Rosewood Inlay

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INLAY Art of Mysore Rosewood Inlay


COPYRIGHT © 2021-2022 Student document publication meant for private circulation only. All Rights Reserved. Bachelor of Design, Product Design, P P Savani University, Surat, India. No part of this document will be reproduced or transmitted in any form by any means including photocopying, xerography, photography and videography recording without prior written permission from the publisher Smit Thakkar and Mentor of this documentation. All Illustration & photographs in this document are copyright © 2020-2021 of the author, or respective people/organization wherever mentioned.


INLAY Art of Mysore Rosewood Inlay Craft Research & Documentation

Guide Abhishek Ganeshgudi Research done by Smit Thakkar Product Design (2019-23 Batch)



Craft is like a butterfly; it imprints its colour on mankind.


Originality Statement I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgment is made in this Craft Documentation. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this Craft Documentation is the Documented of my own work except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This Craft Documentation (or part of it) was not and will not be submitted as assessed work in any other academic course. Student Name: Smit V. Thakkar Signature : ____________________ Date: ________________________


Acknowledgement

The craft cluster study was a lifetime of an experience. I began with the aim of learning a thousand stuff. With this chance, I hope that I can support the craftsmen by offering promotional Ideas. I'd want to thank Prof. Abhishek Ganeshgudl, who is, in my opinion, the Ideal listener and Instructor. For always laughing at my unreasonable doubts and letting me see the larger picture when I became overly fixated. For constantly motivating me with his anecdotes, knowledge, and amazing Insights, and for being a very understanding mentor. I can't thank him enough for letting me realise that design is about life experiences. I'd like to express my gratitude to Prof. Sugresh Sultanpura for his assistance in identifying contacts in Cava and gaining time from Cava faculty. I'd also want to thank Chamarajendra Govt. College of Visual Arts (CAVA) for their assistance with my project. After completing this documentation, I would want to thank Prof. Basvraj, Prof. Chandrashekhar, Prof. Dipak and, Prof. Vinay who assisted me with my secondary study and connected me with artists who worked on rosewood Inlay clusters. I'd also want to thank Mr. Venktesh, who assisted me in locating the craftsmen In Karakhushala Nagar. And I'd want to thank Mr. Eric C. Sakellaropoulos, the owner of Intarsia India, for not only assisting me with my documentation, but also showing me how they produce a rosewood Inlay utilizing cutting-edge technology. Also, I'd want to thank Mr. Mohan who is the national prize winner in rosewood Inlay is assisting me in the rosewood Inlay process, and he is doing it completely traditionally. I'd also want to thank Mr. Ganesh for demonstrating the techniques utilized by many artists today to execute rosewood Inlay. And I'd want to thank my Institution, P.P. Savani University, and our in-charge principle, Prof. Hitendra Sidhapura, for all of the design education I've had, as well as for being this location where I've had the opportunity to find myself.

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Vision

India is well-known for its ethnic diversity. Handicrafts provide as a doorway to this ethnic group. India is one of the world’s most culturally rich countries in terms of art and culture. The country is lucky to have a number of highly talented craftspeople. They have raised the profile of Indian handicrafts across the world, and many rural people now make a living from their innovative works of art. The craftsmen require our support to enhance their methods, access to decent raw materials, direct marketing channels, credit for their work, adequate remuneration, and socioeconomic advantages. Through this document, we have attempted to study not just the craft, but also the craftsperson, by studying their way of life and their perspectives on the craft, and becoming a part of their lives by staying with them and learning their art and skills.

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Contents


05 23 31 45 Mysore

Festivals

Tourist Place

Crafts of Mysore

61 69 82 85 Rosewood Inlay

Process

SWOT analysis

About Artisans

94 96 99 111 Challenges

Counclusion

Myths and Mythology

Bibliography


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Importance of

Craft

Documentation

In India, crafts are one of the most important sectors based on “imagination and traditional knowledge and skill.” India’s myriad craft traditions and living craft skills are unique and precious treasures, widely recognised as living ties to the past and a method of conserving cultural value into the future. Large numbers of aficionados acquire samples of specialised craft styles, both within and outside of India, and countless scholarly treatises and priced coffee table books are created on diverse craft forms. Crafts are a subset of traditional knowledge, and many Indian craft styles fall into both categories. The inherent beauty

of many Indian craft traditions is visible to even the most casual viewer, and their meaning and cultural resonances become clear to anyone with even a basic knowledge of Indian history and society. However, the full potential of the role craft traditions may play in the development process, particularly in the creation of revenue, has only just begun to be recognised. It is difficult to protect and preserve these skills and knowledge; it is much more difficult to ensure that they produce viable livelihoods for their owners. And, of course, overcoming the latter is a prerequisite for reaching the former.

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Mysore An introduction of city of palace

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History Mysore was previously known as “Mysuru,” which is derived from the term “Mahishur,” which means “the town of Mahishasura” in Kannada, the native language. Mysore is linked to the Puranic story contained in the Devi Bhagavatha. Mysore was controlled by the demon Kind Mahishasura, according to the Devi Purana. He had the head of a buffalo. In answer to the Gods’ and Goddesses’ prayers to save them from the demon, Goddess Parvathi took the form of Chamundeshwari and killed the monster on top of Chamundi hill near Mysore. As a result, the hill and city are known as Chamundi Hill and Mysore, respectively. It is told that after defeating the monster, the Goddess stayed on top of the hill, where she is still revered today. The famed 10-day-long Dasara of Mysore honours the Goddess Chamundeshwari and celebrates the triumph of good over evil. The Raja of Mysore reconstructed Mysore Fort and made it his headquarters, naming the city “Mahishura Nagara,” which means “Mahishur City.” Many inscriptions from the 17th and subsequent centuries refer to Mysore as ‘Mahishuru.’ The capital was relocated from Mysore to Srirangapatna by Raja Wodeyar. After Tippu Sultan died in 1799, Mysore reverted to being the Wodeyars’ capital. During the reign of Krishnaraja Wodeyar III, Mysore developed and moved beyond the fort’s walls. With meticulous planning, Krishnaraja Wodeyar IV transformed Mysore into a lovely metropolis. Mysore became famed under his rule with its broad roads, splendid palaces, and attractive gardens. Mysore is a contemporary metropolis that has managed to keep its charming old-world charm. Mysore is now known across the globe for its sandalwood and rosewood antiques, stone sculptures, incense sticks, ivory inlay work, and magnificent silk sarees. 06 06

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Geography

Climate

Mysore is located between 12 18’ 26” North Latitude and 76 38’ 59” East Longitude, with an average elevation of 2,526 feet above sea level and a land area of 128.42 km2. Kerala and Tamil Nadu are its neighbouring states. It is the third biggest city in the Indian state of Karnataka. The city is sandwiched between two notable rivers: the Kabini, which runs to the south, and the Kaveri, which flows to the north. The city is endowed with beautiful lakes, waterfalls, rocky mountains, and other natural wonders. Mysore is governed by the Municipal Corporation, which is part of the Mysore Metropolitan Region.

The climate in Mysore is semi-arid. From March through June, the dominant season in Mysore is summer. The monsoons normally arrive in Mysore in July, while the city welcomes winter in December. The city’s weather may be classified as Tropical Monsoon, which is caused by the interaction of the northeast and southwest monsoons. The city’s peak temperature ranges between 30 and 38 degrees Celsius. The city receives 31.7 inches of rain on average. In summary, Mysore enjoys a pleasant climate all year.

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Map Of India

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Demography The word Mysore is frequently used to refer to Mysore district, Mysore sub-district, Mysore city, and, historically, the Mysore kingdom, which included much of modern-day Karnataka state.

Bengaluru 140 kms Northeast

We’re talking about Mysore city, which also serves as the administrative centre for the Mysore district. After Bangalore, the state capital, this is Karnataka’s second biggest city. Mysore is one of India’s most visited cities, with over 2.5 million people every year.

Area 6,8545 km2

Mysore is seated on a south Indian plane (often referred as the Deccan plateau). Forests occupy an area of 4,126.45 square kilometres. Teak, rosewood, honne, eucalyptus, and san dalwood are the most common tree species in the forest.

50.01 %

34.52% of Forest Area

49.99 %

770 meters above sea level Population 12.04 lakhs

Mysuru offers cool weather all year. Visitors to Mysore typically carry warm clothing, despite the fact that winter day temperatures seldom approach freezing. Kannada is Mysore’s most frequently spoken language. A large portion of the city’s population also speaks Urdu. If you do not speak either language, you will find it easy to communicate in English around the city. Tourism-related businesses typically communicate in English, especially when dealing with visitors from outside the state. 1010 INLAY | SMIT | 2021-2022 HODIKE | 5THAKKAR SEM | SMIT THAKKAR | 19SD02PD002 | PRODUCT DESIGN | B.DES | P P SAVANI UNIVERSITY TH

HINDU 73.6 %

ISLAM 21.92 %

CHRISTIAN 2.71 %


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CURRENT DAY SITUATION Mysore has evolved into a cosmopolitan city where people from all walks of life coexist together. People of different faiths live in harmony in Mysore, which has aided the city’s development. Mysoreans attend each other’s festivals and celebrations. The Kings of Mysore established a firm foundation for community peace by giving large gifts to religious centres of all faiths; this custom is still practised in Mysore. The Hindu community is the city’s largest religious group. Another important community in the city is the Muslim community, and there is also a Jain community. People from all around the country coexist harmoniously, speaking different languages and enjoying different holidays. Mysore, while being a modern city, has not lost touch with its heritage and culture. The tenday Dasara celebrations, which are synonymous with Mysore, are the ultimate display of cultural harmony. The festival involves not only religious rites, but also house décor, doll displays, and the gift of sweets to neighbours and children. For decades, the locals at the site of celebration in the sore have celebrated Dasara in this manner. The “Jamboo Savari,” or the parade of the Maharaja on elephant back through the streets of Mysore, was a high point in the past. Dasara is supposed to have been celebrated in this manner from the period of the epics and was perpetuated by all of Mysore’s Kings. Dasara is still celebrated with the same pomp and magnificence today, with a few slight alterations. In the magnificent parade through the streets of Mysore, the Royal Elephant now bears the golden statue of Goddess Chamundhi. Despite the fact that Mysore has become a contemporary metropolis with all of the conveniences of modern development, it has managed to keep all of its old world charm.

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WAYS OF TRANSPORTATION By Road Mysore is located 139 kilometres south-west of Bangalore. The state roadway that links these two cities is in excellent condition. Traveling by car from Bangalore to Mysore is a wonderful experience that will take around 3 hours. Karnataka Road Transport Corporation has a good bus service to Mysore. The Government of Karnataka operates conventional buses, semi-luxury buses, and luxury buses. Every halfhour, a non-stop bus departs from Bangalore Bus Station for Mysore. Corporations from other states and private travel operators also operate buses to Mysore. All of these amenities have made Mysore quite accessible by road. By Train: Mysore is served by a variety of trains that travel to Bangalore. The Shatabdi Express, a superfast luxury train, links Mysore and Madias. Bangalore is the quickest and most pleasant method to go to Mysore. Bangalore International Airport is the closest airport to Mysore (139 km). All of the domestic airlines in the nation fly to Bangalore from all of the main cities in the country. Some foreign airlines also fly to Bangalore. Bangalore will soon have an international airport. LOCAL TRANSPORT Auto Rickshaws This is the city’s most dependable and accessible means of transportation. Pay by the metere during the day. After 10 p.m., the driver will charge you 50% more than the metere reading, and after 12 a.m., you will be charged double the metere reading. Private Taxis There are private taxis available for hiring by the day. There are several car rental firms. You can check with your hotel to see whether they provide this service. This means of transportation is both dependable and inexpensive. Buses The State Government operates buses in and around Mysore. They go in predetermined routes at a low cost. If you want to experience the ordinary life of a Mysorean, board one of these buses and prepare for an adventure. Tongas Tongas are horse-drawn carts that are also used for transportation in Mysore. They will show you around the city, but at a leisurely pace. If you want to get a close look at the city and see some sites that you would not see otherwise, you might try this means of transportation. 14

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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).

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CUISINE OF MYSORE Mysore is in South India, and the majority of the food is rice-based, as it is in the rest of the nation. There’s more to Mysore cuisine than the iconic dosa and idli, which are known all over the globe as “Southern food.” Though idli and dosa are staples of Mysore cuisine, the variety of dosas and idlis, as well as the chutneys that go with them, will astound you. Breakfast in Mysore is simple, nutritious, and wonderful. The majority of them are rice-based and are typically served with chutney. The all-time favourite, though, is dosa with potato filling served with sambar, coconut chutney, and onion chutney. Other forms of dosas include set-dosa, rava dosa, and semolina dosa. ‘Thatte idlis’ are another sort of idli that is often consumed (flat idlis). ‘Uppittu’ is another favourite breakfast (roasted semolina laced with chilies, coriander leaves, mustard and cumin seeds). Puri palya, uthapam, vada sambar, and kesari bath are additional popular morning items (a sweet. made of semolina and sugar laced with saffron). A typical Mysore lunch is a magnificent buffet that comprises a variety of key items. These include cereal salads such as kosambri, palyas (vegetable salads made of parboiled vegetables tossed with grated fresh coconut, green chilies, curry leaves, and mustard seasoning), gojju (a vegetable cooked in tamarind juice with chilli powder), towe (cooked dal with little seasoning), huli or saaru (a thick broth of lentils and vegetables cooked with ground coconut, spices, tamarind, and chilli powder), and pappad.Rice-based meals such as chitrarina (rice with lime juice, green chilli turmeric powder, fried groundnuts, and coriander leaves), vangibath (spiced rice with eggplant), and pulliyoigrae sprinkled (rice flavoured with tamarind juice and garnished with groundnuts) are also popular in Mysore. The famed bisibelebath, a delectable blend of rice, lentils, tamarind, dried coconut, chilli powder, and spices, is the most characteristic Mysore meal. Ragi muddae (steam-cooked finger millet powder formed into huge balls) is eaten in rural Mysore, as it is in other areas of Karnataka, with soppina huli or saaru (thick broth prepared with edible green leaves and lentils) or mutton curry. Desserts: To round up your great lunch, enjoy some of Mysore’s distinctive desserts, such as chi roti (a light flaky pastry made of flour, sprinkled with powdered sugar and soaked in almond milk). Mysore Pak (gramme flour fudge), obbattu or holige (a flat, wafer-thin chappati filled with jaggery and dried coconut and gently cooked on a griddle), and shavige payasa (made of milk, vermicelli, sugar, dried fruits and cardamom pods).

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Bamboo Idli

Filter Coffee

Ragi Ball

Kesari Bath

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CULTURE Mysore was the seat of the Wodeyar monarchs, who governed the Mysore Kingdom for centuries. Wodeyars were tremendous patrons of art and music, and they helped to establish Mysore as a cultural hub. Mysore’s culture is a harmonious blend of the city’s ancient past with its modern achievements. The Kings’ ongoing patronage and support in all professions resulted in the formation of a distinct style known as the “Mysore Style” in all subjects like as art, architecture, music, poetry, and so on. Mysuru Maligae is the name given to Karnataka’s highest grade jasmine blooms (Mysore Jasmine). Popular foods named after Mysore include Mysore Masala Dosa and Mysore Pak. Mysore is also the birthplace of the famed silk sarees known as Mysore silk sarees, as well as a prominent kind of painting known as Mysore painting. The Wodeyars and the Vijayanagar empire were famed for spreading the concept of fraternity and allowing multi-religious people to coexist peacefully in Mysore. By providing significant gifts to religious establishments of all religions, the Kings of Mysore have established a solid basis for community peace. For generations, Mysore has been a city where all religions have coexisted peacefully. Mysore has evolved into a cosmopolitan city, with people from all walks of life coexisting together. People from all around the country coexist harmoniously, speaking different languages and enjoying different holidays. Mysore, while being a modern city, has not lost touch with its heritage and culture. Mysore’s festivities are a fascinating sign of the region’s cultural harmony. Mysore, which is inhabited by people of many religions and beliefs, creates a shared cultural canopy beneath which the numerous social festivities are enjoyed by everyone. Dasara is one such big event that the people of Mysore celebrate with great joy and zeal. Mysore Culture is a particular character of the area, representing the intrinsic charm of the oldest of customs and events.

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Festivals of Mysore An introduction of festivals of the city

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Dasara The Nadahabba (state celebration), also known as Mysore Dasara, is the biggest of all Mysore festivities. The 10-day event, held in September or October, is celebrated with considerable pomp and splendour. The festivities begin with the nine nights of Navratri and conclude on the tenth day, Vijayadashami. The Hindu festival commemorates good triumphing over evil. It is celebrated in Mysore as the day the goddess Chamundeshwari defeated the monster Mahishasura. The Mysore royal family, according to legend, worships the goddess Chamundeshwari in her warrior form. Weapons, elephants, horses, and the royal sword are all revered as military instruments and animals. The festivities begin with a traditional puja performed by the current Wadiyar king and other members of the royal family. Athletic events, singing and dance concerts, pyrotechnics, and bike parades are among the festivities. One of the main attractions of the Mysore Dasara is the kushti spardhe (wrestling tournament), which draws wrestlers from all across the nation. Another major draw of Mysore Dasara is the Dasara Exhibition. Chamaraja Wadiyar X founded the exhibition in 1880 to present new advances to his people. Today, the show has a variety of stalls offering clothing, plastic products, kitchenware, cosmetics, and many types of cuisine. There is also a play area and an amusement park featuring a Ferris wheel and various other rides at the expo. The primary feature of the Mysore Dasara is the huge parade through the city streets, commonly known as the Jumbo Savari. The parade features adorned elephants, horses, and camels, as well as a variety of colourful tableaux, dancing groups, and music ensembles. The highlight of the procession is the idol of the goddess Chamundeswari, which is carried by the lead elephant inside a gilded howdah. The procession concludes with a pooja to the banni tree (prosopis spicigera) at the Banni Mantapa, followed by a torchlight parade. The streets of Mysore, like the Mysore Palace, are festooned with thousands of lights, transforming the city into a magical kingdom. Mysoreans often decorate their homes with colourful rangolis and flowers and hold pujas at home. The Gombe Habba or Dasara Gombe Puja (doll festival) is a Hindu ritual practised by the majority of Hindu households. Various clay or wood dolls are traditionally displayed on a tiered platform. These dolls are often tiny idols of Hindu gods and goddesses, as well as dolls of kings and queens and other human persons from various professions. On this platform, the dolls depicting a merchant and his wife are a requirement. Famous people, such as independence fighters, politicians, and cricketers, are also included on certain exhibits. The Mysore Palace’s Gombe Thotti (doll’s pavilion) houses the most extensive collection of dolls from the 18th and 19th centuries.

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Ugadi The Kannada new year, Ugadi, is celebrated in March or April. The new year is an auspicious moment that represents the start of a new era, ushering in good fortune. The holiday is held with tremendous fanfare throughout Karnataka, including Mysore. Hindu Kannadigas decorate their homes with colourful rangolis (ground designs) and torana (leaf and flower garlands put on doors) made of mango leaves. Everyone in the household takes a ceremonial oil bath and puts on new clothing. They burn a candle and pray for good fortune in the next year. They eat a particular cuisine known as bevu-bella (neem leaves mixed with jaggery). Bevu-bella, coconut, and raw mango intake is very symbolic. It combines all of the flavours: sweet, sour, salty, bitter, astringent, and piquant. According to Kannada Hindu tradition, it is a symbolic reminder that life is not always sweet, and that one must expect and make the most of all flavours of events in the next year. Following the rites, family assemble to feast on a special dinner that includes obbattu (a sweet flatbread packed with a sweetened lentil combination known as holige) and payasa (rice pudding).

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Talakadu Panchalinga Darshana: The Festival That Occurs Once In Twelve Years Talakadu town commemorates the Panchalinga Darshana festival every 12 years. It’s a celebration that honours five temples that depict Shiva’s many incarnations or faces. According to the Hindu calendar, the fiveday celebration begins on the new moon day in the month of Kartika. The festival dates are determined by the temple’s high priests depending on the alignment of the stars. The celebrations begin at the same time in each of the five temples. Talakadu’s town and temples are frequently buried with sand. Every twelve years, the sand is cleaned and the temples are dug for the Panchalinga Darshana. Plantain stems and flowers are used to adorn the temples. The priests bathe in the gokarna pushkarani (holy lake) near to the Vaidyanatheshwara temple as part of their ritual. The water from the sacred lake is also used to bathe the gods’ idols. Pilgrims take a customary plunge in the sacred lake and worship the gods Gokarneshwara and Chandikadevi, according to tradition. They next visit the temples of Vaidyanatheshwara, Maruleshwara, Arkeshwara, Paataleshwara, and Mallikarjuna to venerate the gods. On the same day, the pilgrimage concludes with a visit to the Keerthi Narayana temple. Gajarohana, Sridivya Brahma Rathotsava (chariot procession), Shri Shyanotsava, Theppotsava (boat procession), Poorvaka Kailasavahana, and Nandi Vahanotsava are all part of the five-day celebration.

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Places to Visit An introduction of Places of the city

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Mysore Maharaja Palace (Amba Vilas), Mysore A vacation to Mysore is not complete unless you see the famed Maharaja Palace. In fact, the palace should be at the top of your list. This landmark monument, located in the heart of the city, has captivated travellers from all over the world and today has over 6 million yearly visitors. This magnificent palace, famed for its IndoSaracenic architectural architecture, was the royal residence of the Wodiyar dynasty. Stepping into this castle will physically and metaphorically make your mouth drop. Such is its radiance! The palace is a magnificent feast for the eyes, from the complex decorations on lofty columns to the exquisite roof artwork on the ceiling. Plan your itinerary so that you can see the sound and light show in the evening to have a deeper appreciation of Mysore’s heritage. Better still, arrange your trip around the Dasara celebration, which normally takes place in September or October. Mysore Dasara, also known as Nada Habba, is celebrated at the palace with much ceremony and merriment. During this event, the golden throne on which the great monarchs of the Kingdom of Mysore sat is maintained on exhibit. The palace will be crowded with men and women dressed in festive attire. Even if you get lost in a crowd, seeing the parade and the surrounding events around this time of year is well worth it. In addition, the Amba Vilas is one of the most attractive spots to visit at night in Mysore. The majesty of the lit-up palace will astound you, offering you a glimpse of its previous glory. Entry Timings: All days of the week, 10 am to 5.30 pm Sound and Light Show Timings: Monday to Saturday, 7 pm to 7.45 pm No shows on Sundays and public holidays Illumination Timings: All government holidays and Sundays, 7 pm to 8 pm For 15 minutes at the end of the Sound and Light show, every day All ten days during the Dasara Entry Fee: Adults (Indian nationals) – Rs. 50 per person Adults (Foreign nationals) – Rs. 50 per person Children (below 10 years) – Free Children (aged between 10 and 18 years) – Rs. 20 per person Educational tour (students) – Rs. 10 per person Sound and Light Show Entry Fee: Adults – Rs. 50 per person Children (below 10 years) – Rs. 30 per person

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Mysore Maharaja Palace

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Jaganmohan Palace, Mysore Jaganmohan Palace, one of Mysore’s seven palaces, occupies a distinct place on the list of Mysore tourist attractions. This 19th-century Hindu-style palace was created after a fire destroyed the ancient Mysore Palace and served as the royal family’s residence while the new palace was being built. This castle has an art gallery as well as an auditorium for traditional dances and other events. One of the most outstanding elements of this architectural marvel are the exquisite carvings of Dasavatara (the 10 avatars of Vishnu) on wood. The palace’s art gallery also has a spectacular collection of South Indian antiques, including some of Raja Ravi Varma’s most famous paintings. Have you ever heard of the well-known picture Lady with the Lamp, also known as Glow of Hope? The picture depicts an Indian woman dressed in traditional clothes holding a lit lamp in one hand. This piece of art is now on exhibit in a dark room of the Jagmohan Palace art gallery. The artwork creates the appearance that the shine of the lamp is illuminating the woman’s face. You’ll be astounded if you check it out! Entry Timings: All days of the week, 8.30 am to 5.30 pm Entry Fee: Adults – Rs. 20 per person Children (below 10 years) – Rs. 10 per person

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Jaganmohan Palace

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Chamundeshwari Temple, Mysore Worship locations are frequently an important aspect of a city’s history, and the Chamundeshwari Temple in Mysore is no exception. This is one of South India’s most famous temples, located atop Chamundi Hills. The Wodeyar family built the temple as a tribute to their family deity, Goddess Durga. It is constructed in the Dravidian architecture, with an elegant seven-tier pyramidal tower at the entrance. The temple may be reached in two ways: by driving up the hill or by hiking the 1,000 stairs. You will also come across legions of monkeys on either side if you take the steps! Many of the city’s renowned monuments, including Mysore Palace, Lalitha Mahal Palace, Krishna Raja Sagar, and St. Philomena’s Church, may be seen from the hills. Entry Timings: All days of the week, 7.30 am to 2 pm, 3.30 pm to 6 pm, and 7.30 pm to 9 pm Entry Fee: No entry fee Special darshana and sevas are chargeable

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Chamundeshwari Temple

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Philomena’s Cathedral, Mysore St. Philomena’s Cathedral is another notable landmark in Mysore, and it is possible that it is the sole British construction in the city. The church, one of Asia’s highest, was built to commemorate St. Philomena, a Catholic saint. Prior to the church’s construction, there was a tiny church in the same place established by Maharaja Mummadi Krishnaraja Wodeyar for the growing number of Europeans. The cathedral is designed in the Neo-Gothic style, with stunning 175-foot-tall twin spires on either side. The church will captivate you, from the stunning stained glass windows from France to the eye-catching marble altar beneath which the relic of St. Philomena is housed. Entry Timings: All days of the week, 5 am to 6 pm Entry Fee: No entry fee

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Philomena's Cathedral

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SRI CHAMARAJENDRA ZOOLOGICAL GARDENS Shri Chamarajendra Zoological Gardens, often known as Mysore Zoo, is located next to Karanji Lake. It was founded in 1892 by the Kings of Mysore as part of Maharaja Sri Chamaraja Wodeyar’s summer palace and is one of the country’s oldest zoos. It is one of the most prominent tourist destinations in Mysore. The zoo, which covers an area of 157 acres (64 hectares), is home to various endangered species and unusual birds brought from all over the world. The park’s notable animals include the tiger, jaguar, giraffe, bear, antelope, elephant, African rhino, and a variety of monkeys. The zoo houses rescued animals and birds from all across the country. The zoo’s one-of-a-kind campaign to adopt your favourite animal has made a substantial contribution to wildlife conservation. Entry Timings: All days of the week (Tuesday Holiday), 8:30 am to 5:30 pm Entry Fee: Adults – Rs. 80 per person Children (5-12 years) – Rs. 40 per person

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Sri Chamarajendra Zoo

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Somnathpur, Mysore Do you want to go to a temple that goes back to the 13th century? Incorporate Somnathpur into your itinerary. This region is well known for the Chennakesava Temple (also known as Kesava Temple) on the banks of the River Kaveri, which is located around 40 kilometres from the city of Mysore. This beautiful temple in the Hoysala architectural style is a delight for both tourists and pilgrims. They believe that the more we know about our past, the more equipped we will be for the future. We’re not sure how true this is. But one thing is certain: even a day trip to these locations will captivate you and transport you back in time. Aside from the locations mentioned above, Mysore boasts a plethora of more hidden jewels for history aficionados. This is only a starting point. Get a Mysore tourist spots map and you’ll be able to locate several places that will transport you back in time. You may acquire one at the train station or the airport. However, before purchasing the map, reserve a hotel in Mysore for a pleasant stay near these major attractions.

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Somnathpur Temple

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Craft Of Mysore An introduction of Crafts of the city

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Soap Stone Carving Mysore, often known as the “City of Palaces,” is located about 146 kilometres southwest of Bangalore in the state of Karnataka. Mysore is a cultural arts and handicrafts centre. Famous Mysore painting, Rose Wood inlay, and traditional Mysore silk sari are all world-renowned Mysore crafts. The one-of-a-kind soapstone carving contributes to Mysore’s cultural riches. Soapstone carving in Mysore has a long history and has been extensively patronised by royal kingdoms. Because of the abundance of soapstone resources in and around Mysore, Mysore is the hub of Soapstone carving. Soapstone deposits are concentrated at H.D.Kote, near Mysore. Many experienced artists carve soapstone into intriguing items with elegant emotions. The block of stone is first marked with the design to be carved, and then it is chiselled out with chisels of various sizes to achieve the detailed patterns. Great craftsmanship results in an improved appearance, a smooth finish, and intricate designs. All of the carved objects are primarily utilised in multiple holy temples in and around Mysore, but they are also shipped to other locations around India dependent on requests. Some modern art forms are carved in response to specific demands from end users. Other prominent stone carving centres in Karnataka are Shivarapatna and Malur.

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Stone Idol

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Gangifa Cards Mysore Painting is a kind of traditional South Indian painting that developed in the Karnataka city of Mysore. The Mysore school of painting reached its pinnacle under the reign of the Wodeyars and under their patronage. The Mysore school, whose greatest traditions were visible in the 17th, 18th, and 19th centuries, was virtually unknown to the rest of the world. As seen by the art forms on the ceiling of the Sri Virupaksha temple in Hampi, Bellary district, the paintings emerged as a refinement of the previous Vijayanagar style. After the fall of the Vijayanagar kingdom in 1565, it became known as the Mysore school of painting. After the fall of the Vijayanagar Empire, Raja Wodeyar restored the families of painters who were in trouble. Raja Wodeyar’s successors, “Ranadhira Kantheerava Narasimharaja Wodeyar” and “Chikka devaraja Wodeyar,” patronised art by having temples decorated with deities and mythical subjects. However, the subsequent conflicts between Hyder Ali and Tipu Sultan, as well as the British, resulted in the loss of these valuables. The Mysore style was resurrected in the early nineteenth century by “Mummadi Krishnaraja Wodeyar” (1799-1868). During his reign, some of the most beautiful and polished work was produced, as the monarch himself had a strong and personal interest in the art of painting. The drawings in the text of the great cultural encyclopaedia ‘Sri Tattva-nidhi’ show the king’s refined taste and support. Mysore paintings are an important part of the traditional south Indian painting heritage. These paintings are well-known for their elegance, unusual colour palettes, and emphasis on detail. A piece of Mysore painting needs a great deal of hard labour, patience, as well as exceptional ability and proficiency. Freed from security worries under British dominion, the Wodeyars moved their focus to support of the great arts. Freed from security worries under British dominion, the Wodeyars moved their focus to support of the great arts. Mysore flourished as a cultural centre in Karnataka under their patronage, producing a number of well-known singers, authors, and painters. 48

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Ekmukhi Ganpati

Trimukhi Ganpati


Dwimukhi Ganpati

Chaturmukhi Ganpati

Panchmukhi Ganpati

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Thangka Painting Bylakuppe is a tiny town in Karnataka, 90 kilometres from Mysore. It was founded in 1961 by Lugsum Samdupling and in 1969 by Dickyi Larsoe. It has the most Tibetans, and it has now developed into a full-fledged town with the greatest Tibetan population. Bylakuppe is a lovely and calm village separated into four camps. Namdroling, a well-known monastery, is located in Bylakuppe. The dwellings in town are distinctive, having Tibetan-style tiled roofs. Typically, monks wear chrome yellow and maroon coloured robes that represent saints (preaching of Buddha). The multicoloured Tibetan flag (red, white, green, blue, and yellow hues) is known as “DAR CHO” (in Tibetan language), and bells are linked to it, which flutters in the wind. Thangka is derived from the Tibetan words ‘than’ which means flat and ‘ka’ which means painting (according to the book “Art of Tibetan Painting” referred to by artisans in Bylakuppe) and is one of the traditional paintings originated from Nepalese art form exported to Tibet and practised in Bylakuppe. Thangka is a three-dimensional item made out of an image panel painted or embroidered on silk or cotton material. To create a thangka painting, the painter must be well-versed in the measurements and proportions of each god as prescribed by Buddhist iconography. In Buddhist countries, they are more than just colourful wall hangings; they represent divine beauty. This is a painting on a flat surface that can be rolled up like a scroll when not in use. Buddhism has had a significant impact on Tibetan culture since its arrival in the seventh and twelfth centuries, as well as on surrounding countries such as India, Nepal, and China. Tibetan art and culture incorporate Buddhist ideas; traditional paintings representing religious and theological issues are created on cotton and silk fabric. Thangka paintings have achieved classical status in Tibetan culture and customs. Thangka painting is a type of folk art that depicts the life of Buddha and other deities. It also has an impact on the legendary events related to and involving Lamas. Thangka devotional artworks are utilised in ceremonial and prayer practises. Most significantly, this sacred art is employed as a meditation technique to aid in the journey to enlightenment. 50

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Mysore Painting Mysore Painting is a kind of classical South Indian painting that emerged in the Karnataka city of Mysore. The Mysore school of painting flourished under the reign of the Wodeyars and under their patronage. The Mysore school, whose greatest traditions were obvious during the 17th, 18th, and 19th centuries, was virtually unknown to the rest of the world. The paintings emerged as a refinement of the previous Vijayanagar style, as seen by the art forms on the roof of the Sri Virupaksha temple in Hampi, Bellary district. After the fall of the Vijayanagar kingdom in 1565, it was dubbed the Mysore school of painting. After the fall of the Vijayanagar Empire, Raja Wodeyar restored the families of painters who were in trouble. Raja Wodeyar’s successors, “Ranadhira Kantheerava Narasimharaja Wodeyar” and “Chikka devaraja Wodeyar,” patronised art by having temples decorated with deities and mythical subjects. However, the subsequent conflicts between Hyder Ali and Tipu Sultan, as well as the British, resulted in the loss of these valuables. The Mysore style was resurrected in the early nineteenth century by “Mummadi Krishnaraja Wodeyar” (1799-1868). During his reign, some of the most beautiful and polished work was produced, as the monarch himself had a strong and personal interest in the art of painting. The drawings in the text of the great cultural encyclopaedia ‘Sri Tattva-nidhi’ show the king’s refined taste and support. Mysore paintings are an important part of the traditional south Indian painting heritage. These paintings are well-known for their elegance, unusual colour palettes, and emphasis on detail. A piece of Mysore painting needs a great deal of hard labour, patience, as well as exceptional ability and proficiency. Freed from security worries under British dominion, the Wodeyars moved their focus to support of the great arts. Mysore flourished as a cultural centre in Karnataka under their patronage, producing a number of well-known singers, authors, and painters. In terms of economics, artists have diverse perspectives. Previously, homeless artists would seek sanctuary in the king’s palace or with affluent individuals. They used to produce paintings for them instead of giving them money. Nowadays, painters determine the price of a painting based on the amount of gold foil used in the painting as well as the expertise involved. Today, only the privileged can afford to acquire them. Carrying on an old custom in current times has become a status symbol for many individuals.

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Kinnal Craft Kinnal (Chowki) art is created on a regular hardwood slab that has been sliced into shapes such as a hexagon, circle, square, and octagon. As a basis for the painting, a combination of chalk powder and gum is uniformly applied to the board and cured. Sanding the surface using sand paper to make it smooth and uniform for painting. The patterns are traced on the base surface according to the sketches. On the edges and in the centre of the wooden piece, gesso work (embossing) is done. Gesso is a mixture of chalk powder, gum, and distemper colour. The gesso work is generally done on the canvas’s edges or in the middle. The decorations are bordered by flowers and foliage, with any legendary figure in the centre and dried (chalk powder). Silver foil is cut to size and adhered uniformly on top of the gesso piece with glue. After the embossing work has dried, the Chowki work is given a regal appearance by applying brilliant colours. The backdrop portions are filled with dark colour tones. The first layer of paint is applied, followed by another application to make the colours seem lively and stunning. To get the golden appearance, yellow powder (chemical colours) and water are combined with wood polish and applied to the embossed region before drying. A combination of zinc powder, gum, and water is steeped for two to three hours to obtain the silver colour. Thavra work, which is the design created around the slab’s core. These natural paints endure a long time and preserve their beauty. Following the completion of the procedure, the object is dried in direct sunshine. Thavra craftsmanship is what gives the craft its unique lustre. Later, the thavra work is scraped using a tool that has a marble stone attached to the tip to make the surface level and even. To add depth and richness to the artwork, the outlines are done in black. Finally, varnish is added to add lustre and make it more appealing. Kinnal craft craftsmen create their own tools, paints, and brushes. This classic style of painting is well-known both within and outside of India.

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Tibetian Carpet Tibetans have been creating woollen carpets since the early 1960s, when they arrived in Bylakuppe, Karnataka’s Mysore region. Tibetan carpets are woven using a continuous knot technique, often known as Tibetan knots. To make these knots, a rod is inserted across the breadth and in front of the warp. To make a loop, a knitting needle is passed through two warps and once around the rod. When a row of loops is completed, it is cut and manually brushed to produce the pile. This provides the carpet a rich appearance as well as a ridged surface. This method is used to make floor carpets as well as table and chair coverings. A metal rod, wooden sticks, a knitting needle, and a pair of scissors are needed to produce a Tibetan carpet. The weaving is done on a vertical loom. Themes of dragons, checkerboard patterns, tigers, lotuses, eight fortunate Tibetan symbols, and religious motifs are made in Buddhist iconography hues. Carpets were traditionally created for monasteries. Carpets for Namdroling Monastery are created in Kushalnagar, Karnataka’s Kodagu district. A large portion of output is currently used for export and tourism.

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Rosewood Inlay Rosewood, a wood with a rich sweet scent that is mostly grown in India, Pakistan, and Madagascar, is highly valued internationally for its extraordinary properties and utilitarian goods derived from it. Rosewood inlay work is a rosewood craft that is used to make doors, mirrors, tables, gift boxes, wall panels, dining tables, and other items. This classic Mysore shape is said to have been popular among Maharajas who liked rosewood inlay work for producing stunning ivory designs. Though done in many regions of the world, the Indian version of Rosewood Inlay Work consists of beautiful works on a wood surface utilising various colours and tones of wood, shell, and occasionally flip boards. Historically, the skill came to India from Persia in the 18th century and flourished in Srirangapatnam under Tipu Sultan’s rule. Then, gradually travelling west, it arrived in Mysore, where it adorned temples, royal houses, and palaces of the period. The inlay method is used to create exquisite designs on wood carvings representing God and Goddesses, themes from the Ramayana and Mahabharata, royal processions, and serene and lovely landscapes. The artisans here choose different hues of wood to accentuate the bright, dark, and shadow areas, such as the textures for leaves, tree bark, sky cape, and scenery. There is so much grandeur in these elaborate compositions that it’s little surprise it piqued the royals’ curiosity and is today a sought-after art. Karnataka, a southern Indian state, is widely recognised for its one-of-akind handicrafts. The quantity of sandalwood and rosewood cultivated in Karnataka’s deep forest inspired a range of crafts. Karnataka State Handicrafts Development Corporation Ltd was created in 1964 by the Karnataka government to protect, promote, and develop indigenous handicrafts. The tradition of inlay work has been passed down from one generation to the next. KSHDC has made several initiatives, such as providing chances to artists from other locations, educating them to produce new patterns, updating them on current market trends, and so on, in order to preserve the history of fine workmanship. Cauvery, a brand name established by KSHDCL, sells high-quality handicrafts through its locations around the country.

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Rosewood Inlay An introduction of Crafts

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The Inlay door in Mysore Palace

Introduction Wood inlay is the method of adorning the surface of wood by placing in bits of different coloured material such as ivory, bone, plastic, or wood. In Karnataka, this art is prominent in Mysore and Bangalore. The craftsman smoothens the base of the rose wood before tracing and etching the design into the surface. The inlay’s many components are meticulously built to match and fit perfectly into the grooves before being cemented in place. The pattern is completed by applying many coats of polish to get the desired hues. In Karnataka, examples of inlay work include “the ivory inlay in rose wood and ebony in the Srirangapatnam mausoleum”; “the doors of the Amba Vilas palace in Mysore are especially superb instances of inlay.” Plates, boxes, bowls, cigarette cases, and animal sculptures, particularly elephants, are examples of inlaid products. Floral and geometric patterns, landscapes, pastoral sceneries, processions, and epic themes are among the designs.

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History & Origin Jayachamaraja Wodeyar Bahadur was the 25th and final Maharaja of Mysore’s princely realm. During his reign, artisans developed a variety of crafts, including ivory inlay in rosewood, which was abundant nearby. Recently, a Master Craftsperson of the trade, ‘Shokat Ali,’ introduced a whole new development in the craft by creating amazing art works out of locally available wood of various hues. These art works were warmly received by the monarch, and they were simple to learn and practise for the rest of the population. The distinctive material culture and simple method brought about a revolution in the realm of art and craft, as well as in people’s lives. The craftsmen blossomed with their distinct flair in Ivory & Rose wood inlay technique. Historically, the Maharajas patronised the craftsmen, who are thought to have originally arrived in Srirangapatna about the 18th century A.D., under the reigns of Hyder Ali and Tipu Sultan. Following that, the Wadiyars, to whom the British returned the Mysore empire, continued to support them. Skilled craftspeople chiselled elaborate designs onto the surface of the wood used as the foundation. Woods of various colours and hues were used to fill the chiselled interiors. Ivory and ebony predominated inlay works, but once ivory was banned, artists turned to coloured woods and, increasingly, white plastics to enhance the contrast set against a dark backdrop supplied by rosewood.

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Facts about the craft In the visual arts, inlay allows the artist to carve designs ranging from classic motifs to simple flowers to creatures found in nature, all without the use of paint. The artist creates the patterns from carefully cut wood pieces or other materials like as metal and acrylic, then inserts them into slits carved out on the Rosewood prior using the same pieces as stencils. In this manner, the inlay is made. However, it is not as easy as it appears. An inlay project requires a great deal of attention to detail and hard effort. It might take days, months, or even years to create a product. Yusuf Ali and Sons, a firm that has existed since 1870, is a contemporary benefactor of the Rosewood Inlay industry. Caskets and wooden frames were in high demand among the Royals decades after the craft had begun. The craft’s popularity subsequently fell, only to rise again in the 1900s when Chamaraja Technical Institute brought mythology and grometric patterns to it. Mir Showkat, artisan Ali is reported to have incorporated country landscapes to the technique, enhancing popular demand for it. According to recent assessments, the number of Rosewood inlay manufacturing units has expanded from two in the 1940s to 65 in the 1960s. The skill reached its pinnacle in the 1980s and 1990s, with 300 Rosewood Inlay production facilities in and around the city of Mysore. In recent years, the inlay craft, like many others, has seen a drop in production rates due to the scarcity of Rose wood. Due to the scarcity of the raw material, artists are compelled to utilise different types of wood. While it is the only option, the usage of other wood devalues the work by reducing its visual appeal. The producing houses have cut their output by 50%, which is a dismal statistic. With these ever-dwindling numbers, the future of this art form is grim, causing patrons to worry if rosewood inlay will soon become a thing of the past. 64

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Cutting Pieces for Inlay

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Evolution of Rosewood Inlay Age is seen as a thief of aesthetic value. However, art becomes more venerable and beautiful as it ages. Age just lends a sense of timelessness, pricelessness, and a sudden sense of veneration to the artists and craftsmen who labour on polishing the smallest elements of a piece of workmanship. One such craft is Mysore Rosewood Inlay. Age is seen as a thief of aesthetic value. However, art becomes more venerable and attractive as it ages. Age just lends a sense of timelessness, pricelessness, and a sudden sense of veneration to the artists and craftsmen who labour on polishing the smallest elements of a piece of workmanship. One such craft is Mysore Rosewood Inlay. The nature and wildlife of the region, as well as social customs, inspired the craftsmen’ inventiveness, as seen by the subjects represented in the inlay works. The artists who moved away from geometrical patterns preferred topics such as the Mysore Dasara procession, agricultural sceneries, fauna found in adjacent forests, and khedda activities. During the reigns of monarchs, the Mysore Rosewood Inlay, along with a variety of other crafts, flourished to a remarkable extent. The impact of this art gradually faded until it was designated as a Geographical Indication by the Government of India 13 years ago. Rosewood inlay work is unique to the region and has grown as a result of the craftsmen’ ability. Because of its distinctiveness, it was given the coveted Geographical Indication (GI) label. However, its future is dubious because to a lack of enthusiasm among the younger generation in the art, rising raw material costs, and diminishing demand. Patchwork is a technique used in rosewood inlay to enhance the beauty of the art. 66

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Reilief Work of Elephant

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Process An introduction of Process of craft

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Raw Materials The creative value of inlaid items is really great. Their allegedly high price is due to the maker’s ability and craftsmanship rather than the cost of manufacture. Rosewood, various woods, ivory, plastic, carpenter’s glue (Vajra), polish, beeswax, ivory black, turpentine, sandpaper, and hardware such as screws, pins, nails, hinges, and rings are among the raw materials used in the creation of these beautiful items.

4. Ebony

-jet black

5. Silver oak -pink and for glaring effects 6. Sandalwood (Santalum album) -dark brown 7. Eaji

-yellow

8. Hale (Wrightia tinctoria)

-light yellow

9. Tamarind (Tamarin-dus indica)

-blue, grey.

10. Patanga

-dark red

Rosewood This is one of the most significant raw materials utilised since it offers the surface for inlay. The allure of the craft originates from the fact that ivory and other coloured woods create an intriguing and appetising contrast against the black backdrop.

11. Seege (soapnut) (Mimosa abstergens) Kari mara is the local name for rosewood (Dalbertia latifolia). It has a rose water scent and a smokey flame. The sapwood is slender and yellow, whilst the heartwood is dark brown to black with longitudinal streaks. This wood is unique in that it accepts a very delicate finish. It is difficult to deal with since it is so finely grained. This wood is employed in the manufacture of furniture as well as in carving. A cubic foot of the wood weighs 50 to 60 pounds and costs between Rs. 30 and Rs. 150, depending on the girth and quality of the bole supplying the plank. Woods of Different Colours The most common varieties of colour woods used in the craft are the following and their colours are also indicated against each:

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1. Jack (Artocarpus integrifolia)

-yellow and bright yellow.

2. Nelli (Emblic myrobalam)

-rose and light red.

3. Devadaru (Cedrela toona)

-light brown.

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-amber

12. Krishna-agar

-green

13. Kadagale

-brown

14. Gauva

-ash, cream shade

15. Mango (Magifera indica)

-dull gray

In addition to the aforementioned species, several additional unknown species are employed. The craftspeople obtain their supply of the aforementioned woods from local firewood depots by careful selection of chopped logs from the available lot.


Storage of Wood

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Ivory

Hardware

The ivory used in the craft originates from Banaras and Ahmedabad, and it is imported.

As with a joiner’s task, the craft requires the use of nails and screws, hinges, rings, and other hardware found at local hardware stores.

Plastic In order to compete in the market, a few institutions have begun to use plastic in place of ivory. This approach is not common at all places since some are still concerned with protecting the integrity of the art. Plastic users favour less expensive plastic over sheets that must be obtained separately. Carpenter’s Glue (Vajra) It is required for adhering wood and ivory pieces to the inlay ground. Polish A high polish is required to ensure an appealing finish. For this reason, lac polish (colourless) manufactured locally is utilised. This not only acts as a protective covering, but it also adds a lovely lustre to the completed item. Beeswax and Ivory Black These two components are required for the preparation of Black polish. Black polish is made by combining beeswax with ivory black in a 4:1 weight ratio. A small amount of turpentine is also added to make application to the completed item easier. Sandpaper/Sanding machine When the surface needs to be smoothed after inlaying, sandpaper is used. Sandpaper grades that have become widely accepted are 1 to 00, and they are commonly available at local stores.

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Tools Carpenters’ tools, such as a chisel, saw, plane, hammer, sawing board, brace and bits, file, spoke shave, pincers, bradawl, screw driver, sandpaper block, wing compass, twist drill, and whetstone, are also required. Because these instruments are used by both carpenters and inlay artisans, they are not intended to be discussed in depth. As a result, a description of the following tools, which are only required in the production of inlay goods, is provided. Coping Saw A coping saw is used to cut the patterns on the sheets of wood and ivory. It is constructed of a study frame, and the blades inserted have a longer life than standard fret saw blades. It slashes through wood and ivory with ease. sheets of 1/8” thickness, and the saw must be handled with care. Vice The carpenter’s vice attached to the work bench aids in maintaining a firm grasp on the timber sheets that must be sawn. A sawing board can also be used for this. Rasp Half round rasps ranging in size from 8 to 12” are useful for smoothing the surface after inlay. Hammer A 1/8 pound hammer is required to insert the inlay into the pursued ground.


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Marking Tool

Scraper

An awl-like instrument with a sharp end used for inscribing the inlay pattern on the surface to be pursued. Malleting is used to manipulate it.

The inlay artist uses a flat piece of iron with a sharp edge as a scraper. Because the timber is so hard, this form of scraper is required. A sharpened scraper gives a flawless surface finish.

Kachu Chirna A chisel for deepening the contour of the artwork imprinted on the inlaid surface. Malleting is used to manipulate the tool.

Coping saw, vice, rasps, and hammer are all factory made and accessible at hardware stores. A local blacksmith crafts the inlay tools, scraper, engraving tools, and punch.

Matta Chirna

Power Tools

A harder chisel-like instrument with a bevelled cutting edge on one side that is used to separate the wood from the plank to allow the inlay pattern and is controlled by malleting.

Recently, there has been a growing perception among the owners of some enterprises that power tools are required for the modernization and growth of inlay craft, as well as to keep it on an even keel. The power tools of the following description have come to be acquired lately by these establishments:

Vata Chirna After pursuing with Matta Chirna, a chisel with an angular edge is used to cut the rough ground. Dassi Chirna Malleting is also used to manipulate this tool. This tool is used to chase cavities in order to place the splinters that create the background outlines.

Establishment I Bandsaw, circular saw (2), circular plane, belt sander, disc sander, moulding machine, drilling machine, jig saw, lathes (2) and 10 H.P. motor. Establishment II Bandsaw, circular saw, drilling machine, lathes (5), and 2 H.P. motor.

Engraving Tools Sharp-edged tools used to draw eyes, noses, ears, mouths, and other features on the faces of human and animal figures, similar to pencils. Punch Punches are made from discarded bits and the ends bear assorted designs to mark the borders of sarees, blouses and other wears of figures.

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Establishment III Bandsaw and 2 H.P. motor. Establishment IV Bandsaw, planer, surface plane, circular saw, mortiser and 7 H.P. motor. Establishment V Bandsaw, circular saw, narrow bandsaw, drilling machine, grinding machine, sander and a motor of 4 H.P.


Patta

Bow

Plier

Chisel

Forcep

Hand Drill

Chisel

Plier

Chisel

Chisel

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Techniques of Production The production technique of inlaying ivory and woods of different colours in rosewood can be set down as coming under the following eight stages:

appropriate form with a handsaw, the most popular being a rectangle or a square. When the board must be formed circular, the excess wood is chiselled away with a stronger chisel and mallet. The procedure for moulding it round is also the same. The discs are now turned on a lathe. Planing smoothes the surface of the board on all sides.

1. Making of planks.

6. Smoothing the inlay surface.

The billets of various coloured woods are similarly sawn into thin sheets of 1/8” thickness. Taking off such thin lamina naturally necessitates fine tool management if the sawing is to be done with a handsaw. In order to reduce the damages that are generally associated with hand sawing, power powered instruments that have been installed in some of the enterprises are freely used. The first stage is the formation of planks of the desired shape and smoothing of their surfaces, after which the material is ready to begin work. Carpenters do all of the work up until this point.

7 Engraving and punching.

2. Cutting of Templates

8. Finishing.

The designs for inlay are provided by designers who are not regular employees of these firms but work as freelancers. The designs are the creators’ own. Each design is created on drawing paper and coloured using water colours. The artist who cuts the template does a design study. A pencil trace of the design is made on translucent paper and put over the original design. The tracing paper is attached to a thin cardboard and the templates are cut out with a fine edged chisel. The number of template pieces is determined by the number of colour contours used to create the pattern. A drawing may need to be split into 30 to 100 distinct parts.

2. Cutting of templates. 3. Cutting of ivory and woods of different colours for inlay. 4. Inlaying. S. Application of lappa.

Carpenters handle the initial step of labour, which is the creation of planks. Cutting templates, engraving, and punching, which are the second and seventh phases of production, cannot be done by anybody not trained in the trade, and both duties are done by professional artists. Figure cutters are also expert artisans who work on the third step of the process, which is the cutting of ivory and various coloured woods for inlay. The inlay workers complete the fourth step of labour, which is inlaying. For finishing tasks, the craftsmen do the fifth, sixth, and eighth phases of labour, namely the application of lappa, smoothing the inlay surface, and finishing. 1. Making of Planks Rosewood logs are sawn into 3/4” thick boards from cut pieces. Sawing is done with both a handsaw and a bandsaw. The length and breadth of the plank are determined by the size of the log. The plank’s uneven sides are straightened with the aid of a circular saw. The board is then cut to the 76

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3. Cutting of Ivory and Woods of Different Colours for Inlay A selection is initially made of cut sheets of different coloured timbers as seen in the design, as well as ivory necessary for building the figurines’ faces, legs, and hands. The template slices are placed on the appropriate sheet of the needed colour, and their outline is drawn with a pencil on the wood or ivory.


Applying Glue

Making Sketch

Tool Set for Wood Carving

Cutting the wood

Floral Motifs

Carving for Inlay

Elephant cut Ivory

Inlay Potrait

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The sheet of wood is securely clamped in a vice, and the pattern is cut with a coping saw. The blade is fitted into the frame of the coping saw in such a way that its teeth are at right angles to the sheet being cut. The blade is expertly handled while sawing curves. The craftsman sits on a stool, while the vise that holds the hardwood sheet is secured to a table. When using a saw board instead of a vice, the craftsman holds the sheet in one hand while plying the saw with the other. After cutting the pieces, the rough edges are smoothed with a smooth file.

design as found in the original drawing created by the designer and returns the piece to the inlay craftsman once all the parts of the inlay design have been put in the ground. The artist creates small holes in the wood by pursuing it with Dassi Chirna to fit Dassi (thin splinters of specially sawn wood) or narrow inlay. The ivory smithereens, which portray flowers and leaves of trees or other motifs, are hammered into the recesses left after the inlay design has been fixed to the ground. 5. Application of Lappa

4. Inlaying The various components cut from the wood and ivory sheets are combined to make the desired design and glued together at the edge of each piece. The curves of the images encourage adherence. The design’s components are assembled and put on the board that will be inlaid. By tapping the marking instrument with a mallet, a full and clear impression of the pattern is formed on the wood. The pattern is then repositioned, and the mark scribed on the wood is deeper by malleting it with Kachu Chirna. Using the Matta Chirna and mallet, the indicated piece is scooped. The Matta Chirna was also used in the same way as the harder chisel. Because the wood and ivory sheets used to make the inlay design are treated to a thickness of 1/8”, the wood is chased to a depth of 1/8” and this depth would be adequate to allow the inlay pattern. Because the inlay pattern must be securely embedded in the ground, great care must be taken to work according to the scribed lines. The artist cuts the rough surface of the earth using a Vata Chirna and mallet before inserting the inlay pattern into the ground.

Lappa, a paste made by scraping rosewood scantling covered with carpenter’s glue, is hand-overlaid on the inlaid surface to fill the empty recesses. After allowing the Lappa to settle into the cavities for a few hours, any excess stuff is scraped away. 6. Smoothing the Inlay Surface The inlaid item will have a rough surface that must be smoothed. The craftsman rasps the uneven surface to obtain an equal surface. Scraping smoothens the surface even further. The sharpened scraper gives a delicate shave and a clean finish. This is followed by a thorough rubbing with fine grade sandpaper. 7. Engraving and Punching

Before completing the inlay piece, mark the eyes, nose, mouth, and ears on the design figures (Plate 9-b). The engraver, a skilled artisan, does this task. Engraving and shading tools are used in the same way as a pencil is. The engraver completes the design by applying hues for a nice get up. Motifs for the border and body of the figures’ Carpenter’s glue is placed over the chased region of the clothing are formed by malleting the punch holding designs board, and the artist gently hammers the inlay design into the such as leaf, flower, rounds, squares, dots, and so on. When ground. Simple inlay designs are driven into the ground in a the engraver wishes to see the markings he produced, he few locations, whereas intricated inlay designs are pushed in applies ivory black in little amounts to the grooves of the a variety of locations. engraved, shaded, and punched marks. The ivory black seeps into the crevices and emphasises the marking. The engraver outlines the background contours of the 78

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Inlay Table Top

Chariot Inlay

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8. Finishing

Then & NOW : Change in Design and Technology

The final stage of inlay work is the process of finishing. After completing the work of engraving, black polish, a mixture prepared by mixing the ingredients beeswax and ivory black in the pro portion 4:1 weight and adding to it a little turpentine, is applied and allowed to dry. When this polish dries up it is scrapped off by using a scraper. For a fine finish, the piece is rubbed with 0 grade sandpaper. The final medium with which the inlaid piece is treated for a protective coat is lac polish. Several coats of the polish are applied with linen and each coat is well rubbed with rag (Plate 10).

Figures such as tiny men on horses with a chathri on top carefully made out of different types of wood and plastic, put together to make the figure, as well as numerous mythical characters from the legendary Krishna Radha, Ramayana, Shiv Parvathi, and Ganesha, are among the other highlights. Islamic calligraphic teachings and foliate motifs decorate the large rosewood elephants, which are also prevalent patterns in the inlay works. During the dussera season, rose wood elephants are very popular.

Designs Designs adopted for inlay prior to the advent of erinoid in 1920, were floral scrolls, festoons, creepers etc., the material used being solely ivory. The white inlay on black background turned after 1920 into colour opus on black background. When erinoid was found to make a good combination with ivory for inlay, the fashion to depict human figures gained currency coupled with other motifs of design. The colour combination also offered scope for the display of various aspects of Dasara pagentry and this became a common design of the period. The floral designs gradually disappeared yielding place to landscapes, and human forms and pastoral subjects replaced geometric figures. Most of the present day designs are adoptations. from Hindu mythology and Persian art. The designs on the inlaid pieces generally con sist of portrayals of Omar Khayam, Gipsy girl, Water-lady, RadhaKrishna, Lakshmi, Saraswathi, Krishna, messenger on horse back, messenger on camel back, birds on trees, elephants and palm trees, flower festoons and butterfly, Anarkali (a lady & deer) and village scenes such as a washer man driving donkeys, a shephered driving sheep, a lady drawing water from a well, bullock cart carrying passengers, ploughing, village vista and such like being the product of the free imagination of the artist’s mind. The figure of national leaders are also inlaid nowadays.

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Many of the designs and patterns visible in the inlay work at the Mysore palace are reminiscent of Islamic art, such as the repeated geometric and foliate motifs. These components were most likely introduced during the reigns of Hyder Ali and Tipu Sultan. Prior to the 1972 Wildlife Protection Act, ivory and ebony were widely employed for the inlay works that can still be found on the Mysore palace door frames. After the ban was implemented, craftsmen had little choice but to experiment with alternatives such as coloured plastic or acrylic. White plastic is commonly utilised to create a contrast between the dark rosewood and the inlay design. They also employ a variety of wood shapes in a variety of hues ranging from naturally grayblue to fabric-dyed yellow and orange. To produce the required look, several colours are utilised. Today, the usage of brass and other semi-reflective polymers is also widespread. In addition to material variations, some artisans now adhere to classic inlay themes like as characters from Hindu mythology, sceries, and Dussera, while others prefer to depart from traditional traditions and experiment with contemporary designs and patterns. Some even dabble with portraiture using the patchwork technique. Patchwork is made in a unique way in which the complete picture is built by putting different hues of wood together, much like a jigsaw puzzle. These artists are also commissioned to turn picture graphs (supplied by the buyer) into works of art. Bright young minds, such as 20-year-old apprentice Lukhman from Majeed fine arts (a privately owned inlay production unit), experiment with incorporating the inlay technique in various lifestyle products such as flower vases, pen stands, and so on, while other artists recreate the palace inlay patterns.


Types Of Wood

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Strength, Weakness, Opportunities and Threats Analysis A SWOT analysis of craft

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About Artisans A story of artisans

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Name :- Mohan Age:- 55 years Experience :- 40 years Place:- Mandi Maholla, Myore

He is a multi-award winning artist. He has been working on this skill on his own for the past 30 years. He learned about it via CTI (Chamaraja Techniqual Institute). He works really hard and sees a lot of promise in this skill, so he convinced his three sons and one daughter to study it, and they are all doing it now. Murli, his oldest son, is a lawyer, and he and his brother practice together. He only used natural wood, which he obtained from a variety of various nations. In 2014, he received a national prize for his fabulous piece, which was an open book inlay. He also teaches this technique to anyone who are interested. Because he taught that this skill has a lot of promise, more people would revive or introduce new things to it.

Forest Inlay Frame 86

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Award Seminar

Natonal Award Winning Inlay

Natonal Award Winning Inlay

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Mr. Mohan with Mr. Pranav Mukhargi


Relief Work of Elephant

Patch work of Barak Obama

Patch Work of Potraits

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Name :- Eric C. Sakellaropoulos Age:- 58 years Experience :- 30 years Place:- Bannimantap, Myore

He’s from Canada, and he’s here to learn how to do inlay work. After acquiring this technique, he founded the Intarsia India firm, which produced remarkable inlay work. He has been performing this technique in India for the last 30 years. He creates one-of-a-kind inlay pieces. He substituted camel bone for ivory. He also employed mother of pearl, satin wood, metals, shells, and other materials. He adapted modern technologies for quick and efficient work. He revolutionised Mysore’s inlay craftsmanship. He has a massive product line with a basic design. He did a fantastic job with the mysore inlay.

Inlay Box

Fungus Wood

Satin Wood


Butterfly Patch Work

Marine theme Inlay Mural

Airplane Inlay Box

Floral Motif Inlay Cupboard


Name :- Ganesh Age:- 50 years Experience :- 35 years Place:- Kalkhushalanagar, Myore

Because of economic troubles, he began learning this craft when he was 15 years old, and it has been practised in his family for 100 years. His father is also a practitioner of this skill, which he learned from his father and mother. He sells his products in the Cauvery Emporium and other Mysore emporiums. He is still employing some outdated methods. He is less interested in using modern machines. He substitutes acrylic sheets for ivory. Many woods are hard to come by nowadays, therefore he utilised dying hale mara wood.

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Cleaning Surface of wood


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Challenges A Challenges faced by artisans

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Health Problem

Raw Material

Low Wages

With this delightful specialty, tags along perilous medical problems. There is a not insignificant rundown of medical issues emerging from the extend periods of time went through with this specialty. A standout amongst the most widely recognized disfigurements is that of the lungs because of undesirable utilization of rosewood clean and furthermore other wood tidy. This may likewise prompt epidermal medical problems. Another issue is solidifying of the skin because of ceaseless use of the metal instruments. The fingers and the palms begin having nodes too. Since the apparatuses are made out of metal and are sharp, there can be cuts and wounds while working with them, as a result of the unpredictable outline and the moment points of interest that the eyes need to get while cutting the wooden pieces, it additionally may prompt eye issues. For which the greater part of the craftsmen would be wearing glasses.

The main issue right now confronted by the skilled workers is in the acquisition of the rosewood. The supply from the forest department is constrained and the skilled workers need to purchase the rosewood in the administration open sale held in Virajpet in Coorg, where high bidders come to buy the rosewood. The Karnataka handicraft development corporation has developed an art complex to house whatever number of craft men’s families as would be prudent; the organization buys the items as well as makes different offices, for example, basic office focus, credit, crude material stop, and so forth the skilled workers require help with the acquirement of crude material at sensible rates during the time so the value factor could be kept up.

The majority of the rosewood inlay crafts mans have a place with the lower white collar class and with the wages that they get makes it hard for them to add to the family’s cost. The base wages every day begins from Rs.200 and goes up to Rs.500 even in the wake of working for 8 to 10 hours. This hasn’t changed over the most recent couple of years, notwithstanding working in a similar organization for quite a long time and subsequently will blur away. Which it shouldn’t.

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Design Knowledge

Dealers and Emporium

Scarcity Of Craftsmen

The most exasperating issue among the crafts men is the lack of information and mindfulness about their own particular rights and the correct worth of the wonderful items that they make with such commitment and constancy. For them the craftsmanship has turned out to be recently any irregular method of work. They don’t know much about where their diligent work goes and who receives the genuine benefit in their place. And even if the few of them are aware, they still don’t want to rise above the situation and help themselves. For the most part the emporiums contact the production lines and the handiworks for these careful crafts men, , and pay them a less sum for their diligent work and get them selves a benefit of an unfathomable sum.

Regularly the craftsmen who offer through merchants and emporiums are gravely deceive as the items are sold up to right around 150% profit, while the craftsmen are paid a less sum. The installments are additionally given late making it unmanageable for the craftsmen to proceed with their day by day, fill in as they depend just on that cash. The emporiums additionally add to their difficulties by dismissing the little scale businesses wherein these little craftsmen work makes the arrangement with the huge organizations.

The inlay craftsmanship is step by step cautioning without end as there are not really any craftsmen left nor does any youthful craftsmen need to proceed with this as a genetic workmanship in their families. They need their kids to grow up, get appropriately instructed not at all like them and go for occupations and not turn out to be any trivial rosewood inlay craftsmen as they seem to be. Prior it has been gone down through the eras as the request at that point was similarly high than now. With the rate starting at now and the request, in the coming 30 to 40 years, the rosewood inlay will soon get debilitated and subsequently will blur away. Which it shouldn’t.

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Diagnosis Study EDUCATIONAL LEVEL The primary level of education accounts to 42% of the total educational level of the artisans in Mysore, whereas illiteracy accounts for 36% of the same. Only 22% of the artisans prefer or have gotten the opportunity to study a little higher, i.e secondary education. Illiterate Primary Secondary

SKILL LEVEL Maximum number of artisans fall under the category skilled and highly skilled in their profession (34% and 26%). The averagely skilled artisans add up to 16% and the rest 24% are under the training for the same, as they are mostly young workers. Training Average Skilled Highly Skilled

INCOME LEVEL A majority of 36% of the total artisans earn between Rs. 2,500- Rs.5,000 per month, whereas 30% of them earn more than Rs.10,000. 20% of the same earn between Rs.5,000- Rs.7,500 and the rest 14%, between Rs. 7,500- Rs.10,000. Their income level depends on whether they are private owners/workers at a handicraft manufacturing unit that has gained recognition, or whether they work at small handicraft shops, or whether they stay at craft villages and receive minimum wages. 2500-5000 5000-7500 7500-10000 More than 10000 96

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HEALTH INSURANCE The government provides health insurance to hardly 36% of the local rosewood inlay artisans, while the rest 64% of them suffer without any health insurance, mainly because they work at private firms. Yes No

GENDER Around 64% of the total rosewood inlay artisans and workers are male (varying ages, from 14 to 65), where as the rest 36%, are female. Male Female

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Conclusion A conclusion on a mysore Inlay

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The intricate rosewood inlay work exhibits an impressive level of craftsmanship. Tireless professionals polish the rosewood and meticulously etch designs on its surface outlining historical events. Because ivory is no longer permitted, artisans meticulously inlay woods of various colours, acrylic, shell, or plastic to create these perfect marvels. The skill of rosewood inlay has evolved to meet current designs. Today, it has evolved from purely cosmetic things to lifestyle items. This art is no longer just seen in royal houses. Rosewood has found its way into a variety of shapes, including entryways, chests, mirrors, foot stools, boxes, parcel screens, pantries, cabinets, and eating table accents. Today, there is a good market for these products since people appreciate them and want to own such furniture and items for themselves. Aside from outfitting items, there are strolling sticks, chess sheets, jewels boxes, bangles, bowls, plates, cutlery sets, and so on that are growing nowadays. In the modern day, artisans often sell their wares through Cauvery, a project launched in 1964 by the Karnataka State Handicrafts Development Corporation Ltd (KSEDCL) to ensure that the state’s rich tradition of beautiful workmanship is preserved, developed, and improved.

Setting up self-improvement gatherings for town-based craftspeople and assisting them in starting their own framework where they may be in coordinated touch with their clients could be a future tip. This is due to the current situation’s limitations of the artisan not being able to comprehend their customer and also not receiving much input. The noticeable aspect of the government framework is insufficient to assist craftspeople in earning fair enough earnings for a progressive life. The craft pieces are sold at a profit margin of 10 to 15% of the original cost paid to the artisans by the emporiums or dealers. As a result, the actual workers in the craft are receiving far less than they should. In any event, they were enthusiastic workers on a low income. We are looking for better management and financial direction. It was incredibly enjoyable to view and appreciate the art, seeing the nuances of workmanship and progressing in learning.

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Myths & Mythology A story of a mysore Inlay

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- Some of the people says that Krishna Murti (Acharya) ( Bhrama Achary) comes to mysore in 1904 from barma to make a inlay in mysore palace. After that Shaukhat Ali comes to mysore in 1965-1970 and he bring the patch work in the market with totally new form of mysore inlay. And after that Putt Raju comes in recently years and he bring Relif work which was the 3D inlay.

- Some of people says that woodeyar family called the artisans who worked in taj mahel to doing inlay in the mysore, And then they started mysore rosewood inlay in the mysore.

Rosewood Inlay

Patch Work

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Bibliography A story of a Documentation 102

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https://www.makemytrip.com/travel-guide/mysore/places-to-visit.html https://www.tripadvisor.in/Attractions-g304553-Activities-Mysuru_Mysore_Mysore_District_Karnataka.html https://www.ndtv.com/india-news/ugadi-2021-date-time-significance-how-to-celebrate-telugu-new-year-ugadi-2411656 https://travel.earth/festivals-in-mysore/ https://www.fabhotels.com/blog/places-to-visit-in-mysore/ https://www.tourtravelworld.com/india/mysore/the-mysore-zoo.html http://mysoreinlay.com/ https://www.prathamasrsti.com/mysuru-rosewood-inlay https://www.tripoto.com/trip/learned-a-new-skill-in-mysore-the-art-of-rosewood-inlay-mysore-5ca9e7196f9a0 https://steemit.com/india/@rainsa/crafts-unparalleled-6-mysore-rosewood-inlay-work https://steemit.com/india/@rainsa/crafts-unparalleled-6-mysore-rosewood-inlay-work https://www.swadesi.com/news/rosewood-magic-from-mysore/ https://www.dsource.in/resource/mysore-rosewood-inlay-works/introduction https://en.wikipedia.org/wiki/Mysore_Rosewood_Inlay#:~:text=Rose%20wood%20mostly%20got%20about,the%20Wadiyar%20kings)%20 was%20further http://artsofmysore.com/more/about.php https://isharethese.com/making-of-rosewood-inlay-handicraft-mysore-crafts-india/

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