Interdisciplinary

Minor
Group Name
Communication Design

Assignment: ETA

Semiotics Analysis
of
Handicraft and Handlooms

Submitted To:
Naresh Bathula
ACKNOWLEDGEMENT
We extend our heartfelt gratitude to the artisans, vendors,
and volunteers whose unwavering dedication and creative
energy brought the Craft Bazaar project to life. Their
commitment to showcasing their talents and skills
enriched the event and left a lasting impression on all
attendees. We owe a debt of gratitude to ( NIFT
HYDERABAD and NARESH SIR )whose support and
contributions were essential in realizing our vision. Their
generosity and belief in our mission fueled our efforts and
enabled us to create a vibrant marketplace celebrating
craftsmanship.
We also express our sincere appreciation to our sponsors
whose financial assistance made this event possible.
Their investment in our initiative not only supported local
artisans but also fostered community engagement and
cultural appreciation. Additionally, we acknowledge the
tireless efforts of the event organizers who meticulously
planned and executed every aspect of the Craft Bazaar,
ensuring its success.
To the attendees who explored the bazaar, engaged with
artisans, and supported small businesses, we extend our
heartfelt thanks. Your enthusiasm and patronage are a
testament to the importance of preserving and
celebrating traditional crafts in our modern world.
Thank you for your unwavering support and belief in our
mission.
 OVERVIEW

Introduction: Briefly introduce each topic, providing

historical context and significance in their respective
cultural or artisanal traditions.
Description: Detail the characteristics, materials used,
and distinctive features of each craft or product.
Production Process: Explain the traditional techniques
and methods involved in creating each item, highlighting
any unique or intricate steps.
Cultural Significance: Discuss the cultural, social, and
economic importance of these crafts within their
communities, including any rituals or ceremonies
associated with them.
Contemporary Relevance: Explore how these traditional
crafts are adapting to modern times, including challenges
and opportunities in sustaining these artisanal practices.
Preservation Efforts: Highlight initiatives or organizations
working to preserve and promote these crafts, along with
any governmental support or policies in place.
Conclusion: Summarize the significance and enduring
appeal of these crafts, emphasizing their contribution to
cultural heritage and identity.
 INDEX
1.HANDLOOM-Chanderi saree
HANDICRAFT-Pattachitra Painting
DONE BY- Krity Priya (BFT/22/456)

2.HANDLOOM-Warangal Durics
HANDICRAFT-Tumba-craft
DONE BY- Subikjaa.R (BD/22/3499)

3.HANDLOOM-Venkatgiri Sarees
HANDICRAFT-Sliver filigree
DONE BY- Matagi Amulya Sindhu Raj (BD/22/3068)

4.HANDLOOM-Etikoppaka Toy
HANDICRAFT-Narayanpet saree
DONE BY-Vaishali Bhramarambap (BD/22/2515)

5.HANDLOOM-Machilipatnam Kalamkari
HANDICRAFT-Udaygiri wood cutlery
DONE BY-Hemashri-a (BD/22/3921)

6.HANDLOOM-Gollabhama
HANDICRAFT-Dhokra Metal Casing
DONE BY-Srijanee Dutta (BD/22/260)
Chanderi Sarees
 Introduction of Artisan

Artisan - Mr. Abdul Mubin and Mr. Mohd Avrar

State - Madhya Pradesh

Chanderi sarees, hailing from the town of Chanderi in Madhya Pradesh, India, are
renowned for their sheer texture, lightweight feel, and luxurious silk or cotton fabric.
Adorned with intricate zari work and delicate motifs, these sarees epitomize elegance
and grace, making them cherished by saree connoisseurs worldwide.
CHANDERI SAREES
 1. INTRODUCTION
1.1. Chanderi
1.2. History of Chanderi
2. REGIONS OF CHANDERI HANDLOOM
3. PRODUCER COMMUNITIES
4. RAW MATERIALS
4.1. Cotton
4.2. Silk
4.3. Zari
5. TOOLS USED
5.1. Taana Mechanism
5.2. Handloom
5.2.1. Rucch
5.2.2. Jacquard/Dobby mechanism
5.3. Charkha
5.4. Dyeing Apparatus
6. PROCESS OF CHANDERI WEAVING
6.1. Designing
6.2. Dyeing
6.3. Yarn Opening for Weft
6.4. Warping
6.5. Weaving
6.6. Finishing
7. USE OF THE PRODUCT
8. MARKETING
9. CHANGES IN THE RECENT YEARS
10. OUTSIDER VIEW VS DESIGN VIEW
11. CHANDERI SAREE AND THEIR SEMIOTICS
12. CONCLUSION
1. Introduction

The saree is one of the most popular outfits of the women in India as it is worn by the
rich and the poor, the destitute and the affluent alike, cutting across the boundaries of
caste, creed and faith. A saree is an unstitched piece of fabric that is normally 5-5.5
yards long and is draped around the body in various styles depending on the region.
'The first proof that the Indian saree was worn was found with the small statues of
Sumer that date back to 2000- 3000 B.C. This was the time of the Indus Valley
civilization. There are many references to the saree in the premier works of Sanskrit
literature. The Rig Veda that goes back to 1200 B.C. tells us about the bright golden
saree and perhaps about the brocade. In the heroic epic of Mahabharata, there is a
reference to the pearl-embroidered saree. Mural paintings in the Ajanta caves feature
the bandana saree or the warp and weft weave. This is in addition to dyed sarees that
were made of silk and cotton muslin. The sculptors of Ajanta particularly refer to the use
of metrical models such as lines, angles, circles, squares, points and curves in saree
designs.'”
1.1 Chanderi

Chanderi is a small town in the newly formed Ashoknagar district of Madhya Pradesh. It
is around 230 kilometers from Bhopal, the capital of the state. The nearest railway
station is Lalitpur in Uttar Pradesh (on the Delhi-Mumbai railway line) which is around
40 kilometers from Chanderi. There are trains to Lalitpur from Delhi at regular intervals,
and transportation is easily available from Lalitpur to Chanderi. Chanderi is a town of
looms. The major concentration of the looms is in the older part of the city called Bahar
Shahar (the outer town) where the streets are filled with the noises of the looms
working. On an average, today there are more than 2500 looms in Chanderi which are
owned by the artisans. Normally each artisan has two to four looms in his/her home
where all the family members work. The artisans get the raw material from the big
traders on the basis of weight, the designs and the order to produce the saree. They
take it home, work on it and bring the finished product back to the trader who pays them
agreed wages which is based on the number of meters of cloth woven.

1.2 History of Chanderi

Chanderi is an old town which was an important stop in the ancient trade route to Malwa
from Delhi. Therefore, it is full of historical monuments built during the medieval times.
The most well-known constructions belong to the Khilji dynasty of the Malwa rulers in
the 15th century. Although the exact dates are not known, handloom production was
vpresent in Chanderi since early medieval times.

The Madhya Pradesh tourism web site gives the history of Chanderi in the following
lines:
'The documented history of Chanderi goes back to the early 11th century and is a
kaleidoscope of movement and activity prompted by its strategic location. On the
borders of Malwa and Bundelkhand, the town dominated the trade routes of Central
India and was proximate to the arterial route to the ancient ports of Gujarat as well as to
Malwa, Mewar, Central India and the Deccan. Consequently, Chanderi became an
important military outpost, prized by rulers with power or ambition, and repeatedly
experienced the might of men who molded the destiny of Hindustan.'

2. Regions of the Chanderi Handloom

Chanderi silk is a brand name in the Indian garment market. However, as there are no
registered bodies to control the use of this brand, there is an increasing incidence of
counterfeit products that are not made in Chanderi being sold as Chanderi handlooms.
Many units that produce and sell counterfeit Chanderi handlooms are in the nearby
areas of Chanderi like Jhansi and Tikamgarh. The artisans of Chanderi argue that such
practices are wrong as Chanderi silk has distinct features that products from other
places do not have. Although Chanderi handlooms have distinctive features and design
that give it a separate identity in the market, there are other clusters in the country that
have specialized silk handloom weaving traditions. These include:

1.Amru, Navrangi and Jamneri sarees

of Varanasi (Uttar Pradesh)
2.Patola silk sarees of Gujarat
Cotton and silk sarees* of Maheshwar
(Madhya Pradesh)
3.Kanjivaram and Tanjore silk sarees of Tamil
Nadu
4.Baluchari silk sarees of Murshidabad (West
Bengal)
5.Sangareddy of Andhra Pradesh
6.Paithani and Kosa silk sarees of
Maharashtra
7.Sambalpuri sarees of Orissa
3. Producer Communities

The artisan community involved in the production of Chanderi silk is a heterogeneous

mix of various communities dominated by the Kohlis and the Muslim Julaha community.
Apart from these, artisans belonging to the Scheduled Caste (SC) and Other Backward
Communities (OBCs) are also involved in the weaving of these sarees.

4. Raw Materials

The raw material for Chanderi handloom comes from different parts of the country. The
main raw materials are cotton, silk yarn and zari (golden thread).

4.1 Cotton

The cotton yarn for the weft is mainly procured from

Coimbatore. The specifications are: 100 Number for the
normal weft and 120 Number for the border. The normal
rates are Rs. 450-500 per kilogram.

4.2 Silk

20/22 and 16/18 mulberry silk is used as the warp.

These are purchased from dealers in Bangalore.
The rates of silk are very high. It was Rs. 1300 per
kilogram (on 4 September 2004). One kilogram
comprises approximately three bundles of silk.

4.3 Zari

Zari is used mainly in weaving the beautiful borders of the

Chanderi sarees. It is procured from Surat (Gujarat) at a rate of
Rs. 1000 per kilogram (as on 4 September 2004).
5. Tools Used

The various tools used in the Chanderi weaving are as follows:

5.1 Taana or Warp Mechanism

Instead of using a taana machine like in most of the saree

handloom industry, the Chanderi artisans use the older
technology of preparing a taana roll where they open the
bundles, stretch them and further roll them on to the taana roll
which is held on two loop-like iron hooks plugged in the ground.
In order to keep the threads from getting entangled with each
other, they are made to pass through a frame of two bamboo
sticks. These two sticks are tied to each other with thread,
leaving a slit in between and thus act as a frame with the help of
which the threads are spread across the width of the loom. Thus,
instead of using less space in the taana machine where the
stretching and rolling of taana is done simultaneously, in this
system the threads are manually stretched first and are rolled later. This process
requires more time and manpower but it is prevalent here as a tradition.

5.2 Handloom

The handlooms in Chanderi are predominantly pit

looms, which are less bulky than those in
Maheshwar. These wooden looms have been used
in this region traditionally. They are installed inside a
pit which is about three feet deep. The weaver sits
on the wall of this pit with his legs inside the pit. The
looms are permanently installed in these pits and
are hardly moved from their place. As most of them
are in the homes of the weavers themselves, they
enjoy better ventilation, lighting and space to move around. Since the artisans own the
looms, they bear the expenses of maintenance and repairs on the looms
5.2.1 Rucch

The rucch is a part of the loom which has two

wooden frames on which the nylon threads
are used to provide a mesh through which the
threads of the warp pass. These two frames,
that fit parallel to each other in the loom, are
connected to two foot pedals that provide
them with an up-down movement. With the
threads moving up and down through these
frames, the threads of the warp are woven in
an interlocked manner with the warp thread locked between them. This provides extra
strength to the fabric.

5.2.2 Jacquard/Dobby mechanism

A miniature Jacquard mechanism, normally referred to as the

dobby, is installed on top of the loom. It provides the design of
the border of the saree.

5.3 Charkha

A charkha is used to open the weft threads and

convert them into small thread rolls called bobbins
that are placed inside the flying shuttles. The bundles
that are utilized in this process are either the plain silk
or the colored ones supplied by the dealer.
5.4 Dyeing Apparatus

This includes the various types of dyes, the tubs

in which the dyeing is carried out, etc.

6. Process of Chanderi Weaving

The process of Chanderi weaving has the following steps:

6.1 Designing
Two types of designing are done in the case of Chanderi weaving. One is the main
design for the saree itself that contains various aspects like the border, the kind of
motifs to be used, color combinations, etc. This is usually provided by the ordering
party. This procedure is informal in the case of the local dealer but in the case of the big
trading houses, a laminated paper with the design, the threads to be used and the
location of motifs, etc., are provided to the weaver as a sample.

The other is the more exquisite motif or booty designing which is done by the master
weaver on a graph paper. This is provided to the weaver depending on the terms of the
order.

6.2 Dyeing

Dyeing is an important part of the whole process, as both cotton and silk require dyeing
before they can be used on the loom. The process of dyeing is normally carried out by
specialized technicians who work for the dealer and are paid by him. There are different
kinds of dyes for coloring silk and cotton. For cotton, a readymade fast color dye is used
while for silk special dyes called Sando Silk are used which are also readymade dyes.

The process of dyeing starts with dissolving the readymade fast color dye in warm
water. The threads are dipped into this solution and left for a while before being taken
out. Depending on the quality of the dye, they are dipped into the solution again for
some time. After this they are washed in with plain water and then soaked in a solution
of warm water, detergent and soda. Finally, the threads are washed once more and
hung on bamboo poles to dry. Once they are dry, they are sent back to the weavers for
further processing.
6.3 Yarn Opening for Weft

After dyeing the yarn is normally received by the

weavers in the form of bundles. Both in the case of
the weft and the warp, the thread needs to be
disentangled and stretched in order to make it tighter.
It is taken through a process of reeling by using a
charkha and thus the bundles of thread are converted
into small rolls called bobbins.

6.4 Warping

Chanderi artisans use the older system of

preparing the warp roll. Upon receiving the
roll of silk thread from the agent, they open
and stretch it. Three to four people are
normally required for this process. The
threads are adjusted on two iron hooks
plugged into the ground. Since silk threads
are very delicate and there are always
chances of them getting entangled with each
other in this process, therefore, they are
made to pass through two parallel, thin bamboo sticks which are almost as long as the
warp roll itself. The ends of the threads are tied to the warp roll at the desired interval
that the weaver wants to keep between the two threads of the warp. This is normally
three to four inches. Thus the threads are distributed evenly on the taana roll log. After
this, the bundle is stretched to about 15 to 20 feet and after every six to seven feet the
threads are tied to the bamboo sticks through which they are passing, so that they don’t
get entangled. Using a rod passing through the taana roll log, the log is rolled to wind
the threads on it. The threads are wound on the roll till they reach the bamboo sticks.
After this, they are untied from the bamboo sticks and the bamboo sticks are again tied
at a distance of six to seven feet from the taana log. The whole process is repeated till
the log is finished.
6.5 Weaving

The process of weaving starts by placing the warp roll at the extreme end of the loom
from the position of the weaver. The threads are then attached to the threads coming
out from the rucch (left over from the previous weaving work). The length of the warp is
50 meters and the width of the weft is 48 inches. After this, the weaver gets involved in
three different actions simultaneously. With her right hand she operates the string that
provides motion to the shuttle carrying the bobbin of the weft across the threads of the
warp.

With her left hand, she provides an up and down motion to the heavy wooden frame of
the loom that falls on the threads of the warp and weft to provide them with their
respective places in the cloth.

With both her legs she provides the motion to the rucch which helps the threads of the
warp to interlock, taking the weft threads with them. Thus, the process of weaving
proceeds with the threads of the warp being interlocked with the weft threads that are
being carried across the warp threads through a flying shuttle that is controlled with the
movement of the strings in the right hand.

The process of weaving is difficult and time-consuming in the case of heavily designed
sarees which, as a result, are expensive.

6.6 Finishing

After the weaving is completed, the fabric is taken off the loom and sent for cutting. The
normal length of a saree is about 5-5.5 yards. It is then folded properly and packed and
ready to be marketed. At this stage no ironing or further printing is required.

7. Use of the Product

Chanderi silk is used mainly for making sarees and suit pieces. Apart from them, it is
also used for making dupattas, scarves, etc.
8. Marketing

Since Chanderi silk is in great demand across the country,

both for the sarees as well as suit pieces, the problem of
marketing does not arise. The finished product is either
bought by the local dealer (who provides the raw material to
the weavers and ensures a buy back once the product is
ready) or the big trading houses of Delhi and Mumbai which
provide the raw materials along with the designs while placing
the order. Recently the United Nations Industrial Development
Organisation (UNIDO) opened its office in Chanderi for the
development of Chanderi silk production.

9. Changes in Recent Years

Chanderi silk has witnessed a lot of changes in recent years. In terms of technology,
several changes have been induced by the Benares silk industry as the exchange of
artisans between the Benaras industry and that in Chanderi has taken place quite often
in the past. About 20 to 25 years ago, the Jacquard mechanism for the border of
Chanderi sarees was introduced in Chanderi by the artisans from Benaras who also
introduced the rolling log at the same time. The Sling mechanism for carrying the shuttle
across the warp was introduced by artisans from Nagpur in the 1960s. Before that, an
animal horn with a hole at its tip was used for taking the weft threads across the warp
threads.

Regarding the market scenario, the demand for Chanderi products had declined
drastically around seven years due to sluggish market conditions and increased
competition. At that time, only the saree was produced in Chanderi. The industry was
bailed out when one of the artisans from Chanderi, Mr Shamsuddin, was able to bag an
order from Mumbai for producing silk suit material. It was a great success, and from
then on the artisans of Chanderi received a lot of orders for suit pieces from all the big
cities and today almost half of the total order is for suit pieces.
Difference between Chanderi and Maheshwari Silk Sarees:

1. In Chanderi sarees the designs are created on weft while in maheshwari sarees
the designs are created on warp in the beginning itself and the weft remains
same.
2. While Maheshwari sarees use around 4000 strings in warp, Chanderi sarees use
more than 5600 strings and are therefore much more intricate and delicate.
3. Maheshwari sarees normally use more linear patterns and less motifs while
Chanderi sarees use a lot of motifs and they are mostly traditional floral.
4. The motifs used in Chanderi sarees are more intricate than those in Maheshwari
sarees.
5. Maheshwari sarees use broad borders which follow patterns similar to those on
the walls of the fort of Maheshwari. Chanderi sarees use a variety of designs in
the border.
6. Maheshwari sarees symbolize grace whereas Chanderi sarees are bolder.

10. Outsider View vs Designer View

Outsider People's Viewpoints on Chanderi Sarees:

Affordability: Chanderi sarees are seen as more affordable compared to high-end

designer sarees, making them accessible to a wider range of people.

Comfort: They are appreciated for their comfort and ease of wear, suitable for everyday
use or long hours of wear during special occasions.

Traditional Appeal: Normal people often admire the traditional designs and patterns of
Chanderi sarees, seeing them as a representation of cultural heritage and traditions.

Durability: Chanderi sarees are known for their durability and easy maintenance,
making them practical choices for regular use.

Versatility: Chanderi sarees are versatile and can be styled in various ways to suit
different occasions, whether it's a formal event or a casual outing.
 Designer People's Viewpoints on Chanderi Sarees:

Mainstream Perception: Some designer-oriented individuals may perceive Chanderi

sarees as more mainstream or less exclusive compared to high-end designer labels.

Design Complexity: They might view Chanderi sarees as lacking the intricate designs
and unique embellishments found in designer sarees, preferring more elaborate and
avant-garde styles.

Fashion Trends: Designer-focused individuals may prioritize following current fashion

trends and may not consider Chanderi sarees as trendy or fashion-forward as designer
creations.

Brand Recognition: Chanderi sarees may not carry the same level of brand
recognition or prestige as designer labels, which could influence the perceptions of
designer-oriented individuals.

Customization and Uniqueness: Some designer enthusiasts prefer customized or

one-of-a-kind pieces, which may not be readily available in Chanderi sarees compared
to designer collections that offer more exclusivity and customization options.

11. Chanderi Sarees and their Semiotics

1. Vibrant colors: The red and gold combination is visually

striking.
2. Cultural symbolism: The saree represents traditional
attire and cultural heritage.
3. Elegance: The silk fabric adds a touch of sophistication.
4. Richness: The colors and material convey a sense of
luxury.
5. Passion: The red color symbolizes energy and intensity.
6. Auspiciousness: Red is often associated with good luck
and positive vibes.
7. Attention to detail: The intricate patterns and designs
on the saree showcase craftsmanship.
8. Timelessness: The saree is a classic garment that
transcends trends.
9. Versatility: Sarees can be worn for various occasions, from weddings to festivals.
10. Beauty: Overall, the photo captures the sheer beauty and allure of the saree.
12. Conclusion

Chanderi sarees are an epitome of grace and elegance. These exquisite handwoven
sarees originate from the town of Chanderi in Madhya Pradesh, India. Known for their
sheer texture and lightweight feel, Chanderi sarees are a favorite among women for
special occasions and festive celebrations.

One of the key features of Chanderi sarees is their unique blend of silk and cotton
yarns, which gives them a distinctive charm. The intricate motifs and patterns woven
into the fabric using traditional techniques add an element of artistry to these sarees.
From delicate floral designs to geometric patterns, Chanderi sarees showcase a wide
range of motifs that reflect the rich cultural heritage of the region.

The sheer fabric of Chanderi sarees makes them perfect for warm weather, allowing the
wearer to feel comfortable and elegant at the same time. The subtle sheen of the silk
yarns adds a touch of sophistication, making Chanderi sarees suitable for both formal
and semi-formal occasions.

Chanderi sarees are also renowned for their versatility. They can be styled in different
ways, depending on the occasion and personal preference. Whether draped in a
traditional manner or experimenting with contemporary draping styles, Chanderi sarees
always exude timeless beauty.

Owning a Chanderi saree is like owning a piece of art that represents the rich cultural
heritage of India. It is a symbol of craftsmanship, tradition, and elegance. So, if you're
looking to add a touch of grace to your wardrobe, a Chanderi saree is definitely a
must-have!

Thank You!
Pattachitra Painting
 Artisan -Mr. Ganesh Sahoo Ms. Manasi Bala Sahoo
State- Orissa

"Pattachitra Paintings, originating from Odisha, India, are traditional cloth-based

artworks known for their intricate details and vibrant colors. Artisans depict mythological
themes, folk tales, and cultural motifs using natural pigments, creating captivating
pieces that reflect the rich cultural heritage and artistic traditions of the region"
 1. ABOUT US
2. INTRODUCTION
3. MYTHOLOGY
4. MATERIALS USED
5. PROCESS OF PATTACHITRA PAINTING
6. PATTACHITRA
6.1. Preparation of Cloth
7. COMPOSITION
8. SYMBOLIC ASSOCIATION OF COLORS
9. OTHER TYPES OF PATTACHITRA
9.1. Tala-Pattachitra
9.2. Motifs
9.3. Jatripatti (painting meant exclusively for pilgrims)
9.4. Jautukapedi (dowry box)
10. PRODUCT
11. OUTSIDE VIEW VS DESIGNER VIEW
12. DESIGNER VIEWPOINTS ON PATTACHITRA PAINTING
13. PATTACHITRA PAINTING AND THEIR SEMIOTICS
14. CONCLUSION
1. About Us

CraftCanvas is a link between rural artisan communities and the urban customer,
translating an ages-old craft into something that is relevant today. It is based on the idea
of contemporizing Indian Handicrafts through a common platform and canvas where
stakeholders of the craft community like artisans, designers, craft practitioners, etc can
come together to create unique products and experiences suited to modern day living.
India has a rich handicraft heritage and we owe this to generations of artisans who have
blended tradition, religion, social norms and functionality to bring craft where it is today.
However, there has been a significant shift in sensibilities of present-day craft patrons
thereby highlighting a need for Handicrafts to adapt to these changes. We believe that
there is a place for India’s traditional crafts even in the most modern of spaces and this
process of evolution is what CraftCanvas facilitates. Handicraft patrons like you can
express your requirements ranging from wall murals, soft furnishings, paintings,
furniture and lighting among many others. Our team will assist you in transforming their
ideas and aesthetic preferences to final products with a high level of artistry. On the
other end, we are constantly forming collaborations between the craft and design
community through which an interesting blend of experiences and products are
developed. Working with designers, traditional artisans are trained to adapt to this new
design scenario. For designers, it gives them an opportunity to create solutions that
embody the essence of the craft. Subsequently, these innovations are marketed by
CraftCanvas through channels like online store, workshops, exhibitions etc. Please feel
free to browse through our site for specific information on our various initiatives and we
look forward to welcoming you to our world of crafts.
2. Introduction

Patta painting, or Pattachitra, is one of the regional arts of the coastal state of Orissa in
eastern India. Pattachitra means painting on cloth. The art form can be traced to as
early as the 12th century A.D and has evolved around the Jagannath cult in Orissa. Like
any other form of painting, irrespective of time and space, it possesses its own set of
meanings and purposes. In particular, it expresses some of the religious and
mythological aspects of Oriya culture, focusing on the Hindu epics in general, the
Mahabharata and the Ramayana, and the Jagannath cult in particular. Although overtly
religious, it does not simply express a set of religious ideas or values and is much more
than a mere visual art. It expresses a whole set of beliefs and practices relating to life
and death held by the artisans themselves. Traditionally, it is practiced only by the
Chitrakara caste as their caste occupation. Although Chitrakars are found at many
places in Orissa, like Sonepur, Parlakhemundi and Cuttack, their major concentration is
in Raghurajpur and Puri. There are various forms of Pattachitra- TalaPattachitra,
Jatripatti, Ganjapa, Jautuka Peti etc.
3. Mythology

In Orissa, patta painting owes its popularity to the Jagannath cult, with which it has long
been intimately associated. The image of Jagannath is carved out of margosa wood and
painted by members of the Chitrakara caste, who were brought to Puri from various
places as the servants of Lord Jagannath. Besides painting the walls and images, they
also provide various other paintings, such as the patta, for the temple on various
occasions. Since it is believed that all the thirty-six crore (360 million) deities of the
Hindus are worshipped in the Jagannath temple complex at Puri, a considerable
number of festivals are celebrated there. One popular type of patta painting is the
anasarapatti. From the celestial bath on Snana Purnima (the full-moon day in the month
of jyestha (MayJune) until the day of the famous Ratha Yatra, the Chariot festival (held
on the new-moon day in the month of ashadha (June-July), the supreme triad
(Jagannath, Balabhadra, and Subhadra) are believed to suffer from fever and are
'treated' in a separate room called the anasaraghara. During this celestial bath, 108 pots
of water are poured over each deity. As a result, the painted colours on the images are
washed away, so that the images are kept in the anasaraghara for repainting for fifteen
days. During this period, when the images are absent from the ratnasinghasana (the
inner sanctuary), three large patta paintings of the trinity are kept inside the main shrine,
as proxies which can be worshipped. These paintings are called anasarapatti. Apart
from this there are various other pattis which are worshiped at a different point of time in
the temple.

4. Materials Used
The materials used for the preparation of pattachitra paintings are similar for all the
types and styles except tala-pattachitra where palm leaf is used as a canvas.

5. Process of Pattachitra Painting

The process followed for the various styles of pattachitra is similar except for the
Tala-Pattachitra, where the painting is done on palm leaves.

6. Pattachitra

6.1 Preparation of cloth

Earlier, primed paper was used as the base

of the painting. Then paintings of different
sizes were produced, depending on the
demand from devotees or jatris coming
from far and wide, who took these paintings
as souvenirs of the pilgrimage. They also
worshipped these at home as
representatives of the trinity. These
paintings are called jatripattis (from
jatri'pilgrim', and patti'painting'). In course of
time, the Chitrakaras used primed cloth or canvas as the base for the painting work.
This canvas was prepared by applying tamarind glue (prepared from tamarind seeds)
and chalk solution on clean cotton saris or dhotis in two or three layers. The preparation
of such canvases requires skilled knowledge. The process has the following four
stages:

1. Preparation of glue from tamarind seeds Insect-free, good-quality seeds are soaked
in water overnight and are then made into pulp by grinding. The pulp is then mixed with
water in a ratio of 1:2 and is kept on the hearth for 30-45 minutes until it becomes sticky
and semi-solid.

2. Preparation of chalk powder solution In preparing the chalk solution, a white chalk
locally called khadipathara is ground to a fine powder and mixed well with water in a 1:2
ratio. To make it sticky, 400 gm. of tamarind glue is mixed together with 1 kg of chalk
powder.
3. Application of glue and chalk powder over the cloth A clean cotton sari or cloth about
5-5.5 metres in length is taken and the thin borders cut off. Then the sari or cloth is cut
into two equal halves and spread lengthways over a plain mat. A thick layer of tamarind
glue is uniformly applied to the cloth with the help of another piece of cloth. The other
half is then spread over the first by two people. Utmost care is taken so that no crease
is left between the two layers of cloth. Another thick coat of tamarind glue is applied on
this second layer and left to dry. After it has dried thoroughly, the cloth is gently taken
away from the mat. This primed cloth, locally called a patti, is kept under the sun for a
day or two to dry better. Sometimes three layers of cloth are used to make the patti
stronger and more durable. Once the patti has dried thoroughly, a solution of chalk
powder is applied on both the sides with a piece of cloth and left to dry. Two or three
such coatings of chalk solution are applied, with an interval for drying each time, to
make the canvas more perfect and thus reduce the amount of colour consumed in
painting.

4. Polishing the surface of the primed cloth for making it smooth for painting The last
phase of preparation is smoothing the canvas, which is locally called a pattighasa. The
canvas or patti with chalk solution on it has a white but rough surface which needs
polishing properly to be rendered suitable for being painted. For this the canvas is
spread on a clean floor and rubbed in two phases, first with a rough surfaced stone
called bagadabarada, and then with a comparatively smooth and polished stone called
chikkanabarada, till the surface of the canvas becomes completely polished and smooth
enough to be painted. A small amount of chalk-powder solution is applied with tamarind
glue to give the patti a glazed effect.

The process of preparation of the canvas is time consuming and is carried out by both
male and female members of the Chitrakarafamily. Preparation of the tamarind glue and
the chalk-powder solution, as well as smoothing the surface, are usually done by the
women, while the preparation of the canvas itself, that is, the application of tamarind
glue and chalk-powder solution to the cotton cloth, is carried out by the men.
7. Composition

• Pattachitrasare usually painted in a

regular series of steps
• First a border is drawn around the pataa
• Then the outline of the figure is drawn in
white pigment
• Next the background between the border
and the part of the figures is painted in
solid colours, using different colours for
different areas, all done in bold rather than
fine brush work
• Then increasingly fine decorations are added to the picture. Applications of lines in the
paintings are very smooth and fine in character creating many beautiful decorative
designs. Eyebrows, nose, lips, eyes, jewelry, dresses are painted using charcoal or
chalk, then colours are applied and finally ornate designs are added.

The border of paintings is as important as the central theme. Use of double lines is
found on the borders of paintings. The inner border of the painting often uses a sort of
leaf-and-scroll motif and is narrower in width than the outer border, which often uses a
floral motif. The postures are largely well defined and repetition as a style creates an
interesting aesthetic appeal. One of the important aspects of pattachitra is that it doesn’t
incorporate any depth or perspective visualization. Pattachitra is a two dimensional art
form but application of strong and rhythmic lines and use of bright colour in the painting
give an extraordinary dimensional appeal.

8. Symbolic Association of colors

Chitrakaras strictly follow the Hindu sastras and puranas in the use of colour for the
motifs of gods and goddesses. Generally, all goddesses are painted yellow, while the
gods are painted white. However, in an individual painting, i.e. a painting depicting only
one god or goddess, he/she is coloured according to the descriptions given by the
Hindu scriptures. For example, Krishna is always painted blue, Ram white or light blue,
Ganesha white or off-white, and the goddess Saraswati white. Balabhadra, Jagannath,
Devi Subhadra, and the goddesses Lakshmi and Sabitri are always painted white, while
the goddesses Mangala, Radha, and sometimes Sita are painted yellow, which
represents their fairness.

Regarding the colour of the garments worn by the deities, the artist is free to exercise
his discretion in colour schemes, barring a few exceptions. For example, the clothes of
rishis and sanyasis who have renounced the material world are usually ochre or orange.
The yellow cloth or pitta basana is always associated with Krishna. Since, like Krishna,
Ramachandra is considered to be another incarnation of Vishnu, the usual colour used
for his garment is also yellow. Similarly, as, according to Hindu scriptures, Shiva used a
tiger's skin for his attire, his garment is dark yellow with dark brown or black spots.

The colour of the garments of Brahma and Vishnu is usually white. However, in Hindu
mythology, all male deities are painted with the upper half of their bodies bare except for
the long folded cloth on their shoulder called uttari. Thereis no www.craftcanvas.com
Craft Manual by strict colour scheme for the uttari, except those of Bramha and Vishnu,
who are never painted without an uttari. The dress colour of almost all court attendants
in a court sceneis usually found to be white.

9. Other types of Pattachitra

9.1 Tala-Pattachitra

Palm leaf pattachitra which is in Oriya language

known as TalaPattachitra is drawn on palm leaf.
Tala means palm and pattachitra means painting
on the cloth. These palm leaf paintings hold a
world of tales and secrets, beautifully depicted by
the artists of Orissa. The great epics Ramayana
and Mahabharata are favourite subjects of
illustration in many art forms, as they are with palm
leaf paintings. Stories of gods and goddesses are
also depicted with minute details of ornaments, hairstyles, animals, flowers, trees and
elements of nature.

Process:

1. Preparation of the medium Palm leaves are first cut into the required sizes and
treated with a solution of turmeric, as the antibacterial properties of turmeric ensure
longevity of the painting. Once dried for a few days, the leaves are ready for painting.
Since the painting can only be done between the veins of the palm leaves; they are all
more or less a standard size. Two layers are stuck together and a few of such strips are
tied together with a thread, to create a scroll that compresses into a very compact block
of zigzag folds. Sometimes the artists paint first and then stitch the strips together, such
as when they want to insert colorful paper between the layers, to show through the fine
cuts made in the illustrations.
2. Process of painting
• The painting on palm leaves is a unique process, as ink or pens are not directly used
to apply color. Instead, an iron stylus has to be used with extreme care, to etch the
drawing on to the brittle surface, making sure that it doesn’t go wrong or the leaf doesn’t
break
• Once the drawing is inscribed, lamp black is rubbed all over the leaf and then it is
cleaned, giving fine black color to the carved lines, while rest of the surface stays clean
• The artists also sometimes make very small cut outs in the painting, to give it a stencil
like appearance. This requires a great deal of precision and skill, as the palm leaf is
brittle and has directional grains, which interferes with a smooth usage of the cutting
blade. Such beautifully placed cutouts make the painting even more intricate and lace
like. Sometimes the artists use color to beautify the painting, by inserting coloured paper
between the layers or by painting with natural colors. Such developments have been
quite recent compared to the ancientness of the art and have taken it to a new level.

9.2 Motifs
The paintings are usually based on myths in chronological order. The theme of the
painting is usually dominated by Jagannath in his different postures in the Jagannath
temple at Puri or Krishna and his different sacred activities. In case of the jatripattis,
which are the earliest form of patta painting, the motifs associated with the trinity always
occur at the centre of the smaller paintings, while the trinity themselves are found inside
the temple in comparatively larger paintings. Apart from the jatripattis, there are also
other paintings showing Vishnu in his various incarnations, Shiva and Ganesha, the
goddesses Durga and Kali, etc. Sometimes episodes from the Ramayana are also
painted. However, the most popular motif found in patta painting is Krishna in his
different postures and in different activities and episodes from his life, usually
accompanied by his companion Radha in the smaller paintings. Krishna is also painted
as a child, called Bala Gopala or BalaKrishna. Smaller paintings also depict different
incarnations of Vishnu (of whom Krishna is himself actually one) and episodes from the
Mahabharata and another popular sacred text, the Gita. These details show that patta
painting is largely associated with the god Vishnu. The individual paintings of Gods and
Goddesses are also painted. The Pattachitra style is a juxtaposition of folk and classical
elements, but is more inclined towards the folk forms. The costume in the paintings
reflects the Mughal and Rajasthani influences, and the design and decorative motifs are
influenced by the paintings of Rajasthani miniature. Its uniqueness lies in its overall
finesse and rhythmic juxtaposition of elements.

9.3 Jatripatti (painting meant exclusively for pilgrims):

In the past the only form of patta painting available on the market
were jatripattis, painted on both primed paper and cloth of various
shapes and sizes. It basically depicts the trinity in different
postures and the architecture of the Jagannath temple at Puri.
These jatripattis are named differently according to their shape
and size, for example, anguthi (circular shape of finger-tip size),
gola (circular type), panchamandiria (depicting five temples), and
sankhanavi (depicting the temple's architecture on a conch-shell
painting).
9.4 Jautukapedi (dowry box):

In earlier times, brides were given various household

items and clothes at the www.craftcanvas.com Craft
Manual by Artisan painting the Ganjapa cards
Jatukapedi painted in pattachitra style time of their
departure from their parents’ home after the marriage
ceremony. All these things were placed in a wooden box
called ajautuka (dowry) pedi (box), painted with patta
paintings. It was customary among the Chitrakaras to
give such boxes of various sizes to their brides. It was
also popular among other people, though not customary.
Patta paintings of smaller size with single figures of
gods and goddess were also common. Large paintings
depicting various mythological stories were usually
acquired by kings, emperors, and zamindars (landlords).

The various themes of Pattachitra are:

Besides the anasarapatti, some other patta paintings worshipped in the temple on
various occasions include
• The krishnapatti, patta paintings of Krishna worshipped on his birthday, the twelfth day
of 'dark fortnight' in the month of bhadrav (August- September)
• The bamanapatti, a painting of Bamana, the fifth incarnation of Vishnu, worshipped on
his birthday, the twelfth day of the dark fortnight in the month of bhadrav
(August-September)
• The kandarpapatti, paintings of Kandarpa worshipped on the twelfth and thirteenth day
of the bright fortnight in the month of chaitra (March-April) for the welfare of the state
• Theyamapatti,a painting of Yama, the god of death
• And the ushakothi, depicting the story of the Goddess Mangala, are worshipped by
Hindu women at other places in Orissa on the occasion of Sabitri Amabasya, the
new-moon day in the month of jyestha (May-June), and Mangala Puja, on each
Thursday of the dark fortnight of the month of aswina (September-October) respectively.
10. Product

11. Outsider View vs Designer View

Cultural Heritage: Normal people often view Pattachitra paintings as a representation

of their cultural heritage and artistic traditions, appreciating the historical significance
and storytelling elements depicted in the artworks.

Handcrafted Beauty: They admire the intricate details and craftsmanship involved in
creating Pattachitra paintings, recognizing the labor-intensive process and skill required
to produce each piece.
Affordability: Pattachitra paintings are generally more affordable compared to high-end
artworks or designer pieces, making them accessible to a broader audience who
appreciate art but may have budget constraints.

Home Décor: Normal people may see Pattachitra paintings as beautiful additions to
their homes, adding a touch of traditional artistry and cultural significance to their living
spaces.

Connection to Roots: For many, Pattachitra paintings serve as a connection to their

roots and cultural identity, evoking a sense of pride and nostalgia for their heritage.

12. Designer Viewpoints on Pattachitra Painting

Artistic Inspiration: Designers may draw inspiration from Pattachitra paintings for their
unique motifs, color palettes, and storytelling techniques, incorporating elements of this
traditional art form into their contemporary designs.

Collaborations: Some designers may collaborate with Pattachitra artists to create

fusion pieces that blend traditional craftsmanship with modern fashion or home décor,
appealing to a wider audience with a taste for eclectic and innovative designs.

Exclusivity: Designers may see Pattachitra paintings as opportunities to create

exclusive, limited-edition collections or bespoke pieces that cater to discerning clientele
seeking unique and culturally rich artworks.

Market Potential: From a business perspective, designers may recognize the market
potential of Pattachitra paintings, tapping into the growing demand for authentic,
handmade artworks both locally and internationally.

Promotion of Heritage: Designers who value cultural preservation and sustainability

may champion Pattachitra paintings as part of their brand ethos, actively promoting and
supporting the artisans behind these traditional art forms to ensure their continued
relevance and appreciation in the modern world.
13. Pattachitra Paintings and their Semiotics

1. Vibrant colors: The red and gold combination

catches the eye and represents opulence and
celebration.
2. Cultural symbolism: The saree signifies tradition,
femininity, and cultural heritage.
3. Elegance: The silk fabric and intricate design
communicate sophistication and grace.
4. Status and wealth: The use of gold in the saree
suggests affluence and luxury.
5. Festivity: The bright colors and ornate details
evoke a sense of joy and celebration.
6. Femininity and beauty: The draping of the saree
highlights the curves and gracefulness of the female
form.
7. Craftsmanship: The intricate patterns and weaving
techniques showcase skilled craftsmanship and attention to detail.
8. Timelessness: The saree represents a traditional garment that has stood the test of
time.
9. Regional identity: The style and design of the saree may indicate its origin or
cultural influence.
10. Cultural pride: The saree serves as a symbol of cultural identity and pride,
reflecting the wearer's heritage.
14. Conclusion

Pattachitra paintings are absolutely mesmerizing! These traditional art forms from
Odisha, India, are known for their vibrant colors and intricate detailing.
Pattachitra paintings are a true testament to the rich cultural heritage of Odisha. The
word "Pattachitra" literally translates to "cloth painting" in the local language. These
paintings are created on cloth canvas using natural colors derived from minerals, plants,
and stones, giving them a unique and earthy appeal.

One of the striking features of Pattachitra paintings is the intricate detailing. The artists
skillfully depict mythological stories, religious themes, and folklore through elaborate
compositions. Each painting tells a story, capturing the essence of Indian mythology and
folklore, making them not just pieces of art but also a means of storytelling.

The use of vibrant colors is another hallmark of Pattachitra paintings. The artists
skillfully blend hues to create a visual spectacle that is both captivating and harmonious.
From the deep blues and vibrant reds to the subtle shades of green and yellow, the
colors used in Pattachitra paintings evoke a sense of vibrancy and energy.

The attention to detail in Pattachitra paintings is truly remarkable. The artists

meticulously paint each element, be it the intricate facial expressions, the delicate
jewelry, or the elaborate backgrounds. This level of precision and dedication showcases
the immense talent and craftsmanship of the artists.

Pattachitra paintings not only serve as a visual delight but also hold cultural and
religious significance. They are often used as a medium of storytelling, passed down
through generations, preserving the rich traditions and beliefs of the region.

In conclusion, Pattachitra paintings are a true masterpiece of art, culture, and

storytelling. They are a testament to the rich heritage of Odisha and continue to
captivate art enthusiasts around the world with their beauty and intricacy.

Thank You!

By:-
Krity Priya
BFT/22/456
WARANGAL DURRIES
 Index

1. Introduction
1.1. About Warangal durries
1.2 . History
2. Places of Practice
3. Raw Materials
4. Tools Used
5. Making Process
5.1. Dyeing
5.2. Weaving
5.2.1. Warping
5.2.2. Winding
5.2.3. Weaving
6. Products
6.1. Carpets
6.2. Praying mats
7. Warangal Durries and their Semiotics
8. Conclusion
 1. Introduction

Warangal, nestled in the heart of Telangana, stands as a

testament to India's rich history and cultural heritage.
Once the capital of the mighty Kakatiya dynasty,
Warangal's architectural marvels such as the Thousand
Pillar Temple and the imposing Warangal Fort echo the
grandeur of its past. Its festivals, like Bonalu and
Bathukamma, are vibrant expressions of local culture,
while natural wonders like Pakhal Lake and Laknavaram
Lake offer tranquil retreats amidst picturesque
landscapes. Warangal's seamless blend of tradition and
modernity makes it a captivating destination for visitors
seeking to immerse themselves in India's rich tapestry of
heritage and innovation.
1.1. About Warangal Durries

Warangal Carpets is an established industry in

Telangana, with a large community of skilled laborers
and artisans for dyeing the yarn and weaving. Warangal
Carpets is an established industry in Telangana, with a
large community of skilled laborers and artisans for
dyeing the yarn to weave. The second type of carpet is
block printed, these are used in decorating homes and
as a lifestyle product. Generally, the artisan makes a
plane or off-white blanket and then it is printed with
blocks of required designs. The block prints are
generally inspired by the Persian carpet style with rich
and royal motifs patterns. The third type is original to
the region, containing geometric flat patterns of various
dimensions and gorgeously planned color schemes
inspired by the local flora and fauna, Mughal structures,
daily life, and distinctive occupations in which the local
people are involved, like agriculture, handicraft, etc.
1.2. History

The history of Warangal carpets dates back to the

Mughal era, when the Mughal army came down to
south in Deccan region of India, an army comprising of
artists and craftsmen started making carpets and
sooner the local people had accepted it as their part
of regular income. This was due to abundant
availability of cotton locally and around the city of
Warangal. The craft has never faced the shortage of
materials at any point of time.

2. Places of Practice

Located in the southern region of India, in the state of

Telangana, Warangal carpets are pride of the region.
The metropolitan city of Warangal is a combination of
three cities –
Warangal
Kazipet
Hanamkonda
locally called as Ekasila Nagaram in Telugu language.
 3. Raw Materials
The raw materials that are used for carpet weaving
are,

1. Raw cotton thread bundles:

Cotton yarn, which comes in the lot is a primary raw

material used for making Warangal carpets, it is used
as it is, in few occasions or is generally dyed before
making it into a carpet.

2. Dye:

Chemical dye is used in dyeing of cotton yarns, of

varying grades and colors.
4. Tools Used

The tools that are used for carpet weaving are,

1. Shuttle and Pirn:

Shuttle along with pirn is used in horizontal weaving in

hand operated loom machines, it is made out of wood is
conical in shape from both the sides, which helps it to
glide smoothly.
2. Dying vessel:

A dyeing vessel is used along with an attached wood

fired chimney to heat the water inside it, for the dyeing
process.

3. Warping Frame:

Warping frame is used to make a bundle of parallel

threads, which can be transferred to the loom, to start
the weaving process.
4. T-Shaped Pole:

This pole is used for stacking up the wet thread bundles

and twisting them to remove excess water.

5. Pit loom:

A pit loom is used for weaving the carpet, which will be

at ground level and is basically pedal and hand
operated.
5. Making Process
5.1. Dyeing of cotton yarn:
After the cotton is bought, the lot is opened, which
contains yarn bundles twisted and packed tightly, it is
un-winded and are segregated separately into individual
bundles and is washed thoroughly with the mixture of
soap and water, to remove grease, dust or any foreign
particles from the yarn, which may cause imperfection
in the carpet. The washed yarn is then hung in the open
sky for it to dry naturally. Once the yarn is ready,
workers heat the water in the wood fire operated large
chimney, in a large rectangular tank, once it’s reached
specific temperature, they add either natural or
chemical dye powder to it, and it is mixed thoroughly to
ensure a proper mixing throughout the tank, then the
washed cotton yarn is added to the dye solution water
and it is let to soak the dye for a considerable amount of
time and then it is taken out of the tank, so that the
extra water can be squeezed out and then the colored
yarn is finally put to dry.
5.2. Weaving of Durries:
5.2.1. Warping:
In warping, the dyed or white thread bundles are
winded onto a plastic or wooden pipe collecting a series
of pipes with thread winded on it, then the starting end
of each thread is taken and is made into a single bundle
of multiple threads, with the help of a wall mounted
warping frame, it is then tightened and sized properly
according to required length, the number of threads to
be taken depends directly upon the width of carpet
required, once the warping is done it is then transferred
to the loom.

An artisan placing the thread reels on the

warping frame
5.2.2. Winding:
In winding the dyed thread bundle is un-winded and is
wrapped around an bamboo frame from which it is
again transferred to a small iron rod with the help of
charkha, according to the required dimensions these
little reels of threads will be used in shuttles, which is
used in horizontal weaving, and the bundle is called as
“pirn”.
5.2.3. Weaving:
In Warangal carpet weaving, generally pit looms are
used (peddle and hand operated), as it can be set up in
the back yard and artisans can work from their own
place, after the warping threads are set on to the loom,
the weaving is started, usually the horizontal lines and
vertical lines of threads will be of different shades or of
same shades, depending upon the requirement. Artisan
inserts the shuttle containing pirn onto one end of the
loom and then he presses the peddle when it ejects out
of the second end, and he also simultaneously presses
the thread which is laid out by shuttle with the hand
operated wooden beam, such that it tightens closely,
he repeats the process until the carpet is finished till
the other end.
6. Products:
6.1. Carpets:
The main and highlighted product of Warangal is a
carpet, with interesting geometric shaped designs,
usually these carpets are used in marriages, functions
and in homes, to welcome guests.

6.2. Praying Mats:

Praying mats are generally used by Muslim community
locally, to perform the ritual of their daily pray called
“Namaz” in mosque or in home, these mats comes with
geometric patterns of tombs, minars (Pillars of Mughal
style of structures), to resemble their culture.
7. Warangal Durries and their Semiotics:

1. Design and Patterns: Warangal durries are known for

their intricate designs and patterns, which often
incorporate geometric motifs, floral elements, and
traditional symbols. These designs serve as signs that
convey cultural meanings and aesthetic preferences.
Semiotic analysis can examine how specific patterns
and motifs are interpreted within the cultural context
of Warangal, revealing the symbolic significance
attached to different designs.
2. Colors: In Warangal durries, the choice of colors is
not only aesthetic but also symbolic. Different colors
may evoke feelings of joy, prosperity, or spirituality,
reflecting the cultural values and beliefs of the
weavers. Semiotic analysis can explore the cultural
connotations of color in Warangal durries and how
they contribute to the overall meaning of the textile.
3. Materials and Techniques: Natural fibers such as
cotton or wool are commonly used, symbolizing the
connection to the land and the environment. The
traditional weaving techniques passed down through
generations reflect cultural identity and
craftsmanship. Semiotic analysis can investigate how
these materials and techniques symbolize cultural
values such as sustainability, tradition, and
community.
8. Conclusion:

Warangal durries, with their rich history and intricate

craftsmanship, stand as a testament to the skill and
creativity of the artisans of Warangal, India. These
durries not only serve as functional floor coverings but
also embody the cultural heritage and tradition of the
region. From their vibrant colors to their durable weave,
Warangal durries have earned recognition both
domestically and internationally for their quality and
beauty.
In conclusion, Warangal durries represent more than
just a piece of fabric; they encapsulate generations of
craftsmanship and tradition. Their enduring popularity
is a testament to their timeless appeal and the
dedication of the artisans who continue to preserve and
innovate upon this cherished art form. As we celebrate
the legacy of Warangal durries, let us also acknowledge
the importance of supporting and sustaining traditional
crafts for generations to come.
TUMBA CRAFT
 INDEX
1. Introduction
2. Historical Background
3. Materials and Tools
4. Technique of Making
4.1. Preparation
4.2. Designing
4.3. Carving and Shaping
4.4. Embellishment
4.5. Finishing Techniques
4.6. Drying and Curing
5. Products
6. Artistic Approach
7. Cultural Significance
8. Revival Challenges
9. Semiotics in Tumba Art
10. Conclusion
1. Introduction

The tumba craft of Chhattisgarh is a traditional art form

that holds a significant place in the cultural heritage of
the region. Renowned for its intricate designs and
meticulous craftsmanship, tumba making exemplifies
the skill and creativity of Chhattisgarh's artisans.
2. Historical Background

The history of tumba craft in Chhattisgarh dates back

centuries, echoing the tales of skilled artisans who
meticulously crafted these ornate objects. Influenced
by local myths, folklore, and religious practices, tumba
making evolved as an integral part of Chhattisgarh's
cultural identity. Passed down through generations, the
craft has been cherished and preserved as a symbol of
tradition and heritage.

3. Materials and Tools

Materials:
Wood: Various types of wood are used in tumba
making, including teak, rosewood, mango wood,
and sandalwood. These woods are chosen for their
durability, workability, and aesthetic appeal.
Natural Dyes: Artisans often use natural dyes
derived from plants, minerals, or other organic
sources to add color to their tumbas. These dyes
create vibrant hues and are preferred for their eco-
friendly properties.
Embellishments: Various embellishments such as
beads, mirrors, shells, and metal accents are used
to decorate tumbas, adding texture, sparkle, and
visual interest to the finished piece.
Tools:
Carving Tools: Carving tools such as chisels, gouges,
knives, and rasps are essential for shaping and
detailing wooden tumbas. These tools come in a
variety of shapes and sizes to accommodate
different carving techniques and styles.
Paintbrushes: Fine paintbrushes are used for
applying paint, dyes, or other decorative finishes to
the tumba. Brushes come in various sizes and
shapes to accommodate different painting
techniques and details.
Burnishing Tools: Burnishing tools such as polishing
stones or agate burnishers are used to smooth the
surface of clay tumbas and create a polished finish.
These tools help achieve a lustrous sheen and
enhance the overall appearance of the tumba.
Firing Equipment: For clay tumbas, kilns or ovens
are used to fire the clay and harden it into its final
form. Kilns can be electric, gas, or wood-fired,
depending on the artisan's resources and
preferences.
Protective Gear: Artisans may also use protective
gear such as gloves, goggles, and masks when
working with materials and tools to ensure safety
and minimize exposure to dust, fumes, and other
hazards.
4. Techniques of Making

The technique of making tumbas involves several

intricate steps, each requiring skill and precision.

4.1. Preparation

Wooden tumbas, the wood may need to be seasoned

or treated to enhance its durability and prevent
warping or cracking.

4.2. Designing

Once the materials are ready, artisans sketch out the

design on the surface of the tumba. This may involve
intricate patterns, motifs inspired by nature,
mythological figures, or cultural symbols. The design is
an essential aspect of tumba making, as it reflects the
artisan's creativity and cultural heritage.

4.3. Carving and Shaping

With the design in place, artisans begin the carving

process. Using specialized tools such as chisels,
gouges, and knives, they meticulously carve away the
excess material to reveal the desired shape and form
of the tumba. This step requires precision and
attention to detail to bring the design to life.
4.4. Embellishment

Once the basic shape is carved, artisans may add

decorative elements to enhance the aesthetic appeal
of the tumba. This could involve intricate carving, relief
work, or the addition of embellishments such as beads,
mirrors, or paint. These embellishments add texture,
depth, and visual interest to the finished tumba.

4.5. Finishing Techinque

After the carving and embellishment are complete,

artisans apply finishing touches to the tumba. This may
involve sanding the surface to smooth out any rough
edges, applying a protective coating or polish to
enhance durability and luster, and adding any final
details or decorations.

4.6. Drying and Curing

Depending on the material used, the tumba may need

to undergo a drying or curing process to ensure
structural integrity and longevity. Wooden tumbas may
be left to air dry or placed in a kiln to harden the
material.
5. Products
Tumba craft in Chhattisgarh yields a variety of
products, each with its own unique characteristics and
purposes. Here are some of the products commonly
crafted

1. Decorative Tumbas -
These are ornate
cylindrical containers
intricately decorated with
carved designs, relief work,
or painted motifs.
Decorative tumbas are
often used as centerpieces
or focal points in home
decor, showcasing the
artisan's skill and creativity.

1. Storage Tumbas -
Functional in nature,
storage tumbas serve as
containers for storing
various items such as
grains, spices, jewelry, or
personal belongings. These
tumbas may feature
simpler designs but are still
crafted with attention to
detail and durability.
 1. Artistic Tumbas - Some
tumba artisans push the
boundaries of traditional
craftsmanship to create
artistic tumbas that blur
the line between functional
objects and works of art.
These tumbas may feature
experimental designs,
innovative techniques, or
unconventional materials,
showcasing the artisan's
creativity and ingenuity.

6. Artistic Approach

Tumbas encompass a wide array of products, ranging

from decorative artifacts to utilitarian objects. These
include intricately carved wooden boxes adorned with
vibrant paintings, and ceremonial items used in
religious rituals and festivals. Each tumba serves as a
canvas for artistic expression, depicting local legends,
symbolic motifs, and cultural motifs that resonate with
the people of Chhattisgarh.
7. Cultural Significance

Beyond their aesthetic appeal, tumbas hold profound

cultural significance in Chhattisgarh society. They are
not merely objects of adornment but symbols of
prosperity, protection, and auspiciousness. Tumbas are
integral to various ceremonies, including weddings,
births, and religious rites, where they play a central role
in rituals and traditions, forging connections between
past and present generations.

8. Revival Challenge

Despite its cultural importance, tumba craft faces

numerous challenges in the modern era. These include
declining artisan populations, lack of market access,
and competition from mass-produced alternatives.
However, there is renewed interest in reviving and
preserving this ancient craft. Various initiatives,
including skill development programs, market linkages,
and cultural tourism efforts, aim to support artisans
and raise awareness about the importance of tumba
making.
9. Semiotics in Tumba Art

1. Symbols and Motifs: Tumba art is filled with

symbols and motifs that convey meaning and
cultural significance. These symbols may include
geometric patterns, stylized flora and fauna,
mythological figures, and religious symbols. By
identifying and interpreting these symbols,
semioticians can uncover the deeper meanings
embedded in tumba art and understand how they
reflect the cultural beliefs, traditions, and values of
the community.
2. Iconography: In tumba art, specific icons and
images are used to represent abstract concepts
such as fertility, prosperity, protection, and
spirituality. By analyzing the iconography of tumba
art, semioticians can unravel the layers of meaning
encoded in the visual imagery and explore how
these images convey cultural norms and beliefs.
3. Cultural Context: In the case of tumba art, the
cultural context of Chhattisgarh plays a crucial role
in shaping the meaning and interpretation of the
artwork. By examining the socio-cultural practices,
rituals, and traditions associated with tumba art,
semioticians can gain insights into how these
artworks are perceived and understood within the
community.
10. Conclusion

In conclusion, the tumba craft of Chhattisgarh stands as

a testament to the resilience, creativity, and cultural
heritage of the region. As we celebrate its legacy, it is
imperative to recognize the need for concerted efforts
to preserve and promote this cherished tradition. By
supporting artisans, fostering cultural appreciation, and
fostering sustainable practices, we can ensure that the
art of tumba making continues to thrive for generations
to come, enriching the cultural landscape of
Chhattisgarh and beyond.
 Semiotics Analysis On
Handicrafts And Handlooms
Matangi Amulya Sindhu Raj
FD Semester 4
IDM ETA
 Handicraft:
Sliver Filigree
Artisan: Krishna Chari
State: Andhra Pradesh
Handicraft: Sliver Filigree
About Silver Filigree
Silver filigree is a delicate, lacelike ornamental openwork
composed of intertwined wire threads of gold or silver. It is an
ancient traditional form of art and jewellery technique that is
known for its delicateness and intricate workmanship. The
pieces of the craftwork also constitute tiny beads or twisted
threads, or both of these in an artistic combination. Filigree is
an advanced technique in jewelry making that involves
creating incredibly detailed designs using fine threads of
metal, typically gold or silver.

History
Filigree, although now considered a specialized form of
jewelry-making, was historically a common technique among
ancient civilizations such as the Etruscans, Greeks, and
Egyptians.
It involved soldering together gold or silver wires to create
intricate designs. While the Egyptians primarily used wire for
background laying and plaiting, the Greeks and Etruscans
perfected filigree during the 6th to 3rd centuries BC.
Examples of this ancient craftsmanship can be found in
museums worldwide, showcasing delicate earrings and
personal ornaments made entirely of filigree work. The
technique was also evident in Scythian jewelry from Crimea,
with bracelets and necklaces featuring intricate patterns of
twisted wire and animal-shaped clasps. Overall, filigree was a
widely practiced art form in antiquity, showcasing the skill
and creativity of ancient artisans.

Silver filigree work of Cuttack

Tarakasi (silver filigree) pendant &

earrings, from Cuttack

In India
Filigree craftsmanship has persisted for centuries in regions
like India, Iran (known as malileh in Zanjan), and parts of
central Asia, with designs largely unchanged over time.
Whether influenced by Greek settlers or following shared
traditions, Indian filigree artisans continue to utilize ancient
Greek patterns and techniques. Typically, artisans are
provided with gold, which they heat, beat into wire, and then
fashion into intricate designs, often in the employer's
courtyard or verandah. Traditional filigree work in Cuttack,
Odisha, known as tarakasi, primarily focuses on religious
motifs, but due to modernization and lack of support, this art
form is declining. Additionally, Karimnagar in Telangana
state is renowned for its silver filigree.

Silver Filigree of Karimnagar

Karimnagar Silver Filigree, originating from Karimnagar,
India, is a cherished art form with deep historical roots.
Dating back to ancient times, it flourished particularly during
the reign of the Nizams of Hyderabad, who were known for
their patronage of the arts. Noblemen of that era often
commissioned intricate and elaborate pieces of Karimnagar
Silver Filigree, many of which are now showcased in
prestigious institutions like the Salar Jung Museum.
Recognizing its cultural and artistic significance, Karimnagar
Silver Filigree was granted Intellectual Property Rights
protection or Geographical Indication (GI) status in 2007,
affirming its unique identity and heritage.
Methods of fabrication and
uses:
The process of creating filigree art involves intricate
techniques such as curling, twisting, and plaiting fine metal
threads, which are then fused together at their contact points
and with the base metal using flux, typically borax, with the
aid of a blowpipe or blowtorch. To achieve granulated
motifs, small beads are crafted from precious metal wire or
sheet, mixed with flux, and melted on a pitted block of
charcoal or similar material.

This results in tiny, unique grains that add texture and detail
to the filigree work. These grains are often strategically
placed within the design, such as in the eyes of volutes or at
junctions, to enhance the overall aesthetic. Additionally,
delicate filigree pieces are reinforced with sturdier wire
frameworks to protect the intricate details. Modern filigree
ornaments like brooches, crosses, earrings, and buttons
typically incorporate bands of square or flat metal to provide
structural support and maintain the desired shape of the
design.
What is the traditional way of
decorating Filigree?
The traditional way of decorating filigree involves intricate
and delicate techniques aimed at enhancing the beauty of the
metalwork. Some common methods of decorating filigree
include:

1. Granulation: This involves attaching tiny metal granules or

beads onto the filigree structure to create patterns or add
texture.

2. Wirework: Additional wirework can be added to the

filigree design to create more complex patterns or decorative
elements.

3. Enamel: Enamel can be applied to the filigree structure to

add vibrant colors and further enhance its aesthetic appeal.

4. Gemstones: Gemstones such as diamonds, rubies,

emeralds, or pearls can be set into the filigree work to add
sparkle and luxury.

5. Etching or engraving: Intricate designs can be etched or

engraved onto the filigree surface to create unique patterns
or motifs.

6. Plating: Gold or silver plating can be applied to the filigree

to enhance its shine and durability.

Overall, traditional filigree decoration involves a

combination of skilled craftsmanship and artistic expression
to create stunning pieces of jewelry or metalwork.
The Process And Tools Used:

Creating silver filigree requires significant effort. It involves a

unique process distinct from engraving, carving, or molding
metal into jewelry. Filigree work entails meticulously shaping
thin silver wires, resembling hair strands, into intricate designs.

The process of crafting filigree jewelry begins with melting silver

or gold metals over a small stove. These melted metals are then
poured into molds to create rods, which are further drawn into
thin wires using manual wire drawing machines.

Wires play a crucial role in filigree jewelry, and silver, being

highly flexible and moldable after gold, is preferred.
Remarkably, just one gram of pure silver can yield a kilometer-
long wire due to its unique processing capabilities.
Tools Used:
Pliers Needle files
Cutters Solder
Ring mandrel Sandpaper
Hammers Flush cutters
Steel block Digital caliper
Ruler Rawhide mallet
Tweezers Saw frame

Inspiration for the patterns and

designs
To visualize the intricate designs of Filigree jewelry, the initial
steps involve sketching the patterns on paper. These patterns
draw inspiration from inscriptions found on temples, depictions
of deities in sculptures, as well as the intricate forms of
surrounding flora and fauna.

Afterwards, the wires utilized for crafting the frames are

meticulously positioned on these design sheets, capturing the
graceful essence of the drawings.
Designs and product range

Earrings
Bangles
Idols
Mini bags
Accessories
Semiotics Analysis
The motifs found in silver filigree are deeply rooted in the rich
traditions of temple art, drawing inspiration from intricate
sculptures of gods, goddesses, and the natural world. These
delicate and detailed crafts have traditionally served as revered
showcase pieces, often utilized as idols for religious ceremonies
like Pooja. In today's contemporary world, silver filigree has
transcended its traditional role and has become a prominent
feature in jewelry, including earrings, bangles, chains, pendants,
and various other accessories. Furthermore, artisans now
incorporate subtle hints of color into their designs, enhancing
the beauty of the silver with vibrant contrasts. Historically, silver
has held a significant status as a precious metal associated with
royalty, often reserved for the elite class who would dine and
adorn themselves with it. While gold and silver idols continue to
be objects of worship, silver filigree has also found its place in
decorative items, prized for its preciousness and exclusivity.
These exquisite creations serve not only as luxurious gifts but
also as testaments to the ingenuity and creativity of traditional
artisans, ensuring their legacy endures through generations.
 Handloom:
Venkatgiri Sarees
Artisan: Patnam Shekhar
State: Andhra Pradesh
About Venkatakgiri Sarees
The Venkatagiri Sari, a traditional garment woven in the town of
Venkatagiri situated in the Tirupati district of Andhra Pradesh,
India, holds a distinguished status. Recognized under the
Geographical Indications of Goods (Registration and Protection)
Act, 1999, it stands as a testament to the rich cultural heritage of
the region. Renowned for its exquisite craftsmanship, these saris
are celebrated for their finely woven fabric, reflecting the skilled
artistry of local weavers. Beyond Venkatagiri, similar styles of
saris can also be found gracing the villages of Sengunthapuram,
Variyankaval, Elaiyur, Kallathur, Andimadam, and Marudhur,
each contributing to the tapestry of this cherished tradition.

History
The history of Venkatagiri sarees is deeply intertwined with the
cultural and artisanal heritage of the region. Dating back several
centuries, the origins of these sarees can be traced to the town of
Venkatagiri in the Tirupati district of Andhra Pradesh, India. It is
believed that the weaving tradition in this area has been passed
down through generations, with techniques and skills honed over
time.
Historically, Venkatagiri sarees were patronized by royalty
and aristocracy, favored for their fine craftsmanship and
luxurious appeal. The intricate weaving patterns and use of
high-quality materials distinguished these sarees as symbols
of prestige and elegance. Over time, they gained popularity
beyond the confines of the royal court, becoming sought-
after by discerning patrons across the region and beyond.
Throughout history, Venkatagiri sarees have adapted to
changing tastes and trends while preserving their traditional
essence. The weavers, often belonging to specific
communities or families with a long-standing tradition in
the craft, have played a crucial role in maintaining the
authenticity and quality of these sarees.
In more recent times, efforts have been made to preserve
and promote the heritage of Venkatagiri sarees. Their
recognition under the Geographical Indications of Goods
(Registration and Protection) Act, 1999, serves to safeguard
their authenticity and ensure their rightful place in India's
rich textile legacy. Today, Venkatagiri sarees continue to
captivate connoisseurs of Indian textiles with their timeless
beauty and craftsmanship, embodying a legacy of artistry
and tradition.
Designs and Product range
Colours you can find
Motifs
Motifs
Motifs
Process
The production process of Venkatagiri sarees involves
several distinct stages:

1. Sourcing raw materials: This includes obtaining cotton in

hank form, silver and gold zari, as well as Naphthol and Vat
dyes.

2. Purification of cotton: The hank cotton is boiled to

remove impurities, soaked overnight, rinsed, and prepared
for the dyeing process.

3. Dyeing: Different techniques are used depending on

whether the sarees are to be white or colored. Bleaching is
employed for white sarees, while Vat and Naphthol dyes are
used for colored ones.

4. Removal of excess dye: The dyed or bleached yarn is

treated in boiling water to remove excess dye.

5. Drying: The yarn in hank form is dried on bamboo sticks

after the dyeing process.

6. Winding of hank yarn into warp and weft: Various tools

such as charka, shift bamboo, and bobbin are utilized to
form the warp, while the weft is created using a pirn.

7. Street sizing: The warp extension undergoes spraying of

rice conjee to facilitate suitable weaving, followed by drying.
8. Weaving process: The warp and weft method of weaving is
employed, sometimes replaced by Jacquard weaving.

9. Design conception: This involves two processes - the

human element and the use of graph paper design.

10. Cutting and folding: The woven cloth is cut according to

the demand for the goods.

11. Inspection of sarees: Master weavers inspect the sarees to

rectify any flaws before they are marketed.

12. Marketing: The sarees are displayed in showrooms for

sale.

Venkatagiri sarees come in various varieties such as

Venkatagiri 100, Venkatagiri-putta, and Venkatagiri-silk,
with Venkatagiri 100 being the most popular. These sarees
are crafted from fine cotton, with the use of zari being
particularly significant.
Design Elements
The Venkatagiri Pattu Sarees are renowned for their
elegance and regal aura, characterized by Jamdani motifs
that imbue them with a traditional charm and rich
symbolism. These motifs, such as dots, coins, leaves,
mangoes, lotuses, peacocks, parrots, and geometric patterns,
are meticulously arranged amidst gold bands known as
Variakanchu on the saree's pallu. While the saree is available
in various colors, the hallmark feature remains the presence
of these striking gold bands.

In the weaving process, the Adai arrangement is utilized for

the insertion of the weave, with extra yarn inserted as
necessary to bring the motifs to life. Following weaving, rice
starch is applied to enhance the saree's strength before it is
rolled onto the beam. This meticulous process ensures that
the Venkatagiri pattu saree emerges as a six-yard
masterpiece, boasting a blend of softness, durability, and
comfort.

While Venkatagiri saris are esteemed for their exquisite

weaving techniques, Mangalgiri saris distinguish themselves
through intricate Kalamkari designs..
Semiotics Analysis
Venkatagiri sarees are renowned for their motifs,
predominantly drawing inspiration from the natural world
with intricate floral and fauna designs. Among the oldest and
most prominent motifs are the buttas, characterized by
geometric shapes and patterns that adorn the fabric. This
traditional handloom craft boasts a rich heritage, with its
design and motifs remaining largely unchanged over time.
However, in an effort to adapt to modern tastes while
maintaining its cultural roots, artisans have endeavored to
infuse contemporary elements into the traditional style,
catering to the preferences of younger generations. This
evolution is evident in the exploration of silk and cotton
blends, alongside the enduring use of pure cotton. Offering a
diverse range of colors and designs suitable for all ages,
Venkatagiri sarees prioritize comfort without compromising
on elegance. Their lightweight weave ensures wearability,
while the softness and durability of the fabric further
enhance their appeal, exuding a timeless charm that
resonates with wearers across generations.
TURNED WOOD LACQUER TOYS
 Index
1. TURNED WOOD LACQUER TOYS

1. INTRODUCTION TURNED WOOD LACQUER TOYS

2. HISROTY OF TURNED WOOD LACQUER TOYS
3. PRODUCT MIX
4. PROCESS OF MAKING TURNED WOOD LACQUER
TOYS
5. RAW MATERIALS USED
6. LAC
7. SWOT ANALYSIS FOR THE ETIKOPPAKA
PRODUCTS
8. Semiotics of TURNED WOOD LACQUER TOYS
9. Outsider View vs. Design View
10. CONCLUSION

2. NARAYANPET SAREES

1. Introduction to narayanpet sarees

2. RAW MATERIALS
3. TOOLS USED
4. PPROCESS OF NARAYANPET SAREE WEAVING
5. USE OF THE PRODUCT
6. MARKETING
7. CHANGES IN THE RECENT YEARS
8. OUTSIDER VIEW VS DESIGN VIEW
9. SEMIOTICS FOR NARAYANPET SAREES
10. CONCLUSION
 Introduction to
TURNED WOOD LACQUER TOYS

The lacquered wooden toys are traditionally made

in small villages from Karnataka & Andhra Pradesh
states. The wood used is Ankudu (Wrightia
tinctoria), a local tree which has been largely
replanted to face the demand of toys from India
and abroad.
Lacquering is done on a lathe, hand or machine
operated. For making slender and delicate items,
the hand lathe is considered suitable. Dry lac is
pressed against the item to be lacquered and then
exposed to heat. The wooden base is continually
rotated for uniform application. It speaks of the
skill of the craftsman as he uses different colors and
yet manages to get uniform shine on them.
Vegetable dyes are used in coloring instead of lead
based dyes. A thick decoction of color is mixed
with hot lac and sticks are made similar to those
with synthetic dyes
* The process of making these colorful wooden
handicrafts is called Turned Wood
Lacquered Craft (Tharini)
* Richly Colored with NON-TOXIC plant and
vegetable dyes.
From small tops and toys for children, to candle-
holders and table lamps, Etikoppaka makes them
all in a range of rich and wonderful colours. The
easy availability of softwood (Wrightia tinctoria) in
the village has sustained the craft for nearly two
centuries now. But, until recently, all this was not
known to the world outside the village. A
combination of luck and good sense changed all
that in the last few years.
 HISTORY
The traditional landlords of the village, the Rajus who
were permitted to settle there over 200 years ago by the
Raja of Vizianagram, have been people far in advance of
their time. It is through their efforts that India's first co-
operative sugar mill came to be located in Etikoppaka in
the early 1930s.
When, one of them, Padmanabha Raju in the early
1900s, saw business possibilities in the lacquer products
of Etikoppaka, he searched out the dyes and processes
that would enhance their quality and appeal. However
despite these efforts, by the mid-1980s, less and less
craftsmen were available to make the lacquer-ware and
Etikoppaka produced hardly any at all. Increasing
employment opportunities in the sugar industry had
contributed to this decline.
The downward spiral was reversed by one of
Padmanabha Raju's descendants, Chitti Raju. He
gathered the few remaining and aging craftsmen together
and exposed them to new designs and concepts at
national-level craft exhibitions all over the country.
However, it was left to Chitti Raju's nephew, C.V. Raju,
to reverse the trend and make Etikoppaka a byword for
quality handicraft.
He is the contemporary face of Etikoppaka's craft today,
who looked at lacquer-ware in all its dimensions from
design to marketing. The Fine Arts Department of
Andhra University, the National Institute of Design and
even the National Institute of Fashion Technology were
involved in the design and development of new designs
and products.
Elegant candle-stands for the German market were
followed by specially designed lacquer casings for a
unique range of timepieces for Titan. Better packaging
saw the transit breakage rate come down and a special
tie-up with the Postal Department has ensured safe
delivery of the delicate hand-crafted items to far away
markets.
As the base of the lacquer product, the softwood trees
became scarce, C.V. Raju sought and got the assistance
of the State Forest Department to improve plantation
yields and also experiment
with other wood that could take lacquer just as well.

Over the years, this combination of strategies has paid off

handsomely and today, Etikoppaka's lacquer-ware has
found good markets not only within India but also
overseas, especially in France, Italy, Germany and the
US. The growing demand for lacquer-ware nationally
and internationally, has enthused C.V. Raju and his
family to set up a well-equipped design centre to train
new people in the craft at Etikoppaka itself. A simple but
comfortable guest house has been constructed to
encourage experts to visit Etikoppaka to advice and train
craftsmen locally. C.V.
Raju has also continued the tradition set by his uncle,
and constantly exposes his craftsmen to new ideas by
taking them along to craft exhibitions and workshops
across the country.
As one who has, over the past few years, visited
Etikoppaka several times, I have been amazed at the
transformation a concentration of efforts on the
promotion of one craft can bring to the lives of so many
villagers in such a short span of time. Craftsmen who
were earning a pittance in the not-too-distant past are
getting much better paid now and there is an obvious
desire amongst them to hone their skills.
Amongst C.V. Raju and his associates, there is an
increasing awareness of the ecological concerns of the
world outside and lacquer-ware is packaged in locally-
made banana paper and degradable wood waste. Even
the boxes in which the handicrafts are dispatched are
made locally from the leaves of palm and coconut trees --
all these displaying an amazing village-level sensitivity to
market demands and global concerns outside.
The village of Etikoppaka is a couple of hours' drive
south from Visakhapatnam, most of it on the National
Highway to Chennai followed by a short 12-km country
road. The last stretch is scenic. Low-lying hills in the
distance form a picture-postcard back drop against which
the flat green sugarcane fields look surrealistically
beautiful.
This route is bisected by a sleepy level-crossing that
probably has remained unchanged for decades. Progress
on this road is very slow for there are hundreds of
sugarcane-laden bullock carts that one has to overtake.
However, with the growth of the lacquer-ware
manufacture, a once sleepy village is now being
transformed through the diversification of the local
economy, that all these years has been dependent on
sugar alone

PRODUCT MIX
SUB CATEGORIES
1. TOYS
2. JEWELLERY
3. UTILITY ITEMS
4. DECORATIVE ITEMS
5. IDOLS
TOY Variants:
• Toy train (Rs. 40)
• Caterpillar (Rs. 50),Bowling pins Rs.
400),Sitar, Veena (Rs. 80)
• Checkers game (Rs. 100),Tops(Rs.60),
Duck and ducklings (Rs. 150)
Boat (Rs. 100)
Whistles & flutes (Rs. 20-50)
Percussions & other Instruments (Rs. 60)
JEWELRY Variants:
• Bangles (Rs. 30 each unit),Hair pin
(Rs.20),Hair clip(Rs.30),Clutches '(Rs.45)
• Earring (Rs.20)
UTILITY Items:
• ,Jars (Rs. 50-200),Glasses (Rs.40),Wine glass
(Rs.80),Hurricane with bulb (Rs. 105),
• Kum-Kum box (Rs.40)

Candle stand (Rs.50)

> Sharpeners(Rs. 20)
DECORATIVE items:
• Wind chimes (Rs.
800),Christmas
Ornaments (Rs. 50- 150)
And village dolls depicting
village lives in their daily
chores .
PROCESS of Making Lacquer Toys
Technique:
Each wooden piece that is cut to make an item is
subjected to a process of slow heating to draw out all
moisture. Every single limb is separately carved and
joined to the body with adhesive paste of tamarind seeds,
and later passed through a coating of lime glue.
Lacquering is done on a lathe, hand or is machine
operated. For turning slender and delicate items, hand
lathe is considered suitable. In the lac turney method, lac
is applied in a dry state that is the lac stick is pressed
against the woodenware to be lacquered. While the latter
keeps revolving, the heat generated by friction softens the
lac, making the color stick. Lacquer ware toys are
produced in this way. It is with remarkable skill that the
craftsmen manipulate the stick where several colors are
used. Some of the lacquered pieces are painted with a
brush.
 RAW MATERIALS USED
WOOD: Wrightia Tinctoria: Wrightia tinctoria is a
small to medium-size deciduous tree, to 18 m tall and to
20 cm width with green marks on the stem and
producing milky-white resin. The bark is smooth,
somewhat corky and pale grey. The timber is high in
quality, valuable, small, and white.
The white wood, which is very fine, is used for turnery,
carving, toy making, matchboxes, small boxes and
furniture.

NATURAL DYES
TREES/PLANTS : COLOURS:

Rubia cordifolia Orange & red

Morinda tinctoria Coral red
Curcuma pseudomontana Deep red
Centilla asiatica Yellow
Indigofera tinctoria Blue
Ornosmose echioides Brown
Mallotus phillipenensis Bright yellow
Punica granatum Amber
Terminalia arjuna Burnt Amber
Acacia catechu Brown
Emblica officinalis Deepener
(Embica+ Indigofera+ curcuma ) Green

LAC
Lac is the scarlet resinous secretion of a number of
species of insects, namely some of the species of the
genera Metatachardia, Laccifer, Tachordiella,
Austrotacharidia, A frotachardina, and Tachardina of the
super family Coccoidea, of which the most commonly
cultivated species is
Kerria lacca
The harvested stick lac is crushed and sieved to remove
impurities. The sieved material is then repeatedly
washed to remove insect parts and other soluble
material. The resulting product is known as seedlac. The
prefix seed refers to its pellet shape.
Lac production iS found in Assam and other parts of
North-East ,India, Bangladesh, Myanmar, Thailand,
Laos, Vietnam and parts of China. It is also found
in Mexico.
n India the most common host trees are
 • Dhak (Butea monosperma)
• Ber (Ziziphus mauritiana)
• Kusum (Schleichera oleosa), (Reported to give
the best quality and yield).
SWOT ANALYSIS FOR THE
ETIKOPPAKA PRODUCTS

Strengths:
1. Vegetable Dyes: This gives a definitive edge over the
competitors who use chemical dyes, especially when
considered for be easily extracted from plant sources.
export purposes. These dyes are free from any
carcinogenic and other harmful effects. These dyes are
readily available and can.
2. Skilled Labour: Local artisans are highly trained for
their particular craft, a no. of organizations are providing
training
facilities to the artisans.
3. Rich History, Heritage And Culture: The
long history and reputation of the artisans adds to the
awareness and ready acceptability by the customers. This
heritage will be a big contribution towards developing an
Etikoppaka brand altogether.
 4. Minimal Infrastructure/ Facilities Required:
Starting this business does not require a great deal of
infrastructure and facilities, as the basic requirements are
a lathe machine and cutting chisels.
5. 24 Hour Subsidized Uninterrupted Power
Supply: The govt. has subsidized the power supply for
the artisan's community.
.
6. Connectivity To Major Cities: The
Etikoppaka village is well connected to major cities like
Vishakapatnam and Hyderabad by broad highway which
facilitates hassle free transportation of the products.
7. Institutional Support: Various organizations
like NIFT, NID, NISIET and APHDC etc provide
regular support in terms of design, technology and
financial support.
8. Increasing Awareness: A lot of media is
promoting these products. The govt. also by conducting
various exhibitions and trade shows help the Etikoppaka
products get customers attention.

Weaknesses:
• Social weaknesses:
1. Lack of Co-Ordination Among Different Associations:
Although the artisans working for individual associations
in the village are well coordinated but the coordination
among these associations is lackluster. This impairs their
price setting ability together. The associations are at
continuous price war among themselves, this erodes their
competitiveness as a cluster.
2. Domination Of The Trade By Few Associations: Few
strong associations are controlling the trade and dictating
the terms.
The better profit margins are left with the heads of these
associations and those of the artisans suffer.
3. Inadequate Awareness: The customers in the nearby
markets are not well aware of Etikoppaka products. This
is well clear from the consumer surveys conducted
during this project in two cities i.e. Hyderabad and
Vishakapatnam.
• Process weaknesses:
1. Unreliable Availability Of Raw Materials: The
availability of the raw materials keeps varying seasonally.
In the winter seasons the artisans face acute availability
problems mainly with wood that is the major
requirement of the products.
2. Inadequate Planning: Local artisans do not
plan their raw material sourcing and demand for their
products. That leads to stock outs i.e. wastage of
production time and excess of finished goods inventory
that keep lying idle waiting for dispatch. this leads to
excess of wastage.
3. Storage Problems: The medium used for
solid state dyeing i.e. lacquer also known as lakha is not a
good binder. It has a rather low melting point which
leads to spoilage of finishes and staining of the packaging
boxes in summers.
4. Untidy Packaging: The standard of packaging
is not up to the mark and needs lot of improvement so
that to draw custor attention easily

Opportunities:
1. Product Diversification: New designs, new
technologies offer a big opportunity for Etikoppaka
artisans. From the customer survey it was evident that
they are looking for bigger Etikoppaka products, which
will fetch higher prices and ultimately higher profit
margins. The technological innovations such as provided
by NIFT will enhance them to achieve rectangular
shapes and cut materials at right angles. This will open
their way to a new genre of products such as watches and
photo frames etc.
2. Catering To Upper Middle Class Segment By
Emphasizing On Utility. Major target segment for these
products is upper class for which utility is not of much
importance as they purchase these products for gifting
purposes mainly. But for upper middle class that is big
potential target segment for Etikoppaka products, the
utility is very important. This is also evident from the
customer survey conducted. The enhanced utility will
add to the customer value and will help market these
products in the department stores also. This will carve a
big market for these products and provide ample
business opportunities.
3. Increasing Institutional Support: More and more
govt./non govt. institutions are providing Etikoppaka
cluster with design, technological, financial and
consultancy support which should be exploited well for
the up- liftment of the trade.
4. Collaboration With Relevant Big Retail Chains:
Making tying with big retail chains like Archies and café
coffee day that use these kind of products for gift items
and for providing drinks respectively will provide a huge
business opportunity

Semiotics of TURNED WOOD

LACQUER TOYS :

• Vibrant colors: The combination of bright hues like

azure blue and vibrant yellow creates an eye-catching
visual appeal.
• Cultural symbolism: Turned wood lacquer toys
embody traditional craftsmanship and cultural
heritage, reflecting the artistry of the regions they
originate from.
• Elegance: The smooth lacquer finish adds a touch of
refinement and elegance to the toys, elevating them
beyond mere playthings.
• Richness: The lustrous sheen of the lacquer and the
depth of colors convey a sense of opulence and
richness, highlighting the quality of craftsmanship.
• Passion: The meticulous carving and shaping of the
wood reveal the passion and dedication of the
artisans behind each toy's creation.
• Auspiciousness: In some cultures, turned wood
lacquer toys are imbued with symbolic meanings
associated with luck, prosperity, and positive energy,
making them cherished items in households.
• Attention to detail: Intricate designs and patterns
meticulously carved or painted onto the toys
showcase the artisans' attention to detail and mastery
of their craft.
• Timelessness: Turned wood lacquer toys possess a
timeless appeal, transcending fleeting trends and
remaining cherished heirlooms passed down
through generations.
• Versatility: These toys serve multiple purposes, from
decorative pieces to functional objects, and can be
enjoyed by people of all ages, making them versatile
additions to any home.
• Beauty: Overall, turned wood lacquer toys exude a
captivating beauty, combining the natural elegance
of wood with the artistry of lacquer work to create
visually stunning pieces that captivate the
imagination.
 Outsider View vs. Design View:

Outsider View: From an outsider's perspective, changes

may be observed in terms of consumption patterns,
cultural preferences, and societal norms. They might
notice shifts in the popularity of certain products or the
emergence of new design aesthetics. For instance,
someone unfamiliar with design processes might simply
perceive a turned wood lacquer toy as a traditional
plaything without delving into its design elements or
cultural significance.

Design View: Designers, on the other hand, are likely

to have a more nuanced understanding of the changes
occurring in their field. They might be aware of emerging
design philosophies, technological advancements
influencing production methods, or changing consumer
behaviors driving design trends. Designers would
approach turned wood lacquer toys not only as products
but also as representations of craftsmanship, cultural
heritage, and aesthetic sensibilities. They might explore
how these toys have evolved over time, incorporating
modern design principles while preserving traditional
craftsmanship techniques.

CONCLUSION:
• Turned Wood Lacquer Toys is a craft of the
Etikoppaka Village in the Vishakhapatnam District of
Andhra Pradesh.
• The craft is a Quality Product which infuses
the precision of the craftsmanship of the artisan. Each &
every minute, detail is carved by the hands of the artisan.
Further value addition is done by coloring & polishing
with the Natural Dyes & Lacquer, which are again
natural products. Thus the final product formed is a
100% natural & eco-friendly.
• The scope for this product is vast in today's
market due to increase of awareness about the
environment among the societies in India & abroad. But
the Market is still to be tapped nationally as well as
globally. Also most of the market is occupied by the
copied China Toys which use toxic Chemical Dyes.
 • So there is a need for the government to take
initiatives along with some NGO s or NonProfit Craft
Organization for the development of this wonderful
craft.
NARAYANPET SAREES
Introduction to narayanpet sarees

Narayanpet is a town located in the Mahbubnagar district

of the state of Telangana, India. Itis situated in the
southern part of the state, approximately 165 kilometres
from the capital cityof Hyderabad. The town is known
for its rich cultural heritage and its contribution to
thehandloom weaving industry.Handloom weaving is the
primary occupation of the people in Narayanpet, and the
town isrenowned for its Narayanpet sarees. These sarees
are woven with a unique blend of cottonand silk,
resulting in a lightweight fabric with a distinct texture.
The sarees often featureintricate designs, vibrant colours,
and contrasting borders. They are highly valued for their
quality and craftsmanship, making them popular among
saree enthusiasts. Narayanpet has a history of handloom
weaving those dates back several centuries.
Thetraditional weaving techniques have been passed
down through generations, and the town hasdeveloped
into a significant handloom cluster. Many weavers and
artisans in Narayanpetwork from their homes or small
workshops, using traditional handlooms to create these
beautiful sarees.The government of Telangana has taken
initiatives to promote and support the handloomindustry
in Narayanpet. It has set up a Handloom Park and a
Weavers' Cooperative Society inthe town to provide
infrastructure, training, and marketing support to the
weavers. These efforts aim to preserve the traditional art
form, uplift the livelihoods of the weavers, and promote
Narayanpet sarees both domestically and
internationally.Apart from handloom weaving,
Narayanpet is also known for its historical and
culturalattractions. The town has several temples,
including the famous Venkateshwara SwamyTemple,
which attracts devotees and visitors. The region's cuisine
is also worth exploring,with its distinct flavours and
traditional Telugu dishes

RAW MATERIALS
1. Cotton: Narayanpet sarees are primarily woven using
high-quality cotton yarns, known for their softness,
breathability, and durability. Cotton yarns provide
comfort to the wearer, making Narayanpet sarees
suitable for everyday wear and various climates.

2. Silk: Some Narayanpet sarees feature silk yarns,

adding a luxurious touch to the fabric. Silk threads
contribute to the saree's lustrous sheen and smooth
texture, enhancing its elegance and making it ideal for
special occasions such as weddings and festivities.
3. Zari: Zari, or metallic thread, is often used in
Narayanpet sarees for intricate border work or
embellishments. Zari adds a touch of opulence and
grandeur to the sarees, elevating their aesthetic appeal
and making them suitable for formal events.

TOOLS USED
1. Handloom:
Narayanpet sarees are
traditionally woven on
handlooms, which
require skilled artisans
to operate. Handlooms allow for intricate weaving
patterns and meticulous attention to detail, resulting in
finely crafted sarees with distinct designs.

2. Shuttle: The shuttle is a crucial tool used in the

weaving process to carry the weft yarn back and forth
across the warp threads. Skilled weavers manipulate the
shuttle to create the desired weave structure and patterns
in Narayanpet sarees.

3. Jacquard/Dobby mechanism: Some Narayanpet sarees

incorporate Jacquard or Dobby mechanisms, which
enable the weaving of complex designs and motifs.
 These mechanisms automate certain aspects of the
weaving process, allowing for greater design versatility
and precision.

4. Dyeing Apparatus: Dyeing apparatus such as vats or

dyeing machines are used to color the yarns before
weaving. Natural and synthetic dyes are employed to
achieve a wide range of vibrant hues in Narayanpet
sarees, reflecting the region's rich color palette and
artistic heritage.

PROCESS OF NARAYANPET SAREE

WEAVING
1. Designing: Skilled designers create intricate patterns
and motifs inspired by traditional motifs, nature, or
 contemporary themes. Designs are transferred onto
graph paper or computer software before being
translated onto the loom.

2. Dyeing: Yarns are dyed using natural or synthetic dyes

to achieve the desired colors for the saree. Dyeing
processes may involve multiple stages to achieve intricate
color combinations and shading effects.

3. Warping: The warp yarns are carefully arranged and

wound onto the loom's warp beam, ensuring even
tension and alignment. Warp preparation is a crucial
step that determines the saree's width, length, and overall
structure.

4. Weaving: Skilled weavers use handlooms to interlace

the weft yarns with the warp threads, following the
predetermined design. Different weaving techniques
such as plain weave, twill weave, or satin weave are
employed to create various textures and patterns in
Narayanpet sarees.

5. Finishing: Once weaving is complete, the saree

undergoes finishing processes such as washing, pressing,
and embellishment. Finishing enhances the saree's
drape, texture, and overall appearance, ensuring it meets
quality standards before being ready for sale.

USE OF THE PRODUCT

Narayanpet sarees are versatile garments worn by women
across India for various occasions. They are often
donned during weddings, festivals, religious ceremonies,
and formal events, symbolizing cultural heritage, grace,
and sophistication.

MARKETING
Narayanpet sarees are marketed through specialized
outlets, artisan cooperatives, online platforms, and
 exhibitions that showcase the sarees' craftsmanship,
unique designs, and cultural significance. Marketing
efforts highlight the sarees' handwoven quality, vibrant
colors, and traditional motifs to appeal to discerning
customers.

CHANGES IN THE RECENT YEARS

In recent years, Narayanpet sarees have witnessed
modern adaptations in terms of design, color
combinations, and weaving techniques to cater to
evolving consumer preferences and fashion trends.
Contemporary interpretations of Narayanpet sarees
feature innovative motifs, fusion styles, and sustainable
practices to appeal to a wider audience while preserving
the sarees' traditional essence.

OUTSIDER VIEW VS DESIGN VIEW

Outsiders may perceive Narayanpet sarees as exquisite
traditional garments reflecting Indian culture and
craftsmanship. Designers, on the other hand, appreciate
the sarees' intricate weaving patterns, vibrant color
palettes, and timeless appeal, often drawing inspiration
from Narayanpet sarees for contemporary fashion
collections.
SEMIOTICS FOR NARAYANPET
SAREES :

• Vibrant colors: The vivid

hues and intricate color
combinations, such as turquoise
and magenta, create a captivating
visual impact, drawing attention to
the saree's exquisite
craftsmanship.

• Cultural symbolism:
Narayanpet sarees embody the
rich cultural heritage of India,
serving as iconic representations of traditional attire
worn for generations. The saree's motifs, weaving
patterns, and color choices reflect the region's
cultural identity and artistic traditions.

• Elegance: Crafted from fine cotton or silk yarns,

Narayanpet sarees exude elegance and grace. The
smooth texture and subtle sheen of the fabric
enhance the saree's sophistication, making it a
preferred choice for formal occasions and festive
celebrations.
• Richness: The intricate weaving techniques and use
of zari embellishments impart a sense of opulence
and luxury to Narayanpet sarees. The interplay of
metallic threads and vibrant colors adds depth and
richness to the fabric, elevating its aesthetic appeal.

• Passion: Each Narayanpet saree is meticulously

handcrafted by skilled artisans, reflecting their
passion and dedication to preserving traditional
weaving techniques. The meticulous attention to
detail and precision in every weave showcase the
artisans' commitment to their craft.

• Auspiciousness: Narayanpet sarees often feature

auspicious motifs and symbols believed to bring
good fortune and prosperity. The use of vibrant
colors like red and gold symbolizes auspiciousness
and positive energy, making the saree a favored
choice for special occasions and rituals.

• Attention to detail: Narayanpet sarees are renowned

for their intricate designs and elaborate patterns,
showcasing the artisan's meticulous attention to
detail. From delicate floral motifs to geometric
 patterns, every element is carefully woven to
perfection, highlighting the saree's craftsmanship.

• Timelessness: Narayanpet sarees are timeless

classics that transcend fleeting fashion trends. The
enduring appeal of these sarees lies in their timeless
elegance and cultural significance, making them
cherished heirlooms passed down through
generations.

• Versatility: Narayanpet sarees are versatile garments

suitable for various occasions, from weddings and
festivals to formal gatherings and everyday wear.
Their versatility lies in their ability to be styled in
different draping styles and paired with a range of
accessories, making them a wardrobe essential for
women of all ages.

• Beauty: Overall, Narayanpet sarees captivate with

their sheer beauty and allure, epitomizing the
essence of Indian craftsmanship and textile artistry.
From the vibrant colors to the intricate weaving
patterns, each saree is a masterpiece that celebrates
the beauty of traditional Indian attire.
 Conclusion

Narayanpet sarees stand as timeless embodiments

of India's rich textile heritage, weaving together
tradition, elegance, and cultural pride into every
intricate thread. With vibrant colors that dazzle the
eye and intricate designs that mesmerize the soul,
these sarees transcend mere clothing to become
symbols of cultural identity and artistic excellence.

From the vibrant hues of turquoise and magenta to

the opulent richness of zari embellishments, each
Narayanpet saree tells a story of craftsmanship
passed down through generations. The skilled
artisans, with their passion and dedication, breathe
life into these sarees, infusing them with a sense of
passion and artistry that is palpable in every weave.

Beyond their aesthetic appeal, Narayanpet sarees

carry profound cultural symbolism, representing not
just a garment but a tradition woven into the fabric
of Indian society. They serve as a tangible
connection to India's rich heritage, reminding us of
the artisans who labor tirelessly to preserve age-old
weaving techniques and cultural motifs.

Elegance is woven into the very fabric of Narayanpet

sarees, with the smooth texture of cotton or silk
yarns adding a touch of sophistication to every
drape. Whether worn for formal occasions or festive
celebrations, these sarees exude an aura of grace and
refinement, making every wearer feel like royalty.

As symbols of luxury and auspiciousness,

Narayanpet sarees hold a special place in Indian
culture, often adorned with motifs believed to bring
good luck and prosperity. The vibrant colors of red
and gold symbolize energy and positivity, infusing
the wearer with confidence and joy.
Introduction
Kalamkari is the craft of painting and printing on fabrics. It derives its name from
kalam or pen with which the patterns are traced. It is an art form that was
developed both for decoration and religious ornamentation.

History
The discovery of a resist-dyed piece of cloth on a silver vase at the ancient site of
Harappa confirms that the tradition of Kalamkari is very old. Even the ancient
Buddhist Chaitya Viharas were decorated with Kalamkari cloth. Little was known
about printed Indian cotton before the archeological findings at Fostat, near Cairo.
The discovery unearthed a hoard of fragments of printed Indian cotton supposed to
have been exported in the 18th century from the western shores of India. A study of
some of these Fostat finds in 1938 by Pfisher, who traced them to India, brought to
light evidence of a tradition of those fabrics that were actually block printed and
resist-dyed with indigo. Before the artificial synthesis of indigo and alizerine into
dyestuffs, blues and reds were traditionally extracted from the plant indigofera
tinctoria and rubia tinctoria. alizerine, commonly used as a coloring agent, was
found in ancient times in madder. The madder root, rubia, widely used in India and
chay (chay is oldenlandia), the root of oldenlandia umbellata, were highly estimated
as fine sources of red in the south. The dye roots of morinda citrifolia linn and
morinda tintoria known as alizerine or cirang were found in southern, western and
central India. These were the main sources of traditional Indian dyes.

Regions:
In Andhra Pradesh, Kalamkari block printing is done in Machlipatnam. The main
places are Pedana, Kappaladoddi, Polavaram and many other small nearby villages.
These places are famous for their Kalamkari fabrics and furnishings.
Producer Communities
The main castes engaged in Kalamkari work in Andhra Pradesh are the Devangas,
Padmasalis, Kannebhaktulu and Senapathalu. These community groups weave as well as
do the dyeing and printing. The dyers and printers who did their respective jobs
belonged to the Hindu or Muslim faiths. The blocks for printing were made by specialist
block makers, but sometimes the printers also made their own blocks.
Apart from Andhra, Kalamkari is also found in Rajasthan and Gujarat. But their Kalamkari
can be easily differentiated on the basis of design, fabric and dyes.

Raw Materials
1. The base on which Kalamkari printing and dyeing is carried out on is kora (unbleached)
long cloth of 20 or 60 counts. Hence it forms the chief material constituting the
Kalamkari fabric.
2. Dyes–They are described in detail in the process.
3. Beeswax
4. Fuel
5. Cow dung used for bleaching process 6. Buffalo milk
7. Water
5. Tools
1) A workbench which is 63 inches long, 27inches wide and 18 inches high, to enable the
worker to squat by its side and attend to the block printing work, is required.
2) A three-legged low table 45 inches x 12 inches x 18 inches for wax processing and
other dyeing is required.
3) Printing blocks
4) Stamping pads to hold the dye for block printing
5) Kalams
6) Dyeing vat
7) Broken pots for melting wax 8) Larger copper pots for boiling

Stages of the Production Process

The following are the main stages in the production process: 1. Block making/Preparation of
the Kalam
2. Initial preparation of cloth for Kalamkari process
3. Formulation of starch
4. Mordanting of cloth in myrobalan solution 5. Outline block printing
6. Filling in colors, printing pads
7. Bleaching and washing
8. Starching
9. Degumming and washing
10. Cleaning of the cloth and application of alum solution
11. Soaping and finishing (Final process)
 Block printing is generally carried out in two stages namely:
i) Printing of the mordants (iron acetate and alum for outline or background or motifs).
Printing begins with the mordants being printed first. The mordants normally used are iron
acetate ( Kasim in Telugu) and Alum( Karam in Telugu).Iron acetate is a fermented mixture of
paddy husk , ironfilings , salt and jaggery. Alum is prepared from alum powder and gum. First
the background is printed followed by the printing of the outline and the motifs.
Background being printed with alum
ii) Printing of the motifs
Outline being printed with ironacetate

List of Products
Especially in the olden days, Kalamkari prints were used for canopies, screen cloth, prayer
cloth, etc., but today their uses are diversified for different purposes. They are used as dress
material, saris, handkerchiefs, curtains, wall and frame hangings and also for upholstery,
curtains, bed sheets, pillow covers, mats, carpets, durries, caftans, bags, purses, etc. The
prices of Kalamkari per meter may vary from place to place. In Andhra the price of Kalamkari
per meter being sold in retail outlets ranges from Rs. 100 to 200 (as per August 2004).

Marketing:
In recent years, there has been a concerted effort to market Machilipatnam Kalamkari on a
global scale, leveraging digital platforms, exhibitions, and collaborations with designers to
showcase its unique appeal and heritage.

Semiotics:
The motifs and symbols used in Machilipatnam Kalamkari carry deep cultural and
symbolic meanings, often depicting scenes from mythology, but mostly nature, or
everyday life. These symbols serve as a visual language, communicating stories and
traditions to those familiar with the art form.
 Add a little bit of body text

Butterfly-Nature Musical instrument-Every

day life
Watermelon- Nature Nature
Butterfly-Nature Peacock- Nature
Floral designs-Nature
Floral and Birds- Nature
Changes in Recent Years:
Modernization and changing consumer preferences have influenced the Udaygiri cutlery
industry, leading to innovations in design, materials, and marketing strategies. While these
changes present new opportunities, they also raise concerns about preserving traditional
techniques and supporting artisan livelihoods.

Outsider View vs. Designer View:

Outsiders often admire Machilipatnam Kalamkari for its intricate craftsmanship and
cultural significance. Designers, on the other hand, may view it as a source of inspiration,
incorporating its motifs and techniques into contemporary fashion and design.

Conclusion:
Machilipatnam Kalamkari stands as a testament to the rich cultural heritage and artistic
prowess of the artisans of Andhra Pradesh. As it continues to evolve and adapt to
changing times, it remains a cherished tradition, cherished for its beauty, craftsmanship,
and timeless appeal.
INTRODUCTION:
Udaygiri – the cutlery of Nawabs
Believed to have originated in the 14th century, this wood-carving craft is native to
Udayagiri town located in Nellore district of Andhra Pradesh. The wooden spoons, forks,
knives and bowls from Udayagiri are renowned for their intricate hand carved patterns.
The craft always enjoyed royal patronage and its popularity surged in the 19thcentury.
Artistic, aristocratic and utilitarian in equal measure, it is a fine example of how creativity
can turn even the most common aspects of daily life into something exquisite. Rising
awareness and appreciation of traditional arts and crafts has lent Udayagiri a fresh
breath of life. The eco-friendly articles have become increasingly popular as house
warming gifts and festive gifts around Diwali, as well as for self use by aesthetes.

History and origins of Udayagiri

The first documented history of the town dates back to the 14th century and was ruled by
the Gajapatis of Odisha, at the time. Languja Gajapati, their Chieftan at the time, is
credited with commissioning the construction of the iconic Udayagiri fort. Later, it
became a part of the Vijayanagar Empire and subsequently, came under the rule of the
Nawabs of Arcot who controlled the region till 1839. It was under the rule of the nawabs
and jagirs that the wooden cutlery from Udayagiri gained widespread popularity. It was
also the period when the cutlery’s patterns, motifs and carvings got their Persian
influence. The craft was developed by skilled local artisans who shaped soft wood sourced
from nearby forests, using mere hand tools, into beautiful cutlery and serve-ware.

Process behind making of Udayagiri cutlery

Central to the craft’s origin and sustenance is the forest land on Durgam Palli hills
located nearby. The forest provides the supply of soft wood like nardi, deodari, bikki
chakka, kaldi chakka, and palabarki. Of these, nardi and bikki chakkaare relatively softer
and hence are used for small cutlery pieces. Larger cutlery pieces and bowls are made
using the deodari or kaldi chakka. Depending on the requirement, the artisans carefully
select blocks of wood sourced from the forest. The blocks are stored in a dry area for
several days before being soaked in water and redried. The entire exercise takes a few
weeks, after which they are cut into smaller sizes, based on the product to be made.
A unique pre-carving practice involves winding the smaller blocks with a jute string,
which is kept in place with a heavy stone on top of it. This removes any left over-
moisture, and makes the wood softer and more suitable for carving. Once the jute
threads are removed, marking is done on the blocks in the shape of the cutlery that
would be made out of it. First the basic shape is carved out of the block with the help of a
chisel. It has to be done very skilfully and with a deft hand as the soft wood can break
easily. Thereafter, the artisans show their true creativity and talent. Use of simple tools,
like a chisel, filer, drill and nails, they carve out beautiful intricate patterns in the wooden
article. Amini, khajuri, kangura and dargah ki jaali are some of the popular patterns.
Finishing of the small and delicate pieces is done with files, while a paper finishing is used
for the larger pieces.
Marketing:
In recent years, there has been a growing effort to market Udaygiri cutlery to a
wider audience, both domestically and internationally. This includes showcasing
the craft at exhibitions, collaborating with designers to create contemporary
interpretations, and leveraging digital platforms for promotion.

Semiotics:
The designs and motifs used in Udaygiri cutlery often reflect local traditions, mythology,
and symbolism,mainly PERSIAN MOTIFS . Each pattern and embellishment carries its own
meaning, serving as a visual language that communicates cultural identity and heritage.
Mythology Fish- As Udaygiri is a
coastal region
Reflection of Tradition Persian Motifs
Reflection of Tradition Floral- Persian inspired
Persian Motifs Reflection of Tradition
Changes in Recent Years:
Modernization and changing consumer preferences have influenced the Udaygiri cutlery
industry, leading to innovations in design, materials, and marketing strategies. While these
changes present new opportunities, they also raise concerns about preserving traditional
techniques and supporting artisan livelihoods.

Outsider View vs. Designer View:

Outsiders often admire Udaygiri cutlery for its craftsmanship, historical significance, and
cultural value. Designers may view it as a source of inspiration, incorporating its unique
aesthetics and techniques into contemporary designs and collections.

Conclusion:
Udaygiri cutlery stands as a testament to the rich artistic heritage and craftsmanship of
Odisha's artisan communities. As the craft continues to evolve and adapt to changing times,
it remains a symbol of cultural pride and a source of inspiration for future generations of
artisans and enthusiasts alike.
INTRODUCTION
GEOGRAPHY
BRIEF HISTORY OF THE CRAFT
TECHNICAL INFORMATION
TOOLS AND MATERIALS

FLY SHUTTLE
WEAVING LOOM

CHARKHA

REED
PUNCH CARD
WARP BEAM

SPINNING MACHINE
SPOOL NEEDLES
 PROCESS
FROM SCRATCH TO FINAL PRODUCT
EVOLUTION
DYES
THE MOTIF
MARKETING
FROM THE LOOM TO THE
LADIES
CONCLUSION
 INTRODUCTION
Adilabad is one of the main cities of Telangana state. It has an The other attractions of this place are Kuntala waterfall,
elevation of 264 metres. The district is surrounded Shivaram
by Nizamabad and Karimnagar districts of Telangana towards wildlife sanctuary, Kawal wildlife sanctuary, Pochera falls
the south and Nanded, Yavatmal, Chandrapur and and Kerameri ghat roads. Adilabad is also recognized as
Godchiroli districts of Maharastra towards the west, east and the hub of cotton mills and it is also famed for dhokra metal
north respectively. The district is well connected to casting practiced by Ojha metalsmiths of this region.
rest of India by road transport as National Highway 7 passes Dhokra is an ancient bell metal craft practiced in various
through this region. places of the country. It is well known craft of Chattisgarh,
The origin of this region dates back to the reign of Asaf Jahi Odisha, West Bengal, Jharkhand and Telangana. The
dynasty. It was the northern district of Nizam state workmanship and the skill of artisan community vary in
founded by Nizam-ul-Mulk in the Deccan region. However different states. Dhokra is a tedious job made using the
Adilabad was ruled by many dynasties like Mauryans, procedure of lost wax technique while casting the metal.
Satavahanas, Chalukyas, Qutub Shahis and Asaf Jahis. Thus the This craft combines wax technique with the metallurgical
name Adilabad was derived from its erstwhile Islamic skill to create artifacts of distinctive beauty. Dhokra is a
ruler of Bijapur, Yusuf Adil Shah. But the original name of this very labour intensive as it consumes minimum of 4-5 days to
region was Edlabad during the rule of Qutub make a simple piece of work whereas the complicated
Shahis later it was changed to Adilabad. Hence Urdu was the designs could take up to 2-3 weeks’ time. These dhokra metal
official language of Adilabad and since 1956, as this artifacts are usually made traditional but on demand
region became a part of Telugu linguistic state, the language the contemporary designs are also made. Characteristics of
Telugu gained prominence and became the official these dhokra metal objects comprise slender
language of Adilabad till today!However the current culture of and elongated figurines, folk lamps, household articles like
the district witnesses the multicultural society, where Telugu, measuring bowls and lamps. The uniqueness of these
Marathi, Bengali, artifacts is that the object is entirely handcrafted with the
Malayali, Rajasthani and Gujarati people are living in harmony final product that has a different texture depending
Adilabad has a population of 1,17,167 according on the wax strips and these relics do not have any joints
to the census held during 2011, in which males constitute
59,448, females constitute 57,719 and the population
under the age group of 0-6years constitutes 12,993. This place
is well known for its historical temples, shimmering
waterfalls and magnificent monuments.
.
 Dhokra is the traditional folk art
which is followed
since Harappa and Mohenjo daro
period.

Master artisan Mr. Indrajeeth.

Molds of different size and

shape used in dhokra
casting.

Family involved in dhokra casting

 TOOLS AND RAW MATERIALS
Tools and raw materials used for Dhokra Metal Casting are as follows:

• Anthills Mud - Mud is the core material that is used for

making the first model of the final product.

• Water - Water is used for kneading mud and cow dung.

Cow Dung - Cow dung is mixed with mud to make the

model.

• Wax Threads - Wax threads are wound around the clay

model.

• Charcoal - Charcoal is burnt in the furnace to obtain

high amount of heat.

• Brass - It is one of the core substances that are used

for making dhokra metal products.
 Wood - Wood is used for firing purpose.

• Furnace - Furnace is used for baking the clay model. It

is used for melting the metal and baking the clay moulds

• Hammer - Hammer is used for removing

the clay mould.

• Customized Tool - It is used while rendering

the required design.

• Hacksaw Tool andn Cutting plier -

This is used for cutting
out the extras of the metal product.

•
•
• File Tool - This tool is used for polishing purpose.

• Big Sized Brush - This brush is used for dusting

and cleaning of the clay particles.

•
 MAKING PROCESS

The metal artifact that has to be made is initially prepared in clay. The preparation of this clay is made by mixing
anthills mud with cow dung in an appropriate ratio. This mixture is kneaded thoroughly with water and acquired
the desired consistency. Further using this mixture of clay, the core model is made. On the next level the pure
form of clay is applied to render the fine smooth layer. This clay model is further allowed to dry and upon this,
the wax threads are wound all around to form a layer and to acquire the chosen design pattern. Further on the
wax coating again a layer of clay mixed with sand is applied. Here the sand is used for the tightness of the mixture.
Further two holes (channels) are made and allowed for drying. These channels are made to pour the liquid
metal and to release the air out. Once the clay model is completely dried, a mixture of sand with minimal quantity
of clay is applied and then the process gets continued by baking the clay - wax model in furnace. When this
clay – wax model is baked, the wax in-between the clay layers get melted and oozes out of the opening. Thus the
space gets emptied and remains as a hallow space in-between the clay layers.

Then the clay mould is taken out of

the furnace and the molten metal is poured into the funnel like opening on the upper surface of the mould. This
molten metal is acquired by melting the metal crucibles. These metal (brass) crucibles are initially arranged in a
graphite container and carefully heated to get the molten metal. A tinge of salt is added to metal crucible while
heating it, to obtain the pure form of molten metal and to speed up the process.
Once the liquid metal is poured into the mould, it acquires the shape and pattern of the model eventually, by
taking the impression of the wax model in all its detail. It also gets hardened between the core and the inner surface
of the mould. Further it is allowed to cool down completely by dipping the mould in water. It is then slightly
hammered to remove the burnt mould completely and brushed thoroughly to clean from inner and outside. Then
it is neatly polished by rubbing the file tool all over the metal product. And thus the finished product is prepared.
The whole process carries four days to complete when the objects are created in bulk. As the making of clay model
acquires a day time, winding of wax threads to the clay model takes another day’s time. While the baking and
further process requires at least of one or two days to prepare the end product.
PRODUCTS
 CONCLUSION

The antique-looking high-quality objects of Dhokra with their brilliant completion

are among the well-known specialities accessible today.
The rural look of Dhokra makes them amazingly striking and engaging.
Dhokra Craft utilizes the customary technique for the lost wax procedure of metal
projecting, which returns 4000 years.
A similar procedure has been found in objects from the Harappan Age also.
The name Dhokra is established after the tribe of Dhokra Damar, who are settled in
the focal section of India (the locales of Jharkhand, West Bengal, Bihar Orissa and
Chhatisgarh).
The Bastar locale of Chhattisgarh is the most significant focal point of Dhokra
Craft.
Dhokra has endured the trial of time because of the evolving financial states of
skilled workers.
The unfavourable everyday environment did not discourage the craftsmen from
exhibiting their aptitudes as they supplanted ringer metal with salvaged material
bit by bit.
 CONCLUSION
In conclusion, the diverse crafts and textiles mentioned
showcase the rich cultural heritage of India, each
representing a unique blend of tradition, artistry, and
craftsmanship. From the intricate Pattachitra Sarees of
Odisha to the vibrant Kalamkari of Machilipatnam, and the
elegant Venkatgiri Sarees to the exquisite Silver Filigree
work, each item reflects centuries of skill and tradition
passed down through generations.
Additionally, the handicrafts like the Etikoppaka toys,
Warangal durries, and Tumba craft not only exhibit the
mastery of artisans but also contribute to the preservation
of regional identities and livelihoods. Furthermore, the
Gollabhama dolls and Dhokra metal casing exemplify the
fusion of art and utility, serving as both decorative pieces
and functional items.
In documenting these crafts, it's evident that they not only
represent cultural heritage but also serve as sources of
pride, inspiration, and economic sustenance for the
communities involved. It's imperative to continue
supporting and promoting these traditional crafts to
ensure their preservation and the empowerment of the
artisans behind them.