Mysore Cluster Document

ABOUT THE INSTITUTION

National Institute of Fashion Technology was set up in 1986 under the aegis of the Ministry of Textiles, Government of India. It has emerged as the premier Institute of Design, Management and Technology, developing professionals for taking up leadership positions in fashion business in the emerging global scenario.

NIFT has been granted statutory status under the act of Parliament of India in 2006, empowering the Institute to award degrees and other academic distinctions.

The Institute is a pioneer in envisioning and evolving fashion business education in the country through a network of fi fteen professionally managed domestic centres at Bangalore, Bhopal, Bhubaneswar, Chennai, Gandhinagar, Hyderabad, Jodhpur, Kangra, Kannur, Kolkata, Mumbai, New Delhi, Patna, Raebareli and Shillong.

NIFT has set academic standards and excelled in thought leadership by providing a pool of creative genius and technically competent professionals. The Institute provides a common platform for fashion education, research and training.

RoseWOOD INLAY MYSORE

DOCUMENTED BY VYOM PATHROLIAYA

ACKNOWLEDGEMENT This expidition was an enlightening experience and wouldn't have been so without the ever extended help and support of our mentor Prof CM Sanjeev for encouraging us to go beyond our horizons. I would also like to thank our Director Mr. V. Shivalingam of National Institute of Fashion technology, Bangalore for providing the opportunity of visiting the craftsmen & creating a spellbound expriene of our lives.

A few more people to be greatfull upon are Mr Ashok kumar, Shree, k. krishna & Mr. Kirth; not only for there excellence craftmanship but also for their overwhelming enthusiasm & co-opreation. They patiently gave me their precious time during their work hours for their enhancement of this craft cluster.

OVERVIEW A cluster is defined as a geographic concentration of units producing near similar products and facing common opportunities and threats.

Mysore cluster falls under Karnataka state in Mysore district. Having abundant availability of timber, especially rosewood, teak, and sandal in the forest abutting Mysore; prompted the noble chevalier to use them liberally in the making of their customised furniture’s, artworks and other wooden articles over the centuries. Every article of those timber was handcrafted by sculpturing, inlay and other inventive works. Consequently, Mysore handicrafts and paraphernalia became favoured in Karnataka and vicinal states.

This document bears imprints of all the lives of the artisans, the era of craft from genesis and the way this enthralled craft thrives for existence. Emphasizing more with the plight of the artisans, it such an irony that this beauty was created admits vileness and poverty. Every little intricate de-tail of the design reflected the less recognized passion, hard work, and effort of the artisan. I summarize it hoping that the treasures they created, remain immortal.

INDEX

01 02 03 04 05 06 07 08 09 10 11 12

1|2 Know the place | Dwmographics 2|3 History | Climate 5|6 Around the town 7|8 Archietecture 9|10 Rosewood, What is It | How it got Started 11|12 Where It is made | Tools and raw materials 13|14 Other Tools 15|16|17 How it is made 18 Products 19|20 How it is sold | Influences 21|22 Problems faced | Conclusion 23|24|25|26 Case Study

27|28 Glossary 30 Biblography

Know the place Mysore, a city of palaces, is one of the palatial reserves for the abundance of art and sculpture that India hosts. From the genesis of Mysore silk and saris, to paintings, rosewood inlay work, Ganjifa cards and many more; this city alleviates the soul of the art wanderers, gratifying them to an aesthetic delight.

The artistry of our land have been long forgotten by our people themselves. And craft cluster is a much needed progression that would revive the fond and recognition so that it becomes an impression that lasts forever.

Mysuru , comes from the Sanskrit word “Mahisuru�, which means a residence of Mahisa in kanada language. It is the third largest city and also the second cleanliest city of India. It is also known as the cultural capital of the south Karnataka. It is also the home of the Carnatic music. The most forte thing of Mysore silk Saris is its waterproof feature, which is famous all over the world.

1

Demographic Details

As per the census , Mysore has a population of 3001127, where males are 1511600, and females are 1489527 in number, and the literacy rate is 86.64 % , which is surprisingly bigger than the state literacy rates.

2

History The Yadavas then ruled over the area for 600 years. The dynasty was established in 1399 by Yaduraya Wodeyar. He ruled Mysore under the Vijayanagara Empire until 1423. After Yaduraya Wodeyar, the Mysore kingdom was succeeded by the Wadiyar rulers.

The kingdom reached its height of glory in military competence during the reign of Hyder ali and Tipu Sultan.

The Mysore municipality was established in 1888. It became the first city of Asia to undertake the planned development of the city.

3

Climate The august city adores the tropical savannah climate. The main seasons are: summer from March to June, monsoon from July to November and winter from December to February. The City’s average annual rainfall is 804.2mm.

Geographical Details The city is stationed in south Karnataka almost 140 km away from capital city Bangalore. It is about 770 km above sea level, with an area of 128.42 sq km. Staying true to its title , Mysore is well known for festivities especially Dussehra. During this time a 10 day long procession is witnessed which provides a visual treat to its spectators.

4

Go around the town

Mysore is a city where all religion has coexisted harmoniously for many centuries.

Being a historical place the city receives a good number of footfalls all year round. A list of important places we can visit to know a city.

1.

2.

5

Mysore Palace - While Mysore have a number of palaces, the crowning glory is undoubtedly the Mysore maharaja palace the original wooden palace was destroyed by a fire in 1897 and the new one was rebuild by Henry Irwin in 1911.During weekends and public holidays the entire palace is decorated with lights making it a treat to vision.

Brindavan Gardens- If one would love a romantic getaway the Brindavan garden is a right place.

Built in 1932 during Krishnaraja Wodeyar IV, on the terraces of the krishnarajasagar dam. It is a meticulously planned garden. While the dam was built by Vishweswarayya, the gardens were designed by sir Mirza Ismail

3.

4.

5.

6.

Chamundi Hills – It dominates the landscape of Mysore, embracing the 12th century temple of Chamundeshwari devi, the patron god of Wodeyar dynasty, the 16 feet high Nandi statue carved out of a single rock is the most magnificent sculptures, and second of its kind in India.

Jaganmohan Palace- Built in 1861 by Wodeyar III, it is a predominantly Hindu style palace crafted to serve as an alternate residence for the royal family.

Lalitha Palace- Magnificently anatomised

by E.W. Fritchley. The Palace was built by Krishnaraja Wodeyar in 1921 for the exclusive stay of the Viceroy of India. The Palace is pure white in color and is built in the style of Italian palazzo with twin ionic columns domes it also has a sprawling terrace and landscaped gardens. This palace is now been converted into a fives star hotel belonging to a Ashok group of hotels.

Mysore zoo – The finest zoos in India. It has a collection of white tigers and 2000 animals, 85 species of plants in campus. The world smallest monkey called the “pocket monkey” and many cockettoos, white and colourful peacocks and many splendid beasts to get accustomed with. This is only zoo in India exhibiting apes and also had India’s only gorilla, Polo who died in 2014 due to illness.

6

ARCHIETECTURE The architectural style of Mysore palace is hybrid. That is, its design is a mixture of various schools of architecture. The most apparent example would be the Mysore Palace. Some of the important styles are:

INDO-SARCENIC ARCHITECTURE, the Indo Sarcenic buildings of Mysore city is led by Ambavilas Palace. Mixtures of Hindu and Islamic characteristics of architecture are found in all these buildings. Islamic pointed and cusped arch openings found in the verandas, projecting minarets near the entrance portico, big bulbous domes in the centre and in the corners of the building on their roof level.

TRADITIONAL HINDU STYLE, Jagan Mohan Palace building is the best example of traditional style of architecture in Mysore city. The visual effect of the edifice is enhanced by an appropriately deep foreground. All temples in Mysore city exhibit the traditional Hindu style of architecture. Each temple has a Garbhagruha, sukanasi, Navaranga and Mukhamantapa.

7

GRECO – ROMAN STYLE, a Vatican dome rising on a drum in circular and octagonal shape dominates the elevation in these structures. Greek deities define the tier and the balustrade parapet bends are an agreeable addition to a rich composition. The Chaluvamba Mansion and Krishnaraja Hospital are the best examples for this style.

GOTHIC STYLE, Spires or long tapering roof-like elongated pyramids that are commonly found in churches are the typical characteristics of gothic style. The main hall or nave with multiple molded columns culminates in stately arches. St. Philomena Cathedral and Hardwick church are the best example of Gothic style of architecture.

EUROPEAN CLASSICAL STYLE, these structures have vast garden settings with elegant approach on the front side. They usually consist of a central atrium leading to a banquet hall, with elegant rooms on either side. These structures have an elegant portico. These structures are the royal architectural elements in Mysore. For Example, Lalith Mahal Palace.

RESIDENTIAL ARCHITECTURE of Mysore city is lead by traditional vernacular architectural buildings with sloped Mangalore tiled houses, colonial bungalows, monkey topped bungalows and a mixture of colonial and Indian decorative style bungalows.

8

Rosewood, What is it Inlay is commonly is commonly used in production of decorative furniture’s, where pieces of coloured wood or metals are inserted into surface of the carcass. There are more than 25 varieties of wood involved which offers various textures and colours. Other coloured materials like ivory shells, mother of pearl, horn and sandalwood are inserted into the depressions in a rosewood object to form pictures that normally are flush with the matrix.

Rosewood mostly got about around from forestry area covering Mysore region used for furniture and artefacts from the time of Tipu sultan and was further promoted by local Mysore maharaja.

Along with rosewood yellow wood and ebony are also used as raw materials. The niche of the rosewood inlay demands for intricacies in the inlaid motifs and patterns rendering it with a canopy of excellence. One of the various unique features of rosewood is that it never fades off even after years of abrasion. It is a, n evergreen timber.

9

How it got started?

Historically the Maharajas patronised the artisans who are reckoned to have settled first in Srirangapatna around the 18th century A.D. during the period of Hyder Ali and Tipu Sultan. Subsequently, the Wadiyars to whom the Mysore kingdom was restored by the British continued to encourage them. Skilled artisans chipped away at the surface of the wood used as the base and chiselled intricate patterns. The chiselled interiors were filled with woods of different shades and hues. Ivory and ebony predominated the inlay works but after a ban on the use of ivory the artisans shifted to coloured woods and increasingly to white plastics to highlight the contrast set against a dark background provided by rosewood. The creativity of the artisans was kindled by the flora and fauna of the region as also the social traditions as evident in the themes depicted in the inlay works. The Mysore Dasara procession, rural scenes, the wildlife found in the jungles nearby and the khedda operations were the favourite themes of the artisans who moved away from geometrical patterns. Inlaying is a tedious job, requiring an ample amount of hard work combined with patience and a strong aesthetic sense. The small grin on his face gives away his sense of satisfaction on completing his masterpiece which would be sold in some lakhs but out of which he shall get only a few thousands. The local artisans’ mastery over their craftwork has a stamp of distinction not matched by similar imitation works from elsewhere in the country

10

Where it is made?

A few numbers of the descendent of the artisans of the past reside and work in the village – Karakushala nagar, set by the government. To encourage and enhance the crafts of Karnataka, the government set up a multi craft complex cluster in year 1986 with the help of both central and state government. The government supported set up providing living & working spaces for about 2000 crafts person & their families. In the year 1986 the first batch of houses were allotted to 100 people. Two years later, 90 more were allotted. The third phase of allotment provided accommodation to a hundred more families. The year of 2000 sheltered 300 more people, as 120 more quarters were constructed. A total of 480 houses came into being in a span of 16 years. The village offers residential facilities living cum work sheds, 5 feet x 10 feet and marketing areas. The organization conducts training programs sponsored by development commissioner of handicrafts with the help of in house design centre & ‘Chamraja Technical Institute’ Mysore.

Located on the Banimantappa Road, 3kms away from the city center, Karakushala Nagar is nearly at a distance of 4 kms from the main bus stand, in the western outskirts of the city, lies the village. The railway crossing divides the village from the city. Autoricksaw & buses (Bus NO. - 150B/150C) from the city bus stand are the most reasonable means of reaching the cluster.

11

Tools and Raw materials used All the raw materials used in this craft are locally made. the different kinds of wood used are : Patanga (orange), lubber (whitish brown), champa( chocolate brown), Doodh (whitish), owl, silver (textured with dots).

12

Other tools used

The tools are easily available and sourced from the local market and some of them are modifi ed according to ease of use by the artisans

13

BOW is a fine wire blade is affixes to a C-shaped iron frame. The finest available blade is used to cut slabs of wood also exceptionally curvilinear pieces. These blades brake easily when heated due to friction produced by sawing through the wood. To reduce the chances of breaking off it is cooled with wax.

CHISEL is used for scraping and shaping the wood. It is generally available in different sizes, depending upon the type of work involved. A large chisel can be fl at tipped with 0.2 cm thickness and 1.5 inches broad. Whereas the smallest chisel which is used to carry out minute scraping is like a thick needle but with a fl at tip of 1 cm.

SANDING MACHINE is the tool which is used to finish the upper surface of the wood inlay, it makes the surface even, smooth & shiny. Nowadays electric sanding machine are also available. Due to the use of this machine makes the work of the artisans easier and finer with less time of consumption. It makes the work 10 times more efficient work.

PATTA, At times it is not easier for the craftsmen to use a hammer, because the whole force is concentrated on one point therefore a broad fl at iron rod called the patta is used to beat the chisels. Patta generally comes in the dimensions of 1.5’ x 12” x 125”. It weighs around 500 gms. to 750 gms A number of nails, of various sizes are used by the wood inlay craftsmen for the purpose of putting the inlay pieces into sequence in the process of pressing them.

The lengths of these pieces are generally 1 inches to three inches and are usually very thin FORCEP is a small picker made out of steel locally known as a chimti. Forcep is used to keep the small pieces for inlays in the grooves and cavities created in the wood. It helps to arrange fine pieces of wood and plastic which may slip from the hand otherwise.

PLASSE is another commonly used tool which helps in pulling out the nails from the fixtures and also helps in removing the embedded pieces when required. They come in various sizes and have different shaped noses. For this craft generally the pointed nose plasse is used.

HAND DRILLER is a tool which has different diameters of nails used for making different diameters of holes in the wooden plank. The tools are easily available and sourced from the local market and some of them are modified according to ease of use by the artisans.

HAMMER is used to beat the chisel and the blade.

14

HOW IT IS MADE

STEP 1 PAPER DESIGN Basic shapes and designs for the product are hand drawn at this stage. Then the design of the art piece is finalised and drawn on a white or butter paper and colours are marked on the drawing. These designs are sourced locally, supplied by the distributor or extracted from newspapers and magazines. The patterns and designed that are preferably drawn are mostly geometric or floral. Religious themes are epic and inevitable. “A village scene, portraits, a herd of elephants walking, women working in paddy fields�, is some of the themes whose depiction has become popular, say a designer. Keeping with the expanding consumer market of tourists from various countries, there has been introduction of abstract contemporary designs with a traditional touch, beautifully merging the east and the west but in their own way.

15

STEP 2 CUTTING The next step is cutting of the desired design on wood. Different woods are used for different colours; woods are dyed with desired colours by using food dyes like kesari and left in the sun for drying. Then small sections are traced onto a separate paper and used as stencils to stick on wood, they photocopy them for similar designs. The motifs are then pasted on the fibre plastic sheets with the local or home-made glue. The wood with the design outline is held on the table by means of table vice or otherwise held firmly and bow is run on the tracing or outline of the design. Different parts of the design are thus sawed off different parts of wood.

STEP 3 SCOOPING The motifs are then arranged together and transferred onto the desired position on the base wood, which can be rosewood or a combination of other woods. The design traced is then chiselled to make grooves of a certain depth, usually equal to the depth of the cut-out. For inlay with a thin base, drill is used to give minor depths and the pieces are fit into. There is a danger of breakage of the base and hence great caution should be taken while drilling. Scooping is a difficult task and requires much amount of attention and skill. As an alternative, the shape of the inlay piece is cut out onto the base leaving a gap, and the piece is then fit into the hollow.

16

STEP 4 FILLING Once the process of scooping is done, the paper pasting is removed and is fitted into the grooves like a puzzle. The various coloured woods are arranged by referring to the initial drawing and then are put in place with a strong adhesive like araldite or fevicol. Further, nails are hammered onto them in order to fix the motifs and the composition is then left for two to three days to dry out completely for the finishing process to start.

STEP 5 FINISHING The work piece is levelled using a chisel and then rubbed using several grades of flint papers in order to bring all the pieces to the same level. Earlier, upper layer of the coconut was used to rub instead of sand papers. Black and red colour may be added by means of a brush for the purpose of thin outlines. Then the frame is rubbed with kalamoum (mixture of bee extract and charcoal) by a brush made of cloth for gloss and then scrapped by a chisel. So that the wax remains in the groves and the rest of the surface is removed.

Composition is generally polished with white polish while frame may be polished with white or brown polish. There are some pieces in which slight dimensionality is involved and the thickness and depth of each article in the composition is made to vary to give appropriate relief and depth. Sand powder mixed with glue is also used to fill the gaps between pieces.

17

PRODUCTS

The product portfolio ranges from flat wall hanging art pieces to intricate inlay on jewellery box, chess box, small idols to huge elephants, bed, swing, table, chair, comb, wooden floor inlay. Design interventions in terms of functionality as well as aesthetics of the products have happened in last few years due to the increasing export market. But the market is still dominated by traditional and repetitive designs and paintings and no further efforts for design developments have been made due to lack of support on the government’s part. And the underpaid artisans are scared to experiment, as they fear in-acceptance and losing their income.

18

How is it sold ?

Beautiful art of rosewood inlay has made its place in the indian market and is widely appreciated. The most widely used range of products in this art is that of furnitures and decorative items. Other products such as boxes in rosewood inlay, mirrors, chess boards, key holders etc are also done by the artisans. These articles are usually found at the Cauvery Emporium under the Karnataka State Handicrafts Development Corporation Ltd (KSHDCL), or they can also be done by the artisan on direct request of the customer. Sometimes artworks done by the state or national awardees are also sold to exhibitions and museums to be displayed. Variation in the art is seen as patchwork paintings which are also very popular in the market and are sold at exuberant prices in showrooms in the city. These paintiings and products are also transported in other parts of the country where they gain good appreciation too.

Unfortunate fact being that the are products in the market that are sold at high prices to the customers while their profi t gained in the market is not reaching the actual artisans who develop the products.

Most of the artisans are unaware of the actual prices of their products in the market. These prices are a shocking 10-15 times higher than what the artisan sells it in. Conclusively it can be said that the market and the profi t both are good in rosewood inlay but the profi t is not fairly divided or given in the hands that truly deserve it. The market on the other hand is progressing well and has new products coming in because of new contemporary artists who want to establish their own business and bring a whole new range of products and modernize the art of inlaying in rosewood.

19

Influences

As all aspect of nature comprises of their unique pros and cons so does this craft. The foremost factor, The Wildlife (Protection) Act of 1972, which banned the use of ivory, is one of the eminent factors affecting it. The artisans had to resort to alternatives and the emergence of plastic as an alternative led to many more players in the market. This further led to competitive pricing amongst artisans, bringing down the profit margin. As their income reduced, and the raw materials became expensive, artisans started dyeing the cheaper natural wood and substituting wood for coloured and textured plastic. They now had the option of more colours and this worked to their advantage as the market expanded and the export factor was introduced. This also encouraged adaption of folks and scenes from the bible and other religions as Buddhism and Jainism. As the art modified, so did the technology. Though most artisans and customers still believe in the precious touch of the human hand that carves and its errors, others have now adapted to the technological advances like electrical cutting machines, finishing machines and polishing machines.

As the market further evolves, there seems to be much to look forward to in the future, both, for rosewood inlay and the artisans who practice it.

20

Problems faced

Although the artisans are blessed with conveniently located workshops – which are nearby or in their homes – their biggest challenge is their insufficient income, due to which the upcoming generations are alienating this inherited craft in order to take up better paying jobs to support their families.

The major health hazard usually faced by these artisans is allergy to sawdust which causes coughing and mild breathing problems. There are tool injuries that the artisans face during work. These injuries could be serious sometimes or mild at others. Other work problem faced is the inconvenience of seating facility while working. Usually there is a mat for the artisan to sit and work on, but since their work hours tend to extend till 10 hours per day, sitting on the floor and working gets tiring and results in back ache issues in many artists. There is also the pressure to deliver on time and they cannot afford errors. Another problem faced is the pricing, which is influenced by other artisans around the cluster area. Despite of everything the artisans downplay their inconveniences and problems with a smile on their face, further proving that they worship and cherish their work.

21

CONCLUSION

Craft in India Has a rich history that follows. From the extremes north to kanyakumari each craft has their unique story to tell and learn from. Mysore being one of the them, it holds stories of the bygone era starting from the elegant and precious gold painting to silk saris and the prospering flora fauna as depicted in the rosewood inlay.

Its vastness will never be fitted into mere words. It has its own charm and welcomes everyone who visits it.

“We should try to save this art, our work….. Or else, what will we pass on to our next generation, work properly and preserve it for our children” - Says aA 51 year old artisan, who owns a manufacturing unit.

22

CASE STUDY

23

ASHOK Catalyst Persona – “I take those works which other artisans deem impossible to do in rosewood inlay”. Prepending more solemnity into inlay work, Mr. Ashok – a progressive intellect took over his ancestry business of rosewood inlay work, in the year 2000 and helped in globalizing “Arun Fine Arts” in terms of customized designer furniture’s. He cultivated mastery in this field by attending 50 exhibitions all around India and has been instrumental in exporting intricate inlay work to England, Scotland, Denmark, USA and Cyprus. His inlay moil ranges from 1sq inch to 8-12 ft.

24

HARI The unfeigned descendant- Toiling for more than 10 hrs each day in a room full of wood dust, this 22 yrs.’ Old SSC graduate, allergic to dust, ties a fabric round his face to protect himself.

What keeps him going is the fact that still lives in a rented house rendering 800 INR a month, while most of the people own their houses. Despite being a novice, he is a fast learner. He recognizes the nuances of the art and the trade as he becomes more and more familiar with the odd profits of his family, the middleman and governmental facilities that sell the product. Distressed by this, he wants to learn the marketing aspect so that he is able to get his family justice.

25

KRISHNA

The protagonist – Being well educated about the diminishing craft of the inlay work, he ventured to promote it by partaking in inlay work exhibition in Delhi, Kanpur and throughout India. His last 25 yrs. experience tutored Mr Krishna every intricate details of this craft. In the making of his artworks he prevailed to use only naturally coloured wood that he gets from Mysore market. To him, the beauty of the craft lies in how skilfully one can use the tints and grains of the wood in the design. Recreating sceneries with unabridged precision is rarely a possibility, since every piece of timber has its unique grain line but about 50% can be emulated. Silhouettes’ are easy to replicate but not the colour and features of natural elements in inlay works. In one area of Mandi Moholla his two room workplace was buzzing with activity.

Warm-hearted as he was, his greetings were with immense enthusiasm. Being the master he employed four artisans, each accomplishing their specific field of expertise. The art piece created were truly mesmerizing.

26

Acrylic sheets - a substitute of wood now being used in inlay work. finished acrylic sheet exhibits glass like qualities clarity, brilliance, transparency, translucence – but at half the weight and up to 10 times the impact resistance. It can be tinted or colored, mirrored or made opaque.

Bow - It is a fine wire blade is affixes to a C-shaped iron frame.

These blades brake easily when heated due to friction produced by sawing through the wood.

Brindavan Gardens - The Brindavan Gardens is a garden located in the state of Karnataka. It lies adjoining the Krishnarajasagara dam which is built across the river Kaveri.

Chamundeshwari Temple - is located on the top of Chamundi Hills about 13 km from the palace city of Mysore in the state of Karnataka in India.

Chisel - It is used for scraping and shaping the wood.

Banimantappa - an area in mysore near karakushalanagar.

Glossary

Colour blocking - a technique in which a number of shapes of different solid colours are put together in a visually aesthetic manner.

Forcep - a small picker made out of steel locally known as a chimti.

Grain line - the alternating regions of relatively darker and lighter wood resulting from the differing growth parameters occurring in different seasons.

Geographical Indication - GI is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country).

Hoysalas - is the building style developed under the rule of the Hoysala Empire between the 11th and 14th centuries, in the region known today as Karnataka, a state of India.

Kalamoum - mixture of bee extract and charcoal.

27

Karakushalanagar - an area in mysore, housing the cluster for rosewood inlat, carving set up by the government.

KSRTC - Karnataka State Road Transport Corporation or KSRTC is a state-owned road transportation company in Karnataka.

KSHDCL - Karnataka State Handicrafts Development Corporation Ltd. Mandapas - in indian architecture is a pillared outdoor hall or pavilion.

Mandimohalla - an area in mysore housing artisans indulging in rosewood inlay.

Patch work - variation of inlay in which wooden motifs are grooved like a puzzle.

Patta - broad flat iron rod.

Plasse - used for pulling out nails from fixtures and in removing the embedded pieces.

Plastic mirror - a variation of acrylic sheet.

Ranganathittu Bird Sanctuary - is a Bird Sanctuary in the Mandya District of the state of Karnataka in India. It is the largest bird sanctuary in the state which is about 40 acres.

Sawmill - a facility where logs are cut into lumber.

The Wildlife (protection) act of 1972 ; influences - the wildlife protection act, 1972 is an act of the parliament of india enacted for protection of plants and animal species.

28

Book. Handmade in India : Crafts of India Series Author: Aditi Ranjan & M.P. Ranjan (Eds.) Year: 2008

Biblography

www.mysorehandicrafts.com www.cauverycrafts.com/rosewood.php

29

BACK COVER

National Institute of Fashion Technology institution of the Indian Ministry of Textiles