44 °C. The winter season prevails from the month of October till the month of March with the average temperature ranging from 5 °C to 30 °C.
According to the 2011 census, the total population of Udaipur was 451,100.The sex-ratio of the city was 928. Hinduism is the most commonly practiced religion in the city. The second being Islam, making up 16% of the population. Jainism is also very common, in the city and followed by 10% of the total population. Hindi and Mewari are the major languages spoken in Udaipur. Marwari, Wagdi, Urdu and Gujarati are some others which are in use in the city.
28
4
The time capsule
July, 2018
Udaipur
View from the Badi Lake 30
“
Being a city of royalty, the travel itinerary of Udaipur has to have beautiful palaces and monuments. Udaipur is a major tourist attraction and the credit for it goes to the beautiful lakes and architecture of the city.
�
Udaipur
July, 2018
The construction of the island palace began in 1551, under Maharana Amar Singh. Continued by his successors, Maharana Karan Singh and Maharana Jagat Singh I , it was finally completed in the 17th century. With its entrance flanked by a row of enormous stone elephants, the island has an ornate tower, the Gol Mahal, carved from bluestone and containing a small exhibit on Jagmandir’s history, plus a garden and lovely views across the lake. The palace has also served as asylum to Emperor Shahjahan before he was crowned as Mughal Emperor after he rebelled against his father, Emperor Jahangir in 1623, because he wanted to be the heir to the Mughal throne.
Jag Mandir 32
Udaipur
Jagdish Temple
July, 2018
Originally called the temple of Jagannath Rai, this Indo-Aryan temple was built by Maharana Jagat Singh in 1651. It can be reached by a steep, elephantflanked flight of steps, 150m north of the City Palace’s Badi Pol. The ornately carved main structure enshrines a black stone image of Vishnu as Jagannath and is encircled by four smaller shrines, dedicated to Lord Ganesha, Surya, Goddess Shakti and Lord Shiva.
Udaipur
July, 2018
Stretching across the east bank of Lake Pichola, is the majestic City Palace.It was built over a period of nearly 400 years, with contributions from several rulers of the Mewar dynasty. Its construction began in 1553, started by Maharana Udai Singh II of the Sisodia Rajput family as he shifted his capital from the erstwhile Chittor to the new found city of Udaipur. It is made of Aravali stones, and is composed by four major and several minor palaces forming a single facade in a blend of Rajput and Mughal style.
34
City Palace
Udaipur
Kumbalgarh Fort
July, 2018
Kumbhalgarh fort is a Mewar fortress on the westerly range of Aravalli Hills, in the Rajsamand district near Udaipur.Built during the course of the 15th century by Rana Kumbha, Kumbhalgarh is also the birthplace of Maharana Pratap, the great king and warrior of Mewar. Occupied until the late 19th century, the fort is now open to the public and is spectacularly lit for a few minutes each evening.
Udaipur
July, 2018
The white marble island palace was built between 1743 - 1746, under the reign of Maharana Jagat Singh II, as a winter palace. The architectural marvel was constructed facing east to allow it’s inhabitants to pray to “Surya�, the Hindu Sun God at the crack of dawn. The successive rulers used this palace as their summer resort, holding their regal durbars in its courtyards lined with columns, pillared terraces, fountains and gardens. It is now a luxury hotel managed by Taj Hotels Resorts and Palaces.
36
Lake Palace
Udaipur
Sajjangarh Fort
July, 2018
The Sajjan Garh Palace, also known as the Monsoon Palace, is a hilltop palatial residence , overlooking the Fateh Sagar Lake. It is named Sajjangarh after Maharana Sajjan Singh, who built it in 1884. The palace offers a panoramic view of the city’s lakes, palaces and surrounding countryside. It was built chiefly to watch the monsoon clouds; hence, appropriately, it is popularly known as Monsoon Palace.
38
4
musings of mewar
July, 2018
Udaipur
40
Located on the Streets of Udaipur
“
Enough about the facts, let me now make you experience this colourful city. With every nook and corner immersed in hues reminiscent of simpler times, the pace of modernity has not yet exploited the rich traditions that have been passed down for generations. The dynamic art forms and extravagant festivals of the city are sure to leave anyone spellbound.
�
Udaipur
July, 2018
KAAVAD Kaavad is a rich, oral tradition of story telling in Rajasthan which is believed to be almost four hundred years old. It also has a religious significance since it is a travelling shrine containing within its doors elaborate tales and epics. With the mystery of a new turn in the tale behind every door, the kaavad is sure to leave the audience mesmerised. The kaavad looks like a box, with a number of doors, with colourful illustrations decorating them.
BLOCK PRINTING Block Printing is an ancient craft from which is being practised since time immemorial. This craft flourished when it received royal patronage from the kings and has been growing since then. All natural colours are used in this printing and it is done on cotton fabrics. The wooden block used for printing is called bunta and the base of this block has the design carved on it. The fabric is washed free of starch and then the printing is done. The fabric is lastly dried out in the sun.
Crafts of Udaipur 42
Udaipur
PICHWAI
July, 2018
The word Pichhwai roughly translates to “hanging at the back”. They are huge paintings done on cotton cloth using natural colours and our hung behind the idol of Lord Shrinath to depict his “leelas”. They are devotional pictures which portray Lord Krishna and were originally made to narrate his tales to the illiterate. A Pichhwai artwork is often the work of a group of skilful painters who work under the supervision of a master artist
MIRROR INLAY The mahals of Rajasthan showcase splendid mirror inlay reflecting the sumptuous lifestyle of the Rajput royalty in medieval times. In order to replicate the opulence of the palaces, many rich Marwadi merchants hire skilled craftsmen to embellish their havelis and mansions with the most exquisite and colourful mirrors. Apart from beautification purpose, the logical use of this type of inlay on walls is to maintain visibility and vigilance.
Crafts of Udaipur
“
Following a lineage of age-old traditions and adhering to religious significance, various dances complement the fairs and festivals held in the city.
”
dances The Ghoomar has it’s roots in the royal culture of Mewar; performed by women on auspicious occasions, the ladies move gracefully in circles. Kalbelia, one of the most sensuous dance forms of Rajasthan, is performed by the Kalbeliya snake charmers’ community with the sapera dancers wearing long, black skirts
embroidered with silver ribbons.
44
Bhavai dance consists of veiled women dancers balancing up to seven or nine brass pitchers as they dance nimbly, pirouetting and then swaying with the soles of their feet perched on the top of a glass or on the edge of the sword. Kachchhi Ghodi dance is performed on dummy horses where men in elaborate costumes ride the equally well- decorated dummy horses. Holding naked swords, these dancers move rhythmically to the beating of drums and fifes. Every dance form is incomplete without a musical reference. The visual spectacle of the eloquent movements are accompanied by symphonic sounds of Morchang, Naad, Tanpura, Sarangi, among many other instruments; all of which used to echo in the courts of the erstwhile rulers of the state.
Udaipur
July, 2018
Traditional Dancers
miniature paintings Miniature paintings are amongst the most famous paintings developed under the patronage of the rulers of Rajasthan. The simplest among these are done on walls, and though folk in style, they nevertheless have some of the flavour of frescoes one sees in the old palaces. The tradition of painting the wall of houses with scenes from mythological and chivalric tales has been prevalent in Rajasthan for the past many centuries. The people of the city make use of such wall paintings for decorations during wedding celebrations. Noted amongst the miniature style of paintings are particularly the Pichvais, which are those made on cloth, and Phad, made on cloth scroll in folk style.
46
Udaipur
July, 2018
Shot at Kriti Art School,
people Don’t let the rugged appearance and Rajputana moustache intimidate you, for the people of Udaipur are a warm hearted and welcoming lot. Known for their hospitality, the locals are kind and cheerful with perhaps the only thing brighter than their personalities being their attires. You will find women and girls wearing colourful saris or clad in the traditional outfit of ghagra choli while men don angrakha (kurta) and dhoti. Though Mewari is the primary language, you will often find people conversing in Hindi and English.
48
Udaipur
July, 2018
City Streets
July, 2018
Udaipur
Streets of Udaipur 50
Udaipur
July, 2018
Streets of Udaipur
July, 2018
Udaipur
52
Chandpole Streets
Udaipur
July, 2018
Streets of Hathipole, Stone Carving
July, 2018
Udaipur
54
Chandpole Streets
Famous for Udaipur is a treasure of art and craft. The markets present a wide range of items covering handicrafts, pottery, jewellery, wooden toys, antique items and paintings. Udaipur is particularly famous for its miniature paintings inspired by the royal as well as traditional style of Rajputs & Mughals. Like the whole of Rajasthan, how can Udaipur be left behind in the field of handicrafts. They may range from toys, bewitching puppets, wall hangings, pen stands, cloth lanterns, handmade papers, painted wooden box to greeting cards. Udaipur also has an assortment pottery that can be found both in metal and in mud. Apart from this, brassware and terracotta sculptures are also very popular.
Regarding clothes, there are the traditional clothes coloured in batik and hand prints. Dyed saris and textile also forms the major part of clothing. The famous sarees made from the leaves of the flower lotus and bananas are a speciality here. Talking about jewellery, there are the precious stones, kundan and silver jewelry to match the elegant taste of ornamentation. If you are roaming around the streets of City Palace, there are the ethnic miniature paintings that are made in the creative style of the Mewar School of Art. Lastly, there is the very beautiful, Pichwai paintings. These paintings are almost synonymous with the taste of Mewar rulers. Initially, these paintings were made in bright colours and used to make the background for images of Lord Krishna. These paintings are available on silk, wood, marble, paper and Ivory. Today, Pichwai paintings grace the drawing rooms of people with their modern touch. Another very famous and eye turning thing in Udaipur is the 100g blanket. It is famous for being cool in summers and warm in winters. These blankets are available in a wide range of beautiful rajasthani prints and motifs. They are very light and can be compressed into a tiny roll while travelling.
56
6
a metal’s mettle
July, 2018
Udaipur
58
A collection of ‘hasth kadas’
India with each city telling its own regal tale.
about silver jewellery Rajasthan is a metal rich province and that is the reason for the high quality of metals found here. This is the trait which attracts tourists and customers from all over the world to this wealthy state. The jewellery here is therefore considered to be an investment and the most reliable form of currency which can be redeemed at any local jeweller for cash. The work done on the jewellery is praiseworthy with minute details and fine craftsmanship. The state of Rajasthan is considered to be one of the most beautiful and royal states of
Udaipur is one such city with a rich cultural heritage full of extravagant palaces, breath-taking lakes and majestic forts. Being a city with such grandeur, Jewellery has to be of major importance. The most commonly seen jewellery on almost every Rajasthani woman is the silver or tribal jewellery. The jewellery here, also acts as a means to identify a person’s caste and marital status. A toe ring or a ‘chitki’ identifies the wearer to be married and the ‘bajuband’ or the armband, indicates the community that the wearer belongs to. Some other things that are worn by these people are – tikka for the head and forehead, hansli and jantar for the neck, phooljumka for the ears, hatpuri for the hands, kandora for the waist, pajel for ankles and feet etc. The origin of jewellery takes us almost 5000 years back when the curiosity to adorn themselves kindled in people. It is probably the first act of selfadornment that did not arise due to any practical need. People covered
themselves in jewellery pieces and that is how jewellery started evolving as a craft within itself. Rajasthan is an old land that easily goes back to the times of the Indus Valley Civilization. Shapes and forms such as the looped earrings, large necklace, heavy bangles and anklets were found on the famous dancing girl figurine of Mohenjodaro and are still seen in the tribal jewellery worn today. Jewellery craft in Rajasthan probably acquired the skills from Mesopotamia as it is established that the Indus Valley Civilisation had trade contacts with Mesopotamia. Our kings and rulers paid a lot of importance to art and craft and hence, jewellery, as a craft, also flourished under their rule. The intricacy and delicacy with which each jewellery piece is carved and decorated determines its value. The silver bead ornaments are very popular in Rajasthan and the credit for these ornaments goes to the craftsmen of this state. Silver Jewellery holds a lot of importance in the culture of Rajasthan as it has been seen embellish the greatest of the Kings and the most beautiful Queens in history.
60
7
art to adorn
Udaipur
FOR ANKLE AND FEET
July, 2018
Pajel – anklet Chitki, Bichhua – toe rings Nevliya, Kada – anklets Kaddiyen – adjustable anklets
62
A Pajel is a anklet with multiple stones or pieces of silver attached by silver chains. The pieces are decorated with motifs and also have suspended extensions from them. The chitki or the Bichhua are the toe rings. They are considered very sacred in Hindu religion and hold a lot of importance in marriages even today. They are almost never taken off by women after they are married. The nevliya or kada is a single piece of rounded silver which is bended to adjust to the ankles. Kaddiyen are the adjustable anklets.
Pajel, in making
Udaipur
FOR THE NECK Hansli – Torque Jantar – amulet
July, 2018
The hansli is a solid neck piece which can be bended to be worn perfectly. It is a very simple piece of jewellery which looks good with as well as without any designing. It is a traditional piece and is seen on almost all Rajasthani women. The Jantar is a pendant which can be paired with a think hansli or a simple silver chain. Some jantars have talisman’s for religious and superstitious purposes.
Necklace
Udaipur
FOR ARMS AND HANDS
July, 2018
Hatpuri – worn on the arm Hathphool – worn on the hand Churi, Bangri – bangles Kangan – thick bangle Bajuband – armlet Kada – thick bangle
64
A hathphool is a hand adornment which decorates the entire hand. It has a ring, silver chains and also a braceWlet attached in one piece. The churi or a bangri are the very delicate bangles which are worn on the wrists. They are worn on a daily basis by almost all indian women. They are sometimes decorated with beads, glitter etc. The kangan is a thick bangle which is either paired with churis or worn alone on the wrists. The bajuband is an armlet that is tied on the upper part of the arms. They often have motifs engraved in a pendant and have multiple chains to adjust to the arm. A kada is very thick bangle which is decorated with stones, ghunghroos etc. They are heavy and strong. Some bangles also have chains suspended from them which give it a very unique style. Kadas are worn both by men and women.
Bajuband
Udaipur
FOR THE HEAD AND FOREHEAD
July, 2018
Rakhri Borla Tikka A Rakhri and Borla are both round pieces of jewellery which are worn on the head of the wearer. They are generally spherical in shape from the bottom and hence don’t stick to the forehead. Tikka is worn just like a Borla. The only difference is that it’s flat and hence rests on the forehead. These adornments are also made elaborate by adding strings of silver chains on their either sides to adorn the entire forehead.
Tikka
Udaipur
July, 2018
FOR THE WAIST
66
Kandora – waist belt A kandora is a silver waist belt which adorns the waist of women. They often have ghunghroos suspended from them which make a very pleasant sound. Earlier, kandoras were very heavy and were worn to keep the women in shape however that is not the case now. Kandoras can be delicate as well as elaborate – depending on the occasion that they are worn to.
Waist Belt
Udaipur
FOR THE EARS Phooljhumka – earstud with attached dome-like suspensions Karnaphool
July, 2018
A phooljhumka is a very conventional piece of earrings which is found on every women’s collection of traditional jewellery. It has two parts – an earstud and an attached dome-like suspension. The dome is ended with tiny beads or sometimes very small ghunghroos. The domes are engraved with very delicate designs. The Karnaphool is very exquisite pair of earrings that are shaped like a moon. They are often ended with white pearls and decorated with kundans or stones.
Earrings
Motif Study • Common geometric motifs crafted through techniques of stamping, chasing and engraving • Large rectangular pendants • Braided chains, sort of a herringbone design used in belts • Kara – worn by Gujar men, quarter kilo, effective weapon • Earring – pressure exerted by the weight influence the functioning of the internal organs of the body and is manipulated to treat maladies. • Taqri – worn below the waist, helped women keep physical form • Jantar may have talisman to ward off evil spirits
68
Sample Motifs
70
8
mewar’s kalakaar
July, 2018
Udaipur
Artisan, Chandpole 72
“
I just couldn’t be prouder of my people. All the artists and craftsmen live and work around me and I can’t stop admiring the way they put their heart and soul in our work. All these narrow streets have magicians hidden in them Magicians who work their magic on the simplest of things and turn them into beautiful specimens of art. All these people are my pride and it has been my duty to watch over them for the past 131 years now. I know I don’t look that old but can’t hide facts.
”
Silver jewellery has been coming down from generations and is still holding importance in the heart of the makers who are not ready to give up their craft yet. The demand for this jewellery might have been deteriorating but there are some craftsmen hidden in the narrow streets of Udaipur who are still putting their heart and soul into their local craft. The Elite prefer gold and gemstones over silver, but the local Rajasthani villagers celebrate the ebullience and elegance of it. Silver jewellery is given so much importance here that it is often regarded as a permanent body adornment and is almost never taken off. The sad truth is that this importance is slowly being limited just to the local villages.
“
Let me take you through a family that I have seen growing in front of me. You see that young man riding that red pulser down the lane? He is Bhupesh. He was born in front of my very eyes and now look at him taking those two kids with him to school. How time flies! I still remember him running in the same lane with someyoung boys and hurting his knee on that rock. Bet he hasn’t told that story to his kids yet. There’s Kala didi buying vegetables for the house. I still remember her as the shyyoung girl who was married too young and was brought to this strange land. It feels good to see her as a strong, independent woman now. Let us enter the lively household of my favourite family and I’ll introduce you to each one of them. Kubelal ji left me in charge when he passed away and since then these people have been like my family.
74
”
Udaipur
July, 2018
Name : Bhupesh Soni Father : Lt. Kubelal Ji Mother : Kala Devi Ji Wife : Jaanvi Soni Children : (Right)Maanveer Soni and (Left)Chandraveer Soni
Mr. Bhupesh and his family.
Kala Devi 52 years Homemaker Sewing expert Singer
Education – 8th grade Fact: Helps her daughter in law with her boutique.
Kala Devi is a lively person who is very strong headed. Her only priority is her family and their well-being. She takes care of her grand-sons when they are back from school and also helps her daughter-in-law by helping her sew blouses. She is a modern woman since she made her daughter-in-law step out of the house and earn computers and also taught her sewing which has helped her to start her own work from home. She knows her values and tries to push her family forward while also keeping them attached to their roots.
76
Jaanvi Devi
30 years Homemaker Sewing expert Henna artist
Education – 12 th grade Fact: Runs a small boutique from home.
Jaanvi is a happy and content woman. Her entire life revolves around her family and she believes it is her duty to always keep a smile on their faces. She teaches her children and makes sure they go out to seek help if her education isn’t enough for them. She wants them to study and find a suitable job when they grow up. She is well aware of the problems and hardships that her husband endures to provide for her and the family and tries to do her bit to contribute to their income. Her only aim is to keep the house light hearted and warm. She also shares a very understanding bond with her doting mother-in-law.
Monty 8 years Class : 3 rd grade School : M.D. Academy, Udaipur
78
luv
5 years Class : Prep. School: M.D. Academy, Udaipur
bhupesh soni
36 years Education – 12 th grade Silver Jewellery Craftsman and
Education – 12 th grade Fact: Runs a small boutique from home.
Bhupesh is a regular local craftsman who is trying his bit to save his craft from extinction. He is well aware of the fact that there is a blurry future if he continues with this craft and hence he has started working at a car wash company to support his family while also preserving his fore-fathers legacy. He is a true Rajasthani man as his name and respect in the society is the most important thing in his life. He can never put money above his name. He thought of going to a big city and starting his work there but the community that he was born in is so deeply rooted in his bones that the idea of leaving it all never left his tongue. He wants to honour his father’s bequest but he can’t compromise on his sons life for that. He wants his sons to study hard and do a good job in the city.
July, 2018
Udaipur
Luv. the younger one 80
living conditions Bhupesh and his family lead a very simple life and do not crave for any luxuries. They are warm, welcoming people who are happy where they are. They stay in a rented house and do not possess any expensive belongings. They said “We don’t have any savings. Whatever we earn, gets spent then and there.” Their sons go to a local school and they plan on educating their children so that they can get a good job and prosper in future. Bhupesh’s wife works at home and stitches blouses for the neighbourhood in order to earn some extra income. The family’s only effort is to be respected in the society that they live in and keep the name earned by their forefathers safe. Even though they sail neck to neck with their everyday earnings and expense, they are full of life and make it a point to go out every Sunday and enjoy each other’s presence and the beautiful city that they call home.
Sunday and enjoy each other’s presence and the beautiful city that they call home. The Indian government takes out a lot of schemes and policies to help the underprivileged and the backward sections but how well are these schemes and policies being implemented is the question. Kala Devi, is a widow and she has some rights which give her access to the basic necessities that she requires but the lengthy government procedures which don’t even guarantee her anything ends up leaving her hopeless. At such an age, she has to go around various government offices for her basic needs. Professionally, Bhupesh is not being given any government support and thus has to work at multiple jobs to sustain his family. He wishes that the government would support the local craftsmen and do something about the import and export of the machine made jewellery that has
82
9
chisels to chains
process The silversmith traditionally, used tools which were homemade and fairly basic, and the materials largely organic – bees wax, wooden prototypes and stamps, deer horn mallets and pitch – to name a few. Either crude bricks are refined silver, kaldar or objects of silver alloy are melted down, using vegetable oil as fuel.
84
The sunar or the silversmith musters up a flame of 1000 degrees C with the help of a brass funnel and directs this on to the piece of silver liberally sprinkled with suhaga borax. Once the silver melts and re-solidifies into a homogenous mass it is beaten by a short fat hammer into a sheet, or into a square rod which is later drawn into wire by pulling through progressively smaller holes in a jantri or a drawplate, with the help of a jambur or a pair of tongs.
wire cutter – saws and files seldom used by the traditional sunar. Alternatively, the sheet may be patterned by chitai, chasing and repousse, which requires the desired patterns to be embossed by naillike punches, gently tapped with a light hammer, having first fixed the sheet in a bowl or pitch. The wires and sheets are then placed in the required manner, along with other decorations such as twisted wire or granules, and soldered together, again with the help of a flame and brass-funnel. The tanka or the solder, used is a special alloy of silver which is invariably made by the sunar himself for whom the quality of his tanka can be a matter of great pride. In rare situations pieces of silver are fused together without the use of solder. This is a delicate task undertaken only when the high purity of silver in the pieces to be joined is worth maintaining.
The sunar or the silversmith, beats the wire or the sheet of silver over thappas, dies, usually made by himself and the excess metal is sheared off with a katodi
Karas and Hanslis are some heavier pieces of jewellery which require a lot more hammering and heating than normal pieces of jewellery, are usually forged by
the Muslin lohar, who processes the necessary tools and furnaces. In certain areas such as Shekhavati, chitai work on silver lies entirely in the domain of the khatis, who, thereafter, may drape this over intricate pieces of woodwork. Objects that require solidity are first cast in sand moulds and then worked upon, and sunars who have specialised in dhalai or castings, do little else, as also those specialising in meenakari enamelling and jadai, inlay. With the acceleration towards modernisation combined with the ever innovative mind of the silversmith, older systems are being replaced by newer and faster ones. Traditional fuels have been replaced by kerosene oil and gas, dies and presses are replacing stamps and hammers, and most tools and materials can now be bought readymade. Designs, earlier dependant on tradition and to a significant extent on the whims of the craftsmen, are becoming standardised and unimaginative.
July, 2018
Udaipur
With the steadily accelerating thrust towards modernisation combined with the ever innovative mind of the silversmith, older systems are being replaced by newer and faster ones. Traditional fuels have been replaced by kerosene oil and gas, dies and presses are replacing stamps and hammers, and most tools and materials can now be bought readymade. Designs, earlier dependant on tradition and to a signicant extent on the whims of the craftsmen, are becoming standardised and unimaginative.
‘Bichhua’ in process
July, 2018
Udaipur
At the workshop 86
Udaipur
July, 2018
At the workshop
July, 2018
Udaipur
At the workshop 88
Udaipur
July, 2018
At the workshop
tools :
90
JANTRI- Drawplate
KATODI- Wire Cutter
JAMBUR- Tongs
A draw plate is type of die consisting of a hardened steel plate with one or more holes through which wire is drawn to make it thinner.
Wire Cutter is a sharp pointed tool specifically made to cut wire.
Tongs are a type of tool used to grip and lift objects instead of holding them directly with hands. There are many forms of tongs adapted to their specific use
TANKA- Solder
SAMMANI- Tweezer
SUMBA
Solder is a fusible metal alloy used to create a permanent bond between metal work-
These are small tools used for picking up objects too small to be easily handled
It is a tool with round edges meant for filing.
CHUGGA- Pliers
MOOS – crucible
Pliers are a hand tool used to hold objects firmly, possibly developed from tongs used to handle hot metal. They are also useful for bending and compressing a wide range of materials.
A crucible is a container that can withstand very high temperatures and is used for metal, glass, and pigment production as well as a number of modern laboratory processes.
Apart from that there are also:
THAPPA- Dyes A die is a specialized tool used to cut or shape material mostly using a press. Like molds, dies are generally customized to the item they are used to create.
NAAP KA KATHAIYA– Cutter with measurements It is cutter with marked measurements.
DHINGRA t is a grooved block of babul wood.
VESA- Mallet A mallet is a kind of hammer, often made of rubber or sometimes wood, that is smaller than a maul or beetle, and usually has a relatively large head.
July, 2018
Udaipur
92
At the workshop
Udaipur
July, 2018
At the workshop
July, 2018
Udaipur
At the workshop 94
Udaipur
July, 2018
At the workshop
96
10
bustling bazaar’s
Temple Jewellers Jayant Soni – 8696489998 Navaratan Soni – 9414161666 102, Maji Ki Bawri Ke Saamne, Jagdish Temple Road, Udaipur
Vijay Art Vijay Soni – 7597348692 539, Ambavgad Kacchi Basti, Nayi Puliya Ke Saamne, Hotel Natural ke Pass, Udaipur
Craft India Kailash Soni – 9413954979 154, Jagdish Chowk, Udaipur
Swarna Jewellers Dinesh Soni – 9460831383 134, Jagdish Temple Road, Udaipur
Ganpati Art Jewellers SuryaPrakash Soni – 9460828167 Nani Gali, KP School Ke Paas, Udaipur
98
Udaipur
July, 2018
Artisan, Chandpole
July, 2018
Udaipur
Hathipole Baazar 100
Market Study We visited all of the above jewellers and we observed how none of the shopkeepers welcomed anyone outside of their family to come and witness the process and the making of the jewellery. All of these jewellers are solely thriving on goodwill and are too scared to let anyone in. They are not a part of any promotions on the web or hoardings installed in the city. Their main customer base consists of tourists or people who have been coming to them for years. Their business is simply based on trust. One of the jeweller was kind enough to show us some of the antique silver jewellery that he owned. He told us how tourists just come and praise the jewellery but never really buy it – two main reasons being the price and the weight of the jewellery. “No matter how much one appreciates pure silver jewellery, they always end up buying the oxidised mass produced jewellery.
It is for this reason that we have started keeping artificial jewellery as well,” said the Temple Jewellers owner, Mr Jayant Soni. They also had sterling silver jewellery which was in trend these days. The only reason for these jewellers to thrive till now is because they have changed with time. The jewellers told us that more than 80% of the craftsmen have closed down their shops and there are very limited people practising this craft now. Mr.Bhupesh ji, took the pain to take us to a member of his community who used to be a silver jewellery craftsmen but had closed down his shop a few years back. He showed us three kadas, bangles worn on the wrists, which he had very dearly preserved in the back of his home and protected from the eyes of thieves. For them, it wasn’t just a piece of jewellery, it was their craft, their daily bread which they had to give up. They showed it to us almost as if it was an antique piece of jewellery and we were astonished to see the artistry done on the jewellery pieces. They were very heavy as the kadas weren’t hollow like the silver kadas that are made today. The owner of these priced possessions said, “I wouldn’t sell these even if someone offers me five lakhs.”
102
11
a distant mirage
104
SWOT ANALYSIS
Strengths
Weaknesses
The jewellery is handcrafted by the artisans, with no two pieces ever being completely similar. In this day and age of industrialisation and fast fashion where everything is mechanically produced and totally identical; this is a rare treat.
Silver, being a precious metal is very costly and not easily and readily affordable by everyone. Customers have to think over thoroughly before making a decision. Since the jewellery is hand crafted and keeps the use of machines and other modern day technology to the minimum, the process of creation is very long and cumbersome thus requiring a lot of patience and an eye for detail. The weight of the metal might put off many, as people, especially in the cities prefer accessories that are lighter .
In the rare occurrence that a jewellery piece were to get damaged, the repairing process is considerably hassle free. Since silver, just like gold, is a precious metal it can be bought as an investment, with it’s value increasing as time progresses. Since all the work is done by hand, the craft provides employment to a lot of people.
Opportunities
Threats
The possibilities for this craft are innumerable since the value of craftsmanship is again taking a climb in people’s minds. The patience and effort taken to handcraft a piece of jewellery has gained value and people don’t want to invest in things that are mass produced and made in thousands. If supported well, these artisans can resuscitate this dying craft.
Just like any other finessed and refined product the biggest threat to the craft of silver jewellery is knock offs. Mass produced oxidised jewellery made from zinc and other alloys is easily available in the markets and appeals to most people for their low prices. This kind of jewellery breaks easily, but their wide variety and extreme affordability has lead to the endangerment of this age old craft.
INFLUENCES ECONOMY:
TECHNOLOGY:
• With coming in of big brands like Amrapali, Fabindia, etc., the traditional craftsmen of Udaipur are losing work since these big brands are backed up by huge investments and bigger clientele.
• Traditional families who have been doing silver work since generations are losing work to the modern age machine made jewellery, as they’re cheaper in price.
• This has in turn resulted in the talent and craft of these craftsmen slowly dying. Many of these talented craftsmen have given up on the craft and are working as security guards, mechanics or doing other petty jobs.
• Little do people realise that the total weight amount of silver is lost/reduced in the process if it’s done by machine, and such jewellery can’t be repaired if damaged. Instead the entire piece would have to be melted and made into a new piece.
• The economic situation of these craftsmen is deteriorating slowly due to lack of work. • The craftsmen who are still continuing with this craft, are only doing the work on order basis. It is mostly related to temples and god’s ornaments.
106
• This, however is not the case with handmade jewellery pieces since the craftsmen spend hours on each piece without even wasting a single gram - which is easily repairable if damaged.
SOCIAL/CULTURAL: • The community of silversmiths of Udaipur have gathered and are still working hard towards keeping the flickering flame of this dying craft alive. • But with increase of imported goods in the Indian local market, their motivation to work in reviving this craft is slowly vanishing. • The families who have this precious craft being passed on from generations to generations refuse to share it with others and tend to keep a monopoly in their unique form of style and designs. This adds up to the cost of such silver products which eventually results in people buying similar looking, machine made silver products which are comparatively cheaper.
• The problem is worsened by issues of typical Hinduhousehold clashes. Family problems like disparity of ideas, property etc. result in separation of families which eventually leads in the family work of silver dying. • But the competitive vibe of the market still persists in this small existing market, and many of the silversmiths are falling prey to fowl practices of duping with fake or low quality jewellery.
initiative by nift NIFT gave us a wonderful opportunity to connect with these craftsmen and share our learnings with each other. These craftsmen have the skill and patience that they require – what they don’t have is the exposure and knowledge to come forward and walk neck to neck with the fast growing competition in the world. They were humble enough to tell us about what they do and we believe it is our responsibility to give them something that we are capable of giving. We talked to our craftsman, Mr.Bhupesh Soni ji and did his business’ branding.
108
We also introduced the power of the World Wide Web to them and made their web-page and Instagram account and taught them its handling and procedures. He was more than delighted and was very happy with our little contribution. We are happy to report that Bhupesh ji is considering giving his craft more time and trying out the new promotion opportunities that the internet has given him.
Udaipur
July, 2018
Mr. Bhupesh Soni
a
-Angrakha - Kurta for men
b
Bajuband – Armlet Bangri - bangles Bastions - a projecting part of a fortification built at an angle to the line of a wall, so as to allow defensive fire in several directions. Batik - a method (originally used in Java) of producing coloured designs on textiles by dyeing them, having first applied wax to the parts to be left undyed. Bhavai - Bhavai, also known as Vesha or Swang, is a popular folk theatre form of western India Bhils - a member of an indigenous group of central India Bichhua – Toe Rings Borla – Ornament for the head and forehead
c
Chimti - Tweezer Chitki – Toe Rings Chivalric - the medieval knightly system with its religious, moral, and social code Chugga - Pliers Churi - Bangles
d
Delhi Durbar - The Delhi Durbar, meaning “Court of Delhi”, was an Indian imperial style mass assembly organised by the British at Coronation Park, Delhi, India, to mark the succession of an Emperor or Empress of India Dhalai - Castings Dhingra - It Is A Grooved Block Of Babul Wood
110
G L O S S A R Y
f
Fabled - famous, especially by reputation.
g Ghagra - a long full skirt, often decorated with embroidery, mirrors, or bells. Ghantaghar - The Clocktower Ghoomar - Ghoomar is a traditional folk dance of Bhil tribe performed to worship Goddess Sarasvati Guhil - when 11, was granted his first territory by the Bhil chieftain. This is said to be the birth of Mewar.
h
Hansli - Torque Hathphool - Worn On The Hand Hatpuri - Worn On The Arm Heritage - property that is or may be inherited; an inheritance. Hermit - a person living in solitude as a religious discipline. Herringbone Design - describes a distinctive V-shaped weaving pattern
i
Indus Valley Civilization - The Indus Valley Civilisation, or Harappan Civilisation, was a Bronze Age civilisation mainly in the northwestern regions of South Asia, extending from what today is northeast Afghanistan to Pakistan and northwest India.
j Jadai - Inlay Jambur - Tongs Jantar - Amulet Jantri - Drawplate
k
Kaavad - rich, oral tradition of story telling in Rajasthan ; a travelling shrine containing within its doors elaborate tales and epics Kada - Thick Bangle Kaddiyen - Adjustable Anklets Kaldar - 91.6 Per Cent Pure Silver Kandora - Waist Belt Kangan - Thick Bangle Karnaphool – Rajasthani earring shaped like a moon Katodi - Wire Cutter Kundan - precious / semi-precious stones
l
Lav - Elder Son Of Lord Rama Legacy - an amount of money or property left to someone in a will.
m
Mallets Refined Silver - (Upto 99 Per Cent Pure Silver) Mesopotamia - Mesopotamia is a historical region in Western Asia Mohenjodaro - an archaeological site in the province of Sindh, Pakistan Moos – Crucible Morchang - an instrument similar to the Jew’s harp, mainly used in Rajasthan, in the Carnatic music of South India, and in Sindh Muslin Lohar - Who Processes The Necessary Tools And Furnaces Muster - assemble (troops), especially for inspection or in preparation for battle. Mythological - relating to, based on, or appearing in myths or mythology
n
Naap Ka Kathiya – Cutter With Measurements Nevliya - anklet
112
p Pajel – Anklet Phooljhumka – Earstud With Attached Dome-Like Suspensions Picchvais - devotional pictures found on cloth or paper which portray Lord Krishna Puppets - an object, often resembling a human, animal or mythical figure, that is animated or manipulated by a person called a puppeteer
r Rakhri Resuscitate
s
Sammani– Tweezer Sangri Sapera - the one who controls the snake Sarangi Shekhavati Suhaga Sumba – It Is A Tool With Round Edges Sunar - a silversmith Surya - the sun Suryavanshi - descendants of the sun
t Tanka – Solder Tanpura - a long-necked plucked string instrument found in various forms in Indian music
t
Terracotta - type of earthenware Thappa – Dyes Tikka - ornament worn on the forehead Tribal Jewellery - Jewellery worn by the tribal people
v
Vaishnavite - one of the major traditions within Hinduism Vallabhi - an ancient city located in the Saurashtra peninsula of Gujarat Vesa – Mallet
114
BOOKS Crafts Atlas Of India- By Jaya Jaitly Handicrafts Of Rajasthan- By H.Bhisham Pal Arts and Crafts Of India- By George Watts and Percy Brown Rural Craftsmen and their Work- By Eberhard Fischer and Haku Shah Handmade in India- Edited By Aditi Ranjan and M.P. Ranjan
B I B L I O G R A P H Y
Arts and Crafts Of Rajasthan- By Aman Nath and Francis Wacziarg The Craft Traditions Of India- By Jaya Jaitly Incredible India – Crafting Culture- By Jaya Jaitly and Siddhartha Das
ONLINE SOURCES https://www.culturalindia.net/jewellery/history.html https://www.thebetterindia.com/86147/history-indian-jewellery-jewels-traditions/ https://www.lonelyplanet.com/india/rajasthan/udaipur https://wikitravel.org/en/Udaipur https://www.tripadvisor.in/Attraction_Review-g297672-d5993899-Reviews-Khamma_Ghani_Arts_Crafts-Udaipur_Udaipur_District_ Rajasthan.html http://www.abhaytravelsindia.com/Rajasthan-Arts-Crafts.php https://www.vam.ac.uk/articles/a-history-of-jewellery https://ezinearticles.com/?Silver-Jewellery---A-Brief-History&id=157537 https://www.silverstall.com/silver_jewellery.html http://silverartpalace.com/about_us.html http://www.blog.authindia.com/rajasthani-jewellery-a-mingle-of-tradition-glamour/ https://www.indianholiday.com/rajasthan/arts-and-crafts/silver-jewelry-of-rajasthan.html https://www.nativeplanet.com/travel-guide/interesting-facts-about-udaipur-001883.html
Team Member Ishita Kushwaha Krishna Kumar Mahima Ramnani Nanakdeep Singh Anand Riya Bansal Saumya Singh Swastik Acharya
120