LAC BANGLES OF JAIPUR
Guide: Neelima Hasija Graphic Guide: Rana Swarajsinh Armaan Nagvanshi Ritvi Muzumdar Yuri Oberoi
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National Institute of Design, Ahmedabad
PREFACE This document is a result of an in depth research conduct on field and otherwise. It elaborate about the age old and famous craft of lac bangles. Despite having a huge demand and a widespread market all over the country, the craft is facing threats on it's own. Not only does the threat affect the practice of craft, but also disturbs the socio economic balance by introducing child labour and various other ill practices. This document give a detailed information about the craft, including the process, the artisans, the infrastructure, markets and scope.
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ACKNOWLEDGEMENT We would like to express our gratitude to all those who helped us to make this documentation possible. We would like to thank National Institute of Design for giving us this wonderful opportunity to study the famous and rich Lac Bangle Craft of Jaipur. We would specially like to thank our guide Ms. Neelima Hasija, who supervised and guided us throughout the process. We would also like to thank Mr. Sanjay Saxena, the officer-in-charge at RUDA (Rural Non Farm Development Agency), who got us in contact with the artisans Mohammad Ali Manihar and Mohammad Wajid Manihar. We would like to thank our friends in Jaipur who helped us through the city and made our stay during the craft documentation pleasant and also gave us information and knowledge about the Rajasthan culture and traditions. We are also thankful to the KMC staff at NID for helping us refer books related to the craft study. In the end we would like to thank our families and friends for their constant support and encouragement.
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INDEX PREFACE
...1
ACKNOWLEDGEMENT
...2
INTRODUCTION
...7
Making of the Craft Object ...40 Preparation of material Process of Making the Product Ornamentation and Finishing Packaging ...44 Gulal Gote ...46
ARTISAN’S PROFILE
Craft research and documentation ...8 The Craft; Lac Bangles ...9 Rajasthan, Jaipur ...10
...49
Muhammad Wajid Manihar (Wajidji) ...50 Babu Khan Manihar (Mohd. Shafir) ...51
HISTORY AND ORIGIN ...17
PRESENT CONTEXT ...53
The History ...18 Lac in Indian Mythology ...19
Current scenario ...54 Role of Government and Media ...55 Changes in process and material ...56
CRAFT AND CRAFT COMMUNITY ...21
ISSUES AND CONCERNS ...59
The Craft ...22 Product Range Craft vocabulary Community . ..24 Location Work Distribution Socio-economic-Culture
Adulteration in raw material ...60 Introduction of Cold lac ...61 Packaging ...64
ANALYSIS
...67
PROCESS AND WORKSPACE ...27
SWOT ...68 Inferences ...69
Raw material ...28 Workspace, Tools & Equipments ...32 Workspace Tools
BIBLIOGRAPHY ...70 GLOSSARY ...72 Lac Bangles of Jaipur
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INTRODUCTION Lac Bangles of Jaipur
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CRAFT RESEARCH AND DOCUMENTATION This section talks about the meaning and purpose of craft research and documentation. It also elaborates the process followed to conduct this project and how this project can help a particular craft sector.
In India, crafts are more than mere professions. They reflect the history of our culture and influence of each empire. Many craft communities in India still practice traditional techniques of creating objects that are both practical and aesthetic. Since the Industrial Revolution, the traditional handicraft sector has suffered a lot and still continues to. Through craft research, we aim to develop an understanding of the materials, processes, methods, traditions, history, and the craft community. This will give us insights on the problems a particular craft is dealing with and how design will be able to provide answers to it. Craft documentation is a process of recording, categorising, compiling, and analysis of information, through written media and visuals. The process explicates the substantial characteristics of a craft which is;
THE CRAFT; LAC BANGLES
Literature study has been done to bring in secondary data. This was done initially before the field visit to become well informed about the craft practice and after the field study to further support the evidences from the field, The entire process has helped in making the document much robust. The field visit includes interviews, observations, photographic (still and motion) documentation, and sketches.
This section briefs about the craft of lac bangles
Craft documentation can help bring out a well studied document in the areas of design and crafts which have not been studied and published yet. The document can help establish links between the current status of crafts to the global market and the history of craft. It may help directly or indirectly the concerned craft, like it could help in finding new markets and in developing market supports.
The materials, process, tools, and techniques involved in creating it. Range of products and the various applications possible with the materials. Tradition, history, and legends associated with the craft. Socioeconomic information about the artisans and their community.
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Lac is a resinous pigment which is the secretion of insects hosting on a tree. Lac is a complex organic substance which is then modified in many ways to be used to make jewelleries. Lac has some properties like, malleability, ductility, plasticity (can be modified to any shape on application of slight heat), it’s not fired hence cannot break like ceramic, reusable in every state, and easy application of colours. These properties make it easy to use and a popular material for various crafts. Lac is modified and used to create a variety of products,
ranging from jewellery to household vessels and stationary items. Lac is considered auspicious in Rajasthani Culture, yet only by Hindus. Scriptures like Mahabharata and Shiva Purana have referenced to the Lac insect and the usefulness of the material. Among the locals of Rajasthan, Lac bangles stand as a symbol of a ‘Suhagan’ (Married woman Lac as a craft is practiced in many parts of the country, which includes, Bihar, Rajasthan, Hyderabad, and Uttar Pradesh.
JAIPUR, RAJASTHAN Location: 26.57268°N (Latitude), 73.83902°E (Longitude) Area: 342,239 km2 Total Districts: 33 Time zone: IST (UTC+5:30)
CLIMATE AND GEOGRAPHY Rajasthan lies in the Thar Desert (The Great Indian desert) and is the largest producer of handicraft items in India. The extensive topography includes rocky terrain, rolling sand dunes, wetlands, barren tracts or land filled with thorny scrubs, river-drained plains, plateaus, ravines and wooded regions. The art and craft of Rajasthan are known around the world. Tourists visiting India always desire to take back souvenirs of Rajasthani handicrafts. Many brightly coloured and patterned crafts of the state are used to adorn household as interior decoration while others produce utility products like accessories, garments and miscellaneous products. The cluster of artisans who have been working with the famous Jaipuri lac resides in the market in the Old city
of Jaipur, in the Chandpole Bazaar area. The family of artisans who make lac bangles are called the Manihars in Jaipur. They have settled in the streets of the Jaipur city which is now named after them as Maniharon ka Rasta. The tradition of making Lac bangles and other products is being practiced for around seven generations now. Manihars are Muslim by religion and have spread out their families in the street.
Initially, his capital was Dausa, which lies 51 km from Jaipur. He felt the need of shifting his capital city with the increase in population and growing scarcity of water. The King consulted several books on architecture and architects before making the layout of Jaipur. Finally, under the architectural guidance of Vidyadhar Bhattacharya, Jaipur came into existence on the classical principles of Vastu Shastra and similar classical treatises.
HISTORY OF JAIPUR Jaipur, currently the capital of Rajasthan, was founded on 18 November 1727 by Maharaja Sawai Jai Singh II, the ruler of Amer from 1688 to 1727, after whom the city is named. The city today has a population of 6.66 million, making it the tenth most populous city in the country. Jaipur is known as the Pink City of India.
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Jaipur has a semiarid climate, receiving over 650 millimeters (26 in) of rainfall annually, but most rains occur in the monsoon months between June and September. Temperatures remain relatively high throughout the year, with the summer months of April to early July having average daily temperatures of around 30 °C (86 °F). During the monsoon there are frequent, heavy rains and thunderstorms, but flooding is not common. The winter months of November to February are mild and pleasant, with average temperatures ranging from 15–18 °C (59–64 °F) and with little or no humidity though occasional cold waves lead to temperatures near freezing.
The main rivers passing through the Jaipur are Banganga and Sabi. About 28.65 million cubic meter ground water resources are available in Jaipur. To provide the drinking water to the old city, there is Ramgarh dam on the River Ban Ganga. The main minerals of the city are copper, iron, dolomite, white marble, glass and silicon. Sambhar Lake, which is the only natural lake with salty water is also the leading source of good quality of salt in the state as well as country, is very close to Jaipur.
DEMOGRAPHICS As of 2011, Jaipur had a population of 3,073,350. The Population of the Jaipur Metropolitan area is 3,646,590. Jaipur is the 10th largest city of India according
to census of 2011. The Hindu population accounts for Hindu 80% Muslim 14% Jains 4.5% Christians 0.5% Sikhs 1.0% While 47.49% people lived in rural areas, 52.51% lived in urban areas. The overall literacy rate for the district was 76.44%. 87.27% males and 64.63% females were literate. The sex ratio was 898 females per 1,000 males.
CULTURE
TRADITIONAL SHOPS
ARTS AND HANDICRAFTS
Jaipur has many important cultural sites. Cultural centres like Jawahar Kala Kendra and Ravindra Manch have helped promote the culture of the state of Rajasthan. Albert Hall Museum (Government Central Museum) hosts several arts and antiquities. There is a government museum at Hawa Mahal and an art gallery at Viratnagar. The Town Hall (Old Vidhan Sabha Bhawan) is proposed to be converted into a museum. There are statues depicting Rajasthani culture around the city.
The city offers traditional shops to buy antiques, jewellery, handicrafts, gems, bangles, pottery, carpets, textiles, leatherwork and metalwork. Jhalaniyon ka Rasta, Thatheron ka Rasta, Khajanewalon ka Rasta, Nehru bazaar, Haldiyon ka Rasta, Mahiharon ka Rasta, Kishanpol bazaar, Tripolia bazaar, Sanganer bazaar, Ramganj bazaar, MI road and Johari bazaar are such traditional markets.
The prior rulers of Jaipur patronised a number of arts and crafts. They invited skilled artisans, artists and craftsmen from India and abroad. The communities settled in the city and made Jaipur their home. As a result, Jaipur is a major hub for arts and crafts. Some of the crafts include bandhani; block printing; stone carving and sculpture; tarkashi; zari, gota, kinari and zardozi; silver jewellery; gems, kundan, meenakari and jewellery; miniature paintings; blue pottery; ivory carving; shellac work; leatherware, puppets.
FAIRS AND FESTIVALS This city witnesses various fairs and festivals at different time of the year. Some of the festivals are Gangaur festival, Jaipur Literature festival, Kite festival, Teej festival, Shitla Mata Fair, Chaksu Fair, Elephant Fair, Chhat ka Mela in Amber during Navratri.
PERFORMING ARTS This land of Jaipur has its own performing arts. The Jaipur Gharana for Kathak is widely popular and apparently an example of rich cultural heritage of Jaipur as far as performing arts is concerned. Tamasha is another such example.
CUISINE The pink city presents scrumptious cuisines; dishes like Dal Bati Churma, Missi Roti, and sweets like Ghevar, Feeni, Gajak, Chauguni ke laddu, Moong Thal, Lac Bangles of Jaipur 12
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to name a few. Rajasthani cuisine is full of nutrition since it's made in ghee and butter; and is generally vegetarian.
TOURISM As a city in the Golden Triangle, and with its extraordinary culture and history, Jaipur holds a prominent position in Rajasthan, attracting more than one in three of the international tourists visiting the region. Jaipur is a major tourist destination in India. In the 2008 Conde Nast Traveller Readers Choice Survey, Jaipur was ranked the 7th best place to visit in Asia.
Visitor attractions include the Hawa Mahal, Jal Mahal, City Palace, Amer Fort, Jantar Mantar, Nahargarh Fort, Jaigarh Fort, Sri kali Temple, Birla Mandir, Sanganeri Gate and the Jaipur Zoo.
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HISTORY AND ORIGIN Lac Bangles of Jaipur 16
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THE HISTORY The history behind this craft tells a lot about how it came to Jaipur and why the people of Rajasthan consider lac bangles auspicious.
One has to go back a very long way to ascertain when lac, in one form or another, was unknown in the country of its origin, India. It is recorded in the ancient and religious records of the country (Mahabharata) that once upon a time Kauravas, in its fanatical zeal to exterminate another and rival sect (Pandavas), commissioned one Purochak, an architect by profession to construct an edifice where such destruction could conveniently take place. Purochak decided to build a house of lac which, when once alight would blaze fiercely and make escape of the inmates impossible. And so the fell deed was done. That was supposed to have occurred four thousand years ago.
of Rajasthan was shifted from Amer to Jaipur, and so were the artisans. This natural resin has been mentioned in Indian texts as ancient as the Vedas, where the Laksha taru (the Lac tree) has been mentioned. In the Atharva Veda, there is a small chapter devoted to the description of Lac insect, its habits and usefulness. In Rajasthan, Lac bangles continue to be popular and are preferred as they are soothing to wear and do not cause any infection or itching as in the case of plastic or glass bangles.
LAC IN INDIAN MYTHOLOGY Lac has been a part of Indian Culture for a long time, as one can recall. There have been references about lac as a material in several manuscripts. Many legends tell about the history behind the tradition of wearing lac bangles.
THE LEGEND OF LORD SHIVA AND DEVI PARVATI The legend goes, during the wedding of Lord Shiva and Devi Parvati, God created Lakhera (A community of bangle maker) to make bangles for Parvati. Shiva gifted these beautiful bangles to Parvati as signs of his remembrance which she would cherish as a reminiscence of their divine matrimony. Since then it has become a ritual to adorn a bride’s hand with bangles of lac as a sign of good wishes for her happy married life.
THE LEGEND OF LORD KRISHNA According to the legend, Lord Krishna created the Lakhera Community to make bangles for the Gopis.
REFERENCE IN MAHABHARATA Lakshagraha (Or Lakshagriha, The House of Lac) is a parva from the Mahabharata. This house was built under the orders of Duryodhana and his evil uncle and mentor Shakuni in a plot to kill the Pandavas along with their mother Kunti. The architect Purochak was employed in the building of Lakshagraha in the forest of Varnavrat. The house was meant to be a death trap, since lac is highly flammable. The plot itself was such that nobody would suspect foul play and the eventual death of the Pandavas would pass off as an accident. In the Mahabharata this incident is considered as a major turning point, since the Pandavas were considered dead by their cousins, the Kauravas which gave them ample opportunity to
The first authentic descriptive account of lac, however, is due to a report by the traveller-adventurer John Huyglen von Linschoeten, sent out in 1596 by the King of Portugal on a scientific mission to India. He made a most comprehensive list of uses of lac in those far-off days. Initially Lac was collected in the Uttar Pradesh (in districts of Saharanpor, Bahraich, Kheri, and Mirzapore). The collection was mostly done by Manihars, who rented the trees and removed the resin. The King of Amer, summoned these Manihars from Uttar Pradesh. The Manihars were established in Amer, the earlier capital of Rajasthan. During the reign of Sawai Jai Singh II, the capital Lac Bangles of Jaipur 18
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prepare themselves for an upcoming and inevitable war. However, an escape route was prepared for the Pandavas who had been warned of the plot.
TRADITIONAL VALUES ASSOCIATED WITH THE CRAFT Lac is worn by Hindu women because they consider it to be ‘pure’. A woman is gifted a set of lac bangles during her marriage occasion, as it stands a symbol of a married woman. The set is made by placing alternate red and green coloured bangles with yellow dots over them, which are called methi ka kada. The bangles are also gifted to a woman when she’s pregnant while praying for her to have a health baby.
CRAFT AND CRAFT COMMUNITY Lac Bangles of Jaipur 20
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THE CRAFT The handicrafts material in Jaipur are titled as one of the unique and distinctive features of the city culture. Identified in many forms the handicrafts of Jaipur offers the wide variety of segments from small to large which typically describes the real and pure art of the city. The craftsmen there are stated to commit their whole life just into making handicrafts for the city and developing the city one step ahead in art and craft form. Jaipur Lac bangles are known all over the world. The Jaipur Lac bangle work is famous in the area of Tripolia Bazaar and nearby Maniharon ka Rasta. Most of this work has been limited to homes of the artisans only. Lac bangles made up of red and green colours which are majorly worn on different festive and celebrating occasions. The bangles are also available in different sizes, the speciality of these angles are that if they get broken or damaged they can be easily repaired.
PRODUCT RANGE The range of lac products go much beyond the bangles. The products can be classified under following categories:
Personal adornment • Bangles • Brooch • Earrings • Bindiya (or Maang teeka) • Necklaces • Finger rings • Toe ring (Bichhiya)
CRAFT VOCABULARY
• Key ring • Ashtray • Jewellery cases • Pen stand • Water glass • Bowls • Decorative products like animal figurines • Worship accessories
Stationery products • Diary cover • Pens
Home accessories and lifestyle products
Lac bangles, initially, were plain single coloured bangles. The ‘chudda’, which was set of red and green bangles were considered auspicious and worn by married women. Lac bangles are also available in multicolored pastels like Leheriya, Kobra Kadda, Borada Kadda, Mix Kadda, Zic Zac Kadda, Braided Kadda, Chandar Bai Ka Chudda, etc. These beautiful bangles are made using lac only and achieved using different techniques. Lac bangles like these have a smooth and shiny finish.
are bright, pastel colours. Most of the patterns have developed over the years which work around the property of the material. For example the property of the material that the colours applied over it do not mix has allowed the formation of leheriya and ‘marbling’ techniques.
Lac bangles are ornamented with stones, glass pieces and beads. Thousands of different patterns are made on bangles using different colored beads and stones. They have slightly rough texture because of the stones but have a bright look, resulting in more visual appeal
• Mirror frames
Pen with a cover made out of lac and semi precious stones
Generally the lac bangles have a hollow cylindrical form and have a spherical curve from the outside and flat surface on the inside. However, the artisans use certain dyes to give the bangles different forms. The bangles are made by rolling a strip of lac into a bangle form. The joinery is smoothen with the application of heat. Though it’s not visible on the outer surface, the joinery can be seen on the inner surface of the bangle. The colours used in lac bangles like Lac Bangles of Jaipur 22
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Pen stands made out of lac, semi precious stones and mirrors
THE COMMUNITY The Manihar are a Muslim community who work with lac in Jaipur. The word manihar is derived from the Sanskrit words ‘mani’ meaning a precious stone or gem and ‘kara’ meaning maker. The Manihar occupy a middle position in the local hierarchy. They are spread over the northern Indian states of Rajasthan, Gujarat, Madhya Pradesh and Uttar Pradesh.
LOCATION
WORK DISTRIBUTION
SOCIO-ECONOMIC-CULTURE
They are also known as Shisgar in Rajasthan, where they inhabit the districts of Jaipur, Ajmer, Sikar, Churu, and Jhunjhunu; as Maniar and Chudigar in Gujarat, where they inhabit the districts of Ahmedabad, Kutch, and Kheda; and as Churihar in Uttar Pradesh. In Madhya Pradesh they are mostly found in the central districts of Jabalpur, Sagar, Damoh, Narsinghpur, Seoni, and Satna business.
The Manihar families, as observed, have different work distribution in different families. Though majorly, the men in the family make the bangles and work on the hot process. The females in family either sit in the shops to sell or ornament the bangles with stones and gems at home. Larger families have work distributed differently. Some work for the business, others make the bangles. But females, as observed, are never involved in making of bangle.
The Manihar are Muslims and belong to the Sunni sect. They worship Allah as the Almighty and revere the prophet Muhammad as his messenger to whom the Koran was revealed by the Archangel Gabriel. They have great faith in Muslim saints and visit their tombs to offer prayers and respect. They believe that these saints are mediators and can intercede to God on their behalf.
As discussed earlier, the Manihars were originally from Uttar Pradesh who later came to Rajasthan. (Read the chapter ‘The History‘)
They observe all Muslim festivals like Bakr Id or Id Zuha (a feast when a goat or sheep is ritually slaughtered in commemoration of Abraham’s sacrifice), Id-ul-Fitr (feast of alms at the end of the holy Muslim ninth month of fasting, Ramzan, or Ramadan), Shab-ibarat (the fifteenth night of the eighth month of the Muslim lunar calendar, Shaban) and others. All those who can afford to do so undertake the Haj or holy pilgrimage to Mecca at least once in their lifetime. The Qazi, Maulavi (priest) and the Fakir (religious mendicant) are their sacred specialists who are of service during different life cycle rituals and also impart religious preaching to them.
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PROCESS AND WORKSPACE Lac Bangles of Jaipur 26
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RAW MATERIALS
It was critical to know details of the raw material including its sources and characteristics as a designer, to further evaluate the process analytically.
LAC
BERJA (ROSIN)
Lac is the main ingredient of this craft. It’s a complex organic compound which is a pigment secreted by a specific species of insects called, Kerria Lacca (From the Kerridac family). The insect is also known by names like, Laccifer lacca, Cateria lacca, Tachardia lacca or scale insects. Lac is cultivated in the states of Jharkhand, Chhattisgarh, Maharashtra and West Bengal. Places which are either very hot or cold and where the annual rainfall is about thirty inches, are suitable for lac cultivation. Moisture is a necessity for the successful development of the insect, but if it’s excess it affects the crop injuriously.
The insects host on specific trees and colonize. In India, the following trees are the hosts for lac bugs: • Peepal (Ficus religiosa) • Babool (Vachellia nilotica) • Dhak (Butea monosperma) • Ber (Ziziphus mauritiana) • Kusum (Schleichera oleosa) Lac secreted by the insects covers the branches of trees. The coated branches of trees are cut and processed as ‘sticklac’. After being scraped, the lac is thoroughly dried in the shade. It is ground with an ordinary hand mill and soaked in water for twenty four hours. If
the quantity is not large, it is rubbed with the hands in a stone vat, or “nand” (an earthen vessel with a wide mouth and a thick bottom), until the colouring matter is separated. More water is added, and a stuffed strained through a piece of cloth. The colouring matter is allowed to accumulate in a vessel, and the stuff again put back into the vat and briskly rubbed. More water is added and the washed material is strained again. This is continued until no more colouring material comes out. A little washing soda is then sprinkled over washed product, and the whole again rubbed briskly, and more water added. By doing so the last trace of colouring matter is taken out, and the resultant washed material is of a beautiful pale-orange colour, which is the seed lac of commerce. Seedlac has 5% to 7% impurities, hence it’s further refined to obtain ‘Shellac’, by heat treatment or solvent extraction. Shellac is then made into form of chips or flakes ranging from colours like brown, yellow, orange, and red. Shellac is available in the local market of Jaipur as chapadi (Flat coin like structure) in two colours; burnt umber (Deep reddish brown) and ochre (Orange like). It is translucent in nature and is available as small round chips about the diameter of 2 inches in the local market. The colour of Shellac is influenced by sap of the tree and the time of harvest, but otherwise the lighter shades are more popular in
Lac is available in local market as Chapadi or ‘Lac chip’ and industrially referred as ‘Shellac’
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the market as they emit vibrant colours. Price of ochre coloured Chapadi is around Rs. 700-800 per kg and burnt umber Chapadi is around Rs. 350 per kg. Lac chapadi is the main ingredient of the colour blocks as well as the bangles. Burnt umber coloured Chapadi is used with darker colours while the ochre coloured Chapadi is used with lighter colours. In bangles, the mixture has burnt umber or ochre chapadi depending on the requisite by the artisan.
BERJA
Berja (Rosin) it’s a sticky material available as solid chunks, and slightly transparent in nature
Berja is a resin which is added to lac for softness, otherwise the chapadi dries out faster. Berja is industrially known as Rosin is much cheaper than lac (Rs. 150 per kg). It’s a solid form of resin obtained from pines (Pinus roxburghii, also called chir pine) and other conifers, produced by heating fresh liquid resin to vaporize the volatile liquid terpene components. It is semi-transparent and varies in color from yellow to black. The colors varies according to the age of the tree from which the turpentine is drawn and the degree of heat applied in distillation.
WHITE SOFT STONE POWDER (GIYA PATTHAR)
COLOURS & METAL POWDERS
GLASS PIECES, BRIGHT STONES AND BEADS.
White soft stone powder or Giya patthar is added in the mixture to increase volume and consistency. It’s obtained from SoapStone which is a metamorphic rock. It is largely composed of the mineral talc. The soft stone powder is locally available in the markets of Jaipur for Rs. 10/kg.
Colours used in lac are found in the local market in the form of solid chunks, which are easy to crush. The price of colour varies depending on the quality of the colour. For example, pink colour is available in the price of Rs. 800 per kg and also Rs. 2000 per kg. Yellow colour is available for Rs. 600 per kg and green colour is available for Rs. 400 per kg.
Coloured bright stones (which are precious or semi precious), glass pieces and beads are added on the top of bangle as a part of the ornamentation.
GIYA PATTHAR
The colour is either added to the base mixture and heated along, or applied over the base separately. Colours are generally mixed with ochre coloured Chapadi to obtain deeper shades. The composition of colours used in lac bangles is still unclear.
BRIGHT STONES
COAL (KOYLA)
METAL WIRE OR METAL BASE
It’s the fuel used all the while through making of the bangles. The coal keeps burning all day long. Over it, a metal plate (Silli) is kept where the work is done. It’s the cheapest form of fuel available. Though for heating and preparing the bangle’s base mixture, the artisan uses the domestic purpose LPG gasoline cylinder. Coal is also used while ornamenting the bangles. It’s price is around Rs. 25/kg.
The artisans add thin metal wire, made of iron, inside the lac bangles, sometimes, to retain the form of bangles, as the bangles tend to deform in the presence of heat. For some designs, artisans use a metal base on which lac is is applied. The width of these bangles vary according to the width of the bangle and the requirement by the artisan.
METAL BASE COAL Metal wire used as bangle bases kept in a workshop
Colours, available as powder in local markets, is heated with lac chapadi and kneaded. the powder changes colour on application of heat or water
COLOURS Lac Bangles of Jaipur 30
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WORKSPACE TOOLS & EQUIPMENTS It was critical to know details of the raw material including its sources and characteristics as a designer, to further evaluate the process analytically.
WORKSPACE The first workshop we visited belonged to Samir Bhai who had started working with lac 20 years back. Samir Bhai, aged 30, was not a Manihar and he accepted offers from the sellers at old city market. Sameer Bhai worked with three of his nephews at the workshop which was right next to his home. He made at least 150 dozens of single coloured bangles everyday. The workshop was around the size of 8 x 8 x 10 feet, with an opening for entry, around the size of 5.1 x 6 feet. The workshop was on a raised platform of a height of 1.5 feet. The workshop was extremely hot inside because of the burning fuel used in making. During evening, the sun comes directly inside the workshop, heating it up even more. Hence they put up a tarpaulin using two bamboo poles to get some shade in evenings.
TOOLS tool and a hadi on the silli where he worked. His eldest nephew, sitting to his right, joined the coils, heated them at the joints and pressed it. He placed his tools on the silli he worked on. The deformed bangles were passed on to the other two nephews. They placed the deformed bangles around a wooden Sel and rubbed them using a cloth. They placed the cloth on their lap. It gave them support while rubbing the bangles in circular manner. They had a bucket of water next to them. All the extra tools, raw materials, extra lac, vessels used and color sticks were kept at one corner of the workshop. There was barely any space to walk. The raw materials were made outside the workshop on the raised platform.
There were 4 people seated, each leaned against the 3 walls of the workshop and 1 had his back facing the entry door. They started working from morning 9 a.m., broke for lunch at 1 p.m., resumed at 2 and continued till 4 in the evening. There was burning coal placed on a vessel at the center (Bhatti), each side surrounded by a silli, assigned to each craftsperson.
All the tools in lac making process are made of wood as wood is an insulator and helps in working at higher temperature without burning of hands.
Bhatti A container made out of metal on which coal is burnt. It’s about the size of 20 inches x 28 inches. It’s places in the center around which metal plates/stone slabs are placed on which the artisans work. The height of the container is approximately 4 to 5 inches. The size of bhatti depends on the artisan.
Silli Silli is a metal plate about the size of 20 inches x 28 inches. The metal used is iron. At times even stone slab is used instead of metal plate. The plate is supported by bricks or the pieces of stone. It was observed that artisans used a bhatti as a supporter for plate. Burning coal is placed beneath the Silli to keep it warm. The entire process of making coils for the bangle is done on the Silli. Bhatti is in the center and four sillis are placed around it, with a part of bhatti below the silli so as to allow the silli to be hot enough to be worked on. The size of silli depends on the artisan.
The one facing the entrance was Samir Bhai and he was making little coils of lac on the silli in front of him. He placed some tools next to him and one cutting Lac Bangles of Jaipur 32
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The metal plate on which artisan works
SILLI
Hatta
Khali
Sel
Hadi
Its a flat sheet of wood with a handle over it, used to pull out thin coils of lac from a thick coil by continuous pressing and front and back motion. Also used to flatten a coil of lac for making thin, wide bangles, or press the joineries. It’s the size of 4 inches x 2 inches. The handle is the height of about 2 inches.
It’s a wooden rectangular block which has a thin vertical round cavity on each side, each cavity being a different size and form. The coil is placed in this cavity and pressed. The length of khali is around 9 to 10 inches and the width and height are around 1.5 inch.
This tool is used to get bangle in proper circular shape. It’s a cylindrical wooden rod of the diameter of the required bangle size. The length of the tool is around 6 inches, and has a wooden handle of around 12 inches.
It’s a small piece of wood placed on the silli which supports the thick coil of lac when it’s heated over the coal. It’s a rectangular stone of 2 inches x 0.5 inches x 0.5 inches with a dent in the center on which the coil is placed.
HADI
KHALI
SEL HATTA
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Sigadi
Patti
Hati
Dye
A cylindrical vessel, made of metal. Height around 6 inches, inside which coal is placed. Over it a metal plate is placed where the bright coloured stones or beads are kept for heating.
It’s a sharp blade made of metal which is covered with lac on one side to use it as an handle. This is used to cut the thin coils of lac. The blade is around 3 inches.
Wooden stick (1 inch diameter) which holds the huge coil of lac. The stick is around 12 inches in length and has 12 inches of lac coil attached to it.
A two piece metal mould which has a form carved inside. The bangle is placed in between the two pieces and pressed, to get the form.
PATTI
DYE
SIGADI
HATI
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Rang Hati
Kadhai
Wooden stick (2 - 3 cm diameter) which holds the block of colour.
A metallic vessel in which the lac is boiled and the mixture of base is made.
Chimti
Piece of cloth
CHIMTI
A tweezer kind of tool used to lift the coloured stones and placed them on bangles
A ragged piece of cotton fabric used to rub the bangles to make them shine
Cutter and pin These tools are used while making leheriya and kobra kadda.
CLOTH
PIN RANG HATI
KADHAI
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CUTTER
MAKING OF THE CRAFT OBJECT Process of making bangles in Lac can be broadly categorised under the following three headings: PREPARATION OF MATERIAL This includes preparing the base mixture (which forms into bangles) and the colour block (which is applied over the bangles) PROCESS OF MAKING THE PRODUCT The process of making a bangle with single colour is described under this section ORNAMENTATION AND FINISHING
PREPARATION OF MATERIAL Variety of materials bought in raw, natural form are first processed to suit the process of making bangles. This predominantly needs enough plasticity to form coils when heated and then set itself to become permanent in the given form, when cooled down.
Preparation of Base Mixture The artisan first puts, Chapadi (Burnt umber) in a kadhai along with Berja (Burnt umber/ochre depending on the requirement), in the proportion of 1:1. The mixture is heated till it turns into an ochre yellow liquid and is stirred all the while. The kadhai is installed on a stove and the domestic purpose LPG gasoline cylinder is used as the fuel. The artisan then adds an equal amount of Ghea patthar powder in the mixture, which
Preparation of colour block changes the colour of mixture to dark brown. The mixture is stirred well and water is added to it to make it easy to stir. Pieces of lac bangles are also added which come out during the making process. The mixture is then allowed to cool down and spread on the floor. The artisan kneads the still hot mixture with his hands and a piece of stone. The dough prepared is then rolled into thick coils and Hati (A wooden rod) is attached to one end of it. The amount of lac used every day depends on the production on a particular artisan. With four family members working for 6-7 hours every day, working continuously, around 25 kg of lac is used up.
The techniques followed for ornamentation of bangle can be divided in two sections; Ornamentation during the making of bangle and Ornamentation after the making of bangle
The colour of bangles is separately applied on top of the base. The colour is available in the market in the form of solid chunks which which can be easily crushed. Particular colours are added to the mixture of base itself and heated along. For the rest of the colours, the artisan uses a thin hati (A wooden stick) and heats it slightly. He then places chapadi (Burnt umber or ochre depending on the colour block which is being made) and colour in powder form or solid chunks, on Silli (the metal plate) above the coal. Since the hati and the chapadi are warm enough, they stick. The artisan keeps placing chapadi over another chapadi and they all stick because of the heat. All the while he heats the lump of lac over the coal in front of the table. If the colour is in the form of solid chunks, he places the lump of lac over the pieces of colour placed on the table and the colour sticks to the lump because of heat. If the colour is in powder form, he flattens the lump of lac and puts the powder over it. With the help of a large piece of stone, he starts kneading the lump of lac and colour together, while still attached to the hati, to evenly mix the lac and colour. This is given the form of a cube and used.
Base mixture prepared in a kadhai and kept for a day to cool off before it can be used.
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Colour block is made seperately which is applied over base mixture as per the requirement
PROCESS OF MAKING OF THE PRODUCT The dough of lac which is attached to hati is placed on the bhatti. The artisan picks up a colour block attached to its stick and places it over the coal to heat the colour. The colour is applied over the lac evenly and the colour block is kept aside Due to the heat the lac gets softer and with the help of hatta the lac is pulled into a thin coil (Around 1 cm diameter). The coil is cut using patti to a length which is the circumference of the bangle. Hence, length depends on the size of bangle required. This coil of lac is then placed inside Khali. The artisan presses the coil with the help of hatta. The coil takes the form of the cavity from below and is flattened on the top because of pressing.
Workspace of the artisans
The coil is taken out and placed over the coal to warm the ends. The two ends are placed on Khali, and taking it’s support they are joined. The ends are easily joined because of the heat.
First step of applying colour to the base
Third step, the coils are joined to form a deformed circle and the finishing of joinery is done with heat application.
The deformed circular bangle obtained is put over Sel (cylindrical wooden rod, which is the as thick as the required size of the bangle). The bangle becomes into a perfect circle and using a ragged cloth, the artisan continuously rubs the bangle for about 2 to 3 mins to obtain a shiny surface. The bangles are dipped in water and rubbed again. Spit is used at times for more glossiness.
Fourth step, the deformed bangles are collected on Sel and given the perfect form of circle.
The bangle is then ready and placed in water to cool down.
Second step, the base is turned into thin coils with application of heat. Coils are cut according to required size
Final step, bangles are stacked over one another
Fifth step, the bangles are dipped in water and rubbed with a cloth for glossy finish.
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ORNAMENTATION & FINISHING Ornamentation can be again categorised under two broad categories; • Ornamentation rendered through the making of the bangle itself, where it is part of the structure; such as Lehariya (play of two to three pastel colours, wave-like patterns of diagonal lines) • Ornamentation after the main structure or form of the object or bangle is ready. In this case ornamentation can be done any time later; for example bangles are studded with bright coloured stones, glass pieces or beads. Also patterns on bangles are created using lac like Chandar Bai ka Chuda (designs created on bangles using a thin piece of lac)
Ornamentation is rendered through variety of processes and materials; The most sought out method of ornamenting the lac objects is by introducing semi precious or precious stones or mirrors to the surface. They vary in different size, shape, colour, and cost. A metal plate is placed over sagadi on which the coloured stones are kept. With the help of a chimti each piece of stone is carefully picked and place on the bangle according to the pattern required. As the stone is hot, the lac melts slightly, creating a cavity. It fits in perfectly and does not come off when the bangle is cooled. Similarly the artisan inserts the mirror pieces on bangles.
The other process of ornamentation includes:
Due to the rolling and pressing action,the coil has an alternate yellow golden and red colour in a spiral formation. This coil is then turned into a bangle.
Leheriya: Leheriya is a term given to a typical spiral of two colours on the bangles. These bangles are extensively made and worn during rainy season. The process of making lehariya is as follows:
Kobra Kadda: Kobra Kadda is a kind of ‘feathering’ technique on the bangle. The process is similar to leheriya. The artisan begins with cutting a thin coil of one colour using a cutter, for example golden yellow and places it over the red coloured lac dough. The artisan repeats the process of placing golden yellow coils on red lac at equal distance (as explained in the image). The artisan heats the lac and using a hati, presses the dough and simultaneously rolling the hati, but with more pressure. This results in dense spirals but a thicker coil. He pushes the tip of the coil towards the inside, making the coil thicker and spirals more dense. Using a pin tool, he slightly marks on the coil from tip to bottom, resulting in ‘feather’ like formations (explained in images). Coils are made out of this and turned into bangles.
The dough of lac which is attached to hati is placed on the bhatti. The artisan picks up a colour block, for example red, attached to its stick and places it over the coal to heat the colour. The colour is applied over the lac evenly and the colour block is kept aside. He then picks up another dough of lac attached to another hati, and repeats the process, using a different colour, for example golden yellow. Due to the heat the lac gets softer and with the help of hatta the golden yellow coloured lac is pulled into a thin coil (Around 0.5 cm diameter). The coil is cut using a cutter to a length of about 1.5 inches. This is the process when a single bangle of lehariya is being manufactured, hence the length depends on the number of bangles made at a time. The golden yellow coil of lac is then placed on the red dough of lac (as described in the image). The red coloured dough of lac is reheated and placed on silli. The artisan then presses the dough of lac and simultaneously rolls the hati, pulling out coil (1.5 cm diameter)
Borada Kadda: Borada kadda has a base colour on which ‘flakes’ of different colour is present. The process begins with preparing ‘flakes’ of one colour, for example yellow golden. A coil of a different color, for example black, of thickness around 1.5 cm is pulled out. The ‘flakes’ of golden yellow are spread over it, which stick to the coil. The coil is further heated, cut and turned
Leheriya
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into a bangle. Result is explained in the image. Mix Kadda: The colour block used for mix kadda gives the multicoloured effect on the bangle, like marbling. The block is prepared by mixing various leftovers of different coloured bangles and heating them enough so they stick. The resultant gives a multicoloured block as shown in the image. This block is applied over the lac. Zic Zac Kadda: Zic Zac kadda is made using a dye which has a zig zag form carved inside. Once the coil is joined and made into a bangle, it’s heated again and pressed between two pieces of the dye. Different forms carved in a dye give different forms to the bangles. Braided Kadda: Braided kadda is prepared by making three coils of three different colours and braiding them together. Chandar Bai Ka Chudda: The property of ductility allows lac to be pulled out into very thin coils. Chandar bai ka chudda is a traditional set of bangles with a certain motif on it, drawn using extremely thin coil of lac (1mm diameter). Methi bai ka chuddar is another set of traditional bangles with continuous dots on bangles drawn using thin coils.
Kobra Kadda
PACKAGING As lac is a material which tends to change its form on subject to slight heat, it’s important to package the bangles appropriately. The bangles are always stacked vertically one over the other and not horizontally one next to another, as the glass bangles. If the bangles are stacked as horizontally one next to the other, the heat may cause the bangles to warp, bend due to gravity and lose their form.
Borada Kadda
Mix Kadda
Zig Zag Kadda
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The bangles are first placed in a newspaper which is wrapped around them such that only half the bangle is covered and half the part is exposed. These stacked bangles are then put inside a rectangular cardboard box (More like a ‘mithai ka dabba’ or sweet box) with the exposed part of bangle on the top and covered part of bangle in the bottom. To make the maximum utilisation of space inside the box, the bangles are placed horizontally one next to the other. The box is then tied with a rubber band.
This style of packaging contradicts the ideal way of storing the lac bangles. The size of a cardboard box is around 6 inches x 3 inches x 3 inches. For maximum space utilisation the artisan places the bangles horizontally one next to another. A customer ends up having an unpleasant experience especially during summers, the bangles warp and become elliptical while still inside the box. The shape and size of the box does not really have any significance to the packing of these bangles.
GULAL GOTE A 250 year old legacy Gulal gote were first made some 250 years ago. Jaipur was famous for it and all the families engaged in the lac business used to make them months before the actual festival.
Specially made of fine quality lac called Kusum lac (Lac from the Kusum tree), the hollow ellipsoid is a very thin, delicate mould, which is then filled with herbal gulal powder of different colours and fragrances like jasmine, rose, lily, etc. The thinness of the lac ensures it bursts immediately when it hits any surface with little force, and does not hurt when thrown on anybody. It only leaves colourful powder loaded with a variety of fragrances after crumbling.
Process of making Gulal Gote The artisan puts Burnt umber Chapadi and Berja on a kadhai along with little
water. The mixture is heated till it boils and then allowed to cool down a little. This mixture is kneaded with the help of a stick and a large stone. Colour, which is in powder form, is mixed with the lump while being kneaded. While still warm, a small chunk of around 5gms is taken from the lump and placed on one end of a hollow metal pipe. The chunk is nicely fit on one end of the pipe by pressing and blown from the other end. The plasticity of lac allows it to expand like a spherical bubble. The artisan continuously rotates the pipe, blows in air and presses the spherical
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form from the base. The rotation allows even expansion of lac. The pressing gives the form a base so it’s stable. The resultant form is an ellipsoid with a hole on top called Gote. Gote is immediately dipped into water to cool down. It’s later filled with gulal, the colours used for playing in holi. The hole is covered with a small circular sheet of paper using glue.
Packaging of Gulal gote Since the walls of gulal gote are very thin they break easily, hence they don’t hurt. But this also means that the packaging is very crucial as they may break easily when carried in boxes. The Gulal gotes are sold in sets of 6 pieces placed in a cuboidal box and filled with strips of paper to make it shock proof.
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ARTISAN'S PROFILE Lac Bangles of Jaipur 50
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MUHAMMAD WAJID MANIHAR (WAJIDJI) “Purani cheezein kabhi khatam nahi hoti hai. Kahaniyan khatam ho jaati hai par iska (Craft of lac bangles) koi anth nahi hai”
PERSONAL DATA • Age: 43 • Family: 11 siblings, mother, father, wife and a son • Language: Hindi • Educational Background: Class 7th Wajidji has seen his family working with lac since childhood. He has eleven siblings out of which only four of them still practice lac, including himself. He decided to take up this as his profession when he was around 8. Currently he runs his shop 133 in Maniharon ka Rasta with the help of his wife, his sister and brother in law. His brother in law and sister make bangles in a small space at their home
A true business man, Wajidji very impressively sells out his bangles, and is always looking out for new ways to expand his business. He got in touch with Mr. Om prakash who works for RUDA. Wajidji has been going for exhibitions through RUDA, all over India. The exhibitions have helped him understand the kind of design liked by people of different states, which help him conduct his business better.
BABU KHAN MANIHAR (MOHD. SHAFIR) “Agar koi design kharab ho jaaye toh wo bhi ek design ban jata hai” “Ye kaam humari pehchaan hai”
Wajidji aspires his son to complete higher education and some day, help expand his father’s business. He wants to add more value to the craft and expects the next generation to take it forward.
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PERSONAL DATA • Age: 61 • Family: wife, 9 kids. • Language: Hindi • Educational Background: Class 10th Babu khan manihar has been working with lac for more than 40 years. Even after having the name of Manihar, it was known in the market that Babu Khan acquired the name and skills later and was not an original Manihar. But he had gained equal reputation and knowledge in the market. Babu khan has been interviewed by various news channels and papers, where he has talked about the craft and
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his association with it. Babu Khan tells the story behind the importance of lac in Indian mythology, connecting it with the story Shiva and Parvati. He also talks about the tradition of Gulal Gote. A simple man, Babu Khan wishes, and fears, for his business to go well enough. The upcoming trends of ‘cold lac’ bangles are threatening this market and the craftsmen. Babu Khan has been given many recognitions from the Government of India. The government constantly gives the craftsmen the opportunity to travel the country and demonstrate their skills.
PRESENT CONTEXT Lac Bangles of Jaipur 54
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CURRENT MARKET SCENARIO
MARKETS
SHOPS
The current market is divided into two parts, Maniharo ka rasta and the rest of the market. In maniharo ka rasta the highly skilled Manihar artisans practice traditional style of making lac bangles. The rest of the market has introduced the new ‘thanda lac’ or cold lac, which promises more durability along with brighter and more exquisite designs. The Manihars are completely averted towards selling cold lac bangles, as they consider them as ‘impure lac’.
Shops in maniharo ka rasta are very small, approx. 8ft x 10ft. The purpose of the shop is to sell, store, and if any customer has any issues regarding the size or if the bangle is broken or if the stones have to be fixed then all that is done at the shop itself. The workshops are located in the same vicinity where they prepare the lac bangles from scratch. Ornamentation on the bangles is done in the shops in the evening by the female members of the family. On the other hand the shops outside the Maniharo ka rasta are huge, approx. 16ft x 12ft. They have a storage floor which is directly above the shop and is of similar size. These shops only sell the products and do not repair or change them.
Most of the consumers from abroad come to Maniharo ka Rasta because of the stories they hear about this famous handicraft. The local people of Jaipur, however, have shown more interest in cold lac bangles, because of the advantages it offers.
ROLE OF GOVERNMENT AND MEDIA The Government and Media have played a huge role in promotion of this craft, in India and worldwide.
GOVERNMENT Government provides the Manihars an opportunity to put up exhibitions and stalls all over India and abroad. The Manihars also make the bangles at the spot and demonstrate the entire process. They are also given a chance to conduct workshops, through the Government. The artisans receive various recognitions and awards. Some of them were Best Innovative Karigar Award, State and National Merit awards. The Maniharo ka Rasta and lac bangles are one of the main attractions of Rajasthan tourism. Artisans often demonstrate the process in City Palace and at other important monuments. Certain NGOs give these artisans a chance to put up stalls in exhibitions all over India. Though no NGO is dedicatedly working towards this handicraft. All these initiations by the Government organisations and NGOs have helped the artisans expose to the outside world which can help them in conducting the business better.
MEDIA And the money they get by selling their product, they can keep the money to themselves. Government doesn’t interfere in that. Government also gives them recognition. They are given certificates as well as awards in order to give the craftspersons respect. This is how government helps the craft cluster Lac Bangles of Jaipur 56
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to uplift their craft. Some of the awards are Best Innovative Karigar Award, State and National Merit awards.
CHANGES IN PROCESS AND MATERIAL This section talks about the changes made in the process (raw materials and tools), and how it has affected the craft, for good or bad.
In the lac bangles, the preparation of lac is a hideous task and the raw materials used are also expensive. To save the material they use a red powder to adulterate the composition of lac. This ‘red powder’ is nothing but crushed bangles which were meant to be reused. Lac bangles, even though recyclable, when added to the base mixture in large quantities can compromise on the quality of the resulting bangles.
The newly introduced cold lac process has proved more profitable to the sellers. Factors like cheap labour, cheap raw materials, easy to make and durability of the product have added to it’s advantage. These factors have been discussed in detailed in the next chapter. (Check the chapter ‘Issues and Concerns’)
Initially the artisans used Bhatti and Silli which were made out of stone, unlike now which is of metal. This shift was mainly due to the reason that metal heats up quicker than stone, allowing faster work. The finish of a metal surface is such that it’s easier to make bangles on it. Stone sillis are prone to wear and tear, unlike metal ones which give a smooth surface for a longer time.
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ISSUES AND CONCERNS Lac Bangles of Jaipur 60
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ADULTERATION IN RAW MATERIAL Adulteration is common in every craft but it has a possibility of greater damage in this specific. Lac bangles tend to warp and break easily, adulteration weakens it further. To the horror of consumers, the bangles break on slight shock.
Since making of lac bangles is no more a limited craft, it is practiced all over the country and by many people. Many people from lower economic background have started working with this craft in Jaipur. The demand for bangles has also increased with the increase in popularity. Tourists from different parts of the country and the world, come to this place to especially buy lac bangles. Hence, in order to meet these business requirements, the labours have found a way to save on money and
produce more bangles. Adulteration was observed to be practiced in some workshops in the city. The craftsperson does not add chapadi and rather adds berja in more amount and ground powder of broken bangles. The lac, even though is recyclable, is not done on this scale. This adulteration leads to fabrication of weaker bangles.
ADULTERATION IN RAW MATERIALS
Adulteration by adding crushed broken bangles to the base mixtures. This results in weaker bangles
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INTRODUCTION OF COLD LAC Cold lac, as mentioned before, is a newly introduced method in market. This section explains that despite being called a lac, these bangles have no traces of natural lac in them. Unlike the pastel shades of hot lac bangles, these bangles are completely covered with semi precious and precious stones. With the introduction of cold lac process in market, it was observed that traditional craft of lac bangles is losing its market. Customers are unaware of the fact that cold lac process doesn’t involve lac. To take advantage of this, the so-called lac is being sold in the place of hot lac bangles. Cold lac practices have also disturbed the socio economic balance by bringing in child labour at a mass scale.
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PROCESS OF MAKING Cold Lac is prepared by mixing marble dust with epoxy resin. The Cold Lac process uses the marble dust which is chemically different from Lac. The mixture is stirred well in a metal container. When it has to be used, colour pigments and hardener are separately added. The mixture is kneaded using marble dust again and can be used like clay. The craftsperson takes some amount of coloured dough and makes coils. He then picks up metal bangles (Width around 1.5 inch) on which the coil is
wrapped around and pressed so that it evenly covers the outside surface of the bangle. The bangle is passed on to the next person who inserts gems, starting from the center. The bangle is completely covered with gems. The layer of lac beneath, acts as a background for the overall design. At the end the craftsperson pours sparkle powder all over the bangle to make it shine. When the lac hardens, it’s strong enough to bear the physical shocks. The Bangles made from cold lac are strong and do not warp in the presence of heat.
COLD LAC A child labour making bangles using cold lac process
The bangles are stacked together and placed on a piece of paper (yellow thick sheet of paper). The paper is rolled around the bangles, only to expose the half of the bangles. Over it, a sheet of transparent plastic is placed and the bangles are completely secured inside it. Bangles are made in sets and similar width bangles are kept together
Raw materials are mixed and kneaded. A layer of this dough is placed on a metal base of bangle.
MAKING OF BANGLE BASE
DIFFERENCE BETWEEN COLD LAC AND HOT LAC PROCESS
Cold Lac
Hot Lac
• This process does not use heat. • The materials used in cold lac can’t be reused. • The bangles made of cold lac process are more durable. The bangles are not affected by climatic conditions
• The whole process is done with heat. • Pure lac used in the hot lac process can be reused many times • Not durable for a long term use. Lac tends to warp in presence of heat. Hence, especially during summers the bangles have to be taken care of. • Bangles like leheriya don’t have clear lines and patterns. This is a speciality of bangles. • The process is not time bound. The lac dough can be heated any time to make bangles. The ornamentation can be done any time after making the bangles • The size of lac bangles is not fixed and can be changed any time with application of heat
• The patterns and lines have extreme finishing. • The complete process, from preparation of materials to ornamentation has to be done within a specific time period. • The size of bangles made by cold lac process is fixed. This is because the bangles have a metal base on which the resin is applied which is studded with coloured stones. • The raw materials are cheaper than the raw materials used in lca bangles • Storage of bangles is not an issue as the bangles don’t break/warp in any condition
Bright stones of different colours and sizes are stuck on it, which on drying becomes permanent
ORNAMENTATION
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• The craftsperson does not need a lot of skill to master the process of cold lac. Hence, it takes around 6 months to pick up the process and start working on it.
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• The raw materials are more expensive as they are naturally available materials • Once the bangle is made it needs a lot of care while storing it. Bangles are always placed vertically one on top of another. • A lot of skill and endurance to high temperature has to be learnt before a craftsperson can master this craft. It takes around 2 to 3 years to properly learn the craft.
PACKAGING Packaging is done to keep the bangles safe, but the current packaging is not good enough. The bangles are wrapped in paper and placed in a box.
The bangles are first wrapped in newspaper and placed in a cardboard box of around 6 inches x 3 inches x 3 inches. For maximum space utilisation the artisan places the bangles horizontally one next to another. Bangles tend to warp and lose their form, especially during summers. The customers end up disgruntled, yet nothing is done by the sellers about it.
Bangles packed and stored in a shop. They are placed in similar fashion for display as well. The boxes are used for packaging and selling.
PACKAGING
PACKAGING
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ANALYSIS Lac Bangles of Jaipur 68
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SWOT ANALYSIS This methods helps in analysing the entire structure on the basis of strength, weakness, opportunities and threats.
STRENGTH Lac is considered auspicious in Hindu Culture. As mentioned earlier it has been mentioned in various manuscripts. Hence the bangles have a demand in market, always. Gulal gotes are a representation of decades old tradition of playing holi in India. This culture is seeping in again and people have known to appreciate it. While understanding Gulal gote, we come across another property of the material. It can be transformed to make 3D forms (Hollow or filled) as well as 2D surfaces.
The techniques of making gulal gote, i.e. achieving hollow 3D forms can be used to create a new range of product
THREATS The cold lac process has taken over the current market and many consumers are not able to figure out the difference between cold and hot lac. Cold lac has many advantages over the hot lac and has proved more profitable to the sellers.
OUR INFERENCES Despite being one of the most widespread craft practice in India, the craft is dying out. The demands have led to loss of original practice. It is important for the consumers to be aware of what they are buying. The cold lac bangles have taken advantage of having the name ‘lac’ on it. A clarity in market is required for genuine products to sell. There’s a lot of scope for the bangles if the traditional style of making is used to make contemporary designs. The weakness of the bangle can be easily overcome using a metal base. The age old designs of leheriya, kobra kadda, Borada kadda, mix colour kadda, etc are products that cannot be created by cold lac process.
Lac doesn’t cause irritation to skin during summers, like metal. Therefore it’s preferred in areas experiencing higher temperatures.
WEAKNESS Lac bangles break easily. During summers, or exposure to high temperature makes them warp and lose their form.
The unique property of the material which lets it transform into hollow 3D forms can be used for a range of products.
OPPORTUNITIES Contemporary designs can be introduced using the simple techniques of ornamentation like leheriya, feathering, etc. The pastel shades are much appreciated abroad and has there can be a huge scope of export.
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BIBLIOGRAPHY Lac Bangles of Jaipur 72
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Website
http://www.thehindu.com/multimedia/dynamic/01778/06ISBS_P1_GULAL_06_1778360f.jpg
https://en.wikipedia.org/wiki/Jaipur
http://www.prokerala.com/news/photos/imgs/800/famous-artisan-babbu-khan-gives-final-touches-to-164193.jpg
https://www.behance.net/gallery/12694915/Craft-Documentation
Books Handmade in India: Crafts of India by Aditi Ranjan and M P Ranjan
http://www.peoplegroupsindia.com/profiles/manihar/
Building Jaipur: The Making of an Indian City by Vibhuti Sachdev, Giles Henry Rupert Tillotson
https://www.scribd.com/document/81803728/Lac-Bangles-Extended-Documentation http://www.jaipurtravel.com/jaipur-traditional-bazaars.htm
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GLOSSARY Lac Bangles of Jaipur 76
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Babool (Vachellia nilotica)
Kerria Lacca
Widely known by the taxonomic synonym Acacia nilotica, or the common names gum arabic tree, Babul/Kikar.
Kusum (Schleichera oleosa)
Ber (Ziziphus mauritiana)
Lac A container made of metal on which coal is burnt.
A tweezer kind of tool.
A tropical Asian leguminous tree, Butea that has bright red flowers and yields a red resin, used as an astringent.
It’s a small piece of wood placed on the silli which supports the thick coil of lac
It’s a flat sheet of wood with a handle over it.
Wooden stick (2 inch diameter) which holds the huge coil of lac.
A metallic vessel in which the lac is boiled.
A cylindrical vessel, made of metal.
Silli
Khali
The Shiva Purana is one of eighteen Purana genre of Sanskrit texts in Hinduism
Sigadi
Kadhai
It’s a cylindrical wooden rod of the diameter of the required bangle size.
Shiv Purana
Hati
The ruler of Amer from 1688 to 1727, after whom the city is named.
Sel
Hatta
It is also known as the bodhi tree, pippala tree, peepal tree or ashwattha tree in India.
Sawai Jai Singh
Hadi
It’s a sharp blade made of metal which is covered with lac.
Peepal (Ficus religiosa)
Dhak (Butea monosperma)
Lac secreted by the insects covers the branches of trees.
Patti
Chimti
Kusum oil is a type of oil extracted from the seed of the Kusum tree. lac tree, belongs to the Sapindaceae family
Is a tropical fruit tree species belonging to the family Rhamnaceae.
Bhatti
Kerria lacca is a species of insect in the family Kerriidae. being a main source of lac
Silli is a metal plate.
It’s a wooden rectangular block which has a thin vertical round cavity on each side.
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Vastu Shastra
Is a traditional Hindu system of architecture
Vidyadhar bhattacharya
Before making the layout of Jaipur, under the architectural guidance of Vidyadhar Bhattacharya.
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