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STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
1
1
EXTREMELY SIMILARITY: A COMPARISON OF VARIOUS
STUDIES OF ETIKOPPAKA AND KONDAPALLI TOYS IN
COASTAL ANDHRA PRADESH, INDIA
MR. RAMBABU MUPPIDI1 & MRS. VANAJA KALAPALA 2
----------------------------------------------------------------------------------------------
1Ph.D. Research Scholar, P.S. Telugu University and Faculty,
Department of Leather Goods and Accessories Design, FDDI
(Footwear Design Development Institute), HS Darga Rd,
Gachibowli, Rai Durg, 500008, Telangana state, India.
&
2Student, M.LiSC (Library Science), Department of Social Science,
Dr.B.R.Ambedkar University, Jublihills, Hyderabad. 500033,
Telangana state India.
ABSTRACT
Long ago we remember some days when we played many games
with lacquer toys and, in Telugu, koyya (in English wood) toys
in our childhood. When we remember that from time to time, no
matter how old we are, we become small during that time,
bringing those toys home and hiding them safely in a nest above
the attic, When we wake up in the morning, we remember the
days when we played many games with those toys, and if see
the same Kondapalli toys, Etikoppaka toys, soft toys made of
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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palm leaves, clay toys, grass toys, even toys made of coconut
fibre, we will remember the days when I played many games
with those toys. Coconut fibre dolls made of cloth Dolls of cloth
made of cloth Dolls of cloth made of paper Dolls of paper These
come to mind; where are all these? All this comes to mind: how
many people go to the toy factories and buy them? What is the
actual condition of the toy? I will describe the current scenario in
this paper.
In the coastal Andhra Pradesh area, Krishna River Kondapalli
dolls and Varahi Rever Etikoppaka dolls were visited, their status
and history were examined, and the families making the dolls
were visited and informed about their current status. My paper
focuses on wooden toys, such as Etikoppaka and Kondapalli toys.
My research is on how to be useful to them and on the
processes, materials, and scenarios of the present scenario.
Keywords: Lacquer, wooden toys, dolls, An kudu wood,
Tellapuniki wood , Natural colors
Introduction
Stick toys are very special among the toys we used to play with
as children, playing with them reminds us of our childhood.
They used to be placed beautifully for decoration in devotion
room, home furnishings, balconies, students' rooms, attics, etc.
And still we use those dolls for our traditions and customs, we
arrange them as dolls at the entrance of the house or for
marriage auspicious events or during festivals or fairs and also
we give dolls to children as gifts on their birthdays. At that time
these stick doll centers manufacturers have been growing in
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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which region the doll making art centers have gone to many
exhibitions and at the present moment they are not visible. Let
us tell you the present scenario knowing the importance of these
stick sculptures and those stick figurines in the coastal handicraft
dream of Etikoppaka dolls and Kondapalli dolls.
History:
64 kilometers in Etikoppaka is a remote village in Visakhapatnam
district where village toy manufacturing centers are located in the
heart of the village. The village is located in the coastal area of
south india, close to the sea, in the Varahanadi region,
surrounded by beautiful fields, green fields and lush trees. One
question is how this dream actually came to this region. People
say that these dolls have a history of about 400 years. It is said
that they brought this dream during the time of Vijayanagara
kings period ( 1336 to 1646AD). Where they migrated to this area
and tilled the land and in their free time they used to carve
tools and implements into an art form which was called as their
handicraft. In the early stages of the Zamindari system, the
ancestors were very disciplined in cultural, historical and spiritual
matters and also improved the relationship with the Howrah and
the natural environment.
Krishnadevaraya gave boost to this craft and encouraged:
Krishna Devaraya ruled ancient India’s Vijayanagara Empire for
only about two decades, however his power, skills, and
personality were made known in that short amount of time and
so it seemed much longer. His military campaigns expanded the
empire and made it a seat of power, his artistic and architectural
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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interests withstood the passing of time and influenced others, and
his diplomatic skills had an impact on how the Portuguese
viewed and interacted with the subcontinent.
Material of Ankudu Sticks: They used a plant called karra to
make toys. Ankudu stick to carve these wooden figures is mostly
available in the forest area near here. This Ankudu stick is soft
and fine for making dolls. Presently the trees of this Ankudu
species are banned by the forest department. They are also
informing that they are leaving this job.
Artisans Life style: In this village there is a village full of
pastures and selayars where the people only bring ankudu wood
and make dolls and carve the dolls in beautiful shapes and show
their works of art to the outside world. The dolls made in
etikoppaka are exported to other states as well as abroad.
Nationally, this art is recognized. Some people come from distant
places and pay high prices for these dolls. Inventing and making
new dolls, they have also won awards at the state and national
level and continue to employ around 200 dolls here.
Appreciation of Indian wooden toys:
In a programme called Manaki Bath, the Indian Prime Minister
Shri. Narendra Modi's artisans works were appreciated and
explained on March 17, 2021, about the uniqueness of these
Laquare, wooden, Varanasi dolls. The programme also introduced
the artisans who produce the dolls to the local manufacturing
centres and gave support to them in encouraging the artisans in
their art centres. Besides, they have introduced their art work to
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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the global market along with many handmade wooden toys in
India, which are seen at the national level.
Primary Objective of the Study:
There is a great responsibility to preserve the dream of these
artists. Currently, in order to give adequate encouragement to this
work, the works of art made in the past should be digitized and
communicated to the fields of animation to be used as character
design.
Objective of the study:
To study the process of Etikoppaka and kondapalli toys
To the artisan family encouraging those, to learn how to
live this dream ideally for the future of etikoppaka and
kondapalli ideal village
To the traditional method of making the process and new
ways coming about the research and other topics
To them part of the Etikoppaka and kondapalli toys
Traditional Methodology, transform to Computer aided
design Methodology Variation Will Communicate New
Approaches for designs .
Methodology of study:
The primary data collected came from kondapalli and
etikoppaka hyderabad exhibitions , artisans in the areas of
kondapalli and etikoppaka villages. The paper is based mainly on
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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collecting primary and secondary data, followed by interviews
with artisans and observations of their working with traditional
methods will take up on documentation. As part of this case
study, the wood carvers who were in the area were met, and the
families got to know them through documentation, photos,
interviews, and so on. The pilot took a complete look at who
based on primary and secondary data.
Connected to geometrical CAD (Computer Aided Design)
innovatively:
As shown in the above picture, after first doing the feel study
while teaching the lessons to the students, this traditional art
form is characterised and made in a visual form, and the product
is made manually in the studio safely in clay modelling and stick
wooden modelling, and it is brought to life by the computer and
carved. Lessons are presented to the students in the form of a
visual design as a visual board is drawn on the above board
based on the script written by the triage. In this film, I was seen
as the one who taught lessons. I explored it and painted those
figures on the board where the visual board was made; the same
visual was also made manually as a product. Also, what was
done on the computer through the CAD computer means that if
the student learns these three steps, our students can store the
art wealth that is suitable for the future generations and explore
many images, many Modi 3D movies, scripts, and stories, and
present these historical scenes to the future generations in a very
detailed way.
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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Image 1: Senior artisan Shri. Hanumanth Rao and Senior artisan
Kondapalli toys are still working, devoting their work to family.
14
Image 2: Shri. Hanumanth Rao and Senior artisan Kondapalli toys
are still working, devoting their work to family. Making Process:
Kondapalli and Etikoppaka Toys.15
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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Image 3: Senior artisan Shri. Polumuri Talla Chari, Senior
artisan family Etikoppakatoys still working, devoting their work
to family. 16
Image 4: Author Intaraction on Group Meetings in the Village in
Etikoppaka.17
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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Image 5: Field Study Outcome: The author of the above diagram
based it on field research that is explained animals and birds
visually on the board and designed in the CAD by computer.18
Review of literature:
Ms. Genupula Kavaya , Wrote (2023): study on fashion
accessories design: sustainability art, craft, and design wood to
Life: Study on Kondapalli Toys (Special Focus on, Materials,
Religion Art): Educators, especially in schools, are using these
toys for teaching and interviewing the characters of the children,
but the possibility of this toy calculation in society is that it has
a greater impact on the children, through which it is possible to
know the society more. In this way, children can show creativity.
If students are taught from childhood, creativity can be seen in
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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them in terms of projects, and also their individuality can be
expressed. It is very useful for finance and design students who
will study tomorrow to create more material designs.1
Mr.Srinivas Daketi, Wrote (2022): House Forms and
Transformations:The case of rural andhrapradesh ,india: Many
artisans in the villages produce and display their art products,
especially in the village markets near the village chavadi, but
some of them are religious craft forms and some are religious art
and paintings. They are doing a lot of practical work while
moving from one village to another; their artworks are displayed
in the bazaar and on the streets, where fours and threes working
together in joint arts, crafts, and designs form homes to move to
various places and attract many people. It can also be said that
the transformation while moving from one village to another,
their artworks are displayed in the bazaar and on the streets,
where fours and threes walk together. In view of the increasing
population in the villages, their activities are facilitated by
creating tools to facilitate the exchange and delivery of goods.
Due to many transformations in the state of Andhra Pradesh as a
result of various reasons such as urban development and
migration, many changes have been made in the houses,
especially in building technology in making construction materials
and in making these heart art forms for cultural arts. Along with
agriculture, this art will take the form of graphs and help
everyone.2
Mr. Uma Shankar Yadav , Wrote (2022): One Station, One
Product This is a great platform for the artisans who manufacture
local handicraft products under the Central Government of
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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Railways's new One Product, One Craft initiative for handicraft
manufacturers of local products in every railway station to
promote their work from the district to the national level. With
the aim of One Station, One Product, these have been set up in
the form of stalls in each and every railway station in the
country. For this purpose, a resolution has been passed in the
2022 Parliament for handcuff promotion. The name of the scheme
here is OSOP (One Station of India), which is supported by
artisans and led by Prime Minister Narendra Modi. On May 9 to
23, 2023, Commercial Manager launched Shri Ravinder Goyal
local craft forms space provided in Division Railway's passengers
provided opportunity for local and indigenous items gifting all
zonal like Andhra Pradesh visaka zone art forms, etikoppka toys,
and various states various art forms provided space, too. It was
supporting artisan art, craft forms, and encouragement among
government-launched railway zones.3
Mr. M.R.Babu, Wrote (2022): Indian Culture of Accessories Craft
design Protect on That convert in to Computer Aided design: As
students especially have to spend a lot of time with digital
material, this traditional dream of handcraftsmanship can be
easily taught to students through digitization, and teachers can
show these figures as teaching aids that are very helpful in
teaching lessons to students. These handcrafted toys Handicrafts
are very useful for practical education in the classroom as they
are suitable aids for them, so if teaching is done by showing
them, the student will be mentally strong and will not forget the
lesson in his mind. Digital craft making methods based on digital
technology: if computers convert 2D and 3D product designs and
make an educational argument, these handicrafts are useful as a
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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help to the student in the form of gaming, so that the student
does not get bored during education in the classroom. These
handcrafted toys are useful as playthings.4
Mr.Reddy G.C, wrote (2014): Environmental friendliness in
manufacturing of traditional handicrafts: a new perspective:
Promotion is a very personal need for artists' families, and the
system is changing. At the moment, they don't know how to sell
their products like antiques, so if everyone takes time for
themselves and plans for the future, they will be responsible for
their legs and their feet, and if they provide traditional
handicrafts to the society, they will be brilliant. It was mainly
said that the responsibility to protect the traditional dreams is not
only essential but also to encourage, and we all should use the
importance of handicrafts to teach others as well and encourage
them to become pioneers of these traditional times. It has been
informed that families who depend on handicrafts should be
given a helping hand.5Flow charts: Etikoppaka and Kondapalli
Process Manual Design in Flow chart:
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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Flowchart—1: Traditional Design Kondapalli toys: making
processes with flow charts that follow step by step.10
Selection of wood,
cutting and
seasoning
Cutting, Carving,
Filling and Joining
Finishing
Pre-Coating
Painting
collecting product
Packaging
Marketing
Selection of wood,
cutting and seasoning
Cutting, Carving,
Filling and Joining
Finishing
Seeds paste and Pre-
Coating
Painting
collecting product
Packaging
Marketing
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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Flowchart: 2: Traditional Design Etikoppaka toys: making
processes with flow charts that follow step by step.11
Importance of GI (Geographical Indication)
The current status of the handicrafts of geographical origin is
indicated by the place from which the geo-tag has come into
effect as of The reason a geographical indication is given is that
a specific tag is given to identify the art form, agriculture, food,
handicraft accessories, etc. that have a specific geographical origin.
S.No.
Geographical Indication
Type
1.
Srikalahasthi Kalamkari
Handicraft
2.
Kondapalli Bommalu
Handicraft
3.
Machilipatnam Kalamkari
Handicraft
4.
Budiiti Bell & Brass Craft
Handicraft
5.
Andhra Pradesh Leather Puppetry
Handicraft
6.
Uppada Jamdani Sarees
Handicraft
7.
Tirupati Laddu[a]
Foodstuff
8.
Guntur Sannam Chilli
Agricultural
9.
Venkatagiri Sarees
Handicraft
10.
Bobbili Veena
Handicraft
11.
Mangalagiri Sarees and Fabrics
Handicraft
12.
Dharmavaram Handloom Pattu Sarees
and Paavadas
Textile
13.
Bandar Laddu
Food Stuff
14.
Udayagiri Wooden Cutlery
Handicraft
15.
Banganapalli Mangoes
Agricultural
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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16.
Durgi Stone Carvings
Handicraft
17.
Etikoppaka Toys
Handicraft
18.
Allagadda Stone Carvings
Handicraft
19.
Araku Valley Arabica Coffee
Agricultural
This table, as mentioned above, is from a website.13
Table –1: Kalankari and Cheriyal Artwork Details.12
Artisan interviews:
Shri. Tlla polumeru Tlla chaari Said: They are made round and
create wonders by beautifying them in different angles, especially
in the seminal paintings, especially in their paintings, the stick
figurines with round form stand out as a special sky. It takes
about one to two to three hours to make a doll, while for small
dolls it takes about one to six hours. It takes about one hour to
12 hours to make the same playthings and then they are jointed
and colors are fielded and then plank work is done.6
Shri. Polumuri Nageswararo s/o Talla chari Said : There are
about 200 artisans in this village who only make these dolls.
When you meet them, you don't see much happiness, only their
pain is seen to some extent. When you observe them, many of
them reveal many short comings, especially they are in dire need
of a stick. You informed them that if the raw material is given
to them in the form of government subsidy, we can still make
the toys in the highest quantity and also the lacquer has to be
imported from West Bengal.7
Shri. Kothala srinu s/o Ganga chari Said: Some of them have
Artisan cards and many new youths are trained and given
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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artisans' identity cards, they are told that you will also be willing
to make new products.8
Shri. Vanapalli Saibabu s/o Manikyam Said: We are even
making toys but the brokers who come to us are forced to hand
over our goods and our toys to them at that rate only as they
say but if our work can be directed by good experts and let
them know a fair price then those like us will be protected from
these brokers. When making toys with machines like ours,
electricity production is high, the work we do remains as one-
time products but it takes us a long time to sell them, so if the
current bills are set low for colonies like ours, we can make the
work easier and help the next generation.9
Etikoppaka and Kondapalli Studio Route Map
Toys artisan art studios Details
Bus, Train Distance, time
duration, Kilometres.
Shri. Polumuri Nageswararo
(Garu)
Address: H.No:9-61, Street no: 1,
Mandal: Yelamanchali , Dist:
Anakapalli , Andhra Pradesh,
India. Pin: 531082.
Ph: 9704569603
Train: Godavari Express (650
km). Hyderabad to
Narsipatnam road stops to
Etikoppaka (only 6 km).
Gunturu express, Simhadri
express
Bus: NH5 Addaroad,
Narsipatnam Road, Dhallapudi
Centre, to Etikoppka
Kondapalli toys details
Shri. Hanumanthrao (Garu)
Kondapalli Master craft man ,
D. No: Toys colony, Kondapalli
NH 65, National Highway, 259
kmHyderabad to Vijayawada is
628 km away. Train: Bidher to
Machilipatnam; Krishna express;
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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village, Ebrahim Patnam , NTR
District , Andhra Pradesh, ph:
9121511303
Golkonda express;
Every 19 minutes, one bus is
available at PNB (Pandit Nehru
bus station).
Table –2: Toys colonies some of the ancient Etikoppaka and
Kondapalli toys, artisan art studios Details.12
Recommendations: The artisans here followed traditional methods,
and they had very good skills for developing toys and utility
products. but my observational unit of kondapalli and etikoppaka
toy productions here, and Same to Same Methods but Raw
Material of Wood Only Difference etikoppaka using the names
Ankudu wood, Kondapalli wood, and Tella Poniki wood, and the
design, making, and process of the artisan way are similar. Only
etikoppka toys have a round form, smooth finishing, and natural
colors; they also use kondapalli, which also has natural colors
and smooth wood. All in all, I wish the whole world would
appreciate their work, as they are doing a lot of hard work,
which is commendable.
Early Childhood Care and Education Etikoppaka and kondapalli
toys
These Indian handicrafts are so many, but in the region of
coastal Andhra Pradesh called Etikoppka, kondapalli toys
are introduced to young children as their best friends
when they are in their childhood stage and are growing
rapidly.
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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These toys are useful for introducing the people, birds, and
animals in the society as a helper for the parents to
accompany them and also help them to identify them
easily through toy education.
These are useful tools to entertain children in kindergarten,
especially kids and primary school students, and are
specially made to convey the relationship between society
and culture.
How these toys are useful for children is that they bring
out the creativity in them to create their own ideas and
characters in scenes with their own decisions.
These kondapalli wooden figures are also made to build
idols of God in shrines which are very useful for the
community.
They are also used to make play equipment for children,
birds, insects, animals, fruits and flowers, decoration
fashion bangles, ornaments are mad
General educational pursuits and crafts in education
These toys are useful in imparting practical knowledge to
children above 10 years of age through science subjects, for
example, where tools are used as measuring tools such as
a scale, pin, box, angle box, etc.
Schools, colleges, and product designers are born with
hanging frames, furniture, chairs, tables, writing pads,
sitting benches, blackboards, and many other tools.
Have many characters such as Chota Bheem, Soureeman,
Chinchan, Rajni, Bahaubali, Bala Hanuman, and Krishna. In
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
19
many ways, these are fun for children to create characters;
hence these toys are very popular with children.
Conclusion:
Now that we are in the computer era, no one pays attention to
art and craft forms because they have mostly been transformed
into digital media. Only the mobile industrial revolution has been
affected. One artist works without demand here. Bundles of
products are stored at the artisan's home, and buyers pay very
low prices for the toys they sell. In the current climate, artisans
have a lot to lose. The government will intervene and purchase
their products. From their child labor days onward, they are
working only in the handicrafts sector; they don’t know other
works, so give them more support like artisan cards, bank loans,
schemes, scholarships, artisan fellowships, and special recognition;
they art form, depending on their craft and designs, want to
survive. Some families also run smoothly despite the very
dangerous situations they are in. They have heavy expenses and
heavy power bills, and raw materials are also very expensive, so
they do not have a proper plan to move into these updated
industries. They mostly want to do the same work and give the
updated pieces of training they are asking for; they show up to
learn to do new training for designs and update situations. So
they are telling the government to look into artisan families and
give international art and design product exposure to ensure their
survival. Both old and new techniques run smoothly and provide
more support. We can support and contribute to art festivals and
give support to all who are still working on the same artwork. It
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
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is my sincere gratitude to each and every artisan family for
having these art forms makes them so happy.
Reference:
1. Book: Ms. Genupula kavya, Wood to life: study on kondapalli
toys (special focus on materials, religion art, Book: Study on
fashion Accessories Design sustainability art craft and design,
Volume 01, March 2023, pp.61 -68.
2. Journals: Srinivas Daketi , House forms and transformations :
the case of rural Andhra Pradesh , India. ISVS, Ejournal,Vol9,
no.3, July, 2022 pp.155 -164.
3. Uma Shankar Yadav , One station one Product (
OSOP)Scheme of India Ina Digital world : A comparative
Study of OSOP with Dop with Strategies, ISVS, Ejournal,Vol9,
no.3, July, 2022 pp.155 -164.
4. M.R.Babu, Indian Culture of Accessories Craft design Protect
on That convert in to Computer Aided design: with reference
to Kondapalli toys, Srf journal, volume9, issue 12, oct2022, pp.
85-93.
5. Reddy G.C. Environmental friendliness in manufacturing of
traditional handicrafts: a new perspective, Reflection 2014,
International conference, Jan, 2014, pp.1-5.
Artisan Interviews
6. Shri. Polumoru Tlla chaari,senior artisan, Date 07.04.2023.
7. Shri. Polumoru Nageswararo s/o Talla chari, senior artisan,
Date 07.04.2023.
8. Shri. Kothala srinu s/o Ganga chari, senior artisan, Date
08.04.2023.
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
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9. Shri. Vanapalli Saibabu s/o Manikyam, senior artisan, Date
08.04.2023.
Flow charts / Tables /web links
10. Flowchart—1: Traditional Design Kondapalli toys: making
processes with flow charts that follow step by step
11. Flowchart: 2: Traditional Design Etikoppaka toys: making
processes with flow charts that follow step by step
12. Table –2: Toys colonies some of the ancient Etikoppaka and
Kondapalli toys, artisan art studios Details.
13. Web link: https://www.adda247.com/upsc-exam/updated-list-
of-geographical-indication-tags-in-india/
14. Image 1: Senior artisan Shri. Hanumanth Rao and Senior
artisan Kondapalli toys are still working, devoting their work
to family. 16
15. Image 2: Shri. Hanumanth Rao and Senior artisan Kondapalli
toys are still working, devoting their work to family. Making
Process: Kondapalli and Etikoppaka Toys. 16
16. Image 3: Senior artisan Shri. Polumuri Talla Chari, Senior
artisan family Etikoppakatoys still working, devoting their
work to family. 16
17. Image 4: Author Intaraction on Group Meetings in the Village
of Etikoppaka.
18. Image 5: My Field Study Outcome: The author of the above
diagram based it on field research that is explained animals
and birds visually on the board and designed in the CAD by
computer.
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
ISBN: 978-93 83729-32-6.
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LOOK BACK INTO LEATHER PUPPETRY
MS. KYATHI SIVAKUMAR1 & MR. RAMBABU MUPPIDI2
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1Student, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute),
Sy No 6-38, TSLIPC - Nilex Campus, HS Darga Rd, Gachibowli, Rai
Durg, 500008, Telangana state, India.
&
2Faculty, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute),
Sy No 6-38, TSLIPC - Nilex Campus, HS Darga Rd, Gachibowli, Rai
Durg, 500008, Telangana state, India.
ABSTRACT:
Shadow puppetry is a theatre tradition in the state of Andhra
Pradesh in India, the performers are a group of wanderers who
move from place to place doing puppetry shows, and also other
kinds of theatrical shows. The main theme of the performances
would be to reenact scenes from the Ramayana and Mahabharata.
Prior to the advent of radio, film and television, these shows
served a method of passing down folklore, Hindu epics, and also
news to the most remote corners of the Indian subcontinent.
My research revolves around the livelihood of leather puppetry
artisans, design methods, method of preparation, techniques, the
community, other crafts in the community, ways to revive and
pass down to future generations, government recognition and it’s
intervention which will elevate the status of this craft.
2
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KEYWORDS: Puppetry, Mythology, Theatre arts, Craft sector,
Artisans,
INTRODUCTION:
Leather puppetry, also known as “Tholu Bommalata” (in Telugu )
is an indigenous theatrical craft form in Andhra Pradesh. The
puppeteers usually travel in groups from place-to-place
performing shows, singing ballads, and other theatrical forms,
and are also tattoo artists. This has been the custom for many
centuries to provide knowledge about Hindu epics and folklore
and also provide news to the people. The puppeteers also deliver
the monologues for their character as they’re performing and also
deliver other sound effects like the echoes, animated noises for
the background , etc.
HISTORY OF STUDY:
The art of Leather puppetry is a very ancient one in the state of
Andhra Pradesh, it’s roots can be traced back to the state of
Maharashtra, and the people who migrated to Andhra Pradesh
almost 700 years ago. The art gained popularity back then since
it was an interesting form of entertainment, which was displayed
on the streets. The plays would go on all night long with the
theme of epics. The art was honoured by the Kings of the time.
The plays belonged to the stories of Ramayana and Mahabharata,
which were very much like by the people as well as the rulers,
this folk art was the livelihood for these families. These families
then migrated from Maharashtra to Andhra Pradesh and
Karnataka, and they spread their art form and it is known as
“Tholu bommalata” in Andhra Pradesh, and the families have
settled in Anantapur and Guntur districts.
Due to lack of interest in the art form, the artisans use the
techniques of leather puppetry to develop paintings and also
other products like lampshades, wall hangings , etc., to gain
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recognition as well pass down the technique to the future
generations.
OBJECTIVE:
To understand the skill and Knowledge of puppet artisans
To analyse the problems faced by puppet makers
To know the schemes provided by the government to overcome
the problems.
THE PROBLEM OF IDENTIFICATION:
• To analyze the problems faced by puppet makers and to know
the schemes provided by the government to overcome the
problems.
RESEARCH METHODOLOGY:
The primary data is collected by going to the area to do research
and observe the artisan and getting involved with their
colleagues, analysing their difficulties as well as collecting photos
and videos and interviewing. As part of this case study the
leather puppetry artisans who were in the area were met with
whom the families got to know the documentation collecting
photos, interviews, etc. Secondary data is collected from previous
journals, books, research papers and the internet.
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Image1: Artisans making process
Image2: Puppets making process
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REVIEW OF LITERATURE:
A Case study of the Attributes differentiation of Priest Drona
Puppets: Mohisa Pramana Koseo Emadinata (2013): The character
of Priest Drona in Javanese shadow puppet Drona is a
controversial and complex character in the Mahabharata epic. He
has a significant role as guru (teacher).to both the Pandavas and
Kauravas. He is depicted as ambiguous yet mischievous in the
Javanese shadow puppetry. Some people considered Drona to be
a wise sage that was trapped in a dilemma to choose sides with
his disciples, who’re fighting the throne for Hastinapura kingdom.
Some consider him to be a manipulative person, who is causing
problems for his own personal gain. Drona’s appearance in
puppetry is devious, mischievous, cynical and arrogant, going
with the former approach, this approach also has factors related
to socio-historic factors in Cirebon cultural area.1
An Analysis of Sustainable Tourism Development Collaboration
Case : Tourist people village of Kepuhsari, Wonogiri District:
Bramasta Reynoldo (2018) : Cultural acculturation cannot be
avoided because of rapidly increasingly globalisation, where the
main demands as a region that has become a tourist place is to
be able to professionally manage it. Form of promotion that is
more done active in the scope of social media by considering the
cost of affordable and efficient. Their purpose is to show that
puppet art is full of noble meanings and values contained in
every storyline.2
Muppidi Rambabu (2021): The State Of Puppetry Artisans Of
Dharmavaram: There is so much to be done, only to be
disturbed and suffer from being told about a dreamless future.
Their sense is that you can only enjoy the craft of making for
four people. But to promote them, there is a historical basis of
vashikaran and there is a lot of importence story about how
long their colony should be incorporated. This puppetry art form
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is specially experienced to dispel the false sense that you dream
is too big.3
Betha Gowri Padmaja (2018) : Sustainability Of Indian Heritage
And Culture: A Study On Leather Puppetry (Tholu Bommalata) :
Puppet artistes are sometimes engaged in manufacturing in
remote areas and visiting villages and performing their
performances. You are involved in the task of reviving the art so
that it does not die out. There is a need for the government to
recognize their dream and give them due recognition. Such
training will be arranged by the trainers who have acquired skills
in different ways and they will be supported by your wood
technology in the country and abroad.4
PROCESS:
There are three types of skin/hides used to make puppets, which
are deer hide, goat and antelope skins, but goat skin is the most
commonly used skin, Antelope skins are used for making
auspicious characters like Gods, and epic heroes, whereas
deerskin due it’s resistance is used to play characters like warrior
Bhima and the ten-headed demon, Ravana. To develop the
character of Ravana, at least four skins are necessary, for his
body, his legs, set of five arms, and for his ten heads.
The goat skin is obtained from the butchers on a weekly basis
which is unsalted and is dipped in hot water and let to sit for a
day, and then the hair is removed and the flesh is cut off using
a shaving blade, and then they’re stretched out and let to dry on
a frame, and then after one day they’re white and opaque and
hence now can let light pass through and can be used for
shadow puppetry.
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The skin is cut out into a desired shape and the outline is
drawn with a pencil and then checked if the outline is correct,
and then they proceed to outline with black drawing ink, and all
the small details are also drawn after the outlines are ready and
all the parts of the character are cut out separately.
After the outlines and details are finished, a small carving knife
is taken and used to cut out small holes in the part and these
holes are cut out at an angle to give dimension and usually done
in different shapes based on the ornaments, done on jewellery,
backgrounds, flowers and walls, flowers, animals, etc.
After the details are cut-in, the parts are painted with the help of
inks and paintbrushes of different sizes are used and this done
on both sides of the character, and then after the painting is
done, the outline is traced out once again with black ink to bring
out the details.
Next, the parts are attached with a thread, protected by a small
piece of a leather on either side to hold parts together.
The character is put on a stick, split mid-way through to hold
the character and then the extensions for the head, arms, hips,
legs are made to move the character in the desired movements.
TOOLS AND TECHNIQUES:
The main tool used are different shapes and sizes of punches,
Plastic board, knife for carving, drawing ink of different colours
to paint, paintbrushes, bamboo nib to draw outlines.
The technique of cutting different shaped holes at various angles
is key to highlight the elements of the character, like the
jewellery, drapes, etc.
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FAMILY ECONOMY:
The artisan is of the third generation, and his eldest son also
practices the craft, and the kids in the family are taught how to
perform and its importance before learning how to perform. The
eldest son also works other jobs in order to accumulate funds to
source the raw materials necessary to make the puppets.
GOVERNMENT SCHEMES AND SUPPORT:
The government supports the craft by conducting fairs, and
cultural shows for the puppeteers to present their puppet shows,
and also presents awards to these artisans. The artisans are given
orders in the form of lamp shades, wall hangings etc., which
uses similar craft techniques, but metal raw material is hard to
develop due to lack of necessary skill to weld and hold metal.
CONCLUSION:
This paper talks about the problems faced by the artisans of the
leather puppetry sector, and how the craft is slowly dying, but
the revival and survival is something that has to be supported
from the government and community around. Due to lack of
support and encouragement, the younger generation isn’t
interested in pursuing the craft, due to which the craft is dying.
We must encourage and spread awareness about this craft to the
younger generation. Resources and other equipment have to be
more accessible to the artisans and remuneration should be
reasonable and sufficient.
REFERENCE
1. An Analysis of Sustainable Tourism Development Collaboration
Case : Tourist people village of Kepuhsari, Wonogiri District:
Bramasta Reynoldo (2018)
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
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2. A Case study of the Attributes differentiation of Priest Drona
Puppets: Mohisa Pramana Koseo Emadinata (2013).
3. Muppidi rambabu , The State Of Puppetry Artisans Of
Dharmavaram, International Journal of Education, Modern
Management, Applied Science & Social Science (IJEMMASSS)
110 ISSN : 2581-9925, Impact Factor: 6.340, Volume 03, No.
02(III), April - June, 2021, pp.110-116.
4. Betha Gowri Padmaja, Sustainability Of Indian Heritage And
Culture: A Study On Leather Puppetry (Tholu Bommalata)
,International Journal Of Multidisciplinary Educational Research
Issn : 2277-7881; Impact Factor – 5.818; Ic Value:5.16; Isi
Value:2.286 Volume 7, Issue 5(3), May 2018.pp.182.
5.
IMAGES:
6. Image1: Artisans making process
7. Image2: Puppets making proces
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3
SKILL AND DEVELOPMENT OF PATTACHITRA:
ODISHA'S ARTISTIC LEGACY
MS. SAMITA PANIGRAHI 1 & MR. RAMBABU MUPPIDI 2
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1Student, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute),
HS Darga Rd, Gachibowli, Rai Durg, 500008, Telangana state, India.
&
2Faculty, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute),
HS Darga Rd, Gachibowli, Rai Durg, 500008, Telangana state, India.
ABSTRACT
From Odisha comes the art form known as Pattachitra in Sanskrit
(patta- means a piece of fabric and Chitra- means picture). This
art form is basically from Odisha its practiced all over Odisha
but mostly in the southern part of Odisha i.e., in Raghurajpur in
Puri, Chikuta, Parlakhemundi. As its practiced all over the
Odisha Pattachitra differs from place to place and region to
region every place has some uniqueness or they add some
essence to Pattachitra.The pattachitra from Raghurajpur are
recognised for its skilled painters and artisans, and fortheir
heritage, which dates back to 5 BC.Odisha also acquired a GI
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(GeographicalIndication) badge for Pattachitra on July 10, 2008.
The art of making Pattachitra involves naturally produced
colours, handmade cloth and brushes and this has changed over
time like back when it first startedthe canvas was coated with
the mixture of chalk and gum which was obtained from tamarind
seeds, and after it was dried it was rubbed by two different
stones and previousthe brushes were produced using domestic
animal hair that was knotted to the end of the bamboo stick.
And if we talk about the art style of this art form, is classified
into three categories. Pattachitra- painting on cloth, Bhittichitra (in
Odia means) - painting on walls, and Talapattachitra (in Odia
means) andPotthichitra (in Odia means) - painting or engraving
on palm leaves. And one can clearly recognise these paintings by
their motifs, designs, and fine details and they are mostly based
on Hindu mythology and are inspired by Jaganath and
Vaishnaavi. Pattachitra plays a vital role during Odisha’s most
anticipated festival Retha yatra, when chitrakars create the Lord
Jaganath Balabhadra and Subhadra’s Pattachitra paintings that is
worshiped in the temple during Ratha Yatra. They continue to
create these paintings every year.And itis considered one of the
oldest and most well-known art forms from Odessa.
The purpose of this paper is to raise public awareness about the
art, culture, and heritage of Odisha as well as the current state
of the artisans. It also focuses on those dedicated individuals—the
artisans—who work tirelessly throughout their lives and pass on
their expertise to younger generations in order to preserve the art
form.
Keywords: Tradition, Mythology, Folk-art, Kalighat, Odisha
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INTRODUCTION
Pattachitra the folk art of Odisha is an antique tressure that has
been in practice in Odisha since a long timeand it dates back to
more than12th century B.C i.e., 3000 years, “Patta” is a Sanskrit
term that signifies a thick cloth or canvas and “Chitra” means
painting, these paintingshave traditionally been used to convey
stories about mythology and old civilization Using cotton sheets,
palm leaves or on walls. Raghurajpur, a settlement 12 kilometers
from Puri, and best known for its Pattachitra art works. It is
home to 140 families, all of whom are involved in the art of
making Pattachitra. For generations the artisans of Raghurajpur
are narrating mythological stories through their world-famous
painting.
This art form has also been used to narrate stories in Bhagwat
Geeta, Krishna Leela, Mahabharat, Ramayana and other
mythological stories, as one side is used for the writing the story
and another for painting for a better understanding. And the
specialty about this artisan from Raghurajpur is despite the fact
that the theme and martials are same the style varies from
person to person.
BAKGROUND OF STUDY
It’s 21st century and we all are talking about sustainability
starting from international brands to small startups the only
reason is environmental hazards caused by the fashion industry,
on the other hand if we talk about this art form they started the
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concept of sustainability long time ago they made sure that
painting that are made are environment friendly, by using natural
colors and they use the cotton sarees that are rejected or are not
in use anymore aglue is prepared by scraping and boiling the
tamarind seed,then it’s used to stick two clothes together and
continue layering until it’s a little strong, then its spread on the
floor or palm leaves then with the help of a white stone (two
different types of white stone zero and six number) they polish it
and make the patta or the fabric and these artist also use dried
palm leaves for painting and engraving.
DESIGN DEVELOPMENT PROCESS
From 12th century to 21st century this art form has evolved in lot
of manners,if talk about the theme, style, materials etc. but one
thing still stays the same that is the use of the colours they use
4 primary colours and 2 neutral colours and that is derived
naturally: And by using and mixing these 5 colours they derive
25 colours; these colours are contained in coconut shells and for
painting they mix the colour and gum in a 2:3 ratio and if this
proportion is changed the colour won’t stick to the paper or will
start peeling off after a certain time.
Colour Table
Sl.
No
Derived
From
Derived From
1
White
Sea shell (aka Shank)
2
Yellow
Turmeric (aka haldi)
3
Red
Cinnabar mineral (aka Hengul)
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4
Green
leaves
5
Blue
Khanda Neal stone
6
Black
Black residue of Diya
Table1: Color ratio.
Earlier artisans started by narrating stories from Indian
mythology and there are artisans who still follow this traditional
method in parts of Odisha as its practiced all over Odisha the
style differs from place to place, mostly the traditionally artists
from Raghurajpur they stick to the pictorial representation of
idols with a significant art style in which the postures are large
and well defined, it has a 2D feel and it lacks the depth of
perspective despite the fact they don’t follow ant rules of art it
has a composition and is very aesthetically appealing. By late 20th
century the artisans started to experimentby fusing Pattachitra
with modern art or other art from and to generate revenue from
it these days artists are going commercial by pushing the
boundaries where they not just paint on patta they also do this
art form on, saree, masks (due to covid), wall hangings, wind
chimes, utilitarian products (kettle, bottle, plates, bowl, etc).
IDENTIFACTION OF PROBLEM
If we talk about problem artists now a days are facing numerous
problems starting from infrastructure, finance, no government
support, awareness etc. this village was once badly affected by
Fani (thesuper cyclone that affected the coastal pat of Odisha in
the year 2019) this cyclone caused a massive destruction by
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causing landfalls and flood which resulted in loss of artwork and
raw materials, every year the coastal parts of Odisha is affected
by cyclone and these parts are rich in art and craft not just
Pattachitra, Pipili for patchwork, and horn craft from puri and
more, due to Odisha’s effective disaster management system the
death rate from this cyclone is very less or almost 0 but the
stored materials or raw materials of artist are affected.
And lack of facilities or ignorance from government bodies ,
these peoples are suffering artists every year in LokSabha &
Rajya Sabha they discuss about making India socially and
culturally rich but they never come up with a solution for artists
or they don’t even know what these artists want, what problems
they are facing, can’t blame them cause it’s the politician
speaking on behalf of an artist which doesn’t make sense, but
this is what is happening in our country and the rules and
regulations that are made by the government instead of
benefiting its affecting the artisans. So in order to avoid this in
future the government needs more artists representation in
politics or someone who knows the problems of these people and
rules and regulations should be made to make artisans life easy
not difficult and talking about artisans a few or selected artisans
are being recognised which is not fair ever artist is working
really hard and has a different style and if an artisan want to
start something he should be motivated and provided with all
the necessary facilities like place, capital, government should
provide subsidy, loan at an feasible rate of interest, they should
have licence to export their work if they want to export or
through some government agencies where they don’t have the
fear to get exploited. Government should also provide them with
insurance, health policy, good education facilities to their children,
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cause India is culturally very rich and these magnificent art form
dates back to the ancient time apart from Pattachitra India is a
home to 50 traditional folk and tribal art if it’s put for export
govt. can easily get foreign exchange.
IMAGES: LIST of DESIGN OR PRODUCTS CREATED
Image1: Pattachitra by Swastika Mahapatra
OBJECTIVE OF STUDY
To the understand the process of patta chitra , towards research,
encourage the artist family’s livelihood, art and crafts are used,
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and knowledge of how their more production export patta
designs
This research was conducted by doing primary and secondary
research to have a better understanding about art form from the
starting and the whole process about the materials and the colour
used during the process, has it evolved over time and what
problems the artisans are facing and how the government should
provide them with the essentials or the basic facilities to the
artisans which will be beneficial to them cause the artisan have
so much potential and they can contribute to the major part to
our countries revenue and the despite the fact these artisans have
kept these art forms alive since 100 and 1000 of years passing it
on to generations by for centuries and these art form also gives
a lots of information abut our history and other informative
things.
RESEARCH METHODOLOGY
This primary data was gathered by doing ground level work for
the study of this art work went to the location to conduct this
research work and during this process had an opportunity to
meet the family of the Pattachitra artist and became aware about
their situation and the present scenario of artisans. Observed the
process saw the challenges they are facing while making this
kind of art, captured picture took interview and documented
everything during the process. The families of the local
Pattachitra artist were introduced as part of this case study, with
whom all the important materials were collected information such
as paperwork, images, and interviews. The pilot is thoroughly
based on using both primary and secondary sources of
information.
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REVIEW OF LITRATURE
"Pattachitra"- a traditional hand painted textile of Orissa
Akanksha Pareek1 & Prof. Suman Pant2: One distinctive type of
traditional Indian hand painting known as "Pattachitra" has been
practised consistently for approximately 300 years. The
"Pattachitra" (Scroll Painting) pigment-painted cloths used in
rituals are primarily connected to the Lord Jagannath temple in
Puri. The community of painters mostly engages in the
ceremonial art form known as "Pattachitra," where emphasis is
placed on the storytelling and embellishment of figure drawings
using natural and vegetable colours. In Orissa "Pattachitra,"
primary colours are employed; other shades are created by
combining the main colours. Hindu mythology serves as the basis
for the themes and motifs of "Pattachitra," which typically depicts
the Puri temple and its rites in a predetermined and highly
stylized manner. Both men and women work on the most time-
consuming Orissa scroll painting. The symbiotic relationship
between art and religion: A case study of Pattachitra of Odisha
MAMATA DASH: According to this article by Mamtas Dash
says Art is a by-product of culture and describes various customs
or characteristics of the culture in which one lives, either openly
or implicitly. Art, then, is not always the result of the artist's
thinking alone; rather, it derives from the complete social and
cultural environment in which the artist lives. It is an integral
component of culture, making it important for anthropologists to
study in order to comprehend any community. The artist, the one
who creates art, is born and raised in accordance with the
prevailing standards of the social institutions that are currently in
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place. Unaware of it, the artist expresses the ideas of his culture
in a sociocultural setting. The attitudes of the society are reflected
in certain ways in art.
ARTISANS INTERVIEWS
This is the story of Kunjabihari Maharana a 60-year-old
Pattachitra artist from Odisha’s Keonjhar district, in an interview
with him I came to know about that he hasn’t received any sort
of education or training in this field and he is the 5th generation
of artist from his family and he mentioned he learnt this art
from his forefathers. He has a group of 4 artist who practice this
art form on a daily basis, they also do customised orders and
interested students also come to him for training, he has also
received various awards in Odisha for his art and craft work, not
just Pattachitra he also makes Lord Jagannath’s idol for Odisha’s
famous festival Ratha yatra. When I did the ground level
research, I came across the problems that are not just faced by
Mr. Maharana also faced by artist across India. He does his art
work in a small scale and he has numerous award from Odisha
government, and articles about his achievement and making
Odisha proud, still he is facing financial crisis and he said “for
an artist art is everything an artist can never leave his art” and
he was just trying to generate a revenue from his art by using a
place near his house as he wanted to start a training place where
side by side they’ll also produce art for commercial purpose but
that place was taken from him saying it’s a government land,
and now he is continuing this training and art work at his place.
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CONCLUSION
Pattachitra has excelled in both the domestic and foreign
markets.Due to commercialization, it has now spread to every
country and region in the world.The artisans now use fabric and
poster colours, which are readily available in the markt and also
timesaving, to satisfy customer demand and taste.To To attract
widerange of customers, designed patterns are added to bed
linens wall hangings, sarees andgarmentmaterials. In addition to
employing craftspeople, female business owners also are engaged
and they pay them fairly as well. They market their products by
participating in various exhibitions, advertisement through internet
and by also personal contacts, previously it was a localised craft
this one has now gained national and worldwide preconisation,
the art was on the verge of extinction the artist whose income
was extreme low are now living a better life in a socioeconomic
position, women entrepreneurs have a noteworthy role in the
socioeconomic development of craftsmen. Indian craftsman and
artisans have so much potential with just a little support from
government both our county and they’ll be benefited.
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APPENDEX:
Image2: Mr. Kunjabihari Maharana working on his Pattachitra.
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Image3: Mr. Kunjabihari Maharana , senior artisan, Interaction
with Artisans involved on Pattachitra .
REFERENCE:
1. Dr. Nalini Avinash Waghmare (2014), April 13, Bhartiya
Ithihas sankshodak ,Mandal,pune, vol.No 90,Bidiriware :
Handicraft of Bidar District: Department of History S.P.
College, pp.1-4.
2. Dr. Santosh Kumar, The Black Metal Magic of Bidar:
BIDRIWARE - Report Mentor: Dr. Deepa Bapat Faculty
Mentor:
3. Kay Ferguson & Joy Journeay, Volume 5, Issue 4, Bidri
Buttons from India, WRBA Territorial News, pp.1 -5
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4. Susan La Niece and Paul Craddock (1993), Metal Plating
and Patination- Cultural, Technical and Historical
Developments,pp5-7.
WEB REFERENCE:
5. Indianjournals.com
Artisan Interviews:
6. Kunjabihari Maharana, 2nd generation,Pattachitra artisan
IMAGES/ TABLES:
7. Table1: Color ratio.
8. Image1: Pattachitra by Swastika Mahapatra
9. Image2: Mr. Kunjabihari Maharana working on his
Pattachitra.
10. Image3: Interaction with Artisans involved on Pattachitra .
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FOLK HANDICRAFTS OF TELANAGANA:
A SOCIO-CULTURAL STUDY
Dr. NAGAJANU SUREPALLY1
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1 Faculty art education, TSWRS, Huzurnagar Gurukula schools,
Suryapeta District, Telangana Telangana state, 508233, India.
Abstract
in the southern Indian state of Telangana. Most of the art and
craft forms are very unique in Telangana, especially Banjara
Middle Clasps. Bediri Craft, Bronz Casting, Dokra Metal Craft,
and Nirmal Craft They are present in this paper about the
products they make by telling their history and what stage they
are in, and they are also present in a scenario about their
handicraft as lively young and old traditional craftsmen.
Introduction
Telangana geographical location longitudes latitudes .the telangana
state is located in southern part of Indiana peninsula 18.1124
North 79.0193 east .is a historical Deccan of plateau spread over
114,840 square kilometers. Recently in 2014 June 2nd the separated
state was formalized with act of parliament of India. The
telangana has rich culture and heritage especially in folk and folk
handicrafts.
4
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HISTORICAL INDIAN FOLK.
Even though the word culture was coined (1871) later than
Folklore (1846), a Culture is the way of a group of People, the
complex of shared concepts and patterns of learnt behavior that
are handed down from one generation to the next through the
means of language and imitation. Here in my work, what I
expressed in Art is the changes of life, ways of understanding, if
we see Indian folk it goes back many a mile and a century. It
has societal transformations since its inception, which has been
many centuries ago. It has evolved with time, but has always
been an integral part of the rich Indian heritage. It has constantly
been a part and parcel of the societal transformations that have
taken place. They include handicrafts,which are an integral part
of the rural tradition and have often mirrored the lifestyle and
traditions of the era. These also depict the daily village life,
customs, rituals, birds, animals and the elements of nature and
earth. The Indian folk art includes handicrafts;almost every village
of India has its own style of folk arts. Among these, some are
very popular and well known, for example, Kalamkari, Kolam,
Madhubani, Kalighat, Phulkari, Kantha,Nakasi Scroll Paintings are
famous for paintings. The artists use the same motifs and designs
generation after generation. The Phulkari artists use geometrical
design. These handicrafts are loved in humanlife many inbitants
of the state rely on the handicraft industry. These handicrafts
works of art is known for itsintricate folk form and colorful
designs.
India has a history of rich and diverse cultural tradition. And
among its diversity, the legacy of India’s craft culture always
occupies a special place owing to its beauty, dignity, form, style
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and aesthetics. “To write about Indian Handicrafts is almost like
writing about the country itself. So vast, complex and colorful,
and yet with a simplicity and charm, difficult to attain under
comparable conditions”. It is a fact that Indian handicrafts have
very ancient origin and of high quality. They have customarily
received royal and aristocratic patronage and handicrafts men
were honoured by other communities. The versatility of the
various materials used in Indian handicrafts items, such as wood,
stone, metal, grass, glass, cane and bamboo, textiles, clay,
terracotta and ceramics, also leather works are makes these
products truly unique. Emphasizing on the greater value of the
arts and crafts, T.M. Abraham wrote: “the world of art and craft
is as valuable as the world of science, philosophy or ethics. Like
art, crafts reflect the state of human society through the
individual. Craft treasures like arts give us a glimpse into the
core and kernel of the collective mind and societies through the
mirror of individual mind that created them”. As said above
there are numerous varieties of art crafts in India which are
made with attractive designs and meticulous craftsmanship. This
research is aimed at highlighting the various Handicrafts products
produced by limiting to the State. And sociocultural study of
Telanagana.
Indian arts and crafts have made a distinction for themselves all
over the world. These ancient skills have been learned and
acquired by craftsmen from their forefathers and today it unfolds
itself in a splendid variety of products, combining aesthetic
appeal with utilitarian value. Each region of India marvels in
handicrafts portraying the genius of its local craftsmen.
Telangana, south has patronized itself in a host of arts and crafts
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that not only attract millions but earn the artisans a decent
livelihood.
OBJECTIVES OF THE RESEARCH
1. To identify the folk handicrafts of telangana
2. To study the methodology & skill of making of folk
handicrafts of telangana the folk elements in to handicrafts
3. To preserve, conserve and documentation on such rear crafts
4. To explore the possible of marketing &publicity of products
5. To study the biographical sketch of handicrafts in Telangana
7. To draw mapping the handicrafts of Telangana
8. Finally to study the sociocultural –Economic conditions of
skilled artiyons of handicrafts
METHODOLOGY
1. The present study deal with the folk and folk handicrafts of
Telanagana A socioculture,
2. It is delt field work, by photography, video, Recording making
process ,
3. by using questionnaire for collection of data on socio cultural
conditions.
4. Data will be analyses by using SPSS packages.
5. Data collation of Primary, secondary sources and interview
questanary.
TELANGANA HANDICRAFTS
Handicrafts have always been a remarkable feature of Indian art
and crafts. Telangana is yet another great site offering ample
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astounding handicrafts. The artisans still make these extraordinary
handicrafts with dexterity. Whether it is needle craft or bronze
castings, metal craft or stone craft, Telangana has a wide array of
handicrafts that can become a part of your lifestyle. The
eminence of these handicrafts lies in their traditional method of
creation. These handicrafts are loved and adored not only by
Indians, but people from all parts of the world. Many inhabitants
of the state still rely on the handicraft industry. Scroll down to
get more information about the famous handicrafts of Telangana.
Banjara Needle Crafts.The embroidery and mirror work, created by
the ‘Banjaras’ (Gypsies) on fabrics, have become the part of each
person’s wardrobe in India. These people employ their dexterity
in needle craft and create incredible designs on clothes. This
work of art is known for its intricate and colorful designs.
Bidri craft is another craft that serves as the pride of Telangana.
This unique art of silver inlay on metal has always been
enthralling people with its lure. The historical events reveal that
this craft was brought by Iran migrants to India. The artisans
practiced this art and brought it on the world wide panorama. In
the present day, Bidri craft has been customized to produce
cufflinks, name plates and many more things.
Dokra Metal craft is quite prevalent in the tribal regions of
Telangana. In Adilabad district, the places like Chittalbori and
Ushegaon are the main promoters of this art. The notable fact
about Dokra craft is that each piece is different from the other.
All the objects are created niftily by hand, boasting of
individualistic touch. Dokra craft produces objects like figurines,
horses, drummers, atypical spoons and tribal Gods.
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Nirmal town of Adilabad district is known for its wide range of
handicrafts. The skilled craftsmen make the objects appear
authentic with their brilliant use of colors and traditional
techniques of creating objects. The colors are extracted from the
natural dyes. The popular ‘Moghul’ miniatures are made on
‘Ponniki’, which is a soft white wood. It is further strengthened
with coatings of tamarind seed paste, fine muslin and pipe clay.
Telangana has been known world-wide for its amazing Bronze
castings. These castings require special skills to create incredible
idols. The craftsmen are required to study details of the
‘Shilpashastra’. The aesthetics of the idols are made by their
physical measurements, proportions, description of the deity,
characteristics and symbolism. While exercising solid casting of
icons, the mould is prepared by several coatings of different clay
on a finished wax model. This process provides the fine curves
to the cast-image. In Telangana, Etikoppaka is famous for its
amazing lacquer ware. This craft involves application of lacquer
on wood. Lacquering could be done either by hand or machine.
The hand-lathe is preferred to shape delicate items. The lac is
applied when the objects get arid. In this process, the lacstick is
hard-pressed against the woodenware meant to be lacquered.
Since the object keeps on revolving, the friction generates heat,
which softens the lac and facilitates the color to get stick. With
the help of brush, designs are painted on the figures, objects and
toys. The lac bangle is the most popular lacquerware that also
comes embellished with stones, beads, glass and mirrors.
Area of study
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Amidst the hills and forests of Adilabad one of the districts of
Telangana is the small town of Nirmal. It has been considered
the land of art and crafts. The big community of craftsmen in
Nirmal are referred to as ‘Nakkash’. This town is famous for its
paintings known as Nirmal paintings. These paintings were
greatly admired and patronised by the Mughal rulers in the
medieval period and it is said that Lady Hydri later on brought
the craftsmen to Hyderabad to promote their growth and
development. In this, traditional art scenes are painted from the
Hindu epics- Ramayana and Mahabharata. The paintings have
been influenced by the Indian Schools of Art like Ajanta, Kangra
and from Mughal miniatures. The colours used in these paintings
especially the familiar gold colour are produced indigenously
from extracts of herbs, gum, vegetable dye and minerals. The
paintings, whether depicting the grace of a dancer or the rhythm
of a musician, enrapture the viewer. It is said that in the past
the Nizam of Hyderabad on visiting Nirmal was given a grand
welcome with the artisans decorating the venue and seat of the
Nizam in such a way that an intricately designed banana bud
suspended over the Nizam’s seat unfurled and a cascade of
golden petals were showered on the Nizam. This so
overwhelmed him that he began to patronise the artisans.
These paintings are stylised versions of Nakashi art which is an
art form practised in Cheriyal district of Warangal in the
Telangana region. They are used for storytelling and their themes
are drawn from folklore and mythology like the Puranas and
Epics. The format of these paintings is narrative like a film role
or a comic strip. They were traditionally used by the balladeer or
story telling community known as ‘Kaki Padagollu’. They went
from village to village singing and narrating their ballads with
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music and dance displaying these scrolls in a series of horizontal
or vertical panels on a stage erected on four poles with a
horizontal bar. The length of the scroll depended on the length
of the story and each scroll could have about 50 panels. The
panel depicting that particular part of the story would be
displayed as the bard would narrate the story. In modern times
instead of a continuous scroll single pictures are painted as wall
decorations. The making of the canvas is an elaborate procedure
with Khadi cotton, rice starch, white mud, boiled tamarind seeds
and gum water. The artists then sketch the outline on the canvas
with a brush made of a stick with squirrel’s hair. They are
painted in vivid hues with the red colour predominantly in the
background.
This craft form is said to have originated in Iran centuries ago
and brought down by migrants. It has been nourished and
maintained by future generations of practitioners and is said to
have derived its name from the town Bidar of the erstwhile
princely Hyderabad state now currently part of Karnataka. It is
the unique art of silver engraved on metal. It involves four
stages of manufacturing namely casting, engraving, inlaying and
oxidising. Black colours for surface ornamentation are used for
Bidri art which does not fade easily and is accompanied by silver
and gold coatings. An alloy of zinc and copper called gunmetal
is used for this art. Flower vases, jewellery boxes, key chains and
other artefacts are made which is very popular all over the
world.
This metal craft could be seen centuries earlier in the artefacts of
MohenjoDaro. It is a bell metal craft which combines skills of
metallurgy with wax technique and though it originated in West
Bengal, Chhatisgarh and Jharkhand it travelled to Orissa and
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Andhra Pradesh mainly in the district of Adilabad. Dokra is an
ancient technique of casting wherein wax threads are wrapped
around an inner core of clay model. Molten brass or bronze is
poured into an opening which has been covered with another
layer of clay. It is a very labour intensive work and each piece
crafted is different from the other. Simple art forms and
traditional designs are made like tribal Gods, figurines, caskets,
bowls etc and its aesthetic beauty is in great demand in India
and abroad.
nitially the Nirmal artisans restricted themselves to art form. But
later local talent was exploited and decorative and utility articles
began to be manufactured. Nirmal toys are carved out of Puniki
wood or ‘PunikiChekka’ which is flexible and light and can be
cut into various shapes and sizes. The various parts of the toys
are then coated with ‘ChintaLeppam’ which is a specially
prepared glue prepared from boiled tamarind seeds and sawdust
and coated with white clay which smoothens any depressions or
ridges present in the toys. The artefacts and wall plaques are
made of teak wood which is well finished on lathe before
painting the preconceived design. Then Duco paint in the desired
background colour is sprayed on the plaque and finally the
artisan paints the design. The quality and beauty of the finished
products is breath taking. In modern times experimentation with
various hues and shades without moving away from tradition has
been evolved. A variety of aesthetic household and office
furniture and decorative furnishings too are made by the
craftsmen.
This needle craft is practised by the Banjaras or tribals of
Telangana. It is made up of needlework with geometric patterns
of squares, diamonds and triangles. Colourful and different types
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of stitches with mirror work, beads and shells are made on rich
and brightly coloured clothes. These are different from the
embroidery and design work of the tribals of Gujarat and Kutch
region. These beautiful designs and intricate patterns are used in
clothes, bags, bedspreads and bring an exotic look to the decor
of a place.
The bronze castings of Telangana are world famous and detailed
information can be obtained from the ShilpaShastras which is a
text from the Gupta period on the methodology of casting images
in metal. The Vishnusamhita an appendix to the Vishnu Purana
refers to wax modelling for making metal objects. The ancient
Sanskrit text ManasaraShilpa has a chapter entitled Lost wax
Method or MaduchhisthaVidhanam giving details of casting idols
in wax. The AbhilasitarthaChintamani or Manasollasa written by
King BhulokamallaSomeshvara of the Chalukya dynasty gives
detailed description of lost wax and casting methods.
Srikumara’sSilparatna contains instructions on the hollow casting
procedure. Studying all these detailed procedures the craftsmen
make the idols with accurate measurements and descriptions of
the deity in proper proportion bringing out the salient features
and characteristics. Several coatings of clay on a finished wax
model are used to create the mould which then imparts intricate
curves to the cast image.
Lac is said to have been first mentioned in 1590 AD in
AaineAkbari written by AbulFazl. Lac is a gummy deposit
obtained from insects which are tiny and red in colour and
which thrive on certain species of trees. This craft involves
applying lacquer on wood in different colours which is done on
a lathe or ‘turned toys’ and can be machine or hand operated. A
light species of wood called Ankudukarra is generally used and
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the lacstick is pressed against the woodenware to be lacquered.
Designs are painted on toys and figures using a brush. The lac is
applied in a dry state. The lac is softened with the help of the
heat evolved from the friction during the revolving of the
woodenware and enables the colour to stick.
The most popular form of lacquer ware are the lac bangles
studded with mirrors, beads and stones in attractive colors and
designs. Besides this many decorative items like bowls, vases,
containers etc are made. Leather works like cobblers (madigas)
,their working preparing folk instrumentals drums.
Conclusion
I would like research of handicrafts and folk handicrafts of
Telangana a socio cultural. The government should also take
initiative for its revival by providing subsidies for the
Nirmal,Bidiri, Dokra, Banjara Needles, Nakasi Scroll Paintings are
famous for paintings makers of this craft. The recognition
through the government will enhance the productivity and will
help in survival of the craft. These Telangana handicrafts are not
only for the decoration purpose but also are being used by
Animators for creating visual designsfor animation. These artists
will be encouraged only if the Indian Market revives and also be
provided global recognition.
REFERENCE
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1. Dr.y.A. sudhakarreddy and p.sKanakadurgaindian folk life A
quarterly news letter from national folklore support centrejune
2008.
2.JasleenDhamijiaindian folk arts and crafts ublished by the
director, national book trust ,newdelhi second edition 1992
3.. Dr. pulikondasubhacharyEncyclopaedia of south India folk lore
published by prasaranga a division of published and extension
services Dravidian university.
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JOURNEY OF LEATHER ARTISANS: STUDY ON
KOLHAPUR CHAPPAL (SPECIAL FOCUS ON,
MATERIALS, ARTISANS, ART, INCOME)
MS. GENUPULA KAVYA1 MR. AJAY KRISHNA 2
& MR. RAMBABU MUPPIDI 3
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1Student, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute), HS Darga Rd,
Gachibowli, Rai Durg, 500008, Telangana state, India.
&
2Student, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute), HS Darga Rd,
Gachibowli, Rai Durg, 500008, Telangana state, India.
&
3Faculty, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute), HS Darga Rd,
Gachibowli, Rai Durg, 500008, Telangana state, India.
ABSTRACT:
Kolhapur chappals are a type of beautiful leather shoe made by
hand in India out of braided leather that has been locally dyed
with vegetable colors. An open-toed, T-strap sandal type known
as Kolhapur Chappals or Kolhapur is also features braided
leather. Mules and other styles of braided leather shoes are also
5
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popular. My research focuses on the livelihood of leather artisans,
design methodologies, technique of preparation, the community,
means of revival and transmission to future generations,
government recognitions and its intervention which will enhance
the prestige of the craft.
KEYWORDS: India, Leather, Handmade, Braided leather,
Occupation, Vegetable colors, culture and Heritage, Hand craft
etc.;
INTRODUCTION:
Kolhapur Chappal production to support local cobblers. According
to historic records, Kolhapur’s were first worn as early as the
13th century. Previously known as Kapashi, Paytaan, Kachkadi,
Bakkalnali, and Pukri, the name indicated the village where they
were made. The kings and queens of old donned these Kolhapur
chappal. Shahu I of Kolhapur (and his successor Rajaram III)
encouraged Kolhapuri Chappal industry and 29 tanning centers
were opened during his rule. Currently, these Kolhapur chappal
are well known in Maharashtra’s rural districts and these
chappals are crafted from leather that has been chemical-free,
naturally cured and tanned. Additionally, they are all handmade.
The chappals are therefore appropriate for all types of wearers.
After coming into contact with the body heat and sweat of the
person wearing them, they become soft and comfy. Kolhapuri
chappals are crafted from leather that has been chemical-free,
naturally cured and tanned. So not only are Kolhapuri footwear's
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traditional styles well-known in rural Maharashtra, but they are
also gaining popularity on a global scale. Image.1. Kolhapur
chappal Main objective: The craft of Kolhapur chappal is in
danger of extinction due to a lack of younger generations'
motivation in carrying on the heritage, poor worker facilities and
marketing, and a lack of knowledge of the art's significance. The
main goal of this study is to increase public awareness of
Kolhapur chappal and aid artisans in preserving our history,
legacy, and traditional craft.
MAIN OBJECTIVE:
The craft of Kolhapur chappal is in danger of extinction
due to a lack of younger generations' motivation in
carrying on the heritage, poor worker facilities and
marketing, and a lack of knowledge of the art's
significance.
The main goal of this study is to increase public awareness
of Kolhapur chappal and aid artisans in preserving our
history, legacy, and traditional craft.
RESEARCH METHODOLOGY:
The primary data collected Went to the area to do research and
observe the advance and get involved with their colleagues’
making difficulties as well as collecting photos and videos
documenting everything when the family arrives. As part of this
case study the artisans who were in the area were met with
whom the families got to know the documentation collecting
photos interviews etc. The pilot took a complete look about who
based on primary and secondary data.
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PROCESS OF MAKING:
Kolhapur chappal: The production of Kolhapur chappal is a
lengthy procedure that requires numerous artisans. The Kolhapur
chappal comes in a variety of styles and types. The spherical
area on the chappal's sole known as the ear is the primary
distinguishing feature of Kolhapur chappals. The Kolhapur
chappal represents our culture, history, and morals. Consequently,
this Kolhapur chappal has a lengthy history. Kolhapuri chappals
are made of leather that has been cured and tanned entirely
naturally, without the use of any chemicals. 100% cow or buffalo
leather is used to make the original Kolhapuri. Generally
speaking, it comes in three colors: natural, oil, and polish. The
leather is prepared in such a way that it has no allergenic
characteristics at all and feels light, smooth, and silky. Hand
stitching and hand punching are used. Properly cleaned, and
prepared for pattern cutting. Take the leather patterns that we
have already cut out, and assemble them one by one to create a
chappal. If necessary, we can emboss; embossing serves
decorative and artistic purposes. Wherever it is required to lower
the thickness of the leather for proper fitting, skive the leather
patterns as you join them. The chappal should then be cleaned
with oil every use to make it seem shiny
Tools And Materials Country Hammer: It is used for thumping
the sole and foot-bed. Rappi (Knife): The leathers are cut
according to the required designs by using Rappi. Asti (hammer):
Metal hammer used for beating the leather. • Kurpa (hasiya) and
Setall (aari): as a knife for cutting leather. • Punches: Punches for
punching design and numbers. Stamps: Stamps for stamping logo.
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• Machine: Machine for cutting bubble or hirda. Sewing Machine:
It is used to stitch the braided parts on the patti's of the
chappal.
Chandini Punch (Star pogar): It is used to make a design.
Thodapaekapathi: Thodapaekapathi used to give wave effect or
zigzag type of designs patterns. Grinder: Grinder are used for
smoothening the leather for finishing raw materials. • Palagana
(Kargoti stone): Falagana helps to remove the outer hair of
buffalo or cow hide. • Rubber Powder: Rubber Powder is used
for sticking the leather. • Wooden Sponge: The wooden sponge
is dipped into the rubber solution and applied on the leather for
pasting.
MAKING PROCESS FLOW CHART
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Flowchart: Making process.
Chandini Punch (Star pogar): It is used to make a design.
Thodapaekapathi: Thodapaekapathi used to give wave effect or
zigzag type of designs patterns. Grinder: Grinder are used for
According to the designs, cut the
patterns out of the sheet
Choose the leather and clean it
Cut the leather according to the
patterns
Skive the leather where it is required
Embossing the leather higher portions
for aesthetic purposes before adhering
the leather with latex
Then the final step is then to make the
chappal appear bright, clean it
Packaging
Marketing
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smoothening the leather for finishing raw materials. • Palagana
(Kargoti stone): Falagana helps to remove the outer hair of
buffalo or cow hide. • Rubber Powder: Rubber Powder is used
for sticking the leather. • Wooden Sponge: The wooden sponge
is dipped into the rubber solution and applied on the leather for
pasting.
Image1: Kolhapur chappal
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Image2: Making tools and Embossing and design making tools.
PRODUCT RANGE: Kolhapuri Chappal has a variety of products
based on gender and age. Considering all variations there are
more than 125 designs. To make Kolhapuri chappals more
attractive and give an immoderate look are decorated with Zari
strips or sponge (red color) which is usually worn in special
occasions like weddings and parties and low cost chappals are
used for regular use. Higher quality chappal has more braids (up
to 9). The chappals are available for all sizes, and the artisans
offer customized pieces as per the customer demand. Huge range
of Kolhapuri chappal is available which starts from Rs 500 to Rs
5000. Specifically for men, there are - Kapashi, Paper Kapashi,
Jaad Kapashi, Senapati Chappal, Amdar Chappal. Kurundawdi,
Shahu (a similar pattern to Shahu Maharaj's pair of Kolhapuri
chappal). Vinchu Chappal, etc. Vinchu Chappal - There is a
special demand for a chappal which makes sound while walking.
Seeds of the Vinchu tree are dried and hammered a little; &
placed in between two layers of sole on its frontside. Specifically
for women, there are Mandakini, Mayuri, Chepali patta, Angatha
patta, Punching patta, Meena, Paduka, Ekveni, Haatveni, Nuri,
etc. There are also some crafted pieces for kids Pawda, Bachkani
Zarigonda, etc. Sometimes artisans make some designs as per the
customer demand. Example – Vetal Chappal.
SCOPE OF CRAFT: Chappal Craft has plenty of prospects to
expand in the upcoming years in the national as well as the
international trade. The contemporary style of the Chappal is not
only renowned in the older generation but also in the younger
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ones although the reach isn't visibly celebrated. Major threats are
faced by the craft in order to preserve it in this topical
atmosphere.
COMPETITION: There has been competition in the whole leather
market due to the exposure of intercontinental imports. Animal
welfare organizations act as a stumbling block that the craft must
beat. INNOVATION: There has been a uniform decline in the
craft mentioning plenty of reasons but the uppermost is the
refusal to learn and adapt to new technological developments. If
you have been given a chance to choose between a smooth
textured Chappal done using the help of machinery against a
rough textured Chappal done with the traditional ways. Mostly
the answer is going to be the prior, all because it has a smooth
texture and the majority of the public doesn't really care about
the making process. The sole focus on the chappal department
does not aid the craft's relevance. Experimenting and branching
out into new innovative products will expand their target
audience and moreover catch the consumer's attention in an
entire new way. The traditional way of practicing the craft needs
to be modernized with the aim to increase their efficiency. The
only form of education they get is ancestral, which is for the
process of making a Chappal. Since there is a lack of education,
Innovation through creative activities isn't introduced to them by
anyone. This lessens their efficiency and makes them lag in the
business. Few inclusions to the leather market from their side
that we feel would be watch straps, belts, bags- wallets, shoulder
bags, tote bags and laptop sleeves. An entire range of accessories
could be included as well, such as earrings and chokers and
even clip on bow ties. Another unexploited business is stationery.
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Leather protected journals and passport covers with authentic
patterns are fascinating to millennials and GenZ who look for
nominal ways to add quirkiness to their aesthetic. PROBLEMS:
Kolhapur chappal, a type of handicraft, are in danger of going
extinct. The lack of awareness, the dramatic drop in sales, and
the financial strain on artisans are the key contributors to this.
Craftsmen argue that because they did not see a financial return
from this activity, rather than passing on their craft to the next
generation, they pushed their children to pursue other careers
and employment. More seriously, skilled craftspeople have been
attempting to switch from one field of work to another, such as
agriculture, civil construction, and others. Less knowledge about
handicrafts among the general public. ignorance of the value of
handicrafts to society They appeal on the governments to take
action in order to save the centuries-old art form.
PANDEMIC
Handicrafts are treated to be superfluous, non-compulsory items,
and got impacted by the Covid-19 virus despite being a second
largest sector after agriculture in India. In respect of Kolhapuri
Chappal, lockdown forced the shutter to be closed. As buying
'Chappal' wasn't a necessity throughout the lockdown, the
demand reduced. Craftspeople were unprepared for such an
event, and almost went unemployed for 1.5 years. For a sector
that has more than half daily wage earners and nearly negligible
social and medical cover, the harm was gigantic. For years the
craftsmen have been selling their finished products directly to the
shopkeeper without taking any help from the middlemen or they
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would manufacture it in their own garage since it is a legacy to
continue the craft and sell it in their own shop. Not that they
have not tried business with a middleman, but everytime they
use to take a bigger chunk of the outcome. They saw a pattern
and decided not to include them in the way of the business. The
craftsmen should branch out into various leather products.
Innovation is the key to sustain the business in the long run.
This attracts several kinds of customers looking for aesthetics in
their life. The trades of leather products like leather Chappals,
leather shoes, leather sandals, leather handbags and lady’s purses
etc. are important for the development of a country. It is also an
important source of employment and carning the foreign
exchange.
GO DIGITAL:
While online platforms are being encouraged, we noticed that
digital platforms aren't the finest choice of sales for artisans.
Artisans have not found the e-commerce sector as beneficial for
them as it might have been for others. They gross more money
at a craft bazaar. Under the names of popular websites like eBay
and amazon, scams occurred in the process which set back the
notion of never exploring the online markets. Now such websites
are known for their cheating practices with small cottage
industries. While brands like Vihaan, Kolhapuri paytaan, Korakari
have already established their presence in the digital world and
marketed their products to the international market with the
health benefit factor. Brands not only look after the
manufacturing process but also the packing and the customer
service which helps them to build a loyal customer base. •
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Teaching the school's students about our culture and crafts. •
Artists should discuss the details of their clients' purchases with
them. • Ensuring that the government provides enough funds in
light of their issues.
STRENGTHS:
Kolhapuri Chappals are a handmade artefact. This reduces
environmental wastage. The capital required for the craft is
low as compared to investment in machineries.
Middle men- Artisans are pretty aware about the ill
practices middle man carries. They voluntarily prefer direct
transactions to selling to middle men.
The tradition of making Chappals has been carried out and
taught by the forefathers and ancestors.
Kolhapuri Chappals are trending in generation Z.
WEAKNESS:
Due to ancestral training, we see lack of formal training.
There is a lack of new age training. While the craftsmen
are skilled, their efficiency could be vastly upgraded with
formal training which would increase productivity.
They do not have sufficient financial resources to upgrade
to new machinery or equipment to graduate the skills.
They also do not have easy access to technology or the
money along with a lack of knowledge on how to use it.
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The craft itself has prospects to expand in reference to
target audience and product categories. A comprehensive
market study will help the craft to sustain and keep up
with the rapid changing trends.
Craftsmen work for a low cost- Lack of education forces
them to work for low cost. Even if the craftsmen are
highly skilled as the craft has been an ancestral one they
don't get the benefit of it.
The work is looked down upon.
No Support from government associations- Pandemic.
The craft has a GI Tag, but no awareness of it.
Can't use in monsoons only suitable for tropical climate.
OPPORTUNITIES:
The constantly growing domestic and international markets
have a vast potential for the growth of the Indian leather
industry.
These Chappals shops and workshops are solely situated in
Kolhapur city. They have a very good scope to expand and
open shops throughout the country.
Product diversification- Leather products apart from chappals
need to be explored. There is a vast market for leather bags,
belts and other accessories.
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Fad- It is essential that the craft timely follows modern
fashion trends to increase sales which will enable them to stay
relevant in an ever-evolving market.
THREATS:
With the increase in education and migration to cities, the
number of craftsmen is decreasing rapidly as the younger
generations aren't as interested in continuing the craft. This
has led to a rise in the limited labor costs.
Entry of multinationals in the domestic market- Already the
competition was cut throat since the craftsmen and the shops
are adjacent. The entry of brands has increased the existing
competition that the craft faces.
Kolhapuri Chappals are handmade, thus taking a lot of time
and effort. Machine-made are quick and have a smooth
texture.
Duplications- In this fast-paced world, people don't value
authenticity or originality, also not aware of it and how it
affects the craftsman's business.
Next generation- Not only children but also today's youth are
not interested in picking up the skill. The efforts needed are
much compared to the less wage. Very few are working on it.
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SOLUTIONS:
o Teaching our children and relatives about our culture and
artistic endeavors.
o Providing some security for these families, such as
guaranteeing that their kids go to school.
o By hosting occasions to highlight these artisanal and artistic
works.
o Artists teaching their kids about these works in an effort to
keep these creative forms alive.
o Outstanding government acknowledgement.
o Choosing handcrafted things made by humans over
manufactured ones.
o Teaching the school's students about our culture and crafts.
o Artists should discuss the details of their clients' purchases
with them.
o Ensuring that the government provides enough funds in light
of their issues.
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Image3: Artisans of kohlapur chappals.
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DESIGNS : The location we used for reseach study is mainly
focused on three designs, which are mentioned below:
Image4: Designs of kohlapur chappals.
DESIGN DEVELOPMENT: After conducting the research, we
worked with local craftspeople at the research location to develop
a product. This is the fundamental item that was created there
with the aid of thEresources and tools at hand. So, the finished
product is displayed below.
SURVEY : Age Group Are you aware of kohalapuri chappal ?
20-30 89% 30-40 7% 40-50 3% OTHERS 1% 20-30 30-40 40-50
OTHERS Yes 40% No 40% May be 20% Yes No May be How
much will a pair of kohlapuri chappal cost , in your opinion ?
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Do you own any Kohlapuri chappal ? 500-1000 1000-2000 2000-
3000 3000-4000 4000-5000 Others Yes No Do u want to preserve
the Kohlapuri chappal crafts artistic tradition ?
Image5 :Survey methods
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Rivew of literature :
Dr. Ovhal Vishal Vishnu Wrote (2022): Leather Industry:
Sustainable Livelihood Model Of Rural Development With
Reference To Kolhapur District Not to mention now Kolhapur
Sandals is a growth spurt to stay competitive in the teak
industry with its focus on latest trends and advancements. Gain
insights into the latest trends and advancements in FullStack
development Understand why FullStack development is crucial for
staying competitive in the tech industry. Learn from industry
experts who have mastered the art of FullStack development.
Explore the tools, frameworks, and technologies that are shaping
the future of tech. Discover career opportunities and potential
growth paths in the FullStack development field.1
V.P Michael, Wrote (1979): Detarimenits of consumer behavior in
a rural based urban retails market an empirical study of footwear
market in kohlapur, In rural official areas, it is not a matter of
producing many models of footwear required by the consumers.
So here is a man who produces products that are very soft and
last longer, they are used only as per need and are stored
carefully and are worn with proper footwear. Footwear is very
close to them related to Kolhapur design but the design depends
on the leather partition to make the leather process to be ready
before it is done by the customer and you make them.2
Anoop rana , Wrote (2022): In making footwear artisans having
above than 40 years age, young youth can be trained easily and
can be molded with innovations. If these men earn income from
leather industry for family responsibilities, both husband and wife
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can survive on the same job, if they can save the family's needs,
they will continue to work repeatedly in the work. This is a
form of art in the form of generational training for these artisans
to make your own footwear.3
CONCLUSION:
Handcrafts that teach about dispute resolution, cause and effect,
and problem solving can all be very educational. In addition, it
fosters children’s curiosity and creativity while teaching them the
importance of haring. And these art and crafts can help young
children explore and express their feelings. Additionally fosters
boldness and a positive sense of self. Moreover, we can invent,
create, and solve problems through creating handiwork and
aesthetic works. Teaching our children and family about our
culture, heritage, and other art forms is crucial because everyone
should be aware of the effort that goes into each creation and
learn to respect and value it. Every form of art is a product of
our culture and ethics, and it is our duty to preserve that and
pass it on to future generations. Therefore, it is everyone's duty
to educate others about our culture, tradition, and the worth of
handicrafts. Not only that, but it is also important to
acknowledge the struggles that different artisans faced. Therefore,
we must accept responsibility for this and become conscious of
the fact that every artist deserves respect and recognition.
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REFERENCES:
Journal
1. Dr. Ovhal Vishal Vishnu, Leather Industry: Sustainable
Livelihood Model Of Rural Development With Reference To
Kolhapur District, Googlescholar, Conference Paper · April
2023, pp32-34.
Books
2. V.P Michael, Detarimenits of consumer behavior in a rural
based urban retails market an empirical study of footwear
market in kohlapur, Calcutta Vol. 6, Iss. 2, (Apr 1, 1979):
175. april 1979
3. Anoop rana, book Study On Fashion Accessories Design:
Sustainability Art, Craft, And Design, Study Chamba
Chappal Craft And Identify Gaps For The Improvement,
ISBN: 978-93-94766-28-0,2022,pp.60.
Artisan Interviews:
4. Sathish: Artisan in the place , Charminar ,Hyderabad,
Telangana state.
5. Raju: Artisan in the place , Charminar ,Hyderabad,
Telangana state.
6. Yadhilal: Artisan in the place , Charminar ,Hyderabad,
Telangana state.
Weblink:
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7. https://en.wikipedia.org/wiki/KolhapuriYesNo
https://www.utsavpedia.com/attires/taking-a-walkthrough-
the-history-of-the-kohlapuri-chappals/
8. http://www.discoveredindia.com/maharashtra/artsand-
crafts/kolhapuri-chappals.htm.
IMAGES
1. Image1: Kolhapur chappal
2. Image2: Making tools and Embossing and design making
tools.
3. Image3: Artisans of kohlapur chappals.
4. Image4: Designs of kohlapur chappals.
5. Image5 :Survey methods
6. Flowchart: Making process.
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A RESEARCH STUDY ON NARAYANPET
HANDLOOMS AND TEXTILES
MS. ROKKAM RAVALI 1 & MR. RAMBABU MUPPIDI 2
----------------------------------------------------------------------------------------------
1Student, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute), HS Darga Rd, Gachibowli,
Rai Durg, 500008, Telangana state, India.
&
2Faculty, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute), HS Darga Rd, Gachibowli,
Rai Durg, 500008, Telangana state, India.
ABSTRACT
Telangana's Narayanpet region is well known for its magnificent
and distinctive cotton handloom and silk sarees, which are in
high demand. The Narayanpet area's handloom industry has a
long history. A few weavers from the famed Maratha monarch
Chatrapati Shivaji Maharaj's entourage are supposed to have
stayed behind while he travelled through this area to relax for a
while before continuing on his expedition. These weavers are said
to have introduced the custom of weaving sarees with local
designs, which later became known as the Narayanpet sarees. As
a result, these sarees clearly display a Maharashtrian influence.
6
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The border or the pallu of Narayanpet sarees has a distinctive
checked surface design with embroidery. With their subtle zari
patterns, Narayanpet handloom sarees have a contrasting
appearance. These Narayanpet handloom sarees are manufactured
using a special method that involves weaving eight sarees at
once on the loom. As a result, 56 yards of silk will be mounted
on the loom at once rather than the customary 7 yards of cloth
that are typically mounted. Women can wear the Narayanpet
handloom sarees easily throughout the entire year because they
are somewhat lighter in weight.
KEYWORDS: sarees, zari, patterns, embroidery, silk.
INTRODUCTION
Narayanpet in Mehabubnagar district, Telangana state, India, is a
stunning tiny town known for its exquisite handcrafted silk and
cotton sarees. Weaving sarees is the locals' main source of
income. This picturesque location has a harsh summer and a
chilly winter. Since it is a saree commercial hub, several regional
languages are spoken there, including Telugu, Kannada, Urdu,
Marathi, and of course English. Sarees from Narayanpet are
renowned for their strength, affordability, and ease of care. The
Narayanpet saree is still elegant in this contemporary era of
Indo-western influences and fast fashion clothing.Sarees from
Narayanpet are known for their elegance and sophistication. They
come in two different materials: rich silk and earthy cotton.
While silk sarees are famous for their gold embroidery, cotton
sarees are typically plain and occasionally feature coloured checks
on the body. As brilliant gold borders embellish the rich tapestry
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of colours, one can see classic motifs and elaborate designs come
to life. Since Maharashtrians make up the majority of the local
artisans, their culture has a strong influence on the designs.
According to a master weaver, it takes roughly two to three days
to create a single beautiful handloom saree. Sarees from
Narayanpet have highly traditional borders and pallus.
Interlocked-weft weaving is the method historically used to weave
sarees on Narayanpet handlooms.
The colour scheme:
Since the influence of the temple is so strong, Narayanpet sarees
always have borders that contrast. As a result, almost all of the
sarees made here have borders in the temple style. The vibrant
hues lift the spirits, including mind-blowing combinations like the
elegant black and mustard, canny yellow and emerald green,
forest green pairing with maroon, bright red leaf green zari
border, pearl cream and green, kumkum red and turmeric yellow,
mehandi green with stunning purple, royal blue with cherry pink,
elegant black with sky blue, standout black with magenta, parrot
green with ruby red, mustard with deep maroon, outstanding
grey and black. Even today, donning a Narayanpet saree is
considered lucky, and giving one to the Goddess is the intention.
These sarees, which may include temple themes and small zari
designs on the borders, are offered to the gods on all customary
occasions. The younger generation has reportedly abandoned
Narayanpet to seek their fortunes elsewhere because they often
like shades of red, green is regarded unlucky and black is seen
to be unlucky when offered to one’s sacred deities. The
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interlocked-weft method is traditionally used to weave the
handloom sarees of Narayanpet. The affordable, long-lasting, and
low-maintenance handloom sarees of Narayanpet are extremely
well known. The sarees of this area showcase the fusion of
Telangana and Maratha style, demonstrating how mixing different
cultures creates variation and an aesthetically pleasing appearance.
Aside from the main town, other villages in the area are also
home to hundreds of weavers families that rely on this heritage
for their living due to the high demand for the handloom sarees
of Narayanpet. These sarees, which typically reflect elegance and
a wealthy appearance when worn by women on special
occasions. It can genuinely be referred to as Paramour’s pride
OBJECTIVE
To the Studying every significant component of the craft
"Narayanpet Sarees" that could lead to changes for the
welfare and advancement of the craft and its producers is
the main goal of the cluster initiative programme.
To the main elements includeBeing aware of the cluster's
past and present circumstances and comparing them.
Researching the cluster program's economic significance.
Gaining knowledge of the institutions that currently
support the handloom and craft industries.
To the Examining the cluster initiative's development
potential. Understanding the common marketing techniques.
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METHODOLOGY
For research I have visited the place Narayanpet and interviewed
the Weaver ar the Narayanpet.Ramachandra automatically starts
his loom as he sits in the corner of his small room with it in
action. He is bathed in the evening sun that streams in through
a little window as a door opens and two curious children enter.
Except for the enormous mosaic of vivid yellow and orange
threads that has ensnared him in a web, the room is dark and
dusty. They reach from one end of the room to the other and
are weighted in place all around him. The room's roof is made
out of thin asbestos sheets, and the wooden planks that support
them are strung with threads. The walls are decorated with old,
faded pictures of Gods and Goddesses. As I take a picture of the
weaver .
Narayanpet isn't particularly a popular tourist spot. To begin
with, it is not even a destination. A small town with a
population of 50,000 people, Narayanpet lies in the border
between Andhra Pradesh and Karnataka. I stroll down the main
street, where a few jewellers have opened stores. The
environment is rather charming. The jewellers are seated next to
their desks, talking on the phone or haggling with a lone
customer, in modest stores with white mattresses set out. In a
corner, several faded old elegant mansions with jaali work may
be seen. There are narrow pathways that lead to crowded homes
with vibrant rangoli decorations. They enter into the homes of
the weavers, where a few looms are located, and are decorated
with vividly coloured doors.
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HISTORY:
Historically, this town was known for its silk and cotton sarees,
but currently the weavers have very few customers. Ramachandra
talks about the day when sarees covered the streets. The sound
of the handlooms used to reverberate throughout the homes, and
practically everyone was an accomplished craftsperson. They
represented every culture and religion. There were Muslims and
Hindus working together to do magic with their fingers, as well
as Telugus, Marathis, and Kannadigas. However, the town's total
number of looms is now only around 2000. Additionally, the
majority of Narayanpet's younger population has relocated to
seek their fortunes abroad.
As we proceed, we enter a historic home with an inviting open
courtyard that is delightfully painted in yellow and red tones. It
is one of the few remaining full sale shops in the town and
belongs to a Maharashtrian family that immigrated here about a
century ago. I learn from Ramesh Kalyani of Kalyani & Sons that
their tale is the same as everyone else’s. Despite being able to
pay little more than Rs 175 for a silk saree and just Rs 100 for a
cotton one, they are nevertheless able to assist weavers like
Ramachandra today. “We would like to offer more, but there are
currently no purchasers. Previously, we sold in Mumbai and
Pune, but now the majority of our sales. As the white mattress is
painted with a variety of colours, we sit down. We drape the
sarees over ourselves as they are laid out in front of us, the silk
stroking our flesh. The vibrant colours lift the spirits, and the
intricate designs and classical motifs come to life with the
addition of sparkling gold borders. In front of us lies a velvety,
silky rainbow with a wide variety of hues and patterns. As the
silk rustles in my hands and I get lost in the sea of blues and
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reds, I hear the clickety-click of another handloom in operation. I
am reminded of why people should travel to Narayanpet as I
hold the lovely fabric in my hands.
Warping and Bobbin Winding
The dyed yarn hank is transformed into a linear thread form and
wound on the bobbin with the aid of charkha. This procedure
makes it possible to arrange yarn lengths for weaving.
Additionally, warping is carried out, which entails wrapping
warp yarn from a bobbin onto a warp beam in parallel.
Traditionally, the warp beams used by weavers to determine the
final fabric’s width and length are large rotating drums. They use
these drums to count the yarns and group them by color. The
weaver also chooses the warp’s dimensions at this point.
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Image; Narayanpet handlooms design Process
Warp yarn sizing
The warp yarns are stretched after warping to apply size. To
strengthen and lubricate the yarn, sizing material or starch is
used. This important process is known as “sizing.” Depending on
the region, natural sizing materials like rice, maize, wheat flour,
or potato starch are employed. Special brushes are used to apply
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and dry the starch on the yarn after the size paste has been
applied to the stretched yarn. Only after the finished product has
gone through two to three washes is this starch removed.
Warp yarns are dressed and wound.
The warp yarns are separated and aligned to enable easy
weaving before the size-applied warp is loaded onto the loom. A
wooden beam is carefully wound around the aligned, starched
yarns before being brought to the loom.
Putting Warp Yarns on the Woven
Each warp yarn is fed through reeds and heddles before being
tied to the front and back beams. Heddles divide the warp yarns
into two sections, which the weft yarn (horizontal/width-wise
yarn) passes between in accordance with a predetermined weave
plan.
Winding of weft yarns
Charka is traditionally used to prepare horizontal or weft yarn.
The yarn is given the right tension by the fingertips. A small
bobbin known as a “pirn” holds a hank of yarn. The weft yarn
is inserted into a shuttle after being wound on a pirn.
Handloom fabric weaving
Warp and weft (vertical and horizontal) sets of yarn are
interlaced during weaving. Handloom items are textiles that are
created with a handloom. A handloom is, as its name suggests, a
loom that is used to weave fabrics by hand rather than with
electricity. According to the weave plan, the foot pedals are
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depressed to raise the appropriate heddles, and this action must
coincide with throwing the horizontal weft yarns across the two
sections of warp yarns. Long stretches of weaving per day
necessitate intense focus and stamina from the weavers.
Research design
I have developed floral print using pro create . This print can
be used on saree as well most of the sarees have floral print on
them so I created one floral print using digital softwear.
Review of literature
Drudgery Exceeds Revenues for NarayanpetWeavers: An
Empirical Micro Analysis Achalapathi, Preeti Shrivastava, Shailaja
Burglarised (Small Enterprises Development, Management &
Extension Journal) 38 (4), 57-70, 2011:
Handloom forms a precious part of our legacy and is an epitome
of richness and diversity of our country and its weavers. As an
economic activity, handloom is the second largest employment
provider next only to agriculture. The sector, with 60.40 per cent,
about 35 lay handlooms, provides employment to 65 lay persons.
The sector accounted for 15.9 per cent of the total cloth produced
in the country excluding hosiery, Jihadi, wool and silI during
2008-09. However, the sector is beset with manifold problems,
such as obsolete technology, unorganised production system, low
productivity, inadequate worrying capital, conventional product
range, weaImarIetinglinIs, overall stagnation of production and
sales and, above all, competition from power looms and mill
sector.
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Different Traditional Textiles & Embroideries of
Indiadeepalijoshi
Nurtured in a small town called Narayanpet in Andhra Pradesh,
Narayanpet sarees are known for its beautiful mix of fabric and
designs. The entire sari is made of cotton while its borders are
designed in silk.
Psycho–Physical Representations of Sari as an Endorsed
Ensemble among Indian Women 2022'Dr VijaykumarPsycho–
Physical Representations of Sari as an Endorsed Ensemble
among Indian Women, 2022
The History of the Uncut Indian traditional garment, Sari dates
back to a garment similar to the sari traced back to the Indus
Valley Civilization, which came into being during 2800–1800 BC
in north west India. The mention of sari evolved from śāikā in
Sanskrit in early Hindu literature and Buddhist Pail literature
during the 6th8 century BCE as women’s attire. The saree derived
from the Sanskrit word śāikā. It is inclusive of three parts
collaborative outfit. One, the anta Riya, that was garment for the
lower part of the body; second, the utterly; that was a covering
of the shoulder or the head; and the third part, the stonepits,
was worn as a chest band. This collaborative outfit was known
as pasha, common term for dress
Role of SME’S In Internationalisation of Andhra Pradesh
Handloom IndustryMadura, K Tearstain International Journal of
Physical and Social Sciences 2 (6), 289-304, 2012
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Globally, India is the second largest producer of cotton, cellulosic
fibre and silk. India is highly renowned for its handloom
products. Every state in India asserts its ethnicity and heritage
through their handlooms. Promoting handloom sector will
inevitably lead to a powerful textile industry. The purpose of this
paper is to understand the challenges faced by Andhra Pradesh
handloom industry and the latest trends adopted by the weaving
community and Government of Andhra Pradesh to overcome
those challenges. This paper also addresses the present scenario
of the handloom industry in Andhra Pradesh and focuses on the
framework of the internationalization process of the SMEs.
Outcome of this research demonstrates various measures that are
to be taken by weavers, consumers and the Government to
develop handloom sector
Thinking with handlooms: perspectives from Andhra Pradesh
SeemanthiniNiranjana Economic and Political Weekly, 553-563,
2004
The persistence of handloom weaving right into the present calls
for in-depth exploration. Conventional official perception relegates
handlooms to a small, niche market and goes on to suggest how
this niche demand should be catered to through further design
innovation and variation. This article draws on handloom
weaving in Andhra Pradesh to contest this viewpoint. Analysing
the numerous dimensions within the handloom sector offers
insights into how to address and understand different forms of
industrial activity in the country, particularly in realms considered
as being the peripheries of a dominant industrial core.
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Selection of Raw material
Raw material to yarn
conversion
Dyeing of yarns
Bobbin winding and warping
Sizing of warp yarns
Dressing and winding of warp
yarns
Attaching Warp Yarns on
Loom
Weft yarn winding
Weaving fabric in a handloom
Final handloom products
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Survey
Research conducted a survey to know the people opinion on
NarayanpetHandloomsso the following questions are prepared.
Do you own Narayanpetsaree??
A) Yes B) No
Which handcrafted saree would you prefer more?
A) Gadwall B) Pochampally C) Narayanpet
Have you heard of Narayanpet saree?
A) Yes B) No
Survey result
Based on the survey I have conducted the survey results says
that 7 people out of 10 people own a Narayanpet saree. And
most of the people prefer Pochampally sarees over gadwall and
Narayanpet sarees. 9 out of 10 people are heard of gadwall
sarees.
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Conclusion
We've learned about a great craft, its dedicated makers, and a
variety of behind-the-scenes operations thanks to the study. It
enabled us to obtain both a thorough understanding of how a
composite handloom firm runs and useful knowledge about how
an organisation works. We enjoyed our stay in this beautiful
saree world. There are more moving parts than meet the eye.
The study has taught us about a great craft, its committed
creators, and a variety of behind-the-scenes activities. It made it
possible for us to gain a complete understanding of how a
composite handloom enterprise operates as well as practical
knowledge of how an organisation functions. We relished our
time spent in this lovely saree world. The number of moving
parts is greater than first appears.
References
1. Drudgery Exceeds Revenues For Narayanpet Weavers: An
Empirical Micro Analysis Achalapathi, Preeti Shrivastava,
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Shailaja Burglarised (Small Enterprises Development,
Management & Extension Journal) 38 (4), 57-70, 2011:
2. Different Traditional Textiles & Embroideries Of
Indiadeepalijoshi,
3. Psycho–Physical Representations Of Sari As An Endorsed
Ensemble Among Indian Women 2022'dr Vijaykumarpsycho–
Physical Representations Of Sari As An Endorsed Ensemble
Among Indian Women, 2022
4. Role Of Sme’s In Internationalisation Of Andhra Pradesh
Handloom Industry Madura, K Tearstain International
Journal Of Physical And Social Sciences 2 (6), 289-304, 2012
5. Thinking With Handlooms: Perspectives From Andhra
Pradesh Seemanthininiranjana Economic And Political
Weekly, 553-563, 2004.
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HER-SET: A WOMEN’S SAFETY ACCESSORIES
Mrs. Mr. Pranay Patel1, Ms. Samita Panigrahi2 & Mr. Rambabu
Muppidi 2
----------------------------------------------------------------------------------------------
1Student, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute), HS Darga Rd, Gachibowli,
Rai Durg, 500008, Telangana state, India.
&
2Student, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute), HS Darga Rd, Gachibowli,
Rai Durg, 500008, Telangana state, India.
&
3Faculty, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute), HS Darga Rd, Gachibowli,
Rai Durg, 500008, Telangana state, India.
ABSTRACT
In this modern age, the most fiercing problem that takes place
nowadays in our modern society is crime against women. Women’s
security is the need of day-to-day life. safety of women matters
whether at home, workplace or it be anywhere. Safety is the crucial
concern as our women’s safety accessories or safety products are
designed differently with the purpose to provide a sight of protection
(for defending & attacking purpose) and reliability. The only constraint
is to reach out at the victim's location, the police assuredly and
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discreetly is a challenge. For that time this product can be used as a
weapon to prevent undesirable situations. I think research should create
some awareness.
Keywords: Women, Safety, Accessories, Women’s Rights, Protection
INTRODUCTION
For a very long time, Women’s safety has become a major issue and it
is widely discussed all over the country. If we talk about the current
scenario, many women still don't feel safe on the streets, home or any
other public place. Women are exploited everywhere. Women’s Safety is
a sympathetic issue which all kinds of people should be aware of as
well as educate about it. Education is the key to learning; with the
help of education, one can become knowledgeable and create awareness
among others. Over women safety there are many safety gadgets,
mobile applications, and self-defence products have been introduced in
the market. As referring to this journal we would like to contribute &
introduce our idea of new Women’s Safety Accessories named as “HER
- SET” which includes a bracelet and a pendant will help women in an
unsafe situation when the stress signal has been sent from a pendant
till the friends, family or police reach at the spot, by the time women
can defend themselves with the help of a bracelet.
PROBLEM STATEMENT
In any panic situation people get frightened and, in that situation, they
might not be able to operate their cellphones, smartphones or any other
devices and cannot think immediately. As in a reflex they try to
protect themselves from the attacker. At that particular moment they
defend or try to escape. So, this proposed idea of a safety accessory
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can be useful for women as a security purpose. It consists of a
wearable bracelet (for defending purpose) and a pendant (to detect the
victim's location).
OBJECTIVE
● To reduce gender-based violence (against women) as well
women’s fear of crime.
● To raise awareness and ensure women’s legal rights against
domestic & other violence.
● Introduction of new ideation and design development of
women’s safety products. (for defending purpose)
RESEARCH METHODOLOGY
In our research, we aimed to investigate the issue of women's safety
and explore the capability of Women's Safety Accessories so called
“HER- SET” as a result. We gather and analyse data effectively, we
apply a quantitative data collection system, which allows us to gain
numerical data and produce statistical conclusions. This approach gave
a systematic framework for our research methodology.
Through our explorations and analysis, we gained a wide
understanding of the challenges faced by women in respect of their
safety in this particular region. We were able to identify and quantify
the concerns and fears experienced by women across distinctive age
groups. It came evident that women of all ages feel concerned about
their security, frequently sensing themselves as isolated, unsafe, and
surrounded by potential threats.
To further enhance our understanding and redefine the design of “HER
SET”: Women's Safety Accessories, we created a survey using Google
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Forms. This survey served as a means to collect data from a distinctive
range of participants, allowing us to gather valuable perspective and
feedback. By quantitative method to data collection, we aimed to gain
measurable and statistically significant results that could guide our
product design process.
Overall, our research methodology focuses on gathering quantitative
data, which provides a well- defined systematic frame for investigating
women's safety concerns. By using statistical analysis and survey tools,
we were able to gain valuable vision that informed our product design
process and aimed to contribute to the development of effective results
for enhancing women's safety.
DESIGN PROCESS
The design process of creating HER-SET: women’s safety accessories – a
bracelet and a pendent are:
1. Problem Identification
Recognize the need for women's safety accessories to enhance
particular security and give immediate assistance in threatening
situations.
Identify the crucial features needed, like distress signalling, real-
time tracking, and self- defence mechanisms.
2. Research and User Analysis
Conduct extensive research on women's safety products, IoT
technologies, and tone- defence techniques.
Analyse user demographics, preferences, and potential use cases
to understand their specific requirements and expectations.
3. Ideation and Concept Development
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Brainstorm and create multiple design concepts for the IoT-
based pendant and self- defence bracelet.
Consider factors like aesthetics, comfort, usability, and
conclusiveness in developing wearable safety accessories.
4. Technology Selection
Identify suitable IoT technologies for the pendant, similar as
GPS, GSM, Bluetooth, or Wi- Fi, to enable distress signalling and
real- time tracking features.
Exploration and select competent materials for the self- defence
bracelet, considering durability, safety, and ergonomics.
5. Prototyping
Produce original prototypes of the pendant and bracelet to test
the design concept and gather feedback.
Repeat the prototypes based on user testing, assuring that they
meet the desired functionality, access, and aesthetics.
6. IoT Integration
Integrate the chosen IoT technologies into the pendant design,
allowing features like SOS cautions, position tracking, and two-
way communication with emergency contacts or authorities.
Develop a user-friendly mobile application or web platform to
manage and watch the pendant's functionalities.
7. Self- Defence Mechanism
Design the self- defence bracelet with a built- in retractable
blade mechanism for self-defence in emergency situations.
Assure the blade is secure, fluently accessible, and deployable
with minimal effort, while prioritising user security.
8. Safety and Compliance
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Conduct thorough safety assessments and tests for the pendant
and bracelet to meet applicable international standards.
Address concerns related to implicit misuse of the self- defence
feature and implement appropriate safety measures.
9. Manufacturing and Production
Finalise the design and prepare detailed manufacturing
specifications.
Collaborate with manufacturing associates to produce the
pendants and bracelets at scale.
10. Testing
Implement quality control procedures to certify that each product
meets the required standards and specifications.
Conduct rigid testing, including functionality, durability, and
safety checks, to ensure the reliability of the accessories.
11. Packaging and Marketing
Design interesting packaging that communicates the product's
features, benefits, and commitment to women's safety.
Develop comprehensive marketing strategies to reach the target
customers, emphasising the unique aspects and advantages of
the accessories.
12. User Education and Support
Provide clear user manuals and online resources to guide users
in setting up and applying the pendant and bracelet.
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SURVEY
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RESULT ANALYSIS
The results of our women safety survey have left us deeply moved
and concerned. It's disheartening to learn that the majority of
participants expressed a strong belief in the increase in crimes against
women. This overwhelming emotion reflects the harsh reality that
women face every day, living with the fear and defencelessness caused
by crimes against women. Many participants stated a strong desire to
learn self- defence ways. It's an empowering sentiment, demonstrating
their determination to protect themselves and recover their sense of
security. We admire their courage and commitment to taking a
visionary way towards personal safety. Equally distressing is the fact
that a significant number of participants admitted to feeling afraid
when walking alone at night. This fear is a heavy burden that women
carry, restricting their freedom and holding down their access to public
spaces. It serves as a reminder of the urgent need to create safer
surroundings that allow women to move freely without fear.
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Perhaps the most concerning finding was that many participants have
experienced various forms of torment, whether it be harassment, verbal
abuse, or worse. These distressing experiences highlight the pervasive
nature of gender- based violence and the critical need for change. No
woman should ever have to endure such torment, and it's forced that
we stand together to annihilate these injustices. Another revelation from
the survey was that despite the evident need for safety products, a
significant proportion of participants have never used them. This
observation reflects a gap in awareness or accessibility to safety-based
accessories that can provide a lifeline in times of danger. We must try
to bridge this gap, making these products more accessible, affordable,
and known to all.
Keeping in mind, these results clearly state that we have a collective
responsibility to address these concerns and empower women to
reclaim their sense of safety. It is not enough to simply acknowledge
the issues; we must take concrete actions to affect meaningful change.
By providing comprehensive self-defence training programs, fostering
safe spaces, advocating for stricter laws, and developing innovative
safety products, we can empower women and create a society that
values their safety and well-being. Together, we can make a difference
and build a society where women are truly safe and equal.
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Design
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CONCLUSION
In this modern age, crime against women has come one of the most
suffering problems in our society. So much security women needIn
India, innumerous cases of women harassment and molestation occur,
pressing the significance of women's security in various environments,
including homes, workplaces, and public spaces. The critical concern
lies in providing women with safety accessories and products that offer
protection and reliability.
safety, with numerous women still feeling unsafe on the streets, at
home, or in public places. Exploitation of women is pervasive, and it's
vital that people of all classes and statuses are aware of this issue and
educated about it.
Various safety gadgets, mobile operations, and self- defence products
have been introduced to address women's safety concerns. In
accordance with, we'd like to propose our concept of new Women's
Safety Accessories called" HER- SET," which includes a bracelet and a
pendant. These accessories aim to help women in unsafe situations by
sending a distress signal from the pendant to friends, family, or the
police. In the meantime, the bracelet can be used for self- defence. The
aim of our research is to reduce gender- based violence against women,
raise awareness about women's legal rights, and introduce creative
design developments for women's safety products.
Through our research methodology, which concentrated on collaborative
quantitative data, we were able to gather an entire understanding of
safety. The results of our women's safety survey were deeply
concerning, with the majority of participants expressing a strong belief
in the increase in crimes against women. This highlights the harsh
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reality women face daily, living with fear and defenselessness due to
these crimes.
Also, the survey revealed a strong desire among participants to learn
self- defence ways, demonstrating their determination to protect
themselves and reclaim their sense of security.
Also, the survey highlighted a gap in mindfulness and availability to
safety products, with a significant proportion of the participants.
At the end, our research indicates the mutual responsibility to address
women's safety concerns and empower women to reclaim their sense of
security. Concrete actions similar to comprehensive self- defence training
programs, safe space creation, advocacy for authentic laws, and the
development of innovative safety products are necessary to bring about
meaningful change. By valuing women's safety and well- being, we can
create a society that protects and empowers women, guaranteeing their
rights and nurturing a safer future for all.
REFERENCES
Sites
1. Google Scholar
https://scholar.google.com/
2. Legal Service India
https://www.legalserviceindia.com/legal/article-7599-safety-of-
women-in-india.html
3. Research Gate
https://www.researchgate.net/
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4. UN Women
https://www.unwomen.org/en/what-we-do/ending-violence-against-
women/creating-safe-public-spaces
Books & Journals
1. Dr. Sridhar Mandapati, Mobile Based Women Safety
Application (I Safe IOSR Journal of Computer
Engineering (IOSR-JCE), vol. 17, pp 29 34, February 2015
2. B. Sathyasri, U, and Implementation of Women Safety
System Based OnIot International Journal of
Recent Technology and Engineering (IJRTE), vol 7, pp 177
181, April 2019
3. Mohit Jain, of a Smart Safety Device for Women using
INTERNATIONAL CONFERENCE ON RECENT TRENDS
IN ADVANCED COMPUTING 2019, ICRTAC 2019, pp 656
662, 2019
4. Prof. R.A.Jain, safety using International
Research Journal of Engineering and Technology (IRJET), vol 4,
pp 2236 2338, May 2017
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KAMANGIRI”: THE NARRATIVES OF THE WALL
PAINTINGS OF THE BHUJ, GUJARAT
DR. MADHU SHARAN1*, MS. BEENA MODHATI2,
& MS. AMI JOSHI3
---------------------------------------------------------------------------------------------
1Professor, Department of Clothing and Textiles, Faculty of Family
and Community Sciences
The Maharaja Sayajirao University of Baroda,Vadodara, India.
&
2Assistant Professor, Department of Clothing and Textiles, Faculty of
Family and Community Sciences
The Maharaja Sayajirao University of Baroda,Vadodara, India.
&
3Researcher , Department of Clothing and Textiles, Faculty of Family
and Community Sciences
The Maharaja Sayajirao University of Baroda,Vadodara, India.
ABSTRACT
Kutch is an arid peninsula on the west coast of India. Some of
these art in this region which has enjoyed a golden era is now
dying or on the verge of extinction. “Kamangari” is one such art.
Dating back to the 18th century, the Kamangari painted on
scrolls and walls, unique to Kutch is now a vanished tradition-
its remnants are found in a couple of Bhuj’s museums and a few
random surviving home. It was at its best in the 19th century
after which it lost its importance. The Maharao of Kutch got the
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walls and ceilings of his palace’s durbarhall painted with this
style of painting. It is vibrant, colourful and unstructured in
nature in local language it is called “Kamangari BhintChitro”, and
person who does this painting is called “Kamangar”. Kamangar
community is known for their skills in paintings. From the
paintings one can understand that the paintings were done in a
collage to fill the space on the walls of the room. The reasons
for having murals in the house were to decorate them and create
an ambiance to teach pity and honesty to the growing children
through the depiction of religious themes associated together with
themes of daily chores as well as legacy of the family and
community.
KEYWORDS: Kamangari, Dhola, Paintings, Design, Decoration
INTRODUCTION:
Painting is one of the oldest and finest human expressions which
flourished from early periods and is said to have a history of over
2000 years and present a vast record of the religious and emotional life
of people. It was favourite mode of articulation which depicted the life
of people including their emotions such as happiness, sorrow, love and
betrayal. Indian folk can be broadly divided into two streams: Mural
and that of picture Showman. Some of the best known folk paintings
are Madhubani from Bihar, Patachitras from Orissa, Patuas from West
Bengal, Pichwais from Rajasthan, Warli from Maharashtra, Chitrapata of
Andhra Pradesh. Kamangari mural paintings of Kutch is one of the
lesser known art of Gujarat.
Kutch is an arid peninsula on the west coast of India. It is an ancient
land of artist and entrepreneurs. Entrepreneurs have made themselves
known in many parts of the world through their journeys, adventures
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and trade relations. It is a land of rich art and craft. The embroideries
of Kutch are known all over the world. Batik painting, Ajrakh printing,
Rogan painting are some of the well-known art where artisans enjoy a
world class status. These art has brought the Kutch district on world
map.
Some of these art in this region which has enjoyed a golden era is
now dying or on the verge of extinction. “Kamangari” is one such art.
Dating back to the 18th century, the Kamangari painted on scrolls and
walls, unique to Kutch is now a vanished tradition- its remnants are
found in a couple of Bhuj’s museums and a few random surviving
home. It was at its best in the 19th century after which it lost its
importance. The Maharao of Kutch got the walls and ceilings of his
palace’s durbarhall painted with this style of painting. It is vibrant,
colourful and unstructured in nature in local language it is called
“Kamangari BhintChitro”, and person who does this painting is called
“Kamangar”. Kamangar community is known for their skills in
paintings. From the paintings one can understand that the paintings
were done in a collage to fill the space on the walls of the room. The
reasons for having murals in the house were to decorate them and
create an ambiance to teach pity and honesty to the growing children
through the depiction of religious themes associated together with
themes of daily chores as well as legacy of the family and community.
ORIGIN OF KAMANGARI PAINTING
The emergence of painting in Kutch is not earlier than second quarter
of the 18th century. One does not find any indication of painting
activity in Kutch before this time. The brief contact Rao Bharmal 1st
had with the Mughal painters, who drew his paintings, did not touch
any elements of Kutch. There are no evidences of any artist or guild of
painters of this period. The painting in Kutch may be indigenous in
growth. The first phase of development may have taken place because
of the family contact of rulers of Kutch with the Mewar and Jodhpur
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state of Rajasthan. We find broad family resemblance between the
rulers from either state and procession scenes of rulers painted by
Rajasthan painters. They resemble some stylistic connection between
Kutchand Rajasthan. Unfortunately, we do not find any Gujarat
elements in the Kutch paintings. Large number of communities from
Rajasthan has migrated to Kutch from Mewar region. In the 18th
century there is a reference in the history of Kutch about Rao Lakhpat
as prince had difference with his father Rao Deshalji. In disgust the
young prince left Bhuj and announced his intention of taking service
with Maharana of Udaipur.
The Kamangari art was a distinct profession in Kutch. The habitation of
Kamangar in Bhuj where they were living is still known as Kamangar
Falia. There were about fifteen families of Kamangars in Bhuj around
1880 A.D. residing in the Falia. The Kamangars did not restrict
themselves to only murals. They painted on other media as part of
decoration in the houses of rich and commoners. Glass, wooden ceilings
paper and galvanised ceilings are few of them.
SPECIFICATION OF KAMANGARI STYLE PAINTING
Decorating the exterior and interior walls with paintings based on
religious theme was prevalent in Kutch from 18th to early 20th century.
The royal procession is a recurring theme on both walls and scroll
paintings. Also painted are the British soldiers, pet dogs and animals
like cow, elephants and horses, stories from Krishna folklore and
Bhagwat Puran. In the house of Jain community walls are depicted
with stories from Jain mythology.
The paintings from Kutch are important for painting and patron. In
these the artists have painted scenes and compositions such as the
work of large and single portraits, scene of splendid procession with
the ruler as principal figure surrounded by the nobility, the soldiers,
the body of retainers, the lesser nobility, servants, the musicians and
bards in attendance. Scenes of formal meeting with dignitaries, court
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scenes, single standing portraits showing rulers in formal attitude,
flower held delicately in one hand, a pose familiar to us from the
Mughal portraits can be seen.
Common clay and herbal powder mixed with plant gum, soapstone
grains or black stone were used for colours. Indigo and red clay was
used most often for line drawing Indian red, indigo blue, yellow ochre
and burnt amber for free hand application. The people commission the
Kamangars on religious and social occasions. Though, majority of them
were Muslim community, Kamangars knew the Hindu and Jain
mythology stories in depth and they depicted them on walls with
authority. The Kamangari style of painting is remarkable for the
depiction of flowers and creepers.
At present, very few paintings could be seen in villages under different
talukas of the Kutch. From the field survey, it was found that the
painting was done in seven talukas of the Kutch. Table 1 below give
the information of the places where this painting was done and also
some remains of the painting could be seen in old structures of the
villages.
Table 1. Kamangari painting found in Kutch
Sr. No.
Taluka
Places
1
Anjar
Anjar town, Sinogra, Kumbharia.
2
Absasa
Nlia, Kothara, Tera, Sanyara, Sandhan,
Varapadhhar, Sujapar, LalaParaju
3
Bhuj
Bhuj city, Kera, Kukma, Hajapar, Nagor
4
Mandavi
Faradi, Mandavi town, Godhro,
Kotadimahadevpuri, Layaja, Maska
5
Mundra
Mundra town, Deshalpar, Kandhagara
6
Nakhatrana
Than, Dhinodhar, Bibber, Nirona, Manjal
7
Lakh pat
Lakhpat , Roha.
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Following are the details of the Design: its narration, colours used and
configuration found in Kamangiri paintings.
Design: - 1 Dhola – Maru
Plate 1. Dhola – Maru
Courtesy : from painting of Dhola – Maru at Bibbar Village,
Nakhatrana.
Narration: - Dhola - Maru ballad was composed by the poet Kallol in
the year 1620 A.D. during reign of RawalHariray of Jaiselmer
(Rajasthan). Dhola was the son of Rao Nal, ruler of Marwar.Maru was
daughter of king Pingal Rao of Pugal, a small place near Jaisalmer. The
families of both Dhola and Maru visited holy place Pushkar, for
pilgrimage, thus providing opportunity to them to meet and
consequently they fall in love. But they feared for the rejection of their
relationship from their parents so Dhola abducted Maru, fearing
disapproval of Marus family of their union. They fled to Marwar on
camel. Maru’s brother Sumaro got furious and chased them
accompanied by his archers on horses. Colours: - Light blue colour was
selected as a background colour; Camel with Dhola and Maru
decorated with natural tone of camel and horses following them were
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painted with dark black outline so as it can be distinguished as
chasers.
Configuration: - There are male and female human figures in moving
poses very well proportionally placed. The camel and horses are
animal motifs which are also in moving position on the grass gives a
live look to the painting. The arrows painted around the camel of
Dhola gives the movement to the painting as if chase is going on.
Design: - 2 Kotal(A leading Horse of King’s procession)
Plate 2. Kotal(A leading Horse of King’s procession)
(Courtesy: Scroll in IynaMahel, Bhuj.)
Narrative : - In the regal times the king’s procession passed through
the city during Nagpanchami (fifth day of Shravan’s quarter half)
which was considered to be a very auspicious day of the year . A
royal precession was the key celebration of the day. The procession
started with the leading horse of the king, which was very attractively
decorated. This horse was called “Kotal”. Kotal did not have a rider
and people aware of the king’s royal procession would follow the
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horse. The decorated horse would lead the procession. This also
showed the respect towards the ruler. People considered horse as the
representative of the king and followed it. The horse without the rider
was one of the prominent feature in the Kamangiri paintings especially
done in the common places.
Colours: - The brilliant and colourful decoration of horse is explaining
the intensity of the colours and colour shading. There are light blue,
green, red, yellow and black colours used to fill the motifs space and
highlighting them. The background colours are a light so as to
distinctly highlight the motif very well.
Configuration: - The human motifs who were called Pasavan are
depicted as guiding the horse to move ahead. The human’s costume
detailing and the horse’s decoration also shows fine detailing of
ornamented designs thus rendering a realistic look to the painting.
Much effort was put in to depict the moving horse under the
supervision of the guards.
Design: - 3 Nagpanchamini Savri (The Royal Procession)
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Plate 3 NagpanchaminiSavri (The Royal Procession) (Courtesy: Scroll
in IynaMahel , Bhuj).
Narrative: - It has the royal procession of richly decorated chariots,
elephants, animals and armed soldiers and high ranked nobles. Either
the Kamangars were generally impressed by regal splendour or he was
commissioned to pictorially record the royal procession.
The scroll is dated back to 1876 A.D depicts the royal procession of
Maharao Shri Pragmalji which took place on Nagpanchami, the fifth
moon light day of Shravana. As the legend goes, this annual royal
procession commemorated the victory of the Kutch army over a
Mughal Subedar on Nagpanchami, about two and a half centuries ago.
The procession was lead by the horse without rider.
This scroll painting, fifteen meters long and twenty two centimetres
wide, authentically depicts each section of this parade in its proper
sequence. It opens with a mounted Arab cavalier, the drummers, and a
standard bearer, Arab foot soldiers, cannon drawn by a pair of
bullocks, a group of lancers, a chariot of the mother goddess and a
group of camel riders, moving towards Maharao Shri Pragmalji who is
seated in all his dignified splendour on the howdah of a well
decorated elephant.
The depiction of the Maharaos character especially his face, is handled
with the skill and subtlety of a miniature painter. Each person in the
procession is similarly treated, and are so realistic that they can be
immediately identified by the viewer. The style and variety of the
costumes are depicted in the minute detail, making their ethnic identity
obvious. Thus, besides being aesthetically and technically competent,
this scroll also serves as an authentic documentation of the time and
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event. Moreover, it has been signed by the painter Juma Ebhram and
its date and the size are also mentioned.
Colours: - All the brilliant colours were used to make the painting
attractive. The uniformity of the colours represents the particular
specification. The red, brilliant yellow, green, white, gray, orange and
black colours were used appropriately.
Configuration: - The royal procession describes intricately done
painting. The king, human figures, elephant and the soldiers with arms
are described finely and decoratively. The fine detailed decorated textile
on elephant back explains the richness of textiles and ornamentation.
Design: - 4 Elephant Fight
Plate 4 Elephant Fight
(Courtesy: Capt. MacMurdos bungalows, Anjar).
Narrative: - Capt. MacMurdo was the first British ruler in Kutch. In
order to appear amiable to the newly won people he had such
paintings done in his office. One can say this was the political use of
Kamangari. He wanted to connect with the local people and so got this
scene painted. The scene of elephant fight was for regal entertainment.
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Elephant fight was arranged with dual purpose, one to entertain the
people of the village and secondly to check the strength of the
elephant and the intelligence of the rider. This was the exercise done to
keep the army (animal and rider) fit and decide on the line of the
riders along with their elephant.
Colours: - Natural toned colours were used in this painting. The red,
light blue, green, orange, light yellow, white and black colours were
used to fill the motifs very well. To depict the natural environment,
background was painted with flowers and creepers.
Configuration: -The elephant motifs were painted in motion and the
riders of elephant were also in motion. Two elephants with their rider
sitting on the back and master on the head were shown facing each
other ready for fight. The masters were depicted as engrossed in
controlling the elephant whereas the riders were busy in fighting. The
decoration of elephants and the human figure is very distinct. Creepers
were used to fill the negative space of the wall.
Design: - 5 The Royal Meeting
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Plate 5 The Royal Meeting
(courtesy: Scroll in IynaMahel , Bhuj).
Narrative: - It depicts the rendezvous of two kings for discussing
political issues and problems regarding the kingdom. This time both
the kings come and sit across with their soldiers and subedars. The
painting depicts the relation between the royals who come at sit
together in one place. It also depicts the culture wherein king will
always move with a fleet of solders.
Colours: - Commonly red, green, white, yellow and maroon colours are
used for decorating this painting. The bright colours represented the
joyous mood of the participants in the meeting.
Configuration: - There are finely sketched regal figures and the human
figures which are soldiers who uniformly sit with their shield at an
even distance. This depicts the command of the authority and
discipline in the subordinates.The finer detailing of costumes and well
ornamented cloths and other textiles represents the richness of the
painting.
Design: - 6 Badamadi or Dadamadi (tree of life)
Narrative: - Badamadi or Dadamadi is one of the favourite motifs of
Kamangars. They painted these motifs repeatedly on wall and there are
variations also in every motif.
Badamadi, tree of life found its place as the important motif of the
painting. Badamadi or Dadamadi motifs is painted depicting the
vegetation to express love and respect towards the nature. Many times
it expresses richness and peace. This was one of the initial design done
by the younger artists. The details of the design were solely the
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expression of the artists. Many variations were observed in this designs
of Badamadi when painted by different artists.
Plate 6 Badamadi or Dadamadi (a tree of life)
(courtesy: Mr. KalubhaVaghela’s home, Mundra).
Colours: - There are red, maroon green and black colours used to
paint the motif.
Configuration: - The tree of life motif explains the importance of trees
and the natural elements of life. They finely express tree with life. The
painting has flowers, leaves, fruits, birds and branches of the tree.
Design: - 7 Rass Mandal (Lord Krishna and Gopies traditional dance)
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Plate 7 Rass Mandal (Lord Krishna and Gopies traditional dance)
(courtesy: from the story of Rass Mandal, Deshalpar village, Mundra).
Narrative: - Rass Mandal, a favourite theme of Krishna worshippers is
found depicted on walls of various houses. The level of artistic
creativity differs at every place in the society. Lord Krishna is shown
with every Gopi using a pair of sticks to clap rhythmically against the
next Gopi on other side. It is usual to paint in this particular form of
Rassin which each figure of Krishna faces that of the next Gopi. Thus
each Gopi has the feel that Krishna is dancing with her alone.
Colours: - There is green, pink, red, yellow, blue, golden, pitch and
white colours used in the painting.
Configuration: - The Rass Mandal depicted on the wooden ceiling is of
high order. The Krishna and Gopies were in cordially dancing motion.
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The centre part of the circular motif is for to hang lights or some
decoration items with also decorated with flowers, leaves and the bird
motifs.
CONCLUSION
The narratives depicts the culture and mind set of the people during
that time. The details of the painting should be studied to understand
the culture of the community. The Kamangars who were doing painting
seems to be very good artists doing the fine details in each painting.
Expressions and movement added through the brush on the wall shows
the intricate art depiction.
Documentation of the painting will help the readers to understand the
intricate narrative of the Kutch. The details of the paintings educated
the mass about the culture during that time. During the earthquake
time in 2001 in Kutch, almost all the remnants got destroyed. There is
a need to revive this art and GI certification.
The information regarding the study was obtained from both the
primary sources (multiple field visits) and secondary sources (books,
journals and web resources). Different libraries and museums were also
visited for detailed information.
The documentation of existing craft helped in gaining in depth
knowledge of the craft, craft persons, their limitations, problems and
evolving steps for the sustainability of craft.
REFERENCES
1. Edwards, E. (2016) Block Printed Textiles of India Imprints of
Culture, Niyogi Books Pvt. Ltd
2. Fraters, J. (2019). Education for Artisans: Beginning a Sustainable
Future for Craft Traditions. A Cultural Economic Analysis of
Craft, 271-284. doi:10.1007/978-3-030- 02164-1_21
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3. Jethi, P. (1989). Kutch- The People and Their Handicrafts. Bhuj:
Shreeji Offset Printers, IynaMahel.
4. Jethi, P. (2001). Handicrafts of Kutch. Bhuj: Shreeji Offset
Printers, IynaMahel. Page no. 56-68
5. Latif S., Khan R.Y. Greener Journal of Art and Humanities, 8-15,
(2012).
6. Parts, P., Rennu, M., Jääts, L., Matsin, A., &Metslang, J. (2011).
Developing sustainable heritage-based livelihoods: An initial
study of artisans and their crafts in Viljandi County, Estonia.
International Journal of Heritage Studies, 17(5), 401-425.
doi:10.1080/13527258.2011.589199
7. Rathod, R. (1986). Kutch & Rama Randh. Kutch: Pointer
Publishers Ltd.
8. Sharan, M., Thanjam, R.,(2022) A comparative study on
Tangkhul, Kabul, and Mao tribe of Manipur and their traditional
costumes, The Indian Journal of Home Science. 16-28.
9. Sharan. M., Shah, M., Chauhan, A.,(2023) A Study on
Progression of Sanganeri Block Print, Journal of Textile
Association. 320-324. https://doi.org/10.56716/4/1447.
10. The India Magazine of Her People and Culture, (1989). Alwar
Boating Building in Bassein Kamangar painters. Page no. 27- 36
11. Tribhuvan and Finkenauer, (2003). Threads Together, A
comparative Study of Tribal and Pre-Historic Rock Paintings.
New Delhi: Discovery Publishing House. Page no. 45- 62
12. Zaveri, P. (2003). Kamangari Mural Paintings of Kutch, Gujarat,
India An Extinct Tradition. Mumbai: Global Bhatia Foundation.
13. http://www.ijsrp.org/research-paper-1014/ijsrp-p34119.pdf
14. https://ramaarya.wordpress.com/2015/01/01/kutch-kamangari 10.
15. http://ezinearticles.com/?Kamangari-Paintings-of-
Kutch&id=3496319
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THE BANARAS TOYS COLOURS OF LIFE
MR. KRISHNA KUMAR YADAV 1&DR.MAHESH SINGH2
---------------------------------------------------------------------------------------------
1Research scholar,Faculty of Visual Arts ,Banaras Hindu
University,Uttar Pradesh,India.
&
2Assistant professor Faculty of Visual Arts ,Banaras Hindu University
, Uttar Pradesh,India.
ABSTRACT
Varanasi in Uttar Pradesh is well known for lacquered wooden toys.
The craftsman, who practices this art, passes it on from one generation
to another. Toys are found in all sizes and prices. These toys are sold
out briskly in the months of fairs and festivals.It is about craftsmen,
their entreaty is their creation. Nowadays, machine work is popular
because it is done with care, fineness, and brings smoothness with
intricate details. When it dries it is carefully painted with duco white
paint. Last coat of lacquer is applied to bring shine to the surface of
the toy. While the machine rotating it generates heat by friction, lac
becomes soft and it is easily applied on the woodenware. The
craftsman manipulates the lac color stick by heating.The government is
considering de-reserving the toy business, which is now included in the
Small Sector Industries sector.
9
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KEYWORDS : Banaras, Lac, Colour, Patterns, Hand Curved
INTRODUCTION:
TOYS OF BANARAS: We used the names "Banaras" and "Kashi" for
Varanasi, which is reputed to be the oldest continuously inhabited city
in the world. There are several temples on the banks of the Ganges in
Varanasi, which is a popular pilgrimage destination for Hindus. Visitors
travelled to Varanasi in search of mental tranquilly and to bathe in the
Ganges River's Ghats to atone for their transgressions. Because of this,
the Varanasi Ghats are thought to as a site of divinity. Varanasi has a
very distinctive art and culture. Varanasi is a hub of Indian culture
because of its rich cultural legacy, which combines archaeology,
mythology, history, geography, and the arts. One of Varanasi's
traditional crafts is "Wooden Toys." Wooden, colorfully painted sets of
birds, animals, orchestras, warriors, and dancing groups are packed in
boxes. The toys come in a variety of sizes, ranging from a tiny 1-inch
mobile to a big 2-foot-tall doll. Toys made of wood are beautiful
because skilled artisans carved and painted them. They provide a
viewpoint on life. They are made by artisans who are knowledgeable
in history, Indian mythology, the Mahabharata, the Ramayana, etc. The
few artisans who have been practising the skill of toy manufacturing
for decades are those who produce wooden toys. There are several
families of artists whose sole profession is to create wooden toys and
complete the structures for paint.
Religious, cultural, animal & bird, traditional, and modern toys are
some of the groups into which the toys investigated may be divided.
Toys related to each of these topics are handled differently; for
instance, religious toys are frequently intricately hand-carved, garishly
painted, and decorated with Indian motifs and patterns. Additionally,
these toys convey ancient myths and religious tales. The toys with a
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cultural focus depict social classes, the everyday routines and activities
of rural Indians, as well as some of the professions that were common
in ancient India.
While contemporary toys tend to be three dimensional, rotate, and
feature contemporary designs. It's crucial to choose the correct sort of
wood when making toys. Toys can be made out of 'Kemah, Chilbil,' or
'Haldu' wood, although Chilbil is the most common. The log is carved
into the wood block that will be the size of the finished toy. A smooth
surface is achieved by cleaning and sanding the object. On this
artwork, the design of the next toy is traced. Chips of extra wood are
removed in accordance with the design. In some circumstances, the
entire toy is carved from a single piece of wood, while in other
instances, various body pieces are carved separately and adhered
together.
Painting comes after carving. The body is painted with vivid, garish,
non-toxic colours. The toy is first covered in distemper. It is carefully
sprayed with duco white paint when it dries. To give the toys' surface
gloss, two of these coatings are applied, then the final coat of lacquer.
Painting is done with a brush made of squirrel tail hair in the process
of exquisite painting. They don't complete each item individually. All
the samples in a batch of toys are painted with one colour that has
been prepared, and then it is allowed to dry before the next colour is
added. One painter completes at least 20 works in a single day.
The lac turning method involves lacquering while turning on a lathe.
In this method, lacquer ware toys are made. As a result, the artisans
work with the stick that has multiple colours. Some of the lacquered
objects have brush painting on them. Poster colours made from acrylic
or non-toxic pigments are used.
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BACKGROUND OF CONVENTIONAL TOYS:
Traditional toys date back to 17 Local traditional artists use the
materials that are most readily accessible to produce traditional toys.
Wooden toys, soft toys (cotton, cloth), dolls, construction toys, puzzle
sets, educational and activity toys, mechanical toys, miniature art and
figures, paper crafts, showcase goods, metal toys, cardboard/pulp toys,
recreational toys, and plastic toys are the main categories of
conventional toys. The majority of India's factories that produce
traditional toys are found in the states of Uttar Pradesh, Maharashtra,
Karnataka, Bihar, Assam, Kerala, and Tamil Nadu. Approximately three
million people work directly or indirectly in the toy manufacturing and
marketing industry, with 10% working in the organised sector and 90%
in the unorganised sector. Traditional wooden toys are one of the
subsectors of this industry. The majority of traditional wooden toy
producers are found in Kashmir, Karnataka, Tamil Nadu, and Uttar
Pradesh (Luck now and Varanasi). The percentage of manufacturers
producing organic toys in the overall wooden toy market is extremely
small. Traditional Small Scale Industries (SSI) operate on a national
scale and combine expert craftsmanship, inventive designing, and
intensive labour. The motivating element has recently shifted from
domestic demands to a global outlook. Some of the market assurance
aspects of the Indian toy business include skilled labour, a varied
product line, a concentration on innovation and creativity, and an
emphasis on learning and education.
INDIA AS A PRODUCER: It is estimated that the Indian toy
business will generate revenues of over 13,000 crores in 2015,
expanding at a composite growth rate of 20%, which is considered to
be a solid scenario. It is further anticipated that this industry will
continue to grow for the next five or six years8. There are only about
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15% of traditional toys in the market. Eighty-five percent of toys are
imported from nations including China, Korea, Malasia, the United
Kingdom, and the United States. A total of 4,000 small- and cottage-
scale manufacturers make up the remaining 15% of the country's toy
units, which are distributed throughout Delhi-NCR, Maharashtra, and
35% of the rest of the country. The share of Indian toys in the
worldwide market is merely 0.51%.
It has been noted that by the year 2020, toys will be used more
frequently among children aged 0 to 4 than among all other age
groups. Because there are more children in the globe, especially
toddlers, the toy business is growing internationally, which presents a
wonderful potential for the toy industry to sell a variety of toys on a
global scale. The government is considering de-reserving the toy
business, which is now included in the Small Sector Industries (SSI)
sector. As a result, larger businesses would be able to spend capital in
the toys sector of more than Rs. 100 million, whether or not they work
with international firms. Additionally, the Department of SSI's creation
of a task force has proven to be a constructive move. India's toy
associations have launched programmes to improve the country's
infrastructure, which is now quite subpar in comparison to China.
Indian manufacturers are exporting to some of the world's most
developed countries and can meet both high and low volume needs.
The USA, the UK, and Germany are the primary markets for Indian
toys. The Indian market is quite small in relation to the country's
population and per capita income, and it is mainly unorganized.
Because of the small-scale nature of business, there has been little
innovation in products and less spending on new machinery and
technology, which has, overall, led to a small market. The toy industry
depends on ongoing innovation to survive. The huge number of small
businesses and the weak advertising and marketing activities because of
the market's modest size may also be contributing factors.
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Process follows in Toy making:
There are two different kinds of it: Spindle turning, which uses wood
whose grain is parallel to the lathe bed. Legs for chairs and tables are
a few examples.
The second is face plate turning, where the wood grain runs
perpendicular to the lathe's rotation. Examples include charger plates,
bowls, and platters made of wood.
Electric-powered turning machines are set up in workshops. In a single
workshop, 5–10 artisans are coworkers. Using a saw, chop wooden logs
into small pieces. They are then transported here and fitted into the
apparatus. With the aid of trained craftsmen, the machine first
removes the exterior rough skin to reveal a smooth cylinder that is
then used to produce the desired shape.
LACQUERING
On a lathe, lacquering is performed. In the lac turning process, the lac
stick is rubbed against the wooden object to be lacquered while the lac
is still dry. The heat produced by friction causes the latter to continue
rotating, softening the lac and causing the colour to adhere to the
wood's surface. In this method, lacquer ware toys are made. As a
result, the artisans work with the stick that has multiple colours.
Some of the lacquered objects have brush painting on them. Acrylic-
based poster colours or non-toxic pigments are utilized for this.
WOODS AND TOOLS: The most common wood used for toy-making
are:
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PRESENT SCENARIO
Artisan craft form Present Scenario:
Common
woods are
used in toy
Making
Safeda
Eucaliptas
is used for
lathe
machine
applications
Shisham
Bhokul
Kaima
Gulhar
Kirbil
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RELIGIOUS:
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Cultural:
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(Image 1 - 15)
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Some tools used in Toy making:
TOYS DESIGN: The toys surveyed can be divided into the following
categories: toys that are religious, cultural, animal or bird-themed,
traditional, or modern. Toys related to each of these subjects are
handled differently; for instance, religious toys are often two
dimensional, Gaudily p
Rukhana baaki,Batali,Berma
Used for Making for Whole
Chausi(Peeler)
To peel off extra wood.
Aari(Cutting tool)
Is used for cutting.
Kholian
A fine work tool
Reti
Use for roolinf for smoothness
Hathoda
This tool is composition of wooden base and iron block fixed on
top
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Painted and hand crafted. They display designs and themes from India.
These toys also convey ancient myths and religious tales. The culturally
themed toys depict social strata, the everyday lives and activities of
rural Indians, as well as some of the professions that were common in
ancient India. Examples include males competing in "Akhada" or the
wrestling ring, and women fetching water from the well. In contrast,
modern toys are typically three dimensional, rotated, and contain
contemporary themes and designs.
CONCLUSION:
Prices of raw materials are doubly increasing every year. New novel
methods, materials have been discovered due to advancement in science
and technology which has led to achievement of new directions in this
field of art. In the present times craftsman and artists believe in
development of objects possessing all virtues of a fine art and also
being sympathetic to the environment. A craftsman and artist in short
can be defined as a person enriched in creativity and working
continuously by hand in various types of craft media to produce
exemplary beautiful pieces of finest crafts in order to attain spiritual
harmony.
REFERENCES
1. Wooden Toys of Varanasi Weakly Developed the Isolated Sector
and Shortages of Income and Employment Opportunities. (2016).
Arts and Social Sciences Journal, 7(3), 3.
https://doi.org/10.4172/2151-6200.1000195
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2. Sana F (2016) Wooden Toys of Varanasi Weakly Developed the
Isolated Sector and Shortages of Income and Employment
Opportunities. Arts Social Sci J 7: 195. doi:10.4172/2151-6200.1000195
3. Singh G (2014) Wooden Toys of Varanasi. 3. Singh N (2014)
Wooden Toys of Varanasi
4. Visen, S. (n.d.). Wooden Toys of Varanasi. D’source.
IMAGES/ FLOW CHARTS:
1. Present scenario:Image:1,2,3,4,5
2. Religoius: Image:6,7,8,9,10
3. Cultural:Image:10,11,12,13,14,15
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THEMODERN PAINTING- JOURNEY OF
PRINTMAKING IN INDIA
MR. KRISHNA KUMAR YADAV 1& DR.MAHESH SINGH2
---------------------------------------------------------------------------------------------
1Research scholar, Faculty of Visual Arts , Banaras Hindu University,
Uttar Pradesh1,
&
Assistant professor Faculty of Visual Arts , Banaras Hindu University
, Uttar Pradesh.2
ABSTRACT:
The historical development of printmaking as an artistic medium is
briefly addressed in this article, beginning with the creation of printing
in India. The process by which artists create prints, or more precisely,
printed images, is referred to as"printmaking." Compared to painting or
sculpture, printmaking has seen major alterations over the years. It
includes a variety of techniques, procedures, materials, and equipment
and is essentially divided into three divisions. Relief prints, intaglio
prints, and planography are made based on how the matrix or surface
is set up and prints are removed from it.
KEYWORDS: Printmaking, Relief prints, Intaglio, Planography
INTRODUCTION:
Around a century after Gutenberg's Bible was first printed, in 1556,
modern printmaking arrived in India. Printmaking at the time was only
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employed as a tool for duplication and reproduction. Yet, there is
evidence that the Indus Valley Civilization, which existed in India at
the time, used the idea of mass duplication.
As Chinese paper was introduced, printing on paper evolved from
textile printing. Spain produced the first paper in Europe in 1151. The
production of paper was soon after introduced to France, Germany, and
Italy, most notably by Fabriano in 1276. Before the invention of paper,
texts were typically transcribed on vellum or on parchments
manufactured from split sheepskin in Europe.
In India, printing has a long history, but the history of printmaking as
a fine art is only around a century old.Bengal, particularly Calcutta,
was introduced to the practice of woodcut printing by Europeans. Near
the close of the eighteenth century, Calcutta had a woodcut art
renaissance thanks to the introduction of printing by Europeans. The
second part of the sixteenth century saw the introduction of the
printing press to Goa (1556). A Gujarati guy by the name of Bhimji
Parekh took the initiative to start printing in Bombay after Goa in the
years 1674–1675.
The first printmaker in India to use printmaking as a tool for
popularizing his art rather than as a creative medium in and of itself
was Raja Ravi Varma. To achieve his objective, he founded his
lithographic press, also called the Ravi Varma press, Ghatkopar,
Bombay,latter years of the 19th century. Some of his sacred and secular
works were published here as glossy oleo graphs.
RESEARCH METHODOLOGY:
The study can have exploratory, historical, and multidisciplinary
aspects. The method is here mainly based on secondary data and an
interview and discussion was taken place. To gather the information
various books, paper, Magazine, and Thesis is reviewed. Interviews
were done with the printmaking expert of Santiniketan.
Research Gap:In this article only focused Printmaking journey of
India.The method of Printmaking followed by the respective art legend
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is not covered.There contribution to build the art craft gild in the
country is also not covered.
LITERATURE REVIEW
Robinson,Waney,Printing Effects,(1991),London: Quarto Publishing. The
reader gets the information of different print.Basically this book is
divided into 3 part first one is about image designing process second
one state the different ancient and modern print process the last one is
highlights modern and traditional form of finishing.1
Fick, Bill & Grabowskl, Beth,(2015),Printmaking; a Complete Guide to
Materials and Process, Laurance King Publishing illustrates fundamental
printmaking techniques including relief, intaglio, collagraph, lithography,
screen print, and mono print. The book outlines current practices in the
contemporary print studio, including integrating digital processes with
all techniques. Each chapter features clear, step-by-step illustrations plus
expanded case studies, which help convey the technical aspects of each
printmaking technique. In addition to technical information, this book
explores the processes and functions of print media that inform the
very strategy of art-making.2
Woods, Louise,(2008), Printmaking,Handbook,(Artist’s,Bibles), Chart well
Books, Illustrates printmaking methods through the technical details as
well as providing inspirational examples of prints in all media.
Although some print processes have a long tradition and are carried
out in much the same way as they were always, there can be no
doubt that modern technology has made it easier to extend the
potential of individual printmaking methods and to combine their
efforts in multimedia images.3
TIMELINE AND TECHNIQUE:
By establishing the Bichitra Club in 1915, Tagores allowed for the sale
of copies of artworks, publications, and sets of reprints.Gaganedranath
Tagore saw the medium's potential as a tool for protest and used it to
his advantage within the constraints of available technology.4
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Adbhut Lok, his first collection of cartoon lithographs, was released in
1917.
An album of Mukul Chandra Dey's etchings and dry points, which
included both landscapes and portraits, was published. He is regarded
as India's first printmaker to demonstrate that graphic media can be
used for aesthetic expression. He was one of the pioneers in using
printmaking as a a means of expressing one's creativity, and the results
of his work mark an important turning point in Indian printmaking
history.5
Printmaking as a form of fine art experienced a increased popularity
quickly with the founding of Kala Bhavan by the Tagores in 1919.
Earlier, the Tagores established the Bichitra Club, a group where
cutting-edge painting and printmaking methods were researched. Three
brothers of Tagore lived in a house in Jorasanko, and the balcony of
that residence served as the club's gathering spot. Art salons were
frequently held there. One of the three Tagore brothers, artist
Gagendranath, took a particular interest in lithography and started his
own lithographic press in 1917. The Tagore brothers founded the
Bichitra Club. A selection of his prints was later made available.6
In Kalabhavan, graphic arts were taught in the classroom between 1923
and 1924. The early years of the development of creative printmaking
in Kalabhavan sparked intense interest from Nandlal Bose and his
pupils Ramendranath Chakravarty, Manindra Gupta, and Bisvarup
Bose.Printmaking was first used by artists like Gaganendranath Tagore
and Nandlal Bose for artistic purposes rather than for the purpose of
duplication.This can be regarded as the birth of contemporary Indian
printmaking. 2 In 1928, Mukul Dey, a well-known printer, was
appointed Art School Principal. The graphic arts started to get noticed
after this. He was followed by renowned printmaker Ramendranath
Chakravarty, who enrolled in the institution.7
Printmaking, however, only became popular in the 1950s, as the
country was attempting to forge an identity for itself in the modern era
after gaining independence. Somnath Hore, Jagmohan Chopra, and
Kanwal Krishna were among the top artists.8
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Printmaking was Somnath Hore's chosen medium, which he chose
voluntarily. To accomplish his goal, he wanted to employ the vehicle.
As his instruments of devastation and socially unacceptable weapons,
he used acid and burin. The pinnacle of expression in the medium was
reached by him thanks to his understanding of wounds. Indian printing
had never experienced the sense of purpose and exploration-driven
excitement he did. This was a manufacturer, ground-breaking approach
to use the medium because it was the first time it was chosen to
achieve aesthetic objectives. Hore departed Delhi in 1966 and enrolled
in Santiniketan's Kala Bhavana in 1969. Here, he continued to explore,
and in the end, he produced his white-on-wError! Reference source not
found.hite pulp prints, which represented the conclusion of his career as
a printmaker. He pushed the envelope in printmaking. He made
cement matrixes and poured rag pulp into them, pressing and drying
them before using them as a print. By using new technology and
experimenting with different media and materials, wounds were made
directly on paper. Before him, printing did not employ pictures. His
innovative method freed printmaking from preexisting technological
constraints. He truly qualifies as a printmaking artist. After completing
his education in Calcutta, Kanwal Krishna traveled to Paris to study
etching, engraving, and viscosity printing at Atelier 17 of S.W. Hayter.
In 1953, he stayed there for three months. He purchased an etching
press and started working with the collagraphy medium in Delhi after
returning to India. With this method, many colors may be printed from
a single plate. He taught this method to members of Delhi Shilpi
Chakra and many other musicians. His creations exhibit tranquillity and
peace. Despite quitting the medium in 1960, he made a significant
contribution to the growth of printmaking in India. He was crucial in
the development of the Garhi printmaking studios.9
Renowned printmaker Krishna Reddy completed his education in
Santiniketan before moving overseas but still making frequent trips
back to India. He participates in exhibitions, conducts seminars, engages
with educators and students, and makes prints often. He worked at
Atteliar 17 for many years, where he co-developed the viscosity
technique with S.W. Hayter. Throughout the 1960s and 1970s, he taught
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this method to a large number of Indian artists, and it is still used
often in India today. He employs a methodical, almost spiritual
approach to carrying out his creative vision. His idea of how nature,
art, and life all interact to form the world is displayed through the use
of inks, various types of rollers, and relief sculpture surfaces. His
technical expertise, his use of abstract imagery, and his artistic
philosophy have all drawn Indian printmakers. Krishna Reddy's work
was quite different during the 1950s and 1960s, a time when the
majority of Indian art followed narrative tendencies. He demonstrated
many options in the field of color printmaking and opened new
technological vistas that had not yet been explored. He paved the path
for Indian printmakers to use printmaking as a method to realize an
artistic, rather than just a technical, purpose.
Jagmohan Chopra, a well-known printmaker, is credited with
developing and popularising printmaking in India. His most enduring
legacy is that of a committed educator who was ever receptive to new
ideas and methods. After Somnath Hore, he improved and modernized
the printmaking studio at the College of Art in New Delhi. He
afterward accepted the position of principal at the Government College
of Arts in Chandigarh, where he established a printmaking department
with the necessary supplies, equipment, and facilities. He substituted
the collagraph medium and looked for new opportunities. In his art, he
played with shape and composition, using abstract imagery with a few
forms. In 1952, graphic art was added to the curriculum at the JJ
School of Art in Bombay.
NB Joglekar relocated from Bombay to Baroda and was instrumental in
establishing the graphics department at MS University's Department of
Fine Arts in 1950. The printmaker Jyoti Bhatt received his education in
Baroda. The Pratt Graphic Center in New York is where Jyoti Bhatt
continued his schooling,where he gained proficiency in several intaglio
printing methods. He established a studio in Baroda upon his return in
1966 and focused solely on printmaking.
Indian Printmakers Guild was created in 1990. It has been effective in
increasing public understanding of the medium and gradually fostering
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an appreciation for it. Among the individuals in the group are Ananda
Moy Banerji, Dattatraya Apte, Bula Bhattacharya, Jayant Gajera, Kavita
Nayar, Kanchan Chander, Moti Zharotia, Sushanta Guha, Sukhvinder
Singh, Subba Ghosh, and Shukla Sawant. They are all dedicated
printmakers that oversee various programs and workshops for aspiring
printmakers.
There are numerous other such printmaking collectives and locations,
including the Garhi and Lalit Kala Studios in New Delhi, the Rashtriya
Lalit Kala Studio in Lucknow, Bharat Bhavan in Bhopal, the Print
Studio and School of Fine Arts in Bombay, and the Kanoria Centre for
Arts in Ahmedabad.9
CONCLUSION
In recent years, the concept of printmaking has experienced a
substantial transformation due to the development of information
technology, various software programs, 3D printers etc. Currently, all
manual procedures are fully automated. Prints of photos that have been
created or edited on a computer can now be made with just a click.
Traditional prints have undergone some fascinating alterations as a
result of the use of this technology, as demonstrated by the creations
of numerous artists, including Bharti Kher, Jyoti Bhatt, Nataraj Sharma,
Ravi Kashi, Gulam Mohammad Sheikh, and Shukla Sawant.
Nonetheless, the question of whether these prints qualify as fine art
will always be debatable
REFERENCES
1. Asuncion, J. (2001). The Complete Book of Paper making. NewYork:
Lark Books, NewYork.
2. Chamberlain, W. (1978). The Thames and Hudson Manual of
Woodcut Printmaking and Related Techniques. London: Thames and
Hudson London.
Honour, H. and Fleming, A. (1984). A World History of Art. London:
Laurence King London.
4. Kumar, A.and Yadav,K. K. (2018). Utkirdan Kala k Vividh Aayaam.
Varanasi: LuminousBook Varanasi.
5. Mukhopadhyay, A.andDas,N.(1985). Graphic Art in India: 1850 to
1950. Rabindra Bhavan New Delhi: Lalit Kala Akademi. Prajapati, K.
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
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(2017). Printmaking History, A Survey Techniques and Artists. ,.
doi:10.15520/jassh35217
6. The History of Printmaking in India A Look into the Development
of Fine Art Printmaking in India. (2012). saffronart.
7. Ganguly, Nanak. "From Painting to Print: Historical Roots of
Printmaking in India."Artetc. News & Views August 2011. 10
October 2012.
8. Gascoigne, Bamber,(2004),How to Identify Prints,Published by
Thames and Hudson Ltd 2004-04-26, London
9. Gupta,Radha Prasad.(1981).Printing Press: From China to Chinsura, ,
Calcutta.
10. Hore,Somnath,2007 ,Life and Art, Arun Ghose, Gallerie 88
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A STUDY ON THE INFLUENCE OF INTERIOR
DESIGN ON CUSTOMER RETENTION WITH
SPECIAL REFERENCE TO IKEA HYDERABAD
MR. BALAKRISHNA DAMMATI,1 & MS. MUNAGALA LAKSHMI
PRANATI
---------------------------------------------------------------------------------------------
1Sr. Faculty and HOD
School of Retail and Fashion Merchandise (SRFM)
FDDI (Footwear Design Development Institute), HS Darga Rd,
Gachibowli, Rai Durg, Telangana state, 500008, India.
&
2Student, School of Retail and Fashion Merchandise (SRFM)
FDDI (Footwear Design Development Institute), HS Darga Rd,
Gachibowli, Rai Durg, Telangana state, 500008, India.
ABSTRACT
Objective of This paper investigated whether the store interior design of
IKEA in the Hyderabad store was effective in retaining customers for
the brand. Factors such as store design and interior branding were
analyzed to determine their influence on customers' perceptions and
behavior.
Methodology/ Technique: The quantitative research method involved
the collection and analysis of numerical data to investigate relationships
and make generalizations about a population. The researchers choose
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close-ended or multiple-choice questions to save respondents' time and
effort when answering. The reliability of the data collected from the
questions was assessed using Cronbach's Alpha test in the SPSS
software. The hypothesis was tested using the chi-squared test in the
SPSS software.
Findings: The study found that interior branding and store design
significantly impact on customer retention factors (revisits, loyalty,
satisfaction) in IKEA's Hyderabad store. Attention to these interior
design factors enhances customer loyalty, encourages revisits, and
ensures high satisfaction levels.
KEYWORDS: Interior design, Retail Interior design, Store Design,
Interior Branding, Customer retention, Customer Loyalty.
INTRODUCTION
This study focuses on the impact of retail interior design on customer
retention in IKEA's Hyderabad store. As one of the world's largest
retailers, IKEA has gained popularity not only through competitive
pricing but also by creating a unique shopping experience. The store's
appealing building design, convenient parking facilities, diverse product
range, and enjoyable atmosphere contribute to customers' overall
experience. However, while the significance of retail design is
recognized, the role of interior designers in positioning retailers is not
well-defined in current literature.
Market orientation and relationship enablers play key roles in customer
retention. Understanding the market and employing relationship-
building strategies can create value and foster long-term customer-
supplier relationships. Trust, commitment, dependence, cooperation, and
information exchange are vital components in strengthening these
relationships. While existing literature on interior design predominantly
focuses on industries such as fashion and lifestyle, this research aims to
explore the implications of extensive interior design within furniture
retailing.
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The principle of totality emphasizes the interconnectedness of various
components in retail design. It ensures a cohesive link between
resources, product nature, supplier influence, and associated technology,
all of which shape the design of a retail store. With this in mind, the
project seeks to investigate the impact of retail interior design on
customer retention in IKEA's Hyderabad store, contributing to a deeper
understanding of the subject.
RELATED LITERATURE
Edwards cites Brooker and Stone's definition of the INTERIOR DESIGN
profession, which characterizes it as an interdisciplinary field that
focuses on creating various interior spaces that express identity and
atmosphere. This is achieved through the manipulation of spatial
volume, strategic placement of elements and furniture, and treatment of
surfaces (Brooker and Stone 2007: Edwards 2011). RETAIL DESIGN, on
the other hand, communicates the retailer's position in the market and
improves the overall performance of the store. Baker et al (1992)
explain that retail design transforms the store from a mere "transaction
interface" into an entity with distinct and unique qualities that set it
apart from competitors.
Retail STORE DESIGN is a well-thought-out strategy to set up a store
in a certain way to optimize space and sales. The way a store is set
up can help establish brand identity as well as serve a practical
purpose, such as protecting against shoplifting, defined by CHRON.
INTERIOR BRANDING utilizes space to strengthen the brand image.
It reinforces a company's brand through design, creating a unique
shopping environment. Clear vision, unique story, and energy aspects
are crucial for successful interior branding. As stated by (Imani &
Shishebori, 2014) in (Raja, 2020), forming a certain mentality of a brand
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through the interior is more influential than other methods, and
nowadays, logos and signs have less influence in the world of
branding. Therefore, if an interior designer is able to design an
attractive environment based on the brand identity that is carried, it
will also be more successful in conveying the message of the brand.
CUSTOMER RETENTION is essential for companies to maintain
existing customer bases and establish good relationships. Customer
retention can be defined as how companies or organizations are able to
maintain the existing customers’ base on establishing good relations
with all who buy the company’s product, (Kotler, 2008). Customer
satisfaction arises from comparing perceived performance to
expectations, while customer loyalty develops when customers perceive
value and exhibit repeat purchase behavior. Consumer satisfaction is
defined by Kotler and Keller (2016), which states that: Satisfaction is a
person's feelings of pleasure or disappointment that results from
comparing a product or service's perceived performance (or outcome) to
expectations.
SCOPE OF THE PROBLEM
The scope of this study is to provide an understanding of the
importance of holistic interior branding and store design in the context
of retail outlet interior design for furniture retail companies. The study
aims to highlight the role that effective interior branding and store
design play in creating a well-designed and cohesive retail environment,
which can lead to increased customer satisfaction and loyalty, as well
as differentiate furniture retail companies from their competitors. The
following key areas are identified to conduct the research on the
current statement of the problem. These are.
Lack of research on interior design and customer retention in the
furniture retail industry. Limited research on the role of sensory factors
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in retail interior design. Lack of research on customer retention in the
context of IKEA
Limited research on the IKEA’s Indian market
RESEARCH OBJECTIVES
This paper investigates whether the store interior design of IKEA's
Hyderabad store is effective in retaining customers for the brand.
Factors such as store design and interior branding will be analysed to
determine their influence on customers' perceptions and behaviour.
To study the impact of a store’s interior design (store design at
IKEA) on retaining customers.
To study the impact of a store’s interior design (interior
branding) at IKEA to retain customers.
HYPOTHESIS DEVELOPMENT
The first hypothesis is developed to study the impact of store’s interior
design - Store Design in IKEA to retain customers.
H0: There is no significant impact between store design and customer
retention in IKEA.
H1: There is significant impact between store design and customer
retention in IKEA.
Figure 1
The second hypothesis is developed to study the impact of store’s
interior design - Interior Branding in IKEA to retain customers.
IKEA
Customer
Retention
Store
Design
H1
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H0: There is no significant impact between interior branding and
customer retention in IKEA.
H2: There is significant impact between interior branding and customer
retention in IKEA.
Figure 2
THEORETICAL FARMWORK
6.1Store design
Store layout: How a retailer utilizes its floor spaces to facilitate the
business operations, serve customers, and promote sales. Store layout
are divided within four areas, which are selling space, storage space,
personnel space, and customer space (Bastow-Shoop et al., 1991).
Store ambience: Bastow-Shoop et al. (1991) implied that consistency of
the core theme and image has to be presented and integrated well
throughout the exterior as well as interior. The extensive presentation
and utilization of store interior is directed to increase the desire for the
goods, present what is available, and encourage both impulsive and
planned purchase/s (Štursa, 2009).
6.2Interior branding
According to (Kuhteubl, 2016) there are 3 main aspects that must be
considered by an interior designer when they do branding, namely
Vision, Story, and Energy. The application of branding in the interior
will be maximized when applying these three aspects of interior
Customer
Retention
H2
InteriorBran
ding
IKEA
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branding in balance. The descriptions of these three aspects are as
follows:
The Clear Vision aspect is an aspect related to the clarity of the store's
identity and vision. This can be seen from the placement of logos and
signage, area boundaries, space organization, and furniture arrangement.
The Unique Story aspect is the aspect where the unique story or
message of a store can be conveyed to visitors through its logo and
interior design. This aspect can be seen from the meaning of the logo,
concept, type of song, and the name of each area. The concept of space
affects the selection of shapes, colors, and materials for space-forming
elements, space fillers, and space decorations, which will shape the
atmosphere of the space.
Energy aspect is an aspect related to everything that affects the first
impression of visitors. These aspects include visual beauty, quality,
conditioning systems, and space facilities that attract attention and
support visitor comfort.
Every aspect of interior branding is related one to another. The
application of these aspects must be balanced. The connection is in
terms of implementing the concept of shape, color, and material in an
interior.
6.3 Customer retention
Customer retention marketing is a tactically driven approach based on
customer behavior. Johnson (1998) outlined some philosophies of
retention-oriented;
1. Retention marketing requires allocating market resources: the
company has to realize some marketing activities for customers in order
to generate higher profits in the company. The company can keep their
budget flat or shrink it while increasing sales and profits.
2. Active customers are retained: customers are likely to feel they are
in control and smart about choices they make and they like to feel
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good about their behavior. Marketers take advantage of this by offering
promotions of various kinds to get consumers to engage in a behavior
and feel good about doing it.
3. Retain customers’ means keeping them active with the company. If
the company does not keep them active, they will slip away and
eventually no longer be customers.
4. Marketing is a conversation between customers and the marketer.
Marketing with customer data is a highly evolved and valuable
conversation but it has to be backed and forth between the customer
and the marketer because the market must listen to what the customer
is saying to better their products or services offered.
6.4 IKEA's Background Study
IKEA is a multinational corporation known for designing and selling
ready-to-assemble furniture, home appliances, and accessories. Founded
in Sweden in 1943 by Ingvar Kamprad, IKEA has grown from a small
local furniture dealer to a global furniture retailer. With its product
design and a strong presence in numerous countries, IKEA has become
the world's largest furniture retailer.
Quality is a key focus for IKEA, as the company continuously develops
new products to meet consumer demands and stay competitive in the
global market. IKEA offers a wide variety of products and services,
reflecting its commitment to eight core values, including togetherness,
caring for people and the planet, cost-consciousness, simplicity, renewal,
and improvement, differentiation with meaning, give and take
responsibility, and lead by example.
IKEA's services play a significant role in influencing consumer behavior.
The online platform provides convenience to customers, offering
information, product listings, buying guides, tracking services, and a
platform for customer-company interaction. IKEA's return policy,
allowing a full refund within 365 days with proof of purchase, also
impacts consumer behavior. Additionally, IKEA offers planning tools to
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help customers design their spaces, catering to various needs and
preferences.
Consumer behavior is influenced by situational factors, including
physical, social, and temporal influences. IKEA aims to provide
immediate satisfaction and a pleasurable shopping experience to its
customers, contributing to its reputation as a top brand worldwide.
In terms of interior design, IKEA has created a unique form of
aspiration by offering affordable and modern DIY furniture and
accessories to the masses. Its room sets and products have become
iconic, symbolizing a lifestyle and making modern design accessible to
a wide audience. IKEA's influence on interior design has been
significant, showcasing the importance of both space and material
objects in shaping our living environments.
RESEARCH METHODOLOGY
The research design chosen for this study was a descriptive research
design, aimed at characterizing a population or phenomenon in a
synthetic and reliable manner. The study employed a quantitative
research method, involving the collection and analysis of numerical data
to investigate relationships and make generalizations.
For data collection, a questionnaire survey was conducted online among
respondents who had previously visited and made in-store purchases
from IKEA in Hyderabad. The questionnaire design incorporated close-
ended questions and Likert scale statements to gather respondents'
opinions and perceptions.
The sampling technique used was non-probability sampling, specifically
purposive sampling, based on specific criteria related to the research
objectives and the target population. The sample size consisted of 79
responses.
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The questionnaire consisted of two sections: demographics-based
questions and questions related to the variables of the study.
Throughout the study, the researcher ensured that respondents'
responses and information remained private, confidential, and
undisclosed.
To facilitate respondents' understanding and provide accurate answers,
a structured questionnaire with clear and direct questions was utilized.
This questionnaire design aimed to save respondents' time and effort.
The Likert scale, a five-point scale ranging from "strongly disagree" to
"strongly agree" was used to obtain more prominent responses.
DATA ANALYSIS
8.1 DESCRIPTIVE STATISTICS
Given table show descriptive statistics of the questions measured using
five-point Likert scaling method, mean and standard deviation are
presented using SPSS software.
Table – 1, Descriptive Statistics
Mean
Std.
Deviation
N
The store have a pleasant atmosphere
1.8987
.85627
79
The design of shopping environment at
IKEA gives you the possible to save
time.
2.7722
1.22944
79
The senses of experience like visual,
hearing, smell, touch and more are likely
to stimulate your desire of buying in
while shopping in IKEA.
1.9620
.85400
79
Browsing through IKEA catalogue before
or during a visit.
2.4937
.95908
79
Can you imagine yourself living in
rooms as they are presented in IKEA
1.7595
.71996
79
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store?
Is it likely to identify IKEA with its store
interiors?
1.7342
.61413
79
Are you Loyal to IKEA brand
2.5696
.91545
79
Do you consciously plan a visit to the
IKEA store?
2.3291
.92987
79
Do you think IKEA has achieved
customer satisfaction with its space
design?
1.8987
.70883
79
Would you recommend IKEA to your
friends and family for store experience
and ambiance?
1.6329
.68270
79
The table provides descriptive statistics for 10 measured using a five-
point Likert scale. With the provided data analysis, we can look at the
mean and standard deviation for each statement. The mean represents
the average response to each statement, while the standard deviation
indicates the variability or dispersion of responses around the mean.
These statistics provide an overview of the respondents' perceptions and
opinions regarding various aspects of their experience at IKEA. For
example, Question 3 has a mean of 1.8987, indicating a generally
positive rating for the store's atmosphere. The standard deviation of
0.85627 suggests some variability in responses among the participants.
8.2 Reliability test
Reliability of the data collected from questions measured using five-
point Likert scaling method has been assessed using Cronbach’s Alpha
test in SPSS software.
Cronbach's alpha is a way of assessing reliability by comparing the
amount of shared variance, or covariance, among the items making up
an instrument to the amount of overall variance. The formula for
Cronbach's alpha coefficient is α=nn−1(σX2−∑i=1nσi2)/σX2where n is
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the number of items, σX2 is the total test score variance, and σi2 is the
item variance.
Table 1: Reliability Statistics
Cronbach's
Alpha
Cronbach's Alpha Based on
Standardized Items
N of Items
0.779
0.791
10
The given tables shows the results of Cronbach's alpha coefficient is a
measure of internal consistency and reliability, which indicates how
well the items in a scale or test measure the same underlying
construct. In this case, the Cronbach's alpha coefficient you obtained is
0.779. This value suggests a moderate level of internal consistency and
reliability. Generally, a Cronbach's alpha coefficient above 0.70 is
considered acceptable for research purposes, although higher values
indicate better internal consistency. Additionally, you have also
calculated Cronbach's alpha based on standardized items, and the
resulting coefficient is 0.791. This indicates a slightly higher level of
internal consistency compared to the original coefficient. Therefore,
further hypothesis analysis is carried, based on this data.
8.2 Hypothesis testing for store design and customer retention.
Chi-squared test is used to test the hypothesis in SPSS software. A chi-
squared test is a statistical hypothesis test used in the analysis of
contingency tables when the sample sizes are large. The formula is x =
∑ (Oi -Ei )2/ Ei, where \chi^2=chi squared, {O}_i=observed value and
E_{i}=expected value.
A frequency has been generated for each variable which is as follows:
Table -2, Frequencies for store design and customer retntion
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Variables
Strongly
Agree
Agree
Neutral
Disagree
Strongly
Disagree
Store design
22
31
18
4
4
Customer
retention
22
31
21
4
1
H0: There is no significant impact between store design and customer
retention in IKEA.
H1: There is significant impact between store design and customer
retention in IKEA.
Table-3, Store Design * Customer Retention Cross tabulation
Customer Retention
Total
Agree
16.00
84.00
88.00
126.00
Store
Design
12.00
Count
1
0
0
0
0
1
Expected
Count
.2
.2
.2
.2
.2
1.0
13.00
Count
0
1
0
0
0
1
Expected
Count
.2
.2
.2
.2
.2
1.0
54.00
Count
0
0
1
0
0
1
Expected
Count
.2
.2
.2
.2
.2
1.0
66.00
Count
0
0
0
1
0
1
Expected
Count
.2
.2
.2
.2
.2
1.0
92.00
Count
0
0
0
0
1
1
Expected
Count
.2
.2
.2
.2
.2
1.0
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Total
Count
1
1
1
1
1
5
Expected
Count
1.0
1.0
1.0
1.0
1.0
5.0
Table -4Chi-Square Tests
Value
df
Asymp. Sig.
(2-sided)
Pearson Chi-Square
20.000a
16
.220
Likelihood Ratio
16.094
16
.446
Linear-by-Linear
Association
3.916
1
.048
N of Valid Cases
5
25 cells (100.0%) have expected count less than 5. The
minimum expected count is .20.
Interpretation: The cell value is 25 which is more than standard cell
value of 20, which indicates alternative hypothesis has been accepted
and null hypothesis has been rejected. Hence, store design has
significant impact on customer retention in IKEA. Hypothesis 1 (H1)
has been accepted.
8.3 Hypothesis testing for interior branding and customer retention.
A frequency has been generated for each variable which is as follows:
Table - 5 Frequencies for interior branding and customer retention
Variables
Strongly
Agree
Agree
Neutral
Disagree
Strongly
Disagree
Interior
Branding
24
35
15
4
1
Customer
retention
22
31
21
4
1
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H0: There is no significant impact between interior branding and
customer retention in IKEA.
H1: There is significant impact between interior branding and customer
retention in IKEA.
Table -6:Interior Branding * Customer Retention Crosstabulation
Customer Retention
Total
Agree
16.00
84.00
88.00
126.00
Interio
r
Brandi
ng
Strongly
Agree
Count
1
0
0
0
0
1
Expected
Count
.2
.2
.2
.2
.2
1.0
11.00
Count
0
1
0
0
0
1
Expected
Count
.2
.2
.2
.2
.2
1.0
46.00
Count
0
0
1
0
0
1
Expected
Count
.2
.2
.2
.2
.2
1.0
72.00
Count
0
0
0
1
0
1
Expected
Count
.2
.2
.2
.2
.2
1.0
105.00
Count
0
0
0
0
1
1
Expected
Count
.2
.2
.2
.2
.2
1.0
Total
Count
1
1
1
1
1
5
Expected
Count
1.0
1.0
1.0
1.0
1.0
5.0
Table – 7 Chi-Square Tests
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Value
df
Asymp. Sig.
(2-sided)
Pearson Chi-Square
20.000a
16
.220
Likelihood Ratio
16.094
16
.446
Linear-by-Linear
Association
3.779
1
.052
N of Valid Cases
5
a. 25 cells (100.0%) have expected count less than 5. The
minimum expected count is .20.
The cell value is 25 which is more than standard cell value of 20,
which indicates alternative hypothesis has been accepted and null
hypothesis has been rejected. Hence, interior branding has significant
impact on customer retention in IKEA. Hypothesis 2 (H1) has been
accepted.
FINDINGS OF THE STUDY
9.1 Demographic Profile:
The sample size consisted of 79 responses.
Females were in the majority among the surveyed respondents.
The age group of 15 to 24 years showed the highest preference for
visiting IKEA.
The majority of the respondents had a bachelor's degree, followed by
those with a 12th-grade education.
Most of the surveyed respondents were students.
The income group of the respondents was predominantly below 25,000
per month.
9.2 Reliability Test: The Cronbach's Alpha test was conducted using
SPSS software.The result of the test yielded a reliability coefficient of
0.77, which is considered acceptable for conducting hypothesis testing.
9.3 Hypothesis Testing:
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Hypothesis 1 (H1) regarding the impact of store design on customer
retention in IKEA was accepted based on the results of the chi-squared
test conducted in SPSS software. There were 25 cells supporting this
hypothesis.
Hypothesis 2 (H1) regarding the influence of interior branding on
customer retention in IKEA was also accepted based on the results of
the chi-squared test. There were 25 cells supporting this hypothesis.
The findings indicate that store design and interior branding have a
significant impact on customer retention in IKEA, as supported by the
acceptance of both hypotheses. The results provide valuable insights
into the factors that contribute to customer satisfaction and loyalty in
the context of IKEA's retail environment.
RECOMMENDATIONS
To enhance the overall shopping experience and attract new customers,
IKEA should address certain weaknesses and build upon its strengths.
By addressing the below key areas, IKEA can maintain its leadership in
the home furnishings industry and further elevate the customer
experience.
The primary focus area for improvement is the time-consuming layout,
which may discourage customers who are in a hurry. The store’s one-
way route is designed to guide customers from beginning to end, but
this can be a hindrance for those who want to shop quickly. While
short exits are available on every floor, they are not promptly
displayed. Prominently displaying shortcuts throughout the store could
help customers save time and encourage repeat visits.
Additionally, adding more amenities such as seating areas, restrooms,
and food options would enhance customer comfort and convenience, to
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improving the customer perception of the store and improve their
overall shopping experience.
CONCLUSION
In this study, the researcher explored several consumer behavioural
intention variables, including service image, shop reliability and facility,
basic merchandise, major reference group, and minor reference group.
The aim was to gain a deeper understanding of customers' perceptions
and consumption patterns of furniture at IKEA Hyderabad. The analysis
of these variables yielded significant findings, insights, and implications
for both the space organisation in the home furnishing industry and
researchers interested in retail interior design.
The research findings underscored the critical role of interior design in
customer retention for IKEA. The study found that interior design has
a positive impact on customer loyalty, with a well-designed and
visually appealing layout of the store contributing significantly to
customers' revisits. Additionally, the study found that interior branding,
which includes brand identity in space, logo, and style, also positively
impacts customer retention.
The study's results provide valuable insights for businesses interested in
developing effective interior design strategies to attract and retain
customers. These insights can be particularly helpful for multinational
companies like IKEA that have a global presence and need to maintain
a consistent and appealing brand image across all their stores. In
conclusion, this study highlights the importance of investing in interior
design to improve the customer experience and foster loyalty, with
potential benefits for many types of businesses.
LIMITATIONS:
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Due to time constraints, the survey was conducted with a limited
number of participants. As the sample size is small, the accuracy is
lower.
Some participants do not take the survey seriously, which can result in
inaccurate data. Also, survey research only makes sense if and only if
people honestly report their beliefs and preferences. Respondents may
not be fully aware of their reasons for any given answer because of a
lack of memory on the subject or even boredom.
Time was limited to collect the responses and complete the research
work.
As this study decided on taking a topic with a conception to that a
research object which relatively has not yet been explored extensively.
FUTURE SCOPE
The current research focuses on the IKEA Company only; there is
scope to consider other competitors in the home furnishing retail
business.
In this study, only interior design and store internal branding were
considered. It would be interesting to consider the other attributes of
store interior design and conduct research on similar companies in the
furniture industry.
There is wider scope to conduct a comparative study between different
types of retail businesses to determine whether the results of
experiential marketing are applicable across various industries beyond
just furniture.
This study has a very tiny sample size; it is suggested that the study
be conducted with the last sample size in mind so that the results are
reliable and productive for decision-making.
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store format development and its influence on store image and store
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clientele–the case of IKEA’s development of an inner-city store format.
The International Review of Retail, Distribution and Consumer Research,
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Submitter, G. A. T. R., Sari, S. M., Nilasari, P. F., & Tedjokoesoemo, P.
E. D. (2022). Implementation of Interior Branding in Retail Interior
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Firtatwentyna and Tedjokoesoemo, Purnama Esa Dora, Implementation
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MULYANA, M., & FADILLAH, A. INFLUENCE OF EXTERIOR
DESIGN, INTERIOR DESIGN AND ATMOSPHERE STORE CUSTOMER
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BARANG).
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Mahira, P. R., & Saputri, M. E. (2020). THE EFFECT OF CUSTOMER
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Özkan, S., Vojtech, J., & Urlich, S. L. (2006). Store Image Perceptions in
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Chaipornmetta, P. (2010). The Evaluation of IKEA's Market Opportunity
in Thailand: Based on Consumer Behavior in the Purchase of Home
Furnishing Products.
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Experiential Marketing: The Case of IKEA.
Prinsloo, I. (2012). The role of interior designers in design and
implementation of retail stores: the case study of Edcon. University of
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Krisanda, Y. (2018). The Effects of Visual Merchandising on Purchase
Decision and the Role of Emotional States as Mediating Variable (A
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Haug, A., & Münster, M. B. (2015). Design variables and constraints in
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2023.
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STRATEGIC APPROACH TO
UPLIFT THE POCHAMPALLI CLUSTER
CONCERNING OF MARKETING, DESIGN AND
NEW PRODUCT DEVELOPMENT BY FIELD STUDY
MR.HARISH KUMAR 1 MS.E. AKSHITHA2 MS.CH.SATWIKA3,
& MS.K.GAYATHRI4
---------------------------------------------------------------------------------------------
1Faculty, - Department of Fashion Design,
FDDI (Footwear Design - Development Institute), Hyderabad,
Telangana state 500008, India.
2,3,4Student, Department of Fashion Design,
FDDI (Footwear Design Development Institute), Hyderabad,
Telangana state 500008, India.
ABSTRACT
Pochampalli Ikat is a new textile art form originating from the town of
Pochampalli in the Indian state of Telangana. It is recognised for its intricate
patterns, vibrant colours, and unique dyeing and weaving techniques. This
paper aims to provide an overview of Pochampalli Ikat, highlighting its
historical significance, production process, design motifs, SWOT analysis, new
product developments, and cultural significance. The main objective of this
paper is to show the opportunities for artisans in new product and design
12
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development and strategy in the current digital market. After analysing the
entire production process and market strategies, it is suggested that there is a
huge scope for new design and product development and a unique marketing
strategy that can be applied to various clusters in our country so that we can
uplift various clusters in the country.
Keywords:clusterdevelopment strategy,typesof Ikat, double Ikat, single
Ikat,Pochampally.
INTRODUCTION:
The word "ikat" means "to tie". In Pochampally village, the ikat
weaving is also called as Chit-Ku.It is a very ancient way of creating
designs on fabric by resist-dyeing the threads before weaving the
fabric.The art of PochampalliIkkat dates back several centuries and has
been passed down through generations of weavers. The technique
involves resist dyeing the yarns before weaving, resulting in distinct
and well-defined patterns. The dyed yarns are then skillfully woven
into exquisite fabrics, often used for sarees, dress materials, and home
furnishings.
The dyeing process of PochampalliIkkat is laborious and requires great
precision. The weavers use natural dyes derived from plants, roots, and
minerals to achieve a wide range of vibrant colors. The resist dyeing
technique involves tying individual yarns with specific patterns or
designs, which are then dipped into different colored dyes multiple
times. The tied sections remain undyed, creating intricate motifs and
geometric patterns when woven.
PochampalliIkkat designs are characterized by their bold and
symmetrical patterns, including diamonds, stripes, checks, and floral
motifs. The designs are meticulously planned and executed, often
reflecting the rich cultural heritage of the region. Each piece of
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PochampalliIkkat fabric is unique, with the imperfections adding to its
charm and authenticity.
HISTORY:
Ikat is best known in India, Indonesia, Japan and even has fabrics
throughout Latin America and parts of Europe, due to the Dutch,
Spanish and Portuguese colonialism in Southeast Asia from the 16th
century. The complexity of the double ikat technique requires the most
skilled and experienced craftsmen, So it is mainly produced in India,
Indonesia and Japan, where the craft has existed for millennia.
The discovery of frescoes - a type of mural painting that uses
limePlaster in the Ajanta Caves of Maharashtra provides evidence that
Ikat was alreadypresence in India in the 7th century AD, gained
popularity through trade withWestern China and Indonesia. Over the
centuries, Indian artisans became refined the art of dyeing and weaving
Ikat, strengthening it and facilitating its spreadikat in modern times.
The word 'ikat' is derived from the Malay-Indonesian word 'mengikat'
which translates to "tie". Despite its association with Indonesia,
historians are notable to recognize the exact origin of the ikat technique
and believe that it may haveevolved independently in many locations
throughout Central and
SOUTHEAST ASIA.
The similarities in ikat techniques and patterns from different countries
show that the craft spread with the migration of the Austronesian
peoples, who include natives of Taiwan, Malaysia, Indonesia,
Micronesia, Polynesia andMadagascar. During this period, ikat also
developed in Latin America andChina. Over time, ikat from India
became known for its use of fine materialsand production
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improvements. It was even considered a form of currency on the
famous Silk Road.
Historically, Pochampally was known for its cottonfabrics called
'SOOSELU' (cotton fabric of the 20's count). In the1950s and 1960s,
cotton saris were producedin Pochampally. During the 1950s with
effortsof Andhra Pradesh leaders like Sri KondaLaxmanBapuji, Sri
PragadaKotaiya, Sri GuntakaNarasiya andOthers, the weavers began to
benefit from the cooperativemovement and Handloom Cooperative
Society started in Koyallagudem which is 20 km from Pochampally.The
weavers of Pochampally found it difficult to bring rawmaterial and
deliver the finished products on foot all the wayin Koyallagudem. So
in the year 1952 they opened onebranch at Pochampally, which became
independentsociety in 1955.
Pochampally rumals were exhibited in All IndiaHandicraft Exhibition,
Delhi in the year 1954, whereit attracted huge crowds and few of them
asked totry saris using the same tie and dye technique.
The state of Telangana is celebrated as the birthplace of Indian ikat.
The morespecial ikat is TeliaRumal, which is characterized by the
obscure process of oiltreating the yarn. Nalgonda district in
Telanganastate wasthe enduring hub for ikat production. Weaving is
mainly done in Pochampally.Puttapaka and Choutuppalare the areas of
the district where skilled weavers continue to reside.
LITERATURE REVIEW:
The art form holds great cultural significance and plays an essential
role in the economic development of the Pochampalli region.
Pochampally village has made it to UNESCO tentative list of world
heritage sites under the "iconic saree weaving clusters of India". It is
recognized as a traditional craft protected under the Geographical
Indication (GI) tag in 2005, ensuring its authenticity and origin.
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Pochampalli Ikat fabrics have gained international recognition and are
sought after by designers and textile enthusiasts worldwide.
Relationship between socio-economic status of weavers and personal
variables were assessed and found to be significant positive relationship
between socioeconomic status with age, educational qualifications and
hours of work at the 0.01 level, because as the age increases they
acquire more knowledge that helps to earn more income, so their socio-
economic status will also be automatically increase. Likewise, if their
educational qualification was high, then their socio-economic the
situation will also improve. Similarly, if the weavers work longer hours,
it affects them on socioeconomic status.
How to distinguish genuine Pochampally Saree:
It is perfectly reversible cloth with same appearance of the design on
both sides.Intensity of the colours in the design also appears same on
both sides of the fabric, whereas if the fabric is printed, then colours in
the back side of the fabric will be lighter.Contours of the designs are
always hazy.[1][2][3]
PrimaryObjectiveoftheStudy:To uplift the pochampally ikat cluster by
studying the cluster
Secondary Objectivesofthestudy:
To study the traditional manufacturing process
To find the gap in new design and product development
To find where we can apply various technologies like CAD
To find a new marketing strategy and support from government
To highlight the issues and concerns faced by the artisans and
suggest some action plan for future.
METHODOLOGYOFSTUDY:
This paper is mainly based on primary data collected during filed
study of manufacturing process by artisans and their family members
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of koyyalagudem which is one of the villages in pochampally. We
conducted interviews and observed various process of traditional Ikat
Saree manufacturing process.The pochampally sarees are made up of
pure silk, pure cotton and combination of silk and cotton based on
requirements of customer. The following process shows the traditional
Ikat saree manufacturing:Step 1: Mark design on graph paper
Step 2: Yarn is selected and spun with the help of charka which will
make the warping process easy. andis wrapped manually (for shorter
lengths like stoles and shawls)named Aasuor usingwarping frame
(Approximately 6 meters – Saree length).
Step 3: The master weaver will copy the design from a graph paper to
the warp and weft yarns based on requirement. With a great amount
of precision, they mark areas that need dyeing and the others that
should resist it.
Charka
Warping mill
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Step 4: The yarnsare than tightly tied where colour is not required
using bicycle tube strips.
Step 5: Dyeing the yarns using Acid, Vat and Reactive dyes based on
the type of yarn. If there are more number of colors the tying and
dyeing is done from lighter shades to darker shades.
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Step 6: Untie to reveal the Patterns and after that the exposed are
which has been dyed, is then tied to apply another color if needed.
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Step 7: Arranging the yarns in order based on the design to avoid
confusion
Step 8: Arranging the warp ends on the looms and weft is inserted
using shuttle on the loom.
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Step 9: Weaving is done and finally the saree is made on loom.
TYPES OF IKAT:
Warp Ikat: Where only the warp yarns are tied and dyed. This is the
most common type of tie and dye process.
Weft Ikat: Where only the weft threads are tied and dyed.
Compound Ikat: Where both the warp and weft yarns are bound, but
their designs are independent of each other
Double Ikat: Where both the warp and weft threads are tied and dyed,
but their designs work together to create the overall pattern. This
technique is the rarest due to its complexity and difficulty while
manufacturing.
SWOT Analysis:
Strength:
Diversified range of products which is an advantage for the
market
Strong team with intense and extensive development experience
Established experience in weaving
Partnerships
Large and potential market
Cheap labor rates leading to competitive prices
Weakness:
More manual work
Limited exposure to marketing channels.
Time consuming
Limited capitalization and low investment
Lack of infrastructure
Absence of latest technology
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Less interest of young generation in developing the craft
Opportunities:
Positive recognition of this art
Future national and international recognition by make in India
concepts
To increase its market as the government creates awareness
about handicrafts.
Opportunity to use information
Development in digital marketing and technology
Increasing demands for craft related products in foreign
countries
Threats:
Rapid increase in power looms which reduces the use of
handloom products
High raw material supply and cost variance and support price
Without optimal capital and financial concept
No healthy competition between manufacturers
Advancement for technology like digital printing which produces
similar designs
Lack of quality standardization process
The craft sector is not integrated into the planning priorities of
many governments
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New Product and Design Developments:
Image 1: Laptop Pouch developed using pochampalli ikat fabric and
added design aspect using different stitche
Image 2:Waist developed using pochampalli ikat fabric and added
design aspect using different stitches
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Image 3: Cushion cover developed by combination of embroidery and
ikat fabric which resulted in a new produc
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Image 4: Wall hangings and shawl with beads are unique products
which are mostly not available in the market.
SUGGESTIONS:
As a unique marketing strategy and support from government
the clusters need to be promoted in multiplex, theatres etc:- as
Ads which we normally see in the starting of the movies so
that the cluster can reach high end customers very easily by
creating unique videos.
Using of eco-friendly dyes to dye the yarns
Developments in new design and product development will
boost the cluster
The designs need to be made using CAD so that we can reduce
the time, retrieve the designs and can create many combinations.
Sustainable approaches are made to uplift the cluster
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Participating in International competitions by making unique
designs along with national exhibitions will boost the cluster.
Educating the next young generation about the cluster,
entrepreneurship, Make in India initiatives etc:- will increase the
socio economic conditions in the region.
CONCLUSION:
Considering the limited research and field study the strategic approach
in marketing and promotion of cluster in multiplex and other
entertainment places in the form of advertisements will reach the high
end customers. The use of CAD and other latest technologies and
machinery will reduce the time, create new designs, reduce manpower
etc:-The ecofriendly manufacturing process will attract more customers
and concentrating on socio economic conditions and educating the
young generation about new design and product developments will
turn them in to entrepreneurs which is one of the main objective of
Make in India program. Along with the above there is a huge scope to
uplift the cluster.
REFERENCE:
1.Book:PochampallyIKATTheSouloftheEthnicFabric.byMr.RajeshPamnaniduringGlobal
EntrepreneurshipsummitIndia2017.
2.PochampallyDocumentationandSurveyReportForRuralTourismDevelopme
ntbyTadaamyaham-theDesignStudio,Team:PallaviD,VipulBhole
DesignResourceCottonSari–PochampallyTieandDyeWeavesby
1. Prof.BibhuduttaBaralNID,Bengaluru
ARTICLES:
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2. Lakshmi, V. V., Deepika, J., & Devi, M. G. (2019). Assessment of
socio-economic status of Pochampally Ikat handloom weavers.
3. Savithri, G., Sujathamma, P., Sundari, T., & Kumar, B. C. (2014).
Pochampally–An Unique Silk Handloom Cluster. International
Journal of Multidisciplinary Research and Development, 1(7), 418-
421.
4. Dr. Guda SridharCase Study IIMK/CS/35/MM/2016/01 January
2016 ‘AASU’ Mallesham Dr. Guda Sridhar
IMAGES:
5. Image 1: Laptop Pouch developed using pochampalli ikat fabric and
added design aspect using different stitches
6. Image 2: Waist developed using pochampalli Ikat fabric and added
design aspect using different stitches
7. Image 3: Cushion cover developed by combination of embroidery
and ikat fabric which resulted in a new product
8. Image 4: Wall hangings and shawl with beads are unique products
which are mostly not available in the market.
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HANDLOOM – A LOST TREASURE
A CASE STUDY ON HANDLOOM ARTISANS IN
ARUPPUKOTTAI
MRS.ANITHA B 1 & MRS. PRIYA.G2
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1Lecturer, Department of Garment Technology, V.S.V.N. Polytechnic
College, Virudhunagar, Tamilnadu, 626001, India.
&
2 Teaching Fellow, Department of Textile Technology, Alagappa
College of Technology, Anna University, Chennai, Tamilnadu, 600025,
India.
ABSTRACT
The handloom industry holds a significant role in India's cultural
heritage, and Tamil Nadu is proud to be the producer of
handlooms. The local artisans' intricate handloom weaving and
crafting traditions carry a distinct cultural identity. These
handcrafted textiles embody culture, history, and heritage,
embracing a holistic approach that respects age-old crafting
methods. The case of the Aruppukottai handloom weavers, which
we delve into in this chapter, epitomizes the cultural richness of
the craft, the communities of skilled artisans, and the regional
craftsmanship that has been handed down through generations.
13
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Keywords:
Handloom, Aruppukottai, Weaving Preparatory, Saris, Handloom
Mark
INTRODUCTION
Handloom weaving holds a unique position as a creative
economic endeavor in Tamil Nadu. The State is home to a
substantial handloom infrastructure, comprising 413,000 handlooms
in total. Among these, 232,000 handlooms are actively operational,
managed by 1,130 Handloom Weavers Co-operative Societies,
while the remaining 181,000 looms operate independently,
collectively providing employment to 608,000 skilled weavers. In
the fiscal year 2008-09, the Handloom Weavers Co-operative
Societies achieved an impressive production of 1,296.47 lakh
meters of handloom fabrics, valued at Rs. 800.61 crore. These
finely crafted textiles were marketed for Rs. 914.95 crore. On an
average annual scale, the handloom fabric production in the State
amounts to around Rs. 1700 crore, contributing to an overall
turnover of about Rs. 1800 crore. Notably, this turnover also
includes an export value of Rs. 875 crore.
The Co-operative Societies of Handloom Weavers in the State
play a pivotal role in implementing various welfare and
development schemes, both at the State and Central Government
levels. These initiatives are specifically designed to uplift the
livelihoods of handloom weavers. With the growing expense of
the global textiles market, the government's primary objective
remains to "sustain the handloom industry" and ensure the
prosperity of the numerous weavers dependent on this time-
honored craft.
To realize this goal, the focus lies on diversifying the array of
products through continuous design interventions. Concurrently, a
strong emphasis on continual skill enhancement is vital to
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produce products that align with market preferences. Moreover,
there is a dedicated push towards technological advancement to
enhance productivity and maintain the industry's high standards
of quality, enabling it to remain competitive on the global stage.
These collective endeavors are pivotal to secure the industry's
enduring presence and vibrancy.
Fig.1: Handloom weaving.
ABOUT ARUPPUKOTTAI
Aruppukottai, a village in Tamilnadu have been emerged as a
weaver’s hub, who has accomplished the craft of fabricating
hand-woven saris.
As you stroll along the streets of Aruppukottai village, the
rhythmic resonance of handloom pedals fills the atmosphere, a
melodic symphony accompanying the artisans as they skillfully
bring their traditional creations to life. Situated at a distance of
510.5 kilometers from the bustling capital city of Chennai, this
modest town is nestled in the southern state of Tamil Nadu,
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India. Aruppukottai proudly remains a nurturing ground for the
cherished craft of crafting exquisite hand-woven saris.
The metamorphosis is truly captivating – from bundles of
unadorned and colorless yarns entering the village, to their
magical emergence as graceful and vibrantly adorned saris, each
a showcase of the artisans' craftsmanship and artistic flair.
Fig.2: Location of Aruppukottai
More families are earning their livelihood from weaving. The
village is the focal point of one big community and is divided
into clusters of households. Cotton yarn production and weaving
seem to be the nourishing industries in the Aruppukottai region.
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Research methodology:
The authors visited the A.1252.Aruppukottai Weavers co-op
production and sale society Ltd. to gather information regarding
procurement of raw material, Yarn dyeing, preparation of warp
beam, preparation of loom for weaving, design selection,
manufacture of sari.
Moreover, the authors collected information regarding number of
handloom weavers in aruppukottai, their income generation,
their health issues, problems faced by the weavers, reason
behind the endanger of the handloom. The authors also came to
know about the various schemes for the welfare of the weavers.
The authors met the weaver individually to gain knowledge
regarding their occupation, life style, income etc. Weaving
centers and dyeing house were personally observed to know
about the process involved in Weaving in real time basis.
Fig.3: Saris woven by Handloom weaving
TYPES OF WEAVERS
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There are mainly two types of weavers in Aruppukkottai, which
constitute the following.
Cooperative-Associated weavers:
Fig.4: Handloom weaving by Co-operative fold weaver
Weavers connected to the main cooperative societies obtain the
essential raw materials, distribute them to the affiliated weavers,
and ensure fair remuneration for their efforts.
Industrial weavers:
Weavers arrive in the weaving industry and were paid wages
according to how much they woven in a particular day.
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Fig.5: An overview of Industrial weaving centre
COOPERATIVE FORMATION
The Aruppukottai area is densely populated with weavers, with
approximately 1200 raised pit looms actively functioning. Given
the complexity of managing these units, individual weavers often
turn to cooperative efforts for assistance. Consequently, a
cooperative-centric development approach has emerged in this
region, leading to the registration of a total of 19 significant
handloom cooperatives.
1) A.1252 Aruppukottai
2) MH.53 Kanji Thalaivan
3) Q.841 Puliampatti Sowdambigai
4) RH.54 Sir.P.Thiyagarayar
5) RH.171 Makkal Thilagam
6) RH.172 Idhaya Theivam
7) RH.115 Motilal Nehru
8) RH.88 Reddiyapatti Thoziliyal
9) A.1364 Puliampatti
10) Q.849 Aruppukottai Thoziliyal
11) RH.110 Sowdambigai Thoziliyal
12) RH.61 Samundeeswari
13) RH.83 Nehru
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14) RH.185 Nam Nadu
15) RH. 231 Sowdeshwari Mahalir
16) RH.179 Kodai Vallal
17) RH.85 Kamaraj
18) RH.154 Sri Valavantha Amman
19) RH.94 Venkateswara
PRODUCTION TO PROMOTION RAW-MATERIAL
PROCUREMENT
Yarn for weaving is procured from NHDC Coimbatore which
constitutes natural fibre like cotton and artificial silk yarns.
Fig.6: Raw material for weaving
DYEING FACILITIES
The society has its own dye-house to dye the yarn
required. All the dyes employed, possess good colour
fastness. The method used for dyeing of yarn is hank dyeing.
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Fig.7: Yarn Dyeing
WEAVING PREPARATORY
Fig.8: Winding
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The yarns for loom setup are ready well in advance for
the handloom fabric weaving process. This phase of preparation
begins with the selection of the yarn and its quantity continues
through dyeing, washing, winding, and warping/drumming of
the yarn, and ends with drafting and denting. Pre-looming
requires a lot of activities and consumes a lot of time. The
preparation of the yarns during the pre-loom phase shall take 1-2
weeks.
Calculating the amount of yarn required for every colour is the
initial procedure. The necessary amount of yarn is then sent to
be dyed in the chosen colours. To get rid of extra dye, the dyed
yarn is washed. Following drying, the coloured yarns are
prepared for the succeeding process.
The upcoming stage, known as winding, involves winding the
dyed yarn into bobbins using chakra from ring bobbins, hanks,
cones, etc. The basic goal of winding is to create a single yarn
package that is ready for the forth coming process. Weft yarn is
also wound onto bobbins and threaded onto shuttles using this
method.
A method called warping is used to get the weaver's beam ready
for installation on the weaving machine. The thread is wound in a
specific order and in accordance with the length and width of the
warp from the bobbins on the creel frame onto a massive drum.
The drum is then unwound, and the entire warp is then transferred
to a weaver's beam.
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Fig.9: Drafting process
The next stage is drafting, which entails threading each
warp yarn through the heald wire's heald eyes. Drafting is the
process of choosing appropriate heald frames for specific warp
threads in accordance with the design.
Denting is the next step, which more precisely specifies
the fabric's breadth and the number of ends per inch by having
the warp thread drawn through the reed dent as instructed by
the reed plan. After the denting process gets over, the warp
ends are secured to the fabric beam and weaving may begin.
DESIGNS FOR SARIS
Design studios in paramakudi create the designs and
Jacquard cards for border and putta designs. In the
Aruppukottai region, 120 hook jacquards are utilised for
fabricating saris.
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Fig.10: Denting and weaving
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Fig.11: Sari Designs
COUNTS USED FOR HANDLOOM SARIS:
Counts
Fabric
40*40
Cotton saris
60*40
2/120*2/100
120*120
Artificial Silk Saris
2/60*40
Cotton Dhotis, Lungi
Table 1. Counts – Handloom Saris
HANDLOOM MARK
The Handloom Mark initiative was introduced by the
Government of India to provide a unified identity to handloom
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products manufactured within the country. This initiative serves a
dual purpose: it aims to promote the visibility of hand-woven
goods and also offers buyers the assurance that their purchase is
genuinely crafted by hand in India. Thus, the Handloom Mark
becomes a symbol representing passionate creativity, effectively
characterizing and distinguishing the product. In the specific
instance of Aruppukottai handloom saris, the Handloom Mark is
conferred by the Textile Committee situated in Karur.
Fig.10: Handloom Mark
HOUSEHOLD INCOME LEVEL
The development of the handloom cooperative led to the
creation several income streams, which significantly altered the
household income in Aruppukottai. In the past, the average
household income in the area was not very high. The primary
survey's data has been utilised to categorize the population's
income into five groups, with the ranges being less than 2000,
2000 to 4000, 4000 to 6000, 6000 to 8000, and above 8000 rupees.
The largest percentage for individuals fell in the income range
of 4000 to 6000, while the second greatest percentage is in the
range of 6000 to 8000.
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SCHEMES FOR HANDLOOM WEAVERS:
• Scheme for Savings and Security
• Family Pension and Old Age Pension Program
• Subsidized Welfare Initiative
• MUDRA Financing Program
REVIEW OF LITERATURE:
M. Dhineshkumar , (2018) : The handloom is one of the
traditional manual fabric-making techniques that best represents
the wealth of our nation. Millions of people in our nation's rural
and suburban areas have access to jobs. Customers are very
much contented with handloom products owing to their quality
and affordability, but they have higher expectations for the
designs.
The government has a responsibility to assist handloom weavers
by providing suitable incentives and subsidies. Just like the
nation itself, the Indian textile industry is incredibly diverse and
intricate, yet it adeptly harmonizes this diversity into a coherent
whole. The industry's foundation lies in its strong production of
a wide array of fibers and yarns derived from natural materials
like cotton, jute, silk, and wool.1
Chandan Das, (2016) : The handloom sector, which stands as the
largest cottage industry and provides a diverse range of job
opportunities second only to agriculture, has been given priority
when it comes to implementing programs for fostering and
enhancing the Khadi and handloom sectors. Cooperatives have
long been recognized as the ideal entities for creating the
infrastructure required to support various initiatives aimed at
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nurturing decentralized cottage industries like handlooms. This
has led to the incorporation of cooperative principles into the
design of almost all schemes. Furthermore, a concerted effort has
been directed towards establishing cooperatives specifically among
handloom weavers.2
Dr. G. Ramakrishnan, (2023): The manufacture of textiles is
heavily reliant on handloom clusters, where expert weavers utilize
natural fibres like cotton, silk, and wool to create beautiful
patterns. The process of dyeing is crucial in the fabrication of
textiles in view of fact that it offers colour and depth to fabric.3
Dr. Mukesh Kumar Singh, (2014) [Book]: Throughout ancient
history, the handloom has been India's prized symbol of tradition
and culture. Skilled Indian weavers have crafted remarkable
textiles since time immemorial. In contemporary times, handloom
fabrics play a pivotal role as raw materials for creating an array
of fashionable products.4
Shruti Sudha Mishra, Wrote (2020): After agriculture, handloom
has been a significant economic activity. It is an old custom to
infuse beauty into the threads and transform them into wearable
works of art. But over time, these traditions have become less
valuable for a variety of reasons, which has progressively
worsened the weavers' financial situation.5
CONCLUSION
Handloom weaving is an indispensable and inseparable
facet of the lives of handloom weavers. The rural economy holds
a significant role in sustaining the art of handloom weaving. The
handloom products were not confined to India alone; they were
also found in various other countries. The resilience of this
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industry can be attributed to the skillfulness of the weavers.
Notably, a substantial number of weavers in Aruppukkottai are
engaged in crafting saris for Co-optex, the Tamil Nadu Handloom
Weavers' Cooperative Society—a cooperative formed by traditional
handloom weavers in the Indian state of Tamil Nadu.
In the end, the weavers in Aruppukkottai view themselves
as a cohesive community united by their cultural heritage. Like
the warp and weft in their craft, they stand together with a
sense of pride in their unity and strength. Research underscores
that handloom weavers face an array of occupational hazards,
spanning from noise and exposure to hazardous substances to
physical labor and operating machinery with potential dangers.
These hazards encompass mechanical, physical, chemical,
ergonomic, and physiological aspects.
Currently, the industry is facing the challenge of being
labeled as unprofitable, putting the long-standing handloom
expertise at risk of fading away. Moreover, the advent of
technology and automation, coupled with the industry's lack of
profitability, raises the threat of losing a century-old traditional
approach and the intricate skills associated with it. This potential
loss not only jeopardizes India's competitive edge on the global
stage but also undermines a sustainable technology that could
significantly contribute to reducing the nation's carbon footprint,
especially as the world is increasingly focused on achieving lower
carbon emission targets.
REFERENCES:
1. M. Dhineshkumar, A Study On Problems And Prospects
Of Handloom Sector In Generating Employment At
Aruppukottai, ISSN No: 2321 – 5488,UGC Sr. No. 1208.
2. Chandan Das, Handloom Cluster of India: A Case Study
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Santipur Handloom Cluster, International Journal of
Humanities and Social Science Invention, ISSN (Online):
2319 – 7722.
3. Ramakrishnan Govindan, A study on present status of the
dyers of handloom industry: a review, Colourage, The
Magazine for Textile and Garment Processing.
4. Dr. Mukesh Kumar Singh, industrial practices in
weaving Preparatory, Woodhead Publishing India In
Textiles.
5. Shruti Mishra, A Study On The Present Condition Of The
Weavers Of Handloom Industry: A Review, International
Journal of Interdisciplinary Research and Innovations, ISSN
2348-1218 (print) ISSN 2348-1226 (online).
Web link:
1. http:/www.handicraftsindia.org.
2. http://www.handloom.nic.in.
3. https://anuprerna.com/blog/5-steps-involved-in-hand-
looms#:~:text=Long%20before%20the%20handloom%20weaving,
way%20to%20drafting%20and%20denting.
4. https://www.tn.gov.in/hhtk/dht/dht-schemes.htm
5. https://www.tn.gov.in/hhtk/dht/Co-optex/Co-optex-
introduction.htm
Images:
Fig.1: Handloom weaving
Fig.2: Location of Aruppukottai
Fig.3: Saris woven by Handloom weaving
Fig.4: Handloom weaving by Co-operative fold weaver
Fig.5: An overview of Industrial weaving centre
Fig.6: Raw material for weaving
Fig.7: Yarn Dyeing
Fig.8: Winding
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Fig.9: Drafting process
Fig.10: Denting and weaving
Fig.11: Sari Designs
Fig.10: Handloom Mark
Table:
Table - 1. Counts – Handloom Saris
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EDGE – A TOOL FOR TESOLTO UPLIFT
PROFESSIONAL EFFICIENCY OF INDIAN DESIGN
STUDENTS
MR. VENKATA MURALI KESABOINA1 , MR. PEEYUSH KUMAR
GUPTA2, & MR. SHAKTI SINGH3
---------------------------------------------------------------------------------------------
1Assistant Professor, School of Arts & Design, Woxsen University,
Hyderabad, 1Research Scholar Lovely Professional University,India,
&
2Assistant Professor, School of Arts & Design, Woxsen University,
Hyderabad, India.
&
3Sr. Behavioural & Practice- ERS Facilitator,School of Arts & Design,
Woxsen University, Hyderabad,India.
ABSTRACT
India is a country of cultural and linguistic diversity, with an immense
treasure of talent. On the one hand, where the country is promoting
innovation and entrepreneurship for progress, design education is
working in the same direction. Young talents are choosing a new
alternative design for education, for which only raw talent is required.
Design institutes help them to become innovators, problem solvers, and
entrepreneurs. On the other hand, due to linguistic diversity, a proper
talent transformation is not happening due to language barriers, cultural
differences, low confidence, and anxiety. To solve these basic problems,
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this research paper has been designed to propose the EDGE program
based on TESOL. The research paper envisages a solution-oriented
education program aligning the fundamental requirements of design
education with the objectives of TESOL and EDGE.
Keywords:TESOL, EDGE, Design Education, Communication Skill,
Cultural Competence
INTRODUCTION:
Education's system, method and nature have changed significantly and
will undoubtedly change even more. Many things must be done behind
this, one of which is the need for innovation. Until now, the
dominance of innovation was highest in science and technical
education, but in a changing form, it has also spread in many
humanities domains. Design in education is a domain which is the link
between humanities and, science & technology. In simple language, it
can convert illogical imaginations into reality. Hence the relevance of
this domain for innovation has increased. Industry, educational
institutions, and government agencies support establishing this
education for design with the same objective. Now what is important;
that the design students need to do the innovation in one way or
another. However, there is a question mark on their (outcome form the
students projects) economic or commercial viability which asks what is
the return on investment on the innovations? If so, how can it be
achieved and most importantly, how can it be delivered to the last
person? To prove the relevance of design education, it is imperative to
include all these questionable points in educational activities; otherwise,
design institutes will be of no use.
On the other hand, education transformation is happening rapidly at
the global level, which started in the last decade from the local to the
national level. In this transformation, there is a possibility of every
rural student getting recognition at the international level. Furthermore,
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for the last several decades, it has been seen that innovations are
happening in a considerable amount from the rural area because it has
more potential in terms of development. Out of these, the innovation
held to solve the local community's problems, called grassroots
innovation, has the most potential.
There are two main points on which it is vital to highlight; first is the
transformation of the education system, where the possibilities are
immense for students from every corner of the world, and the second
is grassroots or any innovation which needs to be commercialized and
distributed. The analysis of the impact of these two points from the
Indian perspective becomes significant because education is evolving
rapidly in this country, employment is a central problem due to the
population explosion, and foreign industries are seeing opportunities in
India, so they are willing to set up here for which they need not only
efficient but also profound talent and protection of intellectual property
of indigenous innovation, as well as commercialization of establishing
innovation, is needed for India's strong economy. The above points are
a matter to be considered, which can be seen through the prism of
TESOL, an effective design educational principle.
Significance of TESOL in Design Education
India is a culturally diverse country where many languages are spoken.
Based on work, Hindi and English are the two languages used
nationally in India. But local languages are dominant in practical and
speaking forms. And these are the 22 approved and 38 proposed in the
Indian Constitution; apart from these, many other languages exist. In
such a design education in which admission is based on the skill of a
creative and innovative mindset, There the linguistic problem is acutely
visible. This is reflected in the lack of commercialization of innovative
projects full of possibilities. Government, educational institutions, and
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design students are also looking at entrepreneurship, so all design skills
(hard skills), language and other factors must be taken care of. So that
design students develop eloquence, quick answers to all questions,
ability to convince the client.
TESOL (Teaching English to Speakers of Other Languages) can be
helpful for design students in several ways. TESOL can help design
students develop strong communication skills, which are essential for
success in the design field. Design students will learn how to
effectively communicate their ideas and designs to clients and
colleagues who may speak different languages and have different
cultural backgrounds.It can also help design students gain a deeper
understanding and appreciation of different cultures, which is important
in a global design industry. This knowledge and understanding can
inform their design work and help them create designs that are
culturally sensitive and inclusive.Design students who have TESOL
skills may be more likely to land jobs in international design firms or
with clients located in different countries. This can open new career
opportunities and increase their marketability in the global design
industry.TESOL can also help design students improve their problem-
solving skills. Design students will learn how to adapt their
communication and teaching strategies to meet the needs of different
learners, which can be applied to problem-solving in the design
process. This also can provide design students with valuable skills and
knowledge that can enhance their communication, cultural awareness,
career opportunities, and problem-solving abilities. All these skills are
important for success in the design field and can help design students
stand out in a competitive job market.
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MAJOR CHALLENGES DESIGN EDUCATION
In the context of language, diversity in terms of language can also be
seen among thestudents, and this diversity is a challenge in design
education. It can be categorized in following ways:
LANGUAGE AS A BARRIER FOR DESIGN EDUCATION:
Robinson&Buly, (2007) have explained that the familiarity with the
language can be a significant factor affecting design education.
Therefore, language can serve as a barrier in design education in
several ways. students who are not fluent in the language used in the
class may have trouble understanding course materials, lectures, and
assignments. This can lead to a lack of comprehension and difficulty
completing projects, which can negatively impact their overall
performance in the course (Tahirsylajet al., 2018). Design students who
are not fluent in the language may have limited access to online
resources and design publications written in the dominant language (Li,
2015). This can limit their exposure to new design techniques, styles,
and concepts. If students are not fluent in the language used in the
class, they may be hesitant or unable to participate in class discussions,
which can prevent them from receiving feedback on their work and
forming meaningful connections with other students and instructors.
students who struggle with language may feel isolated and
disconnected from their peers and instructors, which can impact their
overall sense of belonging and motivation to continue in their studies.
CULTURAL DIFFERENCES
Another challenge is cultural differences, which can impact the way
design is perceived and the design process itself. Cultural differences
can lead to a lack of understanding or miscommunication between the
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teacher and student, making it harder for the student to grasp the
design concepts (Collis, 2002). In addition, different cultures may have
different attitudes towards design and its importance, which can impact
the way design is taught and learned(McAllister & Irvine, 2016). For
example, some cultures may emphasise practical skills more, while
others may value creative expression or cultural context. Cultural
differences can also lead to miscommunication between teachers and
students, making it harder for students to fully understand the design
concepts being taught. This can be particularly challenging for non-
native speakers or for students who are used to different teaching
styles. Cultural differences can also impact the way students learn and
retain information(Rogers, 2007). For example, some cultures may value
group work and collaboration, while others may emphasise individual
achievement. Design instructors must be aware of these differences and
adapt their teaching methods accordingly. Design is often deeply rooted
in cultural context, and designers need to understand and respect the
cultural context in which they work (Chen, 2010). Cultural differences
can make it harder for students to understand the cultural context of
the design they are learning, which can impact their ability to create
culturally appropriate designs (Su, 2017).
ANXIETY AND LOWCONFIDENCE
Finally, non-native speakers may experience anxiety and a lack of
confidence when learning in a foreign language. This can make it
harder for them to participate in class, ask questions, and engage with
the material, which can hinder their progress in the course(Younes et
al., 2016).
Constraints for Fundamental Requirements for Design Education:
Creative thinking, continuous Learning, professional, technical, problem
solving, communication and interpersonal skill are the fundamental
requirements of design education. In which a quality verbal
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communication between teacher and students are required even the
communication also needs to be with other stakeholders. If there are
language barriers, cultural differences, anxiety, and low confidence
among the students, it might be impacting the learning and design
outcome negatively.
Table 1. Mapping the Fundamental Requirements with Major
Challenges
Fundamental
Requirements for
Design Education
Language
Barrier
(Robinson
&Buly, 2007)
(Tahirsylaj
et al., 2018)
(Li, 2015)
Cultural
Differences
(Collis, 2002)
(McAllister &
Irvine, 2016)
(Rogers, 2007)
Anxiety and
Low
Confidence
(Younes et
al., 2016)
Technical Skill
(Sweet et al.,
2010)(Buchanan, 2004)
X
.
X
Creative Thinking
(Middleton,
2005)(Doppelt, 2009)
.
X
X
Problem-Solving Skills
(Mettas& Constantinou,
2008)
(Yu et al. 2015)
(Gülbahar&Kalelioğlu
2014)
.
X
X
Communication Skills
(Li, 2015) (Aslan, 2021)
X
X
X
Interpersonal Skills
(Curtis & Nestor, 1990)
X
X
X
Professionalism
X
.
X
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(Buchanan, 1998)
(Carlgren, 2010)
Continuous Learning
(Gu et al., 2022) (Wu et
al., 2022)
X
.
X
X denotes the negative effect
Table no. 1 has enough ability to present the effects of identified
language related challenges in the different fundamental requirements
for quality design education. In most of requirements the challenges are
putting the negative effects.
Aligning the EDGE & TESOL with Constrains in Design Education:
TESOL programs, like the one taught by Carmen A. Morales-Jones,
help prepare educators to work effectively with English language
learners by providing them with the knowledge, skills, and strategies
they need to support language acquisition and promote academic
success. TESOL programs often emphasize the importance of cultural
competence and intercultural communication, which are essential skills
for working with a diverse student population. By fostering cultural
awareness and understanding, TESOL educators can help bridge
language and cultural barriers, promote inclusive classrooms, and
support student success.
Enhanced Development Growth and Enrichment (EDGE) is a concept
included in the curriculum to improve an individual's personal and
professional abilities for success in life. Apart from hard skills, an
individual also requires soft skills and EDGE, as a result, is a range of
skills such as behavioural skills, problem-solving, communication skills,
time management, leadership, empathy, emotional intelligence, conflict
resolution, teamwork, and many more. The main objective of EDGE is
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to enhance an individual's overall effectiveness and improve their
ability to adapt to different situations and environments. It focuses on
developing professional and personal skills to achieve goals and build
solid relationships with others. Individuals become better equipped to
handle any challenges and demands. As a result, the individual
becomes more resilient, adaptive and flexible to succeed in a rapidly
changing world.
Table 2.Aligning the objectives of TESOL and EDGE with Constrains
CONSTRAINS
TESOL
EDGE
Language Barrier
Effective
communication
Effective
Communication Skills,
Adaptability,
Cultural Differences
Cultural Competence/
Awareness
Collaboration Skills,
Attention to detail,
Emotional Intelligence,
Storytelling
Anxiety and Low
Confidence
Career Advancement
Confidence Building
Time management
skills
TESOL has a broad objective, and it is not just about effective
communication and cultural competence; it is more than that. This also
includes language Acquisition, Target Language, Methods, literacy and
teacher development. In comparison, EDGE is designed specifically for
design education where some of the considerations follow the objectives
of the TESOL, so the EDGE as a program can be an effective tool for
the TESOL for specific objectives to uplift the proficiency of design
students.Design is not just about creating visually appealing designs but
also involves various other skills that enhance the development and
growth of the designer. These required skills come under the umbrella
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of EDGE (Enhanced Development Growth and Enrichment). Some of
the essential skills which designers need to work on through the prism
of TEOSL are-
1- Effective Communication Skills- Designers must communicate their
ideas and designs effectively to clients, team members, and
stakeholders. Effective communication helps designers convey their
vision and get feedback that can improve their work.
2- Problem-solving skills- Problem-solving skills help designers find
innovative solutions to design challenges and create designs that meet
the needs of clients and stakeholders.
3- Time management skills- Design projects often have tight deadlines,
and designers must manage their time effectively to meet these
deadlines. Good time management skills help designers stay organized,
prioritize tasks, and complete projects on time.
4- Adaptability- The design industry is constantly changing, and
designers must adapt to new technologies, design trends, and client
needs. Being adaptable allows designers to stay current and remain
competitive in their field.
5- Collaboration Skills- Design projects often involve working with a
team of individuals from different backgrounds and skill sets.
Collaboration skills help designers work effectively with others, share
ideas, and develop solutions that meet everyone's needs.
6- Creativity- Design is the cornerstone of design, and designers must
think outside the box and develop innovative solutions. Cultivating
creativity helps designers create designs that stand out and meet the
unique needs of clients and stakeholders.
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7- Attention to detail- Designers needs this skill of attention to the
point because designers should see even the most minor errors in their
work. It helps ensure that designs are high-quality and meet the
standards set by clients and stakeholders.
8- Emotional Intelligence- Emotional Intelligence is the ability to
understand and manage one's own emotions and the emotions of
others. In the design domain, emotional Intelligence helps designers
build rapport with clients, manage conflicts, and understand the needs
and feelings of those they are designing.
9- Storytelling- Storytelling involves communicating a clear and
compelling narrative that connects with the audience and conveys a
message effectively. In the design domain, storytelling can help
designers share their vision and ideas with clients and stakeholders in
an engaging and meaningful way. Designers use storytelling to bring
their designs to life. And can create a stronger connection with their
audience and build trust, leading to more successful outcomes.
10- Confidence Building- Confidence is essential for designers as it
helps them express their ideas and designs effectively, communicate
and make decisions with assurance. Confidence also allows designers to
handle criticism and feedback positively, leading to better outcomes and
improved work.
So, EDGE plays a crucial role in the success of designers. By enhancing
these skills, designers can create more meaningful and fulfilling careers
and significantly impact the design industry.
Appraisal of EDGE in Design Education:
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Effective communication is crucial for design innovation because it
helps ensure that ideas are clearly understood and that everyone
involved in the design process is on the same page. By facilitating clear
and open communication, it can lead to the exchange of new and
creative ideas, foster collaboration and teamwork, and promote the
sharing of knowledge and resources.
For example, in the design of a new product, the designers might have
a vision for the product that they are trying to create, but they need to
communicate their ideas to engineers, marketers, and other stakeholders
in order to bring that vision to life (Lockwood, 2010). If there is a lack
of effective communication, it may lead to misunderstandings, mistakes,
and delays in the design process (Norman, 2013).
There are several ways to facilitate effective communication in the
design process. One way is to establish clear and consistent guidelines
for how information should be shared, such as through regular
meetings, design reviews, and progress reports. Another way is to
encourage open and honest communication, where everyone feels
comfortable sharing their ideas and feedback. Additionally, using visual
aids, such as sketches, prototypes, and models, can help bring ideas to
life and make them easier to understand and discuss.
A good example of effective communication in design innovation is the
collaboration between the industrial designer Jony Ive and the Apple
co-founder Steve Jobs. Ive and Jobs worked closely together to create
many of Apple's most iconic products, including the iMac, iPhone, and
iPad. Their collaboration was based on a deep understanding of each
other's ideas and a mutual respect for each other's perspectives
(Isaacson, 2011). This collaboration was critical to the success of their
design projects and helped bring many innovative products to market.
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In the design process, working with others can bring different
perspectives, ideas, and expertise to the table, leading to more
innovative and comprehensive solutions. Good collaborative skills, such
as active listening, effective communication, and the ability to work in
a team, can help students overcome challenges, make informed
decisions, and ultimately produce better outcomes (Sherwin, 2013).In
design, even small details can have a big impact on the final product
(Garrett, 2010). By paying close attention to details, students can ensure
that their designs are well thought out, visually appealing, and
functional. This can help them produce designs that are not only
innovative, but also practical and user-friendly. An example of the
importance of these skills can be seen in the design of a new piece of
technology. A team of students with strong collaborative skills can
work together to brainstorm ideas, test prototypes, and make informed
decisions based on feedback from each other and from users. They can
also pay close attention to details such as the user experience,
ergonomics, and aesthetics to ensure that the final product is
innovative, well-designed, and functional.
Emotional intelligence plays a crucial role in the ability of design
students to produce innovative ideas. Emotional intelligence refers to
the ability to recognize and manage one's own emotions and the
emotions of others. In design, this can include:
1. Empathy: Empathy is the ability to understand and share the
feelings of others. In design, empathy can help students to
understand the needs and perspectives of their target audience,
leading to more innovative and user-cantered designs (Jankowski,
K. et al., 2008).
2. Self-awareness: Self-awareness helps students understand their
own emotions, strengths, and weaknesses. This can enable them
to better manage their emotions and reactions to feedback,
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leading to more productive collaboration and teamwork
(Goleman, 1995).
3. Emotional regulation: Emotional regulation is the ability to
control and manage one's emotions, even in stressful situations.
In design, this can help students maintain their focus and
creativity, even when faced with challenges and obstacles.
An example of the role of emotional intelligence in design innovation
can be seen in the design process for creating a new product. A design
student with high emotional intelligence might use empathy to
understand the needs of their target audience and then regulate their
emotions in response to feedback, leading to a well-designed,
innovative product that meets the needs of its users.
Adaptability is one of the most important learning approaches for
design students because it helps them to effectively navigate and
respond to changes and challenges in their design projects (Goodman,
2018). In a rapidly changing design landscape, being adaptable is
essential for success.
1. Problem-solving skills: Design students who are adaptable are
able to quickly and effectively identify and solve problems that
arise in their projects. This can lead to more innovative solutions
and better project outcomes.
2. Flexibility: Adaptable students are able to adjust their design
approach and processes to fit the needs of each project. This can
help them to stay ahead of the curve and create designs that
are unique and effective.
3. Continuous learning: Adaptable students are open to new ideas
and are always looking for ways to improve their skills and
knowledge. This mindset helps them stay current with design
trends and technologies, leading to more innovative designs
(Lockwood, 2010).
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An example of the importance of adaptability in design can be seen in
the development of a new product. A design student who is adaptable
might approach the project with a flexible mindset, willing to pivot
their design strategy if necessary based on feedback or changes in the
market. This student would be more likely to successfully navigate
challenges and produce an innovative and successful design.
Cultural awareness is one of the significant factors for doing innovation
by design students because it helps them to understand and appreciate
the diverse perspectives, values, and needs of different cultures and
communities (Barile, 2019). This can lead to more inclusive, culturally-
sensitive, and impactful designs.
1. User-centered design: Design students who are culturally aware
are better able to understand and empathize with the needs and
perspectives of different cultures and communities (Munasinghe,
2017). This can lead to more user-centered designs that are
tailored to the specific needs of different groups.
2. Inclusiveness: Cultural awareness can help design students to
create designs that are inclusive and accessible to a wide range
of people. By understanding and appreciating different cultural
perspectives, students can create designs that are more
representative of diverse communities (Perez, 2020).
3. Global perspective: Design students who are culturally aware
have a broader and more inclusive perspective on design, which
can lead to more innovative and impactful designs. They are
able to draw from a wide range of cultural references and
experiences, leading to designs that are unique and culturally
relevant(Deardorff, 2006).
An example of the importance of cultural awareness in design
innovation can be seen in the development of a new product for a
global market. A design student who is culturally aware might research
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and understand the cultural values and needs of different communities,
leading to a design that is more inclusive and impactful.
CONCLUSION:
The expectation of innovation from design students has increased a lot
recently, and it will affect India's GDP in one way or another. Because
import can work only when there is construction within the country;
For which innovation is the only way. The most significant innovation
potential comes from design. Due to the diversity in Design Institute,
students have to prefer soft and hard skills more. EDGE is a promising
program under the larger TESOL umbrella. It not only supports the
fundamental requirements of design education but also can deal with
existing constraints.The application of EDGE (Enhanced Development
Growth and Enrichment) can significantly impact both personal and
professional life. The applications are as follows- In their personal life,
with the help of EDGE, individuals can develop skills which help them
maintain strong relationships, resolve conflicts, and manage their
emotions. As a result, individuals can achieve their personal goals in
their lives. In professional life, individuals with the help of EDGE are
getting valued by other employees. They can communicate effectively
with colleagues, clients, and customers, manage their time effectively,
motivate teams, solve problems and lead the team. It helps them be
more productive and contribute to the organisation's success. It also
allows individuals to work effectively and maintain a positive attitude
towards their work. Individuals will also have a positive attitude and
focus on achieving their objectives and goals.
Declaration of Conflicts of Interests
The authors declared no potential conflicts of interest.
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Funding Disclosure/Acknowledgement
None.
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Younes, F., et al. (2016). Internet Addiction and Relationships with
Insomnia, Anxiety, Depression, Stress and Self-Esteem in
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University Students: A Cross-Sectional Designed Study.
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SKILLS THROUGH CONTEXT-BASED LEARNING. International
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Peeyush Kumar Gupta isassistant professor at School of Arts & Design,
Woxsen University in Telangana. He is active researcher on art and
design education, advertising design, graphic design, sustainability and
social design. He has earned his from Banaras Hindu University in
Sustainability in Advertising Design.
Shakti Singh is senior Behavioural & Practice- Ethics Responsibility
Sustainability Facilitator at School of Arts and Design, Woxsen
University in Telangana. He is exploring new teaching techniques for
upliftment of design students through multiple educational practices.
Also it include in his research area.
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THE IMPACT OF CUSTOMERS: A STUDY
REFERENCE GROUP PURCHASE DECISION ON
SPORTS BRANDS
MR.LOGANATHAN T 1, DR.R.RAMAKRISHNAN2 ,
DR. MURALIDHAR B A 3 & DR.G.NALLAVAN4
---------------------------------------------------------------------------------------------
1Ph.D. Research Scholar, Tamilnadu Physical Education and sports
University and
Faculty, Department of Footwear Design and Production, HS Darga
Rd, Gachibowli, Rai Durg, 500008, Telangana state, India.
&
2Professor & Head, Department of Sports Technology, Tamilnadu
Physical Education and Sports University, 600127, Chennai, India.
&
3 Assistant Professor, Department of Textile Technology, Anna
University, Guindy, 600025, Chennai, India.
&
4 Assistant Professor, Department of Sports Technology, Tamilnadu
Physical Education and Sports University, 600127, Chennai, India.
ABSTRACT
After years of study, foreign academics have determined that the
reference group significantly affects consumers' brand preferences and
buying decisions. Due to the influence of traditional culture, several
15
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experts have stated that domestic consumers are more delicate in their
expressions than Western consumers who value individualism. The
purpose of this study is to investigate CPD measures based on the
effect of a reference group and to develop an understanding of how
this affects consumers and how it affects their decision to buy sporting
products.
When making a pre-purchase decision, customers may not have a clear
idea of a sports brand product or they may have chosen to buy a
product after carefully observing it among their reference group,
respectively. Social influence can have an effect on consumer purchase
decisions as people become more reliant on the perception and
assessment of others as sources of information. A person is more likely
to be swayed by social considerations while making a decision the
more insecure they feel a bout the accuracy of their assessment
(Burnkrant and Cousineau 1975; Deutsch and Gerard 1955). This study
covers survey respondents from various geographic places,
backgrounds, and families, and examines the effects of a reference
group's influence on CPD in people of various ages. In-depth analysis
will be done in this study on the effects of social reference groups on
CPD at various levels and the various social reference groups that
affect CPD on sports brands. This study will use the influence of refer
once groups to identify the many marketing effects that may occur and
to make it simple to successfully utilize the groups.
From a management perspective, this research assists marketers in
evaluating how the reference group's influence on the CPD of sports
brands that specialize in particular sports equipment has affected those
brands' CPD. Today, a growing number of men and women are
thinking about using athletic goods because they are influenced by
their icons or idols, establishing a mentality that connects the general
public to their heroes. This has resulted in a huge growth in the usage
of athletic goods over the past five years. The study will help
marketers maximize the potential of the reference group's influence on
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consumers' decisions to buy sports equipment from sports brands by
helping them understand the metrics of the reference group and their
impact on consumer purchase decisions. Companies should understand
the importance of reference groups and their impact on consumers'
purchasing decisions for sporting products across many platforms, and
include it into their entire marketing plans rather than spending money
on traditional marketing initiatives.
Keywords: Sports brands, Consumers decisions, Marketing study
INTRODUCTION
The modern sports industry covers everything from TV rights and
sponsorships to stadium food and memorabilia stands. The several
participants in this industry are striving for a bigger share of a pie that
might be worth up to €450 billion. A recent study by Kearney
estimated the value of sports clubs, leagues, and federations at between
€350 billion and €450 billion ($480-$620 billion). Examples of this
include building infrastructure, sporting goods, officially licenced
products, and live sporting events. The market value of India's sports
industry was around 16 billion Indian rupees in 2020. The majority of
media coverage of the nation's sports industry was for the Indian
Premier League. Pro Kabaddi and the Indian Super League are two
other domestic leagues that have recently grown in stature. The reason
for this is that more people than ever before prefer to play and watch
sports. In order to reach out to new client groups, firms can use sports
marketing as one of their marketing strategies. Major sports shoe
makers, for instance, design footwear for non-athletes as well as players
while designing sports shoes. Sports marketing is the practise of
modifying a marketing strategy and marketing workflow for use with
sporting goods (Mullin, Hardy, & Sutton, 2000).A number of marketing-
related factors, including demographics (Bennett, Ferreira, Lee, & Polite,
2009), brand equity (Underwood, Bond, & Baer, 2001; Watkins, 2014),
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motivators and constraints (Kim & Trail, 2010), the gender of sports
fans (Farrell, Fink, & Fields, 2011; James & Ridinger, 2002), and
typologies of sports consumers (Stewart), have been studied by
academics. The reference group of sports consumers is one factor that
affects their purchasing preferences. In this time, many occurrences
affecting young people follow the development of fashion trends and
the passage of time. This might be as a result of how simple it is for
individuals to see, look up information, or shop on social media. Most
young people, when it comes to fashion, draw their inspiration from a
range of sources, including new trends, price considerations, and some
who just buy without taking the most recent trend into account.
Reference groups are crucial for customer purchasing decisions,
according to marketing academics (Bearden & Etzel, 1982; Hoonsopon &
Puriwat, 2016). Many sports scholars use reference groups to influence
purchasing decisions in a number of ways, including endorser
attractiveness and product match-up (Tingchi Liu, Huang, & Minghua,
2007), endorser credibility for sports and non-sports products (Zhou &
Tainsky, 2017), selfesteem enhancement (Swanson, Gwinner, Larson, &
Janda, 2003), and team identification (Bodet & Bernache Assollant, 2011;
Madrig. People's perspectives. Each consumer's purchasing behaviour
reflects how their beliefs and values are influenced by group and
societal factors (Childers & Rao, 1992). There is a substantial body of
research on the influence of different types of reference groups on
customers' purchase intentions (e.g., Bearden & Etzel, 1982; Childers &
Rao, 1992; Luo, 2005; Tan, 1999). For various customer types, reference
groups have been shown to affect purchase intentions (Bearden & Etzel,
1982; Hoonsopon & Puriwat, 2016). Consumers regularly use reference
group suggestions to guide their purchases (Luo, 2005; Noguti &
Russell, 2014). Before making a purchase, consumers may, for instance,
talk to their friends and family. Consumers frequently base their
purchases on the recommendation of a celebrity or influential person.
Demand for sports gear is being driven by both an increase in general
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population participation in sports and a rising acceptance of sports
apparel as everyday wear. Other clients buy sports gear for use in non-
sporting activities, in addition to athletes who buy it to enhance their
performance in sporting events. Sports equipment companies have
responded by spending a lot of money on advertising to influence
consumer preferences. Global companies like Nike and Adidas are
driving the movement. Many newcomers are spending a lot of money
on advertising to increase their brand recognition and market share,
like Li-Ning from China. The selection process for sports apparel
considers fit, appearance, design, and material (Chae et al. 2006,
Dickson and Pollack 2000, Scheerder et al. 2011). In addition to product
attributes, other environmental and demographic factors also play a r
ole in consumer choice (Girard 2010). Sports equipment purchases are
more likely to be influenced by social factors because they are
recognisable as a fashion (Zhou and Wong 2008).
RESEARCH BACKGROUND:
The reference group of sports consumers is one factor that affects their
purchasing preferences. Reference groups are crucial for customer
purchasing decisions, according to marketing academics (Bearden &
Etzel, 1982; Hoonsopon & Puriwat, 2016). Many sports scholars use
reference groups to influence purchasing decisions in a number of
ways, including endorser attractiveness and product match -up (Tingchi
Liu, Huang, & Minghua, 2007), endorser credibility for sports and non
-sports products (Zhou & Tainsky, 2017), self-esteem enhancement
(Swanson, Gwinner, Larson, & Janda, 2003), and team identification
(Bodet & Bernache Assollant, 2011; Madrig. Group and societal
influences shape people's beliefs and values, and this is evident in each
consumer's purchase decisions (Childers & Rao, 1992). Childers & Rao,
1992; Bearden & Etzel, 1982; Luo, 2005; Tan, 1999; Bearden & Etzel,
1982 that investigates the impact of various reference group kinds on
consumers' buying intentions. Different sports customers may utilise va
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rious reference groups as a benchmark for their intended purchases of
sporting products. There are some limitations to the research that has
examined the impact of reference groups on athletic goods purchase
decisions. The body of existing literature sugge sts that there is still
room for more investigation into this issue as consumer attitudes
towards sporting goods shift in the modern day. There is a lack of
study, for instance, on the relative impact of various reference groups
(private, public, stranger) on buying intentions for sporting items.
Second, the influence of the type of sports consumer (observation vs.
participation) on the intentions to buy athletic products is not fully
explored. These elements raise questions about how sports consumers
respond to reference groups while making decisions about buying
athletic gear.
RESEARCH OBJECTIVE:
This study's main objective is to examine how reference groups
influence the athletic goods purchases of various categories of sports
consumers. The three different reference groups considered in the study
are private (family and friends), public (celebrities and influencers), and
strangers. I think that our research will contribute to extending the
application of social identity theory in sports marketing. The findings
can help managers by giving them a better knowledge of how sports
customers respond to reference groups when buying sporting items.
The study's goals are to:
I) analyse the literature on the influence of reference group
impact on CPD when purchasing sports equipment from
sports brands
II) Conducting an empirical assessment of the link suggested by
the theoretical model to address the research questions
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III) To examine the results and conclusions on the reference
group's influence or impact on CPD with regard to the purchase of
sporting goods from sporting brands.
GLOSSARY
CPD – Consumers Purchase Decision
SHOPPING PLAT FORM:
Social links between people form reasonably stable structures called
social networks. As social networks have grown in popularity, they are
now pointing to group or organisational connections as well as
individual interactions, such as those between families and departments.
Social networks can be used to spread business in formation among
users of the network. Social network users have access to resources like
knowledge and information. Social networks include both real-world
and online ones. In real life, interacting with other people is a person's
core behaviour, and buil ding a social network is something that
people do continuously. In the real social network, two well-known
concepts are the six degrees of separation rule and the three degrees of
influence rule. The Six Degrees of Separation idea states that there are
six persons between any two strangers in the real world. This
illustrates the presence of "weak links" in society, which cause weak
ties to unite individuals. The Three Degrees of Influence Rule states
that our actions, attitudes, and feelings have an impact on our friends
and their friends' friends (second degree) through our social network.
Three degrees of our friend's friends, friends of friends, friends of
friends, friends of friends, etc. If the impact rises above three degrees,
it will gradually dimin ish. Within three degrees of someone else, there
are significant connections and bonds between those individuals.
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In virtual social networks, human relationships are expanded from
those in real social networks. Real social networks and virtual social
networks are connected by the increasing usage of mobile social
software, enabling groups in social networks to exchange information
on products, experiences, and services, among other things. Using the
Internet, people can establish private social relationships. Virtual social
networks have a significant impact on how people behave in real-world
situations. Virtual social networks facilitate the growth of real social
networks, capital accumulation, and information dissemination. Mobile
social media, which makes up the bulk of the creation of the virtual
social network, gives users extensive information consulting and
knowledge sharing capabilities in addition to fundamental social
activities. Networked social structures called structural holes arise from
the Internet economy to modify interpersonal relationships. Structural
holes are non-repeated connections between two relatives.
THE REFERENCE GROUPS:
An individual or a group of individuals who have an impact on how
others behave are referred to as reference groups. People typically
judge themselves against the group, allowing the group to aid them in
developing their attitudes, knowledge, and mannerisms (Hoyer,
MacInnis, & Pieters, 2001). According to Bearden and Etzel (1982;
Hoonsopon (2016), a customer's choice may be influenced by a number
of variables, including his peer group. There are many different
methods that academics have categorised references. As an illustration,
use family as a reference group for Childers and Rao (1992). However,
Tan (1999) describes the reference group as consisting of experts and
celebrities. varied reference groups have varied effects on
individuals.Influence comes from families and friends. People's norms
and attitudes are shaped by their interactions (Childers & Rao, 1992).
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Reference groups, which play a crucial role in influencing consumer
decision -making, have an impact on consumer purchasing behaviour.
Different academics have different perspectives about what makes up a
reference group. For instance, reference groups, according to Park and
Lessig (1997), are actual or hypothetical people or groups that
significantly influence a person's opinions, desires, expectations, or
behaviours. A reference group is a prominent social group to which
clients can be compared, according to Du Weiqiang et al. (2009).
Several renowned scholars have looked into the reference groups. On
the other hand, people respect and imitate the high standards of
success set by celebrities and influencers (Childers & Rao, 1992). As a
result, if consumers base their decisions on information from various
sources, the impact of reference groups on purchase intention may
differ.
TYPES OF REFERENCE GROUP:
When choosing which goods and services to buy and use, consumers
are influenced not just by psychological factors, personality traits, and
lifestyle choices, but also by the people they interact with and the
many social groups they belong to. Ones purchasing choices are
influenced by the groups you have direct or indirect connections to.
These are the reference organisations. Primary and secondary reference
groups: A primary reference group is a group of people with whom a
person regularly interacts and whose opinions are significant to him.
Primary reference groups include family, close friends, neigh bours, co
workers, and coresidents. People in secondary reference groups are
those with whom you rarely communicate and don't appreciate your
opinion.
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Formal and informal reference groups: Some of the well-known social
reference groups in our culture are Rotary, Lions, and Jaycees.
Additional formal reference group kinds to which people may belong
include societies, clubs, and labour unions. A formal reference group
has a Well defined organisation, roles with clear authorities, and
objectives. An informal reference group, on the other hand, is ill-
defined and could not have clear duties and objectives. An informal
reference group can consist of your neighbours and you getting
together for lunch once a month to exchange information in a cordial
manner. There are membership reference groups and symbolic reference
groups. A membership reference group is one to which a person
belongs or is eligible to belong. A labour union may be joined by the
entire staff of a factory. A symbolic reference group is one in wh ich a
person aspires to belong but is unlikely to be accepted (Hitesh Bhasin,
August 4, 2010). Parents, other family members, and friends who
frequently interact with the person make up the majority of the private
group (Childers & Rao, 1992). The celebrities, experts, and influencers
that the person compares themselves to make up the public group
(Childers & Rao, 1992). Strangers are unfamiliar individuals that clients
have never encountered before (McGrath & Otnes, 1995). Others are
occasionally pulled into the social information-sharing with strangers
(McGrath & Otnes, 1995). For instance, customers can be seen looking
through badminton rackets while others are making purchases at the
same store. When a customer is considering a racket, if a stranger
makes a purchase decision, the customer may be persuaded by the
other's choice and buy the same racket. According to Hoonsopon and
Puriwat (2016), strangers may have an impact on a customer's
propensity to make a purchase. As a result, this study explore s how
these three factors interact. When choosing what to buy, consumers
may do so by adhering to social norms (Noguti & Russell, 2014;
Serralvo, Sastre, & Joao, 2010; Venkatesan, 1966) or by paying attention
to the endorsements and advertisements of well-known people
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(Bearden, Netemeyer, & Teel, 1989; Till & Shimp, 1998). This is due to
the fact that customers trust the data that others supply (Luo, 2005).
For instance, Kurt, Inman, and Argo (2011) discovered that when men
shop with their friends, they are more likely to make purchases.
Therefore, it is expected that reference groups will have an impact on
sports consumers' buying intentions, however the exact affects would
depend on the type of consumer. The rationale is that each type of
consumer has different attitudes, norms, values, and behaviours, and
they may utilise them as various sources of information when making
decisions.
Types of Reference Group’s Influence:
Sumarwan (2014) distinguishes four forms of reference groups: a)
formal groups, b) informal groups, c) ambition groups, and d)
dissociation groups. According to Schiffman and Kanuk's remark, there
are various forms of references (2007). These various forms of reference
groups have different levels of influence on the customers purchase
discission. They are of the following: Three reference groups,
importantly influence consumer behavior: informational influence,
utilitarian influence, and value-expressive influence (Park and Lessig,
1977; Bearden and Etzel,1982), which are briefly described below:
I) Informational Influence The informational influence is
motivated by the desire to make well-informed decisions and
maximise the available options. A person will accept an
influence that improves their understanding and ability to
deal with their environment, claims Kelman (1961). The
informative effect only manifests itself if the subject takes
into account and examines the behaviour and worth of
reference group members. A customer may view the advice
and recommendations from his or her reference group as
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genuine and, as a result, accept them with confidence when
they lack product knowledge and purchase experience. The
use of expert power and internalization in advertising may
be observed in advertisements that show physicians (or
actors) portraying doctors as spokespersons for over-the-
counter drugs. One example is Nike and Its advertising
slogans— “Bo Knows,” “Just Do It,” “ There Is No Finish
Line”—have moved beyond advertising into popular
expression.
II) II) Utilitarian Influence: The "compliance process," in which a
person agrees to fulfil a group expectation in exchange for
praise or to avoid punishment from the group (Kelman,
1961), can be u sed to characterise this influence. The best
example of utilitarian influence may be the famous Asch
1335 Experiment, in which participants were found to joyfully
follow the group responses, even changing their original
accurate answers (Rock, 1990). Certa in types of clients will
be affected by advertisements that claim that simply utilising
a particular product will lead to social
III) Value-Expressive Influence: The "identification process," which
motivates people to better express themselves in society by
becoming more like the group to which they aspire (Kelman,
1961), may be the best way to characterise this impact.
Under this influence, a person may decide to accept and
internalise the value of that reference group while fervently
adhering to the group's principles and rules while ignoring
the compliments or reprimands. For instance, Nike's
technological advancements revolutionised the athletic shoe
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industry, but these days, most people only associate the
brand with its eye -catching advertisements and professional
athletes.
HYPOTHESIS DEVELOPMENT:
Consumers can learn information from the group about products,
companies, spokespersons, and other topics that may or may not
influence their decision to purchase. This study investigates, via the
lens of social networks, the influence of member groups and non-
member groups (aspiration reference groups, dissociative reference
groups, and neutral reference groups) on consumer purchasing
decisions. Spectators are people who spend their time following and
watching sports (Trail & James, 2001). The main members of the
spectatorship group are spectators, viewers, and readers, but not
athletes (Shoham & Kahle, 1996; Sun et al., 2004). People are motivated
to be interested in sports for many reasons, such as social, community,
economic, and political (Ratten, 2016). The purchase intentions of a
spectator towards a sporting product may not have been influenced by
private groups. Based on the communication community proposed by
Shoham and Kahle (1996), spectators are a group of consumers who
share some communication tendencies. Spectators prefer to view sports
or related activities via television, Panjarat Pransopon and Danupol
Hoonsopon 8 websites, or stadiums where they can see popular a
thletes, celebrities, and influencers, rather than engaging in sports
competition or participating in sports activities. Moreover, spectators
who attend the sport competition will benefit from psychological
resources (e.g., positive mood, decreasing stress, and a feeling of
achievement) and personal development (e.g., increasing motivation)
(Inoue, Sato, Filo, Du, & Funk, 2017). These benefits can engage
spectators to become fans of teams or athletes. When spectators engage
with teams or athletes, spectators try to find solidarity with teams or
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athletes by purchasing products related to the teams or athletes (Da
Silva & Las Casas, 2017).
From the discussion above, the reference groups that affect
spectatorship are public groups including celebrities, experts, influencers,
and well-known athletes. Spectators perceive the sporting product by
watching sports and competitions, and mainly focus on famous athletes
or sports experts. According to Morrison, Misener, and Mock (2018),
they reveal that spectator sports generate spectacular revenue for the
spectator sport industry. Then, we expect that spectators have an
intention to purchase a sporting product influenced by the public
groups, not the private group. It can be hypothesised that
H01: The private group has no impact on the sporting product
purchase intentions of spectators.
H02: The public group positively influences the sporting product
purchase intentions of spectators
The second type of sports consumers are participation consumers, who
love exercise of all types, including competitive sports, fitness sports,
and naturerelated sports (Shoham & Kahle, 1996; Sun et al., 2004).
Today, a new type of participation is called fantasy sports. Fantasy
sports participation concerns people who are primarily interested in
online sport activities (Larkin, 2015). The reference group that may
affect these participants is the private group, including family, friends,
or close friends who exercise together. This reference group directly
interacts with the consumers and informs the consumers about the
sporting products during exercise or online activities. Trail, Anderson,
and Fink (2000) suggest that social interaction motivates participants to
join a group to exercise. This is because sports activities have bee n
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increasingly accepted in society (Sun et al., 2004), make life meaningful
(Inoue et al., 2017), and express the self-image of the participants
(Wang, Wann, Lu, & Zhang, 2018). Participation includes the need for
social acceptance in the group that the pe rson belongs to (Cialdini &
Goldstein, 2004). As such, participants need to be recognised and
immersed in their society in the real world (Escalas & Bettman, 2005)
through exercise with their group and online (Larkin, 2015) by
interacting with others in th eir networks.
The Impact of Reference Groups on Sports Consumers
However, participants have not been influenced by public groups. This
is because participants pay little attention to or have little interest in
watching sporting events or other entertainment (Sun et al., 2004). They
focus on exercise by themselves or with friends and colleagues to
improve their health or social status (Sun et al., 2004). Participants may
not use sporting products that well-known athletes use or endorse but
prefer to follow recommendations from their surroundings. It can be
hypothesised that.
H03: The private group positively influences the sporting product
purchase intentions of the participants.
RESEARCH DESIGN AND METHODS:
The research design is the overall plan of the study that assists in
identifying the solutions to the research questions (Saunders et al.,
2012). Researchers can be helped in directing and narrowing their
investigations by a comprehensive strategy that includes specific
research objectives, research issues, a particular source of data
collection, and data analysis tools (Saunders et al., 2012). The research
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design preparation phase, the first phase, and the second phase make
up the study's three main phases. In the first stage, the necessity for
study was established after a thoro ugh literature review. After creating
a theoretical framework and a set of hypotheses, the research strategy
was chosen.
The research was carried out in two stages in the second stage: data
gathering and analysis.
Initially, pilot research with a modest sample size was conducted to
assess the questionnaire's reliability and validity
DATA COLLECTION METHOD:
The main purpose of survey methods is to gather data from a sample,
statistically analyse it, and extrapolate the findings to the entire
population. For starters, a lot of data will be needed for this study
because it will use it to assess its theories analytical statistics. Because
survey methods give, i) Fast, ii) Eаsy, and ii) cost-effective technique of
collecting data from a large number of participants, they were deemed
aррrорriаtе for this study. Second, this method generates consistent
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data because particip ants are given a set number of answers making
the collected data easier to code, analy se, and interpret.
SURVEY METHOD:
Survey strategies employ a variety of data collection techniques,
including selfadministered questionnaires, telephone interviews, and in-
person interviews. Based on each method's advantages and weaknesses
in connection to the goal and objectives of the study, the most
pertinent and effective instrument is selected. This study's objective is
to carry out a substantial empirical investigation to support its
theoretical model and hypotheses. The self-administered questionnaire
was chosen as the data collection strategy for a number of reasons.
This approach is perfect for this research because questionnaires are
commonly regarded as one of the best data gathering strategies for
large samples (Saunders et al., 2012). The questionnaire method is also
acknowledged to be both time and money efficient (Bryman and Bell,
2011). Additionally, it has been demonstrated that this approach is
practical for both participants and researchers; participants may quickly
respond to questions, and researchers can quickly code the questions
for analysis (Grey, 2014). A telephone or in-person interview, however,
requires more planning than a selfadministered questionnaire does
because participants and researchers need to agree on a convenient
time and place to conduct the study. As a result, it is difficult for
researchers to connect with a large audience. s. As a result, rather than
conducting telephone or face-to-face interviews, a questionnaire is used
to collect data According to Ollis and Hussey (2009), the questionnaire
approach is very common among business researchers. However, there
is a crucial issue that researchers who intend to utilise the
questionnaire as a data gathering instrument should take into account.
It is important to pay close attention to the questionnaire's design since
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it affects the data's response rate, reliability, and validity (Ollis and
Hussey, 2009; Saunders et al., 2012). However, past studies have
provided some crucial suggestions for creating more approachable
questionnaires, which can assist researchers in obtaining high response
rates by utilising reliable and genuine data. According to Brymаn and
Bell (2011), employing a cover letter and providing clear instructions for
participants, avoiding long questions and preparing as short a
questionnaire as possible, and designing appealing layouts are among
the main points for more efficient questionnaire designs. As a result,
the abovementioned recommendations were taken into account during
the questionnaire design process in this study.
Questionnaire Development:
This investigation uses experimental research to examine how reference
groups affect each type of sports customer's desire to make a purchase.
People that were interested in watching or playing sports participated
in this study. Following that, participants who agreed to participate in
the poll were placed into one of two sports consumer categories:
participation or spectatorship. Hoonsopon and Puriwat's work was used
to divide the participants into two groups of sports consumers (2016).
Before doing the survey, the participants were requested to read the
instructions and messages that mirrored the qualities of the sports
customer. "The key to the success of this research rests on whether [the
participants] honestly envisage [themselves] in these situations," the
instructions and messages said (Luo, 2005, p. 290). The questionnaire
for this study was developed using a multi-item technique, which
involved measuring each construct with many items to increase validity
and reliability. All aspects were evaluated using the Likert scale
(Bryman and Bell, 2011). The scale has seven points, with 1 denoting
Strongly Disagree, 2 denoting Disagree, and 3 denoting Somewhat
Agree. Four is neither agreeing with nor disagreeing, five is somewhat
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agreeing, six is agreeing, and seven is firmly agreeing. In order to
guarantee that participants carefully read and answered each question,
this survey also included both positive and negative questions
(Saunders et al., 2012).
Questionnaire:
1. Have you ever purchased any Sporting product?
2. Which is your favourite sport?
3. How often do you buy Sports product?
4. Do you ask your friends for advice before purchasing a sporting
good?
5. If I am aware of my friend's preferred sporting goods manufacturer,
I have a tendency to buy those goods.
6. I buy sporting product following with well-known athlete.
7. I will refer to my friends sporting goods that I often use.
8. Is Influencer recommendations on social media are one of my
references to buying sporting products?
9. When I use influencer to purchase the same athletic goods brand,
will my confidence level rise?
10. When I choose a sports product in a store, I always purchase that
sporting product after unidentified store employees (sales consultants).
11. Influencers and well-known athletes can influence me in buying
sporting product of a particular sports.
SAMPLING TECHNIQUE:
Determining an appropriate sampling strategy and sample size is
essential for virtually all quantitative investigations (Collis and Hussey,
2009). Alternative sample processes are therefore evaluated first in this
section, and the selected sampl ing strategy is supported by supporting
evidence. the sample size used in this study is then reviewed in the
final section.
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SAMPLING STRATEGIES:
By choosing a fraction of the population, doing research on that subset,
and extrapolating the results to the complete population, sampling
strategies are defined by Burns (2000). According to Saunders et al.
(2012), the population is the full collection of cases, while according to
Bryman and Bell (2011), the sample is any portion of the population
that is picked for analysis. Sports equipment users or viewers of
athletic events in India make up the survey's target demographic, as
was previously mentioned in the context of the study. Due to time,
financ ial, and access constraints, it is not practicable for this study to
conduct research on the entire population (Bryman and Bell, 2011); as a
result, a representative sample was chosen. To choose the best samples,
researchers can use either probability sampling or non-probability
sampling. Probability sampling gives each example in the entire
population an equal chance of being chosen (Bryman and Bell, 2011).
Probability sampling techniques include simple, stratified, systematic,
and cluster sampling (Saunders et al., 2012).
In non-probability sampling, on the other hand, each example in the
entire population does not have an equal chance of being chosen; this
probability is unknown (Saunders et al., 2012) Non-probability sampling
techniques include snowbal l sampling, convenience sampling, and
quota sampling. Convenience sampling was utilised in this study
among the sample strategies covered above. Its high efficiency in terms
of time, money, and effort is the reason for this. Convenience sampling
increases the likelihood that data will come from the easiest subjects,
such as students, locals, or Internet users. Additionally, convenience
sampling permits deliberate sample selection that is consistent with the
goals and objectives of the study. (2012) Saunders et al.
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SAMPLE SIZE:
Determining the sample size is another significant challenge for
researchers who chose the appropriate sample size. According to Collis
and Hussey (2009), the sample size should be sufficient to adequately
represent the population. Th e community would be better represented
by a larger sample size, and researchers must be able to generalise the
results and meet the study's aims. data from a total of 120 Indian
samples were thus utilised in this investigation. Collis and Hussey
(2009) further note that selecting small sample sizes involves the danger
of prohibiting researchers from carrying out crucial statistical tests and
finding correlations between the proposed variables. However, it was
determined that the sample size in this study was adequate for using
SEM and analysing a theoretical model. (Tabachnick and Fidell, 2014).
PILOT TESTING:
A pilot test was conducted to evaluate the study's questionnaire. It is
crucial for researchers to evaluate the questionnaire before utilising it to
collect data. By selecting a small sample of people who are willing to
participate, pilot research can be c onducted. resemble the sample from
the entire study to assess a document's readability, pilot testing is
employed. Participants' discomfort is a result of difficulties,
understanding cryptic instructions, and spotting unclear questions
(Bryman and Bell, 20 11; Cooper and Schindler, 2014). Through Pilot
testing can be used by researchers to optimise the information flow and
clarify assertions in the questionnaire. content; ultimately, it enables
academics to increase the validity and reliability of the questi ons. 2012
(Saunders and associates). As a result, this investigation's pilot study
included 15 participants. All respondents were encouraged to complete
the survey and offer comments on the questions' legibility, clarity, and
flow as well as layout. Becaus e of this, during the pilot study,
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participants offered valuable feedback, and the questionnaire was
revised as a result. While some questions have been answered, others
have been moved. In order to ensure that respondents had no trouble
responding, the questionnaire's structure and flow were also modified.
150 tests for the reliability of sample size were performed using the
SPSS programme.
DATA ANALYSIS:
The aim of this study is achieved through a variety of data analysis
approaches. The first topic covered in this section is the examination of
the survey data. The majority of the time, data analysis means reducing
a huge quantity of information to a manageable amount. It is essential
to look for experienced assistance. The results of questionnaires and
experimental tools will be examined. The information that was acquired
by experimentation, surveying, or observation is listed below. There will
be a need for action.
Data editing: Raw data should be adjusted before the analytical process
starts. There's a chance that information was hastily written down and
needs to be decoded. Data should be changed before being presented
as information to ensure that the numbers and words are accurate.
Editing can be done manually, using a computer, or u sing both
methods, depending on the medium, whether it be paper or electronic.
There are two degrees of editing: macro and micro. Micro editing
involves correcting the foundational records. Aggregates are contrasted
with data from other surveys, files, or earlier iterations of the same
data on a bigger scale.
Coding: The qualitative data must be categorised as the last phase in
the data collection procedure. It is the process of formatting responses
so that computers can read them. By generating categories and ideas
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based on the data, coding is a "systematic means of condensing large
data sets into smaller, more analy sable units."
Categorising: To categorise data, a researcher separates it into sets of
classes, groups, or segments that are mutually exclusive. Age, gender,
religion, and other categories are illustrative of nominal scales that can
be used for this purpose. The category is determined by the inquiry.
Entering information Data may be modified using technology. Data can
be gathered on a scanner answer sheet, which allows a researcher to
enter it into a computer file directly. In certain circumstances, raw data
is manually input into a computer and saved as a data file
The data analysis has three objectives:
• Getting a sense of the facts; • Validity and dependability; and •
Testing the investigation's hypothesis
ANALYSIS OF QUANTITATIVE DATA:
Reliability and Validity: The internal reliability of the instruments is
assessed using Cronbach's al pha () test. the consistency of the
measurements that make up the scales is shown by the Cronbach's
alpha test. Additionally, this study performed convergent and
discriminant validity tests. Convergent validity describes how the
measurements are related to one another and whether or not they may
be on the same scale. It was explored using the composite reliability
(CR), average variance extracted (AVE), and factor loadings (Hair et al.,
2010). Contrarily, discriminant validity allows researchers to determin e
whether a measurement is a reflection of any other measurement (Hair
et al., 2010).
Structural Equation Modelling:
According to Hirsch et al. (2010) and Bentler and Hou (1987), one of
the most important statistical methods for developing and testing
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theories is the use of SEM. Social science scholars have been using
SEM more and more recently (Fan et al., 1999). A combination of
multivariate techniques Make up the statistical method known as
structural equation modelling (SEM), which simultaneously assesses the
relationships between dependent and independent variables in the entire
hypothesised model (Henri, 2007). As a result, this study has used the
SEM technique to validate its proposed theoretical model and
hypotheses. The SEM technique includes two phases: confirmatory
factor analysis (F) and structural model testing. The letter F is used to
confirm the relationship between a collection of measurement items and
their related factors, whereas testing the structural model refers to
examining the relationships between the factors as hypothesized. Many
scholars, however, draw attention to the assessment of model fit.
THEORETICAL BACKGROUND OF RESEARCH MODEL:
It can be inferred from a theoretical basis and associated research that
reference groups have a variety of influences on sports consumers. Due
to the pressure of the group's efforts to establish standards for its
members, reference groups directly alter the behaviour of customers.
THE RESEARCH MODEL:
This study argues that there is inadequate data from the stimulus
organism response model to fully understand how consumer purchasing
decisions for sporting goods are influenced by reference groups.
Consequently, the proposed research model is created. This offers a
thorough evaluation of all the assets. The investigation requires certain
measurements and qualities.
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PRELIMINARY EXAMINATION OF THE DATA The data was verified
for missing values at first, but none were discovered in this study. The
data was then subjected to a second round of preliminary analysis
utilizing normality tests in order to prepare it for further study.
VARIABLES UNDER STUDY A variable's values or quantum can
change. Invariable, consistent, constant, or fixed are its opposites. It is a
concept in research similar to selling and profit. Business research
variables are divided into two categories. Both the dependent and
independent variables are that.
DEPENDENT VARIABLE A dependent variable is one which is
dependent on another variable. It is observed as to how it responds to
the changes made to the independent variable. In this research,
dependent variable includes: Customer Purchase Decision
INDEPENDENT VARIABLE It depends upon another variable. It always
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stands alone. In this research, independent variables are: I) Reference
groups
CONCLUSION:
Meeting The Research Objectives: The initial goal was to conduct a
literature analysis based on the influence of the reference group on
CPD while shopping for sports equipment. In order to answe r the
question, the next goal was to empirically assess the relationships
hypothesized in the theoretical model. The final goal was to assess the
outcomes and findings on how to conduct research. When buying
sporting equipment, customers' decisions are impacted by their reference
groups. Chapters 2 and 3 of this study, which assessed the literature
currently available on the impact of reference groups on CPD, provided
the study's findings. At first, reference groups' introduction and effect
on CPD were illustrated, along with advantages and disadvantages. The
effect of reference group relationships on customers' decisions to buy
sporting items is then discussed. Chарter3 of this thesis' methodological
section presented the research's data collection process, as well as the
justifications behind it. The results and findings were then presented in
Сhарter4 and in Seсtiоn4.2 including the results of preliminary data
analysis, descriptive analysis, reliability and validity tests, СFА, and
SEM. The results and findings obtained in this research were discussed
in Chapter 4 through considering previous studies.
SUMMARY OF RESEARCH FINDINGS:
The types of reference groups that were discovered in this study a re
predictors of what kinds of athletic items consumers will choose to
buy. Independent factors and reference group types have an impact on
customers' purchase decisions. The reference group's influence graph
significantly influences how well-informed a consumer is about the
product they are willing to purchase. The SOR Model, or Stimulus-
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Organism-Response Model, was used to design the research model for
this study. From a marketing standpoint, this study gives a frame of
reference for marketers to understand the impact of reference group
influence on customer purchase decisions. The substantial rise of the
sports sector has drawn the attention of a number of marketing
academics and practitioners. Many researchers looked into a variety of
elements that influenced sports fans' buying intentions. This study
contributes to the present knowledge of sports consumers' purchasing
decisions by clarifying the impact of reference groups (private, public,
and strangers) on athletic goods purchase intentions for each type of
sports consumer (spectatorship and engagement). The study found that
reference groups had an impact on the purchasing intentions of sports
consumers. On the other hand, there was variation in how reference
groups affected the purchasing intentions of sports consumers. Some of
the contributions made by our research include the following:
LIMITATIONS:
Convenience sampling and the snowballing technique are non -
probability sampling methods used in this study to gather data. The
convenience sampling method has a restriction when it comes to
extrapolating findings from a small sample to a large population. There
are many important limitations to be mindful of despite the fact that
the data indicate the impact of reference groups on purchase intentions
for each type of sports client, adding to the body of existing research.
First off, some sports fans may watch and participate in sports at the
same time, making it more challenging to categorise them and evaluate
the data. Future research should examine how sports enthusiasts behave
while they play or watch sports. Second, because this study employed
cross-sectional data, it is unable to establish a causal link between
reference groups and plans to b uy athletic gear. Future research
should gather longitudinal data to see whether the conceptual
framework has a causal impact. Third, do sports fans who watch them
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online experience the same impact from reference groups as those who
watch them live? Future research should examine how various media
forms affect the purchasing intentions of sports enthusiasts. Fourth, it
would be interesting to examine the various categories of sports
consumers in terms of moderating impacts. This impact can produce
more enlightening results when analysing the strength of the
relationship between reference groups and purchasing intentions.
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A COMPARATIVE STUDY OF NIRMAL CRAFT
DESIGN: PRESENT SCENARIO
MR.RAMBABU MUPPIDI1, MR.NARESH KUMAR2,
&
MR. K.ELAYARAJA3
---------------------------------------------------------------------------------------------
1Ph.D. Research Scholar, P.S. Telugu University and Faculty,
Department of Leather Goods and Accessories Design, FDDI
(Footwear Design Development Institute, Hyderabad Campus,
500008, Telangana state, India.
&
2 Faculty, School of Footwear Design and Production, FDDI,
(Footwear Design Development Institute), Hyderabad Campus,
500008, Telangana state, India.
&
3Senior Faculty, School of Footwear Design and Production, FDDI,
(Footwear Design Development Institute), Hyderabad Campus,
500008, Telangana state, India.
ABSTRACT
One such media art form that Nirmal artists are famous for is Nirmal's
cast Nakashi (in telugu Nagishi mean=Mean Ornamental
craftsmanship) , who knows no other way to go to the village of dolls
and continue to make art forms. The artists are the artists who are
16
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continuing to art form while imparting such education taught by the
ancestors to the generations and conveying the many techniques in it.
After many years, these are the artists who gave a few lakhs to this
world with their bare hands, thinking that profession life. Presently this
area is in Nirmal district of Telangana state. Near Nirmal village near
river of Godavari village has darshan far state with the people of
Nirmal village in united state in adlibbed district in andhrapradesh..
My paper revolves on the Nirmal Artisans livelihood, Design methods
method of preparation, techniques, the community; other crafts from the
community, ways to revive to future generations, Recognition from the
government and its intervention which will elevate the status of this
rural craft.
Keywords: Craft designs, revival, livelihood, art form, artistic
exploration, wooden sculptures.
INTRODUCTION
Based on the stories told by grandmother when we were children, their
art forms are based on stick figures, we have many stories about them,
they move our mind and know them thoughtfully, we would have
made many efforts. Some of the stories are very close to our journey
and are very close to our life. These dolls are seen as a proof of our
ways of life. These dolls belong to such a category. There are many art
forms that are introduced to the society by mother and father holding
hands and leading them in childhood. The current state of the modes
is largely dependent on them.
Back ground of the study: History of Nirmal In Historically, this
region is famous for its paintings and stick figures, which were
recognized by the Kakatiya kings in the 14th century. Nirmal artistes
were famous for performing plays in that period. Our artistes whose
passions and dramas are at the fore they were called Nakashi artist
name is Jhingar brought in Sultans at that time they were brought
from Rajasthan by the authorities 17 th century Nimma naidu a local
khiladar and leader based on a book written by Nimmanaidu.Nimma
was given by Nimma naidu which was later modified as nirmal. The
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traveller visited enugula veera swami he visited in 1830. 1955 nirmal
wooden craft society established.
Telangana region which is famous for Nirmal Dolls, Nirmal District
Nandu is closest to Adilabad Nizamabad Hyderabad to Mahbubabad
Center Location Nirmal region artists are very famous. For thousands
of years, many families are dependent on carving and carving wooden
figurines and sculptures. This is a dream of heritage like what our
ancestors gave us in carving sculptures. They have many lives and
stories behind such sculptures. Their work is very famous. Moreover,
the central government has recognized and honoured their talents at
the state level. Moreover, they have received many prizes at the state
level. They were awarded by 1983 the then Chief Minister Shri
Nandamuri Taraka Rama Rao in 1955.
Raw material: wood Tella poniki, play wood, colours, hexsbleade,
hemmer, Chisel.
About the Tella poniki wood: Tella poniki wood (white wood) the
wood is used to give its name to the sculptures that are being made
Tella poniki (white wood) stick is very cute, the effect of which is the
weight of the sculpture itself, and as a result, it has the least
advantage. At present, the manchiryala forest has been bought to be
sold in Login Forest, where those who are suitable for Ra material
wood themes’ art forms, from small to large size, are dried and after a
week, they take the work of starving and start making dolls.
Design development Process: As part of design development, Nirmala
is made as part of the study. Colours: After you make the wooden
doll, you use amazing colours for it.
LIST OF WOODEN DESIGN SCULPTURES:
S
l.
N
o
Wooden toys Themes
S
l
.
N
Wooden toys Themes
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o
1
Mythological: Rama, Laxman,
Sita, Hanuman
4
Religious: Ganesh, Krishna, Ayyappa,
Balaji, Venkatewara Naamas
2
Musical instruments: Veena
,Drums, Guitar, Flute, Kola
tam, Sitar,
5
Floral designs: flowers, twigs,
creepers,
leaf motifs, trees, leaf plants,
vegetables
etc..
3
Birds: Swan, Peacock, Hen,
Parrot, loyal
6
Animals: Elephant, Cow, Tiger, lion,
Deer, etc..
Table –1: Wooden Sculptures Details.12
Problem of identification: The present study focuses on the present
scenario, the revival of culture and the restoration of endogenous craft
form to study. The art and craft along with the artisans the impact of
the rural artisan's Programme on employment, output and income
levels among the rural artisans. This study would essentially observe to
assess the impact of Rural Artisan Programme on employment, output
and income levels among the rural artisans in the Vijayawada
kondapalli region of Andhra Pradesh.
PRIMARY OBJECTIVE OF THE STUDY:
To my research study on that the old traditional methods and
informing them about the new technology, to them Awareness
informing.
OBJECTIVE OF THE STUDY:
The objective of my study is
To the Consideration of current working progress designs, skill
education process them through study
To the establish raw materials, electric materials ,spare parts
products study for them
To the awareness a program like skill ships for them through
study
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To them part of the Traditional Methodology Computer aided
design Methodology Variation Will Communicate New
Approaches.
To the traditional method of making the process and new ways
coming about the research and other topics
METHODOLOGY OF STUDY:
The paper is mainly based on collecting primary data and secondary
data followed by Interviews with artisans and observation of their
working on utility products, documentation.
Artisan descriptive research:
Image - 1: Senior artisan laxminarayana intention is to engage in craft
and inform the world about Nirmal's dream forms16
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Image - 2: Senior artisan racharela srinivas Nirmal craft Artists are
devoting your work to family17
Image - 3: Among the art forms they made was puppets.18
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Image - 4: Nirmal artisan meeting which unites artists to share their
craft with future generations.19
Hypothesis:
H1: Traditional Art form: Excellent works of art but unable to
maintain the old methods and have mechanical knowledge, Instead of
work and design traditional method, NEP 2021 based (skill training
adaptation) new education system through new education skill system
will be introducing need , they should be given a lot of training along
with training and they should be given the right courage.
H2: Product scenario: Based on the above history, party fights are
decreasing, the main reason is lack of proper price of wooden toys.
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Table –2: Scenario of generation to next generation changes Statistical
parameter of artisans.13
H3: Statistical parameter of artisans: Te be tested Traditional methods
follow and on Nirmal artisans From one generation to the next
according to any priority that is observed, this is the same, because
they don't get the right material of white wood missing real to die in
the traditional way they make
Process Manual Design in Flow chart:
Generation -…
Generation -…
Generation-…
0
50
Generation - Series 1 Generation - Series 2
Generation- Series 3
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Wood purchasing
Cutting long size
Sand papered
Smooth Surface
Assemble of Toy
parts
Sketch the toy
Rubbing &
Heating
Draying
Finishing
Seeds pest
Primary coating
Colouring
vegetable dyes
Warnish
applying
Draying two days
Packaging
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Flowchart –3: Traditional Design handicrafts in making Process.14
Result Analysis: When I went to this area as part of the research
study, it was observed that the raw material they need is very scarce.
Their products are not enough to produce them not only in the
country but also in the world. Moreover, when interviewing the artists
like here, the products are only in the seventh to tenth grade, that is,
create your brand one level. There is much that needs to be done. If
technology is set up as a support for products like there is an
opportunity to make more products in a very short time.
REVIEW OF LITERATURE:
G.Chiranjeevi reddy Wrote (2014): Environmental friendliness in
Manufacturing of traditional handicrafts: a new perspective, Indian
traditional handicrafts while preserving the environment, their products
are traditionally done in a traditional way, children educational toys,
Local products Toys, they make toy birds, Interior utility items ,
Children's toys educational curriculum Toys based on Ramayana
Mahabharata, Television puppets modules, Time storage If people do,
we can also provide our art resources to future generations. Dolls are
also easy to carry from one place to another. The dolls made are very
beautiful. Indian handicrafts are very exemplary in the world at that
time. As a part of globalization, the products have increased a lot. By
using technology to broadcast media and giving it in the form of
promotion, there will be many opportunities for families of feathers.1
EktaSharma, Wrote (2015): Tribal Folk arts of India, Handicrafts are
leading world class some of them are major and others are rural post
painting and others kalankari paintings, warly paintings, Nirmal
painting, Pichhvai paintings, aipan paintings, pithoro paintings, Gond
paintings, rebel Folk paintings are at the top position. The Nirmal
paintings belonging to this category are very artistic to see in this
Nirmal town. The community of hand artists here are called Nakashi
cast Their paintings are based on Hindu myths and legends, Indian
traditions use religious doctrines, they use the seeds of yellow and
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orange for this purpose, and many chemicals are also extracted from
herbs and used.2
Arti Nirmal, Wrote (2015): Shadows Speak: A Need to Revive the
Handicrafts of India: Indian folk art works are very unique, there is a
great responsibility to preserve them, cultural heritage is a dream, so
there is a great responsibility to preserve them and not to destroy
them, to recreate them, it is a difficult task to revive them, so if we
look at folk art forms from an artistic perspective, they can be used to
organize any prepared designs and preserve them for future
generations.3
Challa Laxmi Wrote (2020): The Quintessential Naqqashi Nirmal
painting art of telangana : source of inspiration for innovative textile
design ideas, Every region of India is famous for its auto, and this
structure is also made in the form of Mahabharata , Ramayana,
Handicraft here dates back to many centuries. Behind those decades,
their ancestors or results are still going on. Images of Mee are seen in
it. Many kaktiya kings, Mughal kings, Sultans, Salar jungI, Shams ul
Umra III , Shujauddin khan, let's look at this art. This art should be
encouraged. People from surrounding villages are also sent to
Hyderabad city,
ARTISAN INTERVIEWS
Samudrala Pentayya (President) said: Traditional craft making wooden
stick figures from ancestors sketch and in designing and craft product
making forefathers do the same work. Now we don't have any special
education to do this work for you, we are just raising puppets
according to the patterns handed down from our grandparents. Our
forefathers say that this area also got the name Nirmal due to the
dream we made in this area also, our wooden dolls are not only our
region but also our products are going to big cities like Madhya
Pradesh, Karnataka, Delhi, Haryana, Calcutta, Chhattisgarh, Hyderabad.
The Nirmal Society and the Andhra Government who are promoting
past days, now telanga government will encouraging more also once
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upon a time the Nizam Nawabs, encouraged handicraft development
society new delhi encouraged. (Interview with Fourth -Generation senior
Artisan Samudrala Pentayya).5
FAMILY TREE OF SOME NIRMAL WOODEN CRAFT:
Sl.
N
o
Artisan name
Age
Father
Grand
Father
Generation
/ craft
Type
1
Samudrala Pentayya
(President)
55
Bapu
Venkanna
4th, Nirmal
2
Brahmmalothu Shankar
60
Limbayya
2nd
Nirmal
3
Nampalli Satyanarayana
70
Limbha giri
Rajanna
4th, Nirmal
4
Nampalli Rajashekar
44
Satyanarayana
Rajanna
4th, Nirmal
5
Dhanuri Purushottham
48
Poshetti
Yellayya
4th, Nirmal
6
Racharla Kishan
55
Limbayya
2nd,
Nirmal
7
Gushani Shekar
46
Narshingam
Narisimulu
4th, Nirmal
8
Polakonda Srinivas
43
Limbayya
Gundaji
4th, Nirmal
9
Brahmmalothu
Limbayya
60
Shankar
2nd,
Nirmal
10
Racherla Laxminarayana
45
Shankar
2nd,
Nirmal
11
Racherla Srinivas
45
Limbayya
LaxmiRajyam
3rd ,
Nirmal
Table –4: Family tree of Generation crafts Nirmal Artisan.15
Brahmmalothu Shankar said: raw materials I am having a lot of
trouble with the raw material to make toys, to make these koyya (in
Telugu word) dolls, especially white wood, we are making the doll in
suitable size and shape. If we don't get these sticks (Tella Poniki raw
wood) to take to this generation, is it not the case that these legendary
craft works, which were once our material, were mostly available and
now they are going to disappear completely? At present, our work in
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this Nirmal art and craft centre is good, everything that I make is
taken from us by the construction society, and this is what it means
for the next generation. Where was it made? The art of life is woven
into the figures that are made here. It attracts many people to beautiful
work. The koyya sculptures made here have been highly encouraged by
many people and appreciated in many governments’ ways and our
fathers, fore fathers have received a lot of appreciations. (Interview
with Fourth -Generation senior Artisan Brahmmalothu Shankar).6
Dhanuri Purushottham said: We charge around 250 rupees for a toy
we make but the time taken by an artist to make a toy is about a
week and ten days and almost 10 to 15 days for mastering. If the
government orders us to increase the market, product price, we will be
very happy if we get a doll like the one I have made for our hands.
Also we can provide many thousands of dolls which are very
stimulating so that we can give large quantities of sculptures made by
us to factories like emporiums, Exhibitions, (HDC) office of
Development Corporation of Handicraft Private and Govt Lepakshi,
Cheneta etc. (Interview with Fourth Generation senior Artisan Dhanuri
Purushottham).7
Racherla Srinivas Said: This is one of the many art forms to
encouragement the handicrafts as a symbol of people's history, culture
and traditions. A handcrafted dream is a testament to the country's
melodious traditions colours. We have been developing as part of the
manufacturing process using natural colours, play for sculptures kinder
garden children like. Only natural colours are used without causing
any harm to the environment even if the colours are used at home
production. (Interview with Third Generation senior Artisan Racherla
Srinivas).8
Mallesh Said: A lot of encouragement has been given to the ancestors
craft for more encouragement is sure to come, if the state government
and central government recognize us with full focus on us, it will go
to the centres, exhibitions, emporiums and it will happen for
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generations and show our talent. (Interview with Third Generation
senior Artisan Mallesh).9
Kiran Said: Nirmal is very special which is suitable for kondapalli
dolls like in Andhra Pradesh and also for stick dolls like in Tamil
Nadu Karnataka regions. Business Covid before and after people's
attention on our dream is decreasing. The work that we do is very
honourable and while doing this work we want to preserve the
traditional roots and also our artworks are useful in providing teaching
aids to the students. (Interview with Fourth -Generation senior Artisan
Kiran).10
Racherla Laxminarayana Said: At present the art scene is good but it
will come again. Maybe the families of those who live depending on
these things will come, my situation was good before the market
corona until whatever handicraft families there were, and those families
also reduced doing this work. So my hope is that a society like the
Telangana government will recognize and buy our works of art at a
high price and bring light to our lives. Moreover, our works of art
have brought many names to the state at the national and international
level. How did Nirmal come from this traditional dream that comes
from our grandfathers and fathers, we want to preserve it till the end
and keep this art alive for future generations. (Interview with second
Generation senior Artisan Racherla Laxminarayana).11
Recommendations: By providing proper encouragement to the artists,
marketing methods in Telugu for local products, designing methods like
FDDI Accessories design department will provide to them more
innovative design, fashion designing, retail designing, etc. in local,
India, international wide will this department can be developed a lot.
Conclusion (including future scope of research in the area): Nirmal
artists from the past, what happened to bring the kings to build
temples, constructions of sculptures but the people who make this
dream are decreasing. Make in India is a part of local development
and products can grow even further if locally available art of stick
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figures is introduced to the global level. It is a dream of inheritance
from one generation to the next and the citizens of India can live for
some time if they preserve their patterns of design using modern
technology. What is important is that the Geographical Indication of
these figures has achieved 2009 nine rights so that the Indians video is
not yours but if the properties are made in Telangana every Pravet
can, Nirmal crafttelugu states will be informed by introducing and
conveying to the future generations.
Future scope of study and research in the area: Disappearing in the
feature is the responsibility of the government to private institutions
and educational institutions in India. to store and implement
documentary , designs, craft, forms and artwork? Apart from this
should be published in books, if Indian space is made part of the
curriculum, one can learn about Indian handicrafts.
Appendix:
Image-5 Author: Rambabu Muppidi , Nirmal artisan is a part of artists'
struggles and knows their hardships.20
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Image-6: A writer who shares art forms with group members.21
REFERENCE:
1. G.Chiranjeevi reddy, Environmental friendliness in
Manufracturing of traditional handicrafts: a new perspective,
Tradtional handicraft, research gate, Nift conference, Jan 2014,
p.7.
2. EktaSharma,Tribal Folk arts of india, research gate, journal of
international Academic Research for Multi Disciplinary, vol.3,
issue 5, June 2015, p.8.
3. Arti Nirmal, Shadows Speak: A Need to Revive the Shadow
Theatres of India, The Nehu journal vol.8, issue 1, June 2015,
p.21-31.
4. Challa Laxmi, The Quintessential Naqqashi Nirmal painting art
of telangana : source of inspiration for innovative textile design
ideas, Int-jlurx-microloil,appsci, vol.9, issue 8, July 2020, p.1-12.
INTERVIEWS:
5. Sri. Samudrala Pentayya, 4thGeneration Senior Artisan, Nirmal ,
Date 16.07.2022.
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6. Sri. Brahmmalothu Shankar, 2nd Generation Senior Artisan,
Nirmal, Date 16.07.2022.
7. Sri. Dhanuri Purushottham, 4thGeneration Senior Artisan, Nirmal,
Date 17.07.2022.
8. Sri. Racherla Srinivas, 3rd Generation Senior Artisan, Nirmal,
Date 17.07.2022.
9. Sri. Mallesh, 4thGeneration Senior Artisan, Nirmal, Date
20.07.2022.
10. Sri. Kiran, 2nd Generation Senior Artisan, Nirmal, Date 20.07.2022.
11. Sri. Racherla Laxminarayana, 4thGeneration Senior Artisan,
Nirmal,Date 21.07.2022.
Tables/ Flowchart:
12. Table –1: Wooden Sculptures Details.
13. Table –2: Scenario of generation to next generation changes
Statistical parameter of artisans.
14. Flowchart –3: Traditional Design handicrafts in making Process.11
15. Table –4: Family tree of Generation crafts Nirmal Artisan.
Images:
16. Image - 1: Senior artisan laxminarayana intention is to engage in
craft and inform the world about Nirmal's dream forms16
17. Image - 2: Senior artisan racharela srinivas Nirmal craft Artists
are devoting your work to family17
18. Image - 3: Among the art forms they made was puppets.18
19. Image - 4: Nirmal artisan meeting which unites artists to share
their craft with future generations.
20. Image-5 Author: Rambabu Muppidi , Nirmal artisan is a part of
artists' struggles andknows their hardships.16
21. Image-6 A writer who shares art forms with group members.
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THE ART OF SOUND
DR.RAVINDRABABU VEGURI1 & DR. CHANDANA KUMAR VEMANA2
---------------------------------------------------------------------------------------------
1Associate Professor, Department of Fine & Performing Arts, GITAM
University, Hyderabad, Rudraram Village, Telangana State. India.
&
2Associate Professor, Graphics and Digital Media, Manipal Institute of
Communication, Manipal Academy of Higher Education, Manipal .
Karnataka. India.
Music and art are governed by the same harmonic rules, but are just
perceived by different senses. Music is really a celebration of nature.
Consider the Swiss Yodeler and the intuit throat singer- the melodic
flow of their songs correlate directly with their natural environment. He
created colour of music model based on IsaacNewton’s theories of
colour and music, which has proven to be an invaluable template and
resource for creating music from art and art from music. Hesketh,an
equally dedicated artist to his artistic pursuits namely painting which
goes hand in hand with playing guitar dazzling a pool of audience.
He’s been making and teaching music for half a century .He is
painting music, imagining a beautiful mountain landscape painting
emerging from a Mozart melody.
In the 60s artists and musicians teamed up with dancers and theatre
folk to create happenings. John Cage, Robert Rauschenberg, Merce
Cunningham and many others combined art-making and music making.
17
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A fascinating time to look at how these collaborations set the stage for
post modern art. Earlier, at the turn of the new century, Picasso and
Cocteau helped out with the ballets of Dagliev by creating costumes
and sets and also helped express the "modern" music of operas. Most
recently, David Hockney has built magical sets for the opera, Mozart's
Magic Flute and others. Look into the watercolor works of Charles
Burchfield. His interpretations of sky/cloud forms are based on his love
and knowledge of music. Kandinsky was extremely interested in the
relationship between visual art and music- even naming his paintings
with musical terms.
Jorge Horst affirms that he wrote the piece entitled “Bruma”-thinking
about the painting of English artist Joseph Mallord William Turner and
trying “to transfer technical constants from visual arts to music”. Both
compositions bring us to the present century, in which technological
developments allow for new types of interrelationships between visual
and sound dimensions, blurring the limits established by traditional
artistic categories. While Sound Art, for example, lies in the intersection
between sight and sound and incorporates the latter as a material
susceptible to manipulation .The installation articulates both dimensions
with total freedom. In La ascensión [The Ascension], the installation
that represented Argentina in 2005 Venice's Bienale, visual artist Jorge
Macchi collaborated with composer Edgardo Rudnitzky to intervene the
space of the Antico Oratorio San FilippoNerialla Fava, Palagraziussi,
including the participation of an acrobat. The music composed for the
intervention was a piece for viola da gamba and the percussive sounds
were produced by the acrobat as he jumped on an elastic bed whose
size and shape reproduced that of the hall's vaulted ceiling painting. It
could be heard every hour live or constantly on the provided
headphones.
This broad subject –the relationship between music and the visual arts,
with the eventual addition of literature– has been studied by history of
art and musicology in different ways. The traditional approach has
been able to draw from valuable organological data as well as
information about the history of instruments and their symbolism from
the study of musical iconography. This approach informs us also about
musical practices, the history of musical performance and composers'
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lives. Incorporated in a sociological and anthropological discussion,
paintings that portray musical topics can also be interpreted in order to
study the role of music in a particular social context and, through the
representation of the body, connected to sexual and gender related
issues.
The connections between music and art fascinated me .Music is crucial
to my life as an artist; it inspires me, it moves me, it complements
every aspect of my creativity.
This was my first “bird song ” article on the subject and I would like
to explore the language and terminology music and art have in
common . Music and art are often called the “sister arts” and there are
many ways in which they are inter-related.It’s necessary to understand
the origin of sister arts .both are connected to our primary senses :
hearing and vision .At first these two senses , and the quality of their
respective input or information donot seem at all related –one sees
things- one hears things. Indeed they are separate in that
regard;however, the language and vocabulary used to describe things
we see and hear are often the same language. Many artists, particularly
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in the modern , abstract realm where concepts such as painting music
can be considered , have explored this theme or the idea of painting
music. They have used colour,composition, arrangement of elements,
shapes and forms to attempt to capture the “feeling” music inspires in
two dimensions. Kandinsky had a lifelong passion for music and
explored the idea of painting music in his compositions series. He
formed a longstanding friendship with the innovative Viennese
composer Arnold Schonberg who had major influence on his concepts
of composition. In fact it was perhaps his deep interest in music theory
and its connectionwith art that led Kandinsky to a more free expression
in his work.In his own word's he says "Color is the keyboard, the eyes
are the hammer, and the soul is the piano with the strings." After
reading up on him, I started to really think about the connection
between music and other artwork's, which in turn inspired this thread.
I find it fascinating to translate whatseem to be such different
experiences or senses in an attempt to unite them in some common
expression. This comes out very strong in my work” The bird song
“because there’sa feel of playing an instrument. I try to incorporate
these concepts in my artworks and installations in some way, whether
it be through rhythm, tone, texture, etc.. I always try to bring some
music into my art installation on sound- an aura of euphony– my hope
is that you can “hear” my paintings and art installations..Another such
best inspiration tome was Laya project – a collective tribute to the
resilience of the human spirit dedicated to the survivors of the
26thDecember 2004 AsianTsunami.
Laya project is the visual musical journey documenting folk
music recorded and filmed on location in Sri Lanka, Thailand,
Indonesia, Maldives, India and Myanmar, the 6 countries affected by
the 2004 Tsunami , mastered and enhanced at the EarthSync
Studio,Clementine (India) in association with boo films ( Malaysia) .
Some of these performances are rare, and documented for the first
time. The musicians are primarily from coastal communities affected by
the Tsunami of December 26th, 2004. For the international team of
musicians, sound engineers and camera men who came together for
this unique production, Laya Project is a celebration of life, and is
dedicated to the survivors. Crossing boundaries of genre while still
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preserving the music of the people, Laya Projects' essence is artistic
purity and simplicity. A group of 24 musicians interacted with each
other beyond music disciplines and cultural boundaries, interpreting
from their own cultural perspective music from 6 different shores
around the Indian ocean. It’s a celebration of sound, and the unity in
diverse music traditions. The submergence of tones of music and
colours in my artworks had its deep rooted secrets in visual appeal it
projects on the canvases. Thisproject had greatly influenced my life and
thought process. It preserves regional folklore traditions, embarks on a
musical journey crossing borders, preserving their music,an unique
artists group of their kind.
Music is my refuge .I could crawl into space between the notes and
curlmy back to loneliness.For me, work is essentially an expression of
the sacred. Composition, color, light and form produce a harmony that
echo in the viewer's awareness. If, I am successful as an artist, the
painting I create will bring the viewer beyond the call of senses,
beyond momentary concerns for past or future, to a timeless state free
of thought and self-consciousness. That painting then becomes an
instrument through which the viewer, like the artist, becomes present
to the joyful oneness of which we are all a part. Art is a kind of
thinking without concepts, a “free play” of the cognitive faculties freed
from the restrictions of linguistic concepts.
"I want to thank anyone who spends part of their day
creating...anybody who spends part of their day sharing their
experience with us.”
REFERENCES:
*Musical meaning and expression by Stephen Davies, CornellUniversity
press.
*Rethinking Music in Art: New Directions in Music Iconography. Papers
presented at the conference held at the Music Department of the
University of Otago, Dunedin, 26–28 June 2008.
Haddad, Natalie (November 2009). "Heat Waves in a Swamp: The
Paintings of Charles Burchfield". The Brooklyn Rail.
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*'Kandinsky: The Path to Abstraction, 1908-1922' is at Tate Modern,
London SE1 (020 7887 8888), June 22-Oct 1.
*“Multisensory Interactive Installation,” (MII) a musical interactive
installation based on Kandinsky’s paintings
*Wassily Kandinsky 1866-1944: a Revolution in Painting.
Books.google.ca. 2000..Retrieved 2013-06-04.
*Research paper “Wassily Kandinsky: Visual Music” by Heidi Elbers
An abstract of “Laya project “ is the visual musical journey
DOCUMENTARY OF FOLK MUSIC by South Asian artists
Cage, John (1991). "An Autobiographical Statement".Southwest
Review.Retrieved March 14, 2007.
Kotz, Mary Lynn (2004). Rauschenberg: Art and Life. New York City:
Harry N. Abrams, Inc.
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DESIGN AND FEATURES OF INDIAN
TRADITIONAL FOOTWEAR: A WINDOW INTO
CULTURE AND CRAFTSMANSHIP
Mr.ABDUL RAHUMAN M 1, Ms. SAMANNUAYA SUDHAS 2,
Ms. PRIYANKA RAI 3, & Ms. SHAIK KASAB AKHEEBA 4
---------------------------------------------------------------------------------------------
[1} Sr.Faculty, School of Footwear Design & Production,
FDDI (Footwear Design Development Institute), HS Darga Rd,
Gachibowli, Rai Durg, 500008, Telangana state, India.
&
[2,3,4} Students of B.Des FDP(2020-24),
School of Footwear Design & Production,
FDDI (Footwear Design Development Institute),
HS Darga Rd, Gachibowli, Rai Durg, 500008, Telangana state, India.
18.1 Introduction:
Indian traditional footwear stands as an enthralling embodiment
of the vast tapestry of India's cultural diversity and the intricate
brilliance of its artistic craftsmanship. Within the pages of this
chapter, we embark on an enchanting journey into the
mesmerizing world of design elements and features that define
the exceptional charm and profound symbolism of Indian
traditional footwear.
18
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In essence, this chapter serves as a gateway to the myriad
stories, traditions, and artistic brilliance encapsulated within
Indian traditional footwear. As we journey through its pages, we
shall unravel the threads that bind tradition with innovation,
identity with aesthetics, and the past with the present, all while
gaining a profound appreciation for the integral role that
footwear plays in preserving, celebrating, and transmitting culture.
18.2 Historical Evolution of Design for Indian Traditional
Footwear:
The historical evolution of design for Indian traditional footwear
is rich and diverse, reflecting the country's cultural, regional, and
climatic variations.
18.2.1 Tracing the evolution of design elements from ancient
civilizations to contemporary times.
18.2.1.1 Tracing the origins of Indian traditional footwear to
ancient civilizations.
The captivating allure of Indian traditional footwear finds its
roots intertwined with the ancient civilizations that once thrived
across the vast expanse of the Indian subcontinent. This journey
through time leads us to the very cradle of craftsmanship and
culture, where the foundations were laid for the intricate and
diverse footwear styles that continue to grace India's cultural
heritage in the present day.
18.2.1.2 Indus Valley Civilization (3300 BCE –1300 BCE):
In the chronicles of antiquity, the Indus Valley Civilization is a
remarkable chapter that holds some of the earliest traces of
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footwear in the Indian context. Dating back to a span between
3300 BCE and 1300 BCE, this civilization, flourishing along the
banks of the Indus River and beyond, offers us a glimpse into
the rudimentary yet ingenious beginnings of Indian traditional
footwear.
Archaeological findings and depictions etched within the artifacts
of this era paint a vivid picture of the footwear preferences of
the Indus Valley inhabitants. In a landscape where craftsmanship
and innovation were revered, it's fascinating to observe the
simple yet effective approach that these ancient people took in
addressing their footwear needs.
The footwear of the Indus Valley Civilization, often fashioned
from locally available materials, showcased a blend of
functionality and necessity. Natural fibers, including grasses and
reeds, took on new life as the foundational elements of their
sandals. While the archaeological remnants may not reveal the
finer details of these early footwear styles, their existence
illuminates a significant truth: the impulse to safeguard one's feet
while navigating the world is a timeless one.
Figure18.1 Indus valley civilization
18.2.1.3 Vedic Period (1500–500 BCE):
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In the intricate dance of time, the Vedic period emerged as a
pivotal epoch that witnessed the evolution of Indian society and
its reflections in the realm of footwear. Spanning from 1500 to
500 BCE, this era ushered in a transformation marked by a shift
towards sophistication, craftsmanship, and a nuanced approach to
footwear that mirrored the changing societal landscape.
Amidst the verses and hymns of the Rigveda, one of the oldest
and most revered texts in the Indian tradition, we find subtle yet
significant references that offer insights into the footwear
preferences of the Vedic people.
A noteworthy evolution during this period was the use of leather
as a prime material for crafting footwear. This shift indicated not
only a mastery of animal husbandry but also a burgeoning
expertise in crafting specialized items. The Vedic people
recognized the inherent qualities of leather – its durability,
flexibility, and protective attributes – and harnessed these traits to
create footwear that addressed both practical needs and aesthetic
sensibilities.
Figure 18.2 Footwear from Vedic Period
18.2.1.4 Materials and Construction:
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During the Vedic period, the crafting of footwear primarily relied
on natural materials. Leather, fabric, and plant fibers constituted
the core components utilized to fashion uncomplicated sandals
and protective coverings for the feet.
The techniques employed in constructing footwear during this era
were relatively elementary when juxtaposed with the intricate
methods that would emerge in subsequent periods. Sandals, the
prevailing footwear choice, were fashioned by either intricately
fastening strips of cloth or plant fibers around the foot or by
affixing leather straps to a rudimentary sole. The essence of this
craftsmanship lay in its simplicity, underlining a functional
approach to foot coverings rather than the ornate artistry that
would define later epochs.
The Vedic period's footwear materials and construction techniques
offer a glimpse into the pragmatic ethos of the time, where
necessity and functionality guided the creation of these early
footwear designs. This straightforward yet essential foundation
laid the groundwork for the evolution of the more intricate and
stylized footwear that would grace India's cultural landscape in
the years to come.
18.2.2.5 Social and Cultural Significance:
In the Vedic period, footwear carried both
utilitarian and symbolic roles, reflecting the
intricate interplay between function and
cultural context. While shielding the feet from
the environment was a practical concern,
footwear also carried deeper social meanings.
Footwear in this period bore the imprint of
social stratification. Distinct segments of society
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donned specific types of footwear that went beyond mere
protection. The privileged elite and higher echelons of society
often adorned more intricate and finely designed footwear,
showcasing not just their status but also their ability to
appreciate aesthetics.
Figure 18.3 Ancient footwear.
Conversely, footwear worn by commoners and the general
populace leaned towards simplicity in design and functionality.
This dichotomy in footwear styles mirrored the broader divisions
within society, underlining the disparities between the haves and
the have-nots. By examining the shoes of this period, we discern
a multi-layered narrative woven into the very fabric of footwear
– a narrative that transcended protection and traversed into the
realm of societal identity.
18.2.2.6 References in Vedic Literature:
Within the treasure trove of Vedic literature, the Rigveda, an
ancient and revered text from the Vedic period, offers scattered
but revealing glimpses into the world of footwear. While these
references aren't exhaustive, they provide a valuable window into
the significance of footwear in both everyday existence and
ritualistic practices.
The Rigveda sheds light on the role footwear played in daily life,
albeit sparingly. These references offer tantalizing insights into the
way footwear was woven into the fabric of existence during that
era. In particular, the Rigveda alludes to the use of leather
footwear. This subtle mention points to the centrality of animal
husbandry and the cultivation of specialized crafts during this
epoch. The leather footwear mentioned signifies the
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interdependence of humans and animals and serves as a
testament to the growing mastery of crafting techniques that
extended to materials as well.
18.2.2.7 Mauryan and Gupta Empires (322 BCE–550 CE):
As the sands of time-shifted, bringing forth the illustrious
Mauryan and Gupta empires between 322 BCE and 550 CE, the
sophistication of Indian traditional footwear continued its
evolution. This period witnessed not just political and cultural
transformations, but also a marked evolution in the world of
footwear.
During the Mauryan and Gupta empires, a discernible shift was
observed in the nuances of footwear. Footwear choices, reflective
of social class and occupation, began to display distinct variations
in terms of both materials and design. Leather, as a footwear
material, gained prominence during this era. The Gupta and
Mauryan periods marked an apex in the fusion of craftsmanship
and societal status.
The shoes worn by different strata of society demonstrated a
clear demarcation of materials and embellishments. The higher
echelons and nobility were drawn towards more intricate designs,
where craftsmanship and ornamentation reached new heights.
Leather footwear emerged as a favoured choice, resonating with
the growing expertise in animal husbandry and the mastery of
tanning and leatherworking techniques. The popularity of leather
as a material spoke volumes about the intersection of pragmatism
and aesthetic sensibilities.
In essence, the Mauryan and Gupta empires marked a pivotal
juncture in the evolution of Indian traditional footwear. The
intricate interplay of materials, designs, and social stratifications
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painted a dynamic portrait of the era's ethos. The sophistication
and creativity that flourished during this period set the stage for
the kaleidoscopic array of traditional footwear styles that continue
to captivate and inspire in the present day.
18.3.1 Medieval and Mughal Eras:
18.3.1.1 Elegance and Opulence: The pages of history unfurl to
reveal a captivating transformation during the medieval period –
a shift that ushered in an era of intricate elegance and
resplendent opulence within the realm of footwear. This phase
witnessed a departure from the understated simplicity of earlier
times, as elaborate designs and lavish embellishments took centre
stage.
18.3.1.2 Influences from Abroad: A sweeping canvas of cultural
exchange and trade routes emerged as a harbinger of change
during this epoch. The medieval era saw the infusion of fresh
design influences from distant lands, enriching the tapestry of
Indian footwear. The footprints of these interactions became
evident through the introduction of pointed toes and the
proliferation of intricate embroidery patterns that adorned the
footwear.
18.3.1.3 Royal Patronage: The Mughal era, with its fusion of
indigenous and foreign aesthetics, stands as an epitome of this
transformative phase. Royalty became patrons of footwear that
mirrored their status and grandeur. The footwear donned by the
aristocracy during this period was a showcase of artistry and
extravagance. Ornate designs, intricate inlay work, and the
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glistening of precious gems combined to create footwear that was
not merely functional but an embodiment of regal magnificence.
The Medieval and Mughal eras resonate as a chapter of
juxtapositions – the contrast between the intricate craftsmanship
and the societal structures, between the influence of foreign
shores, and the rootedness in Indian traditions.
18.3.2 Colonial Period and Modern Times:
18.3.2.1 Colonial Influence: The annals of history mark the
colonial period as a juncture where global influences are
interwoven with India's traditional footwear. This era witnessed a
fascinating amalgamation of Western designs into the fabric of
indigenous shoe styles. The contours of footwear shifted with the
winds of change, as closed-toe designs gained prominence due to
the sway of European trends.
18.3.2.2 Emergence of Modern Styles: As the nation embarked on
its journey towards independence, the pendulum of interest
swung back towards the roots of traditional craftsmanship. A
renewed appreciation for indigenous artistry breathed life into the
classics. Yet, this resurgence was not a mere reiteration; it bore
the imprints of contemporaneity. Modern adaptations of
traditional styles emerged, acknowledging the evolving lifestyles
while paying homage to the time-honoured aesthetics.
18.3.2.3 Contemporary Revival:
In the kaleidoscope of recent decades, a revival unfurled, kindling
a renewed passion for the preservation of traditional designs and
techniques. A symphony of voices, both artisans and designers,
joined forces to ensure that the tapestry of Indian traditional
footwear would continue to grace the contemporary world.
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Collaborations between designers and skilled artisans became the
bridge that connected heritage with innovation. Footwear
metamorphosed into a living canvas where threads of tradition
and strands of modernity intertwined, giving rise to a unique
fusion.
The colonial period and modern times stand as chapters of
adaptation, resurgence, and reinvention within the narrative of
Indian traditional footwear.
18.3.2.4 Sustainability and Cultural Heritage:
Amidst the global tide of environmental awareness, the world of
traditional footwear has undergone a transformation that reflects a
conscientious commitment to sustainability. With an acute
understanding of the impact of consumer choices on the planet,
designers are reimagining traditional footwear designs through the
lens of eco-friendliness. This paradigm shift has given rise to
adaptations that utilize sustainable materials and techniques,
aligning the elegance of tradition with the ethos of conservation.
In the intersection of eco-consciousness and heritage preservation,
we find a dual narrative that underscores the evolving dialogue
surrounding traditional footwear. With each step taken towards
sustainable design and cultural conservation, we honour not only
the aesthetics and craftsmanship of the past but also the world
that shapes our present and future. In these contemporary strides,
we witness the convergence of ethics and aesthetics, reaffirming
that traditional footwear is not just a vestige of history but a
living testament to the enduring spirit of humanity.
18.4.4 Influence of Cultural Exchanges and Trade Routes on
Design Choices and Motifs in Indian Traditional Footwear
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The intricate dance of cultural exchanges and flourishing trade
routes has etched an enduring imprint on the design choices,
motifs, and aesthetics that define Indian traditional footwear.
These exchanges acted as conduits for the mingling of concepts,
materials, and artistic techniques, resulting in the kaleidoscope of
styles that graced our heritage. Let's delve into how these
influences have woven an unbreakable thread into the evolution
of Indian footwear designs:
18.4.4.1 Silk Road and Beyond:
The Silk Road, a labyrinth of trade routes connecting Asia,
Europe, and Africa, assumed a role of paramount significance as
a conduit for the exchange of goods, ideas, and cultural nuances.
As a pivotal junction along this sprawling network, India stood
as a crossroads of diverse influences hailing from Central Asia,
the Middle East, and beyond.
This cultural cross-pollination yielded a fertile ground for the
fusion of design elements. Embroidery techniques, decorative
patterns, and even the integration of precious materials flowed
seamlessly, enriching the spectrum of Indian footwear aesthetics.
Amid of this expansive exchange, motifs and designs embarked
on a journey of transformation, absorbing the whispers of
faraway lands and echoing the aspirations of artisans who wove
their narratives into each stitch. The Silk Road traversed more
than just geographical terrains; it traversed the realm of creativity,
fostering a mosaic of design choices that resonate with the very
essence of India's cosmopolitan spirit.
18.4.4.2 European Contact and Colonial Era:
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The arrival of European colonial powers in India unfurled a new
chapter of interaction, as trade routes and colonies emerged as
conduits for the exchange of ideas and influences.
European footwear styles, characterized by their closed-toe
designs and distinctive lacing techniques, cast their imprint on
the landscape of Indian designs. This marked a transition, as
traditional styles harmoniously blended with these fresh
influences.
The infusion of foreign materials and techniques into the realm
of Indian traditional footwear represented a significant departure
from established norms. The synergy of diverse aesthetics
redefined the contours of Indian footwear.
18.4.4.3 Mughal Connections:
During the reign of the Mughal dynasty, a symphony of cultural
connections enveloped India, leading to an amalgamation of
influences from Persia, Central Asia, and the Islamic world with
the nuances of Indian aesthetics.
This era witnessed an exquisite intermingling of design elements.
Persian patterns, Central Asian intricacies, and the finesse of
Islamic artistry intertwined with the tapestry of Indian footwear.
The allure of intricate inlay work, elaborate embroidery, and the
incorporation of precious gems and metals adorn Indian footwear,
casting a spell of opulence and sophistication. The Mughal
emperors and their noble entourage, renowned for their lavish
lifestyles, emerged as patrons of artisans who crafted footwear
that epitomized luxury and artistry.
18.4.4.4 Regional Diversity and Adaptation:
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Cultural exchanges, far from breeding imitation, unfolded as a
symphony of creative adaptation within the realm of Indian
traditional footwear.
These exchanges didn't merely replicate foreign designs; they
spurred inventive adaptations that seamlessly interwove foreign
elements with existing styles.
Designs and motifs, like skilled artisans, often took on new forms
to align with regional preferences, climatic conditions, and the
profound cultural resonances of each locality.
The introduction of foreign techniques into the rich tapestry of
traditional designs showcased the malleability and versatility of
Indian craftsmanship. Each adaptation was not just an addition
but a reinterpretation that bore the indelible mark of the region's
identity.
18.5.1 Modern Revival and Globalization:
The modern era, with its currents of globalization, has broadened
the canvas upon which design ideas flow, transcending borders
and cultures.
The contemporary landscape of footwear design is an echo
chamber of inspiration that traverses the globe. The exchange of
ideas, enabled by globalization, has fostered a cross-pollination
that stretches beyond conventional boundaries.
Designers of today, acting as conduits of this global dialogue,
create footwear that encapsulates a fusion of traditional motifs
and modern sensibilities. These hybrid designs encapsulate the
essence of cultural diversity.
This fusion is palpable in every facet, from the choice of
materials sourced from around the world to the incorporation of
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diverse patterns, and even the reimagining of footwear structures
that harmonize the ancient and the contemporary.
18.6.1 Cultural Heritage and Preservation:
In the present era, the resonance of cultural exchanges and the
intricate pathways of trade routes on Indian footwear design have
ascended from historical footnotes to cherished keystones within
the nation's cultural heritage.
The resonance of these influences is now celebrated as an integral
component of India's cultural heritage. The footprints of diverse
cultures and distant lands are no longer traces in the sands of
time; they are cherished markers that have shaped the very
identity of Indian traditional footwear.
This celebration of heritage extends beyond admiration to active
endeavors that safeguard the legacy. The significance of these
influences is captured in exhibitions, educational initiatives, and
immersive workshops that invite enthusiasts to embark on a
journey through the annals of history and witness the exchange
of ideas that have left an indelible imprint on footwear design.
The modern age stands as a testament to the enduring echoes of
past interactions, where footprints from afar found a home within
Indian footwear. As efforts are channeled towards preservation,
education, and admiration, the footsteps of ancient trade routes
resonate anew, reminding us that every shoe worn today carries
with it the tales of a journey that spans continents, cultures, and
the spirit of human connection.
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18.6.2 Evolution Of Traditional Indian Footwear :
Figure 18.4 Evolution of Indian Traditional Footwear.
18.7.1 Highlighting the fusion of traditional and modern design
elements:
Fusion of Traditional and Modern Design Elements: Bridging
Timeless Aesthetics with Contemporary Flair
The interplay between traditional and modern design elements in
Indian footwear encapsulates the dynamic evolution of cultural
heritage in the face of changing times. This fusion is a creative
bridge that connects the legacy of ancient craftsmanship with the
demands and sensibilities of the modern world.
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Here's a closer look at how traditional and modern design
elements converge in Indian footwear:
18.7.1.1 Respecting Tradition:
Traditional shoe designs have a rich cultural meaning, symbolism,
and background. The key design components that characterize the
authenticity of the style are kept by designers as a tribute to its
tradition.The fusion method aims to respect tradition while giving
it new life.
18.7.1.2 Incorporating Contemporary Materials:
Modern design often involves the use of materials not available
during the time of the original footwear style.
Traditional Indian footwear can be made more comfortable,
durable, and appealing while still maintaining its cultural identity
by incorporating modern materials. This can be accomplished by
combining traditional design components with materials like
padded insoles, lightweight soles, or breathable textiles. The trick
is to achieve a balance between keeping the footwear's
authenticity and improving its functionality for contemporary
lifestyles.
18.7.1.3 Innovative Silhouettes and Structures:
Designers experiment with new outlines and shapes that
reinterpret traditional shapes.
To accommodate contemporary tastes and functionality, heel
heights, sole structures, and overall profiles have been modified.
Old and new silhouettes are combined to create footwear that
appeals to many different generations.
18.7.1.4 Embracing Modern Craftsmanship:
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Technological advancements offer new possibilities for intricate
detailing, embroidery, and embellishments. Modern tools and
techniques complement traditional handcrafting methods,
enhancing the overall aesthetic.The end result is footwear that
embodies the best of both worlds: meticulous craftsmanship and
modern precision.
18.7.1.5 Blending Patterns and Motifs:
Ancient symbols and designs are effortlessly incorporated with
modern components, deepening the narrative of the footwear.
Traditional patterns and motifs are re-imagined with a modern
twist, producing a visual language that resonates beyond
centuries.
18.7.1.6 Functional Modernization:
It's possible that traditional footwear was made for situations that
don't fit with contemporary lifestyles.
Comfort, ease of wear, and versatility are important factors in
this fusion, and designers adjust practical components to meet the
needs of today's wearer while maintaining the overall design
character.
18.7.1.7 Cultural Crossroads:
Fusion design highlights the variety of influences that define
modern design aesthetics and acts as a crossroads of cultures,
representing the connectivity of today's world.
The resulting footwear is a visual reflection of the harmonious
coexistence of the past and present, not just a fashion statement.
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18.7.2.1 Distinctive Features of Design:
Traditional Indian footwear is a treasure trove of diverse styles
that reflect the country's rich cultural tapestry. Despite their
regional variations, certain design features unite these styles,
highlighting their shared heritage and design ethos. These
features often reflect the climate, terrain, and local traditions of
different parts of India.
Here are some of the distinctive features of design in traditional
Indian footwear:
18.7.2.2. Closed-Toe and Pointed Designs:
Numerous ancient Indian shoe designs have
closed toes that completely enclose the front of
the foot, offering warmth and safety.
A traditional and elegant silhouette is offered by
frequently occurring pointed fronts or gently
rounded toes. This design choice maintains
traditional beauty while ensuring comfort.
Figure 18.5 Closed-Toe Design
18.7.2.3. Open-Back Designs:
Traditional Indian footwear frequently has open-back styles that
allow for simple airflow and make them appropriate for hot and
humid situations. Examples include the Punjabi jutti and the
Kolhapuri chappal.
18.7.2.4 Embroidery and Embellishments:
Indian footwear is distinguished by intricate beading, decorations,
and embroidery.
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On traditional Indian footwear like mojaris and juttis, complex
patterns with colorful threadwork and mirror decorations are
frequently seen. The complexity of embellishments ranges from
delicate motifs to ornate patterns. These details raise the level
and capture the aesthetic essence of Indian handicraft.
18.7.2.5 Comfortable Soles:
Comfort and functionality are prioritized in the majority of
traditional Indian footwear designs. For ease of movement and
long wear, soles are often flat or low-heeled.
The ergonomic design provides comfort while taking wearers'
practical requirements into consideration.
18.7.2.6 Nature-Inspired Motifs:
The deep connection between Indian culture
and the natural world can be seen in the
motifs and patterns on traditional Indian
footwear.
Depending on the area and its native cultural
influences, these motifs may vary. Designs
often draw inspiration from nature and
feature themes like flower patterns, lotuses,
elephants, birds, fish in water, leaves, and vines. These motifs
from nature enhance the aesthetics and symbolism of Indian
footwear.
Figure 18.6 Embroidery and Embellishment
18.7.2.7. Geometric Patterns:
Another frequent design feature on traditional Indian footwear is
geometric patterns, including checkerboard, hexagonal, circles,
squares, triangular, diamond, and grid. These patterns may
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represent spiritual ideas and have cultural and religious
importance.
The footwear's design is structured and eye-catching due to
geometric elements.
18.7.2.8. Vibrant Colors:
Since traditional footwear reflects the varied culture and heritage
of the nation, it is renowned for its colorful and rich color
palette. Among the brilliant colors that are frequently used are
deep blues, rich reds, gold’s, and metallic.
Each pair is a unique example of fashion and history because of
color preferences can change depending on situation, location,
and the wearer's own tastes.
18.7.2.9. Use of Straps and Fastenings:
Straps, ties, and fastenings are common and practical design
features in traditional footwear.
Straps assist in keeping the shoes on the feet and stop them
from falling off when walking. These are often adjustable,
enabling wearers to alter the fit to their preference. Straps can be
elaborately decorated, with embroidery, beadwork, or metallic
accents enhancing the overall aesthetics of the footwear.
18.7.2.10. Fusion of Materials:
Accomplishing desired qualities, traditional footwear frequently
combines several materials. To produce a seamless combination,
leather, fabrics, metals, and natural fibres are used. Traditional
Indian footwear features a combination of materials that
highlights the nation's diverse craftsmanship and creative
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sensibilities. The combination of these materials improves the
overall appearance of conventional footwear while also offering
useful advantages including comfort, durability, and occasion-
appropriateness.
18.7.2.11. Adaptability to Occasions:
The adaptability highlights its versatility and the importance of
cultural significance and comfort in choosing the appropriate
style.
Whether it’s a casual outing, a festive celebration, or a formal
event, there is a traditional footwear option to suit every
occasion.
Footwear designs are tailored to various occasions and
ceremonies. Style ranges from simple every day wear to ornate
pieces for special events.
18.7.2.12. Preservation of Heritage:
These traditional design elements respect cultural heritage even
though they have been updated for modern times. Designs keep
capturing the spirit of Indian aesthetics even as they change.
Traditional footwear will continue to be a living testimony to art
and history thanks to this preservation
Indian traditional footwear is a diverse and captivating reflection
of the country's cultural heritage, craftsmanship, and regional
diversity. These footwear styles have evolved over centuries,
adapting to changing lifestyles while preserving their traditional
aesthetics. From the vibrant bazaars to the ornate wedding
ceremonies, Indian traditional footwear plays a significant role in
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expressing identity, celebrating occasions, and connecting
generations.
18.8.1 Types of Indian Traditional Footwear:
18.8.1.1Juttis:
Juttis are slip-on, low-heeled flat shoes that have their roots in
Punjab and are well-known for their comfort and breathability.
They cover the entire foot, including the heel,
and have a closed, pointed toe.
Embroidery and other embellishments, which
can range
from simple to extremely intricate at times,
reflecting
regional traditions, are frequently used to
decorate
the upper of juttis. Typically, the soles are
made of leather, rubber, or a combination of the two materials.
Figure 18.7 Juttis
18.8.1.2 Mojris:
Mojris started in Rajasthan and have
gained popularity all over the nation.
They are distinguished by their
typically bent, pointy toes. In contrast
to juttis, they often have a more open
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shape, no back, and are slip-on shoes. The gorgeous stitching and
motifs on the upper are region-specific. Leather or synthetic
materials are frequently used to make the soles.
Figure 18.8 Mojris
On significant occasions like weddings, festivals, and cultural
events, mojris are frequently worn. They are often worn with
ethnic Indian clothing. Mojris are often comfortable, but because
of their pointed toe form, they could take some time to break in.
18.8.1.3.Kolhapuris:
Kolhapuris are open-toe sandals with a
characteristic T-strap style that are native to
Kolhapur, Maharashtra. Genuine Kolhapuris are
crafted from just cow or buffalo leather, and they
are often found in three colors: natural, oil, and
polish. Vegetable dyes are used to tan these shoes.
Kolhapuris can be found in a variety of designs
and styles. Others are embellished with elaborate needlework,
making them more attractive and appropriate for special events,
while some are plain and ideal for regular wear.
Figure 18.9 Kolhapuri sandal
18.8.1.4. Padukas:
The sole of this traditional Indian shoe, which has significant
cultural and religious importance, has a knob or post that runs
between the big toe and the second toe.
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They vary depending on the region, and they are
frequently used in traditional dance performances.
Figure 18.10 Padukas
18.8.1.5 Khussas:
Khussas, which are worn in North India, have
leather sole and upper.The pointed toe is one of
Khussas' most distinguishing characteristics. The
point of the toe is rounded and might range in
sharpness. The upper portion is frequently
embellished with delicate hand embroidery,
vibrant threads, beads, and sequins to create
ornate patterns.
For example, there are bridal Khussas for brides, everyday
Khussas for everyday wear, and less elaborate men's Khussas.
Figure 18.11 Khussa.
18.1.8.6 Nagras:
Nagras, often referred to as Nagrajuttis, have their origins in the
Rajasthani city of Jodhpur.
They are distinguished by having closed toes and a pointy or
slightly raised toe. They frequently have highly ornamental
uppers with elaborate embroidery, beading, and mirror work.
Traditionally, the sole and upper of Nagras are
constructed of premium leather.
Usually, these are worn for special events like
weddings, festivals, and cultural gatherings.
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Figure 18.12 Nagras sandal
18.1.8.7 Peshwari Chappals:
Hailing from the Peshawar region, these
chappals have a simple yet elegant design.They
are flat, open-toe sandals with a sole made of
leather or rubber and two leather straps that
cross over the foot.Peshwari chappals are known
for their comfortable fit and can be worn with
both traditional and casual attire.
Figure 18.13. Peshwari Chappals
18.1.8.8. Khapusa
Beginning in the first century, people living in the Himalayas
wore boots called Khapusas. They might have come from Iran
and were thought to be ideal for the local terrain as well as a
sort of defense against snakes, stones, snow, etc. In numerous
regions of the nation and the world today, knee-length boots are
a fashionable and useful addition.
18.1.8.9 Pastoral Footwear
Numerous pastoral and nomadic communities, such as the
Bharwads and Rabari, may be found in Gujarat. These
communities use traditional footwear known as Rabarinalagnajoda
or Bharwadi Desi joda because they spend a lot of time walking
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across difficult terrain.A pair of shoes is known as a joda and is
named after the group of people who wear them.TheGohil, a
different community, produce the majority of the footwear. Hand
stitching is used to construct tough and long-lasting pairs of
footwear from layers of leather.
18.1.8.10:Chappals and Sandals:
Simple, flat, open-toed sandals known as chappals are frequently
used for casual and daily wear. On the other hand, sandals cover
a wider selection of open-toe footwear and offer both casual and
dressy options.
18.9 Origins of Traditional Indian Footwear:
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Figure 18.14 Origins of Traditional Indian Footwear.
18.10 Adaptations to Modern Trends:
18.10.1 Contemporary reinterpretations of traditional designs.
The realm of Indian footwear is no exception to the intersection of
traditions and modernity in this world. Taking classic or culturally
significant shoe styles and infusing them with modern elements,
materials, and aesthetics is what contemporary reinterpretations of
traditional footwear designs involve. The charm of the past and the
demands of the present are blended through contemporary
reinterpretations of conventional designs, which breathe new life into
age-old styles. The combination of tradition and innovation frequently
produces unique and stylish footwear that is appealing to both those
seeking connections to the past and those seeking cutting-edge fashion.
These adaptations honor cultural heritage while adapting to the
preferences and lifestyles of today's generation. Traditional Indian
footwear designs are being reinvented for the modern world.
18.10.2 Research and Understand:
Begin by studying the history, cultural context, and craftsmanship
behind traditional footwear designs. It is fascinating how different
cultures have their own unique take on how shoes should be made.
Knowing all this information, which provides a solid foundation for
the reinterpretation process, with this knowledge designers can create
designs that are both functional and aesthetically pleasing.
18.10.3 IdentifyKey Elements:
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Select specific design elements from traditional footwear that have the
potential for reinterpretation. These could be intricate motifs,
embroidery patterns, or unique shapes.
18.10.3.1FusionofMaterials:
Integrating traditional patterns, embroidery, and motifs with
contemporary designs is a great way to create something unique and
exciting. By adding modern materials like rubber, synthetic fabrics,
and sustainable alternatives, you can increase comfort, durability, and
adaptability to different environments. When it comes to fashion,
combining traditional handwork techniques like zardozi, gotapatti,
and mirror work with sleek and minimalist silhouettes can be a great
way to appeal to a broader audience. By creating fusion footwear that
blends the old and new, you can preserve cultural heritage while
meeting the demands of contemporary lifestyles and fashion
preferences.
18.10.3.2Minimalist Silhouettes:
When it comes to footwear, there is a growing trend towards modern
aesthetics that still retain the essence of traditional shoe designs. Many
designers are opting to simplify classic shoe styles by removing excess
ornamentation and creating a sleeker, more versatile look. This
involves streamlining the design elements of traditional silhouettes
while maintaining their core structure and functionality. For those
living in urban areas, minimalist versions of traditional footwear are
becoming increasingly popular. These simplified designs still reflect
the original style while maintaining a clean and sleek appearance. The
minimalist silhouettes of traditional shoes allow us to appreciate the
beauty of classical designs while embracing modern sensitivity.
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18.10.3.3ColorPalettesandPatterns:
Traditional footwear often features vibrant and bold colors. While
retaining some of these elements, modern adaptations could also
include neutral or pastel shades to make them versatile and suitable
for various occasions. While traditional styles are known for their
vibrant hues, contemporary reinterpretations can experiment with deaf
tones and monochromatic palettes. Modern patterns and graphics
might replace intricate traditional motifs for a fresh aesthetic. Express
cultural significance, symbolism, and regional influences.
18.10.3.4Comfort-Centric Approach:
Comfort in traditional footwear is a crucial consideration that often
bridges the gap between tradition and modernity. The task involves
crafting shoes that prioritize comfort and well-being for the wearer
without compromising the authenticity and aesthetic value of the
traditional style. Numerous contemporary reinterpretations give
priority to comfort and functionality. Designers incorporate ergonomic
features, cushioned soles, and arch support to meet the needs of
modern footwear. While traditional designs may have been rooted in
cultural heritage, modern reinterpretations often incorporate comfort-
enhancing elements to cater to the demands of contemporary lifestyles.
18.10.3.5Versatile Styling:
Styling traditional footwear in versatile ways allows you to
incorporate these unique pieces into modern fashion trends. The key to
versatile styling is experimenting and embracing personal style, and
the focus of contemporary adaptations on versatility enables footwear
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to be seamlessly integrated into various outfits. Traditional designs are
adjusted to fit both occasions and formal wear, offering more value to
consumers.
18.10.3.6Design Collisions:
Design collisions in traditional footwear are all about merging
elements from different cultures, eras, or styles to produce one-of-a-
kind and innovative footwear designs. By blending traditional
elements with modern aesthetics, this concept creates footwear that
appeals to a wider range of consumers while still maintaining the
heritage of the original design. Designers often combine traditional
footwear elements with modern shoe structures, such as merging
traditional embroidery or embellishments with sleek, streamlined
shapes. The result is truly captivating and trendsetting pieces that
appeal to a broad spectrum of fashion sensibilities. By experimenting
with design collisions in traditional footwear, ground-breaking
creations can be achieved that capture the essence of tradition while
pushing the boundaries of innovation.
It involves adopting eco-friendly practices, ethical sourcing, and
mindful production methods. Contemporary reinterpretations align
with sustainable practices using environmentally friendly materials
and ethically sound manufacturing processes. The process of crafting
footwear involves integrating sustainable principles into every stage,
from sourcing materials to manufacturing and distribution. The
emphasis on sustainable development adds an element of modernity
while preserving traditional values.
18.10.3.7Global Appeal:
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Traditional footwear that is globally appealing requires the
incorporation of cultural heritage, craftsmanship, and style that
resonate with a diverse audience around the world. Global trends and
fashion influences are often considered in contemporary
reinterpretations of traditional footwear. This fusion enhances the
accessibility and appeal of these designs to an international audience,
offering a connection to heritage while also adapting to contemporary
fashion and comfort preferences. Its authenticity, storytelling potential,
and sense of connection make traditional footwear a beloved and
sought-after choice among people from various backgrounds.
18.10.3.8Artisan Collaborations:
Collaborations between traditional artisans and contemporary
designers breathe new vitality into traditional designs. This synergy
honors craftsmanship while introducing fresh perspectives.
Collaborating with artisans for traditional footwear not only results in
exceptional products but also contributes to the preservation and
promotion of cultural heritage.
18.10.3.9Cultural Narratives:
Some reinterpretations maintain traditional motifs and designs, but
with an innovative twist that offers a narrative relevant to today's
culture. Designer collaborations and fusion styles that bridge tradition
and modernity.
18.11. Collaborations and Fusion Styles: Bridging Tradition
and Modernity in Indian Footwear
In the realm of Indian footwear, designer collaborations,
and fusion styles have emerged as powerful conduits for
embracing tradition while ushering in modernity. These
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collaborations weave a tapestry where craftsmanship meets
contemporary innovation, celebrating the rich heritage of
Indian footwear while resonating with the preferences of
the modern generation. This trend not only reflects the
evolving fashion landscape but also showcases how
cultural heritage can be incorporated into contemporary
designs. Let's delve into the world of designer
collaborations and fusion styles that bridge the gap
between tradition and modernity.
18.11.1 Re-imagined Embellishments:
The goal is to maintain the cultural essence of
traditional footwear while infusing it with innovative
embellishments that capture the spirit of modern design.
Re-imagined embellishments can elevate the collaborations
and fusion styles, resulting in footwear that is both
timeless and relevant. Renowned designers collaborate with
traditional artisans to infuse their creations with
innovative embellishments. Intricate hand-embroidery,
beadwork, and mirror work take on new forms,
captivating the eye with unique arrangements.
18.11.2. Contemporary Materials with Traditional Techniques:
When creating traditional footwear designs, it's important
to balance modern materials with age-old techniques in
order to preserve the essence of their heritage. At the
same time, innovation is necessary to appeal to
contemporary consumers, resulting in functional, stylish,
and sustainable designs. Fusion styles often mix
unexpected materials with Indian footwear, such as
leather, textiles, metals, and even rubber. For those
concerned with sustainable fashion, vegan and mushroom
leather can be used as alternatives to traditional leather,
while still employing classic stitching and embroidery
techniques.
18.11.3. Contemporary silhouettes:
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Modernize traditional footwear while preserving its cultural
identity and craftsmanship. By carefully considering
contemporary silhouettes and their compatibility with
traditional designs, designers create footwear that
seamlessly merges heritage with current fashion trends .
Designers reimagine traditional silhouettes, adding modern
twists to create footwear that seamlessly integrates into
urban lifestyles. Sleeker profiles, modern heel shapes, and
updated strap designs are introduced.
18.11.4. Innovative color palettes:
Incorporating innovative color palettes into traditional
footwear can breathe new life into classic designs and
make them more appealing to modern audiences and
also fresh perspective, attracting modern consumers while
maintaining the essence of cultural heritage. Traditional
footwear colors are given a contemporary spin with
unexpected combinations. Pastel hues, metallic accents, and
even monochromatic schemes breathe new life into classic
designs.
18.11.5. Global Aesthetics:
Global aesthetics in traditional footwear can result in
captivating designs that resonate with a diverse range of
audiences. Weave elements from different global aesthetics
into traditional footwear, which can create pieces that
honor cultural heritage while embracing the beauty and
diversity of design traditions from around the world.
Some fusion styles incorporate elements from global
fashion trends, resulting in footwear that resonates across
cultures. Traditional motifs might be combined with
Western design elements, creating a unique cross -cultural
fusion.
18.11.6. Heritage Revival:
Reviving heritage footwear, where designers breathe new
life into timeless designs, rekindle cultural appreciation,
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and create a bridge between the past and the present.
It's a way of celebrating tradition while embracing
innovation and modernity. Designer collaborations often
aim to revive lesser-known or fading traditional footwear
styles. This revitalization ensures that these styles are not
lost to time and can be appreciated by modern
audiences. This approach celebrates cultural heritage,
preserves craftsmanship, and makes traditional footwear
relevant to contemporary fashion.
18.11.7. Accessible Luxury:
Accessible luxury in traditional footwear is about striking
a balance between craftsmanship, quality materials, and
affordability, enabling a larger audience to enjoy premium
footwear without compromising on style or heritage.
Focuses on classic and versatile designs that have a
timeless appeal, allowing the footwear to be worn for
various occasions and seasons. Release limited collections
that create a sense of exclusivity, encourage early
purchases, and help manage production costs. This
democratization of design brings craftsmanship to everyday
wearers.
18.11.8. Contrasting Elements:
Contrasting elements can breathe life into traditional
footwear, making them visually captivating and relevant
to modern fashion. Contrasting elements in traditional
footwear can create visually striking designs that blend
different styles, materials, or cultural influences. The key
is to strike a balance between these contrasts, ensuring
they complement each other and contribute to the overall
aesthetic appeal. Combining materials like leather, fabric,
metal, and wood to create a harmonious yet visually
contrasting composition.
18.11.9. Incorporate Street wear Elements:
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Incorporating street wear elements into traditional footwear
can create a fresh and dynamic fusion that appeals to
a modern audience while paying homage to heritage.
Drawing inspiration from street culture elements like hip-
hop, skateboarding, or graffiti to infuse authenticity into
the design. Merging vintage street wear aesthetics from
different eras with traditional footwear silhouettes to
create a nostalgic fusion.
18.11.10. Culture Fusion:
Cultural fusion in footwear can be a beautiful way to
celebrate different traditions and promote cross-cultural
appreciation. By blending cultural elements with modern
design features like sleek lines, contemporary closures, or
innovative materials, footwear designers can create stunning
shoes that maintain relevance while conveying the
message of unity in diversity. It visibly combines diverse
cultural elements which can create an overall cohesive
look that celebrates the unique beauty of different
traditions. It's amazing how something as simple as a
pair of shoes can help promote cultural understanding
and appreciation.
18.11.11. Bridal Fusion:
This fusion refers to the blending of traditional bridal
elements with contemporary styles, aesthetics, and cultural
influences. Bridal fusion in
traditional footwear allows one to express individuality
while honoring the cultural heritage and embracing
modern design. The key is to find a harmonious
balance that reflects personal style and makes the
wedding attire truly special. Fusion styles have made a
significant impact on bridal footwear, offering brides the
choice of modern yet culturally resonant options. Ornate
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designs that incorporate contemporary aesthetics are particularly
popular.
18.11.12. Storytelling through design:
Storytelling through design not only enhances the
aesthetics of traditional footwear but also establishes an
emotional connection with the audience. It enriches the
consumer experience by inviting them to become part of
a larger narrative that goes beyond the physical product.
Fusion styles sometimes incorporate narrative elements that
tell stories about cultural traditions, historical events, or
personal journeys. Footwear becomes a canvas for preserving
and sharing cultural narratives.
Figure 18.15 Story Telling
18.11.13. Sustainability and ethics:
Integrating sustainability and ethics into traditional footwear
not only aligns with global environmental and social
goals but also attracts conscious consumers who value
products that reflect their values. It's an opportunity to
contribute to positive change while honoring cultural
heritage and craftsmanship. It also involves adopting
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practices that minimize environmental impact, uphold fair
labor standards, and promote responsible consumption
while preserving cultural heritage. Designer collaborations
often align with sustainable and ethical practices,
promoting responsible consumption. Traditional techniques
are combined with modern eco-friendly materials, reflecting
a contemporary commitment to the environment.
18.12.1 Transformation Of Indian Traditional Footwear:
A comparison before and after technology integration in terms of
transformation of Indian Traditional Footwear.
Aspect
After Technology
Production Techniques
Modern manufacturing
Materials Used
Rubber, foam, synthetic,
fabrics
Quality
Improved quality
Drawbacks
Improved comfort
Enhanced durability
Wider availability
Customization options
Preservation of craftsmanship
Global market reach
Innovation and adaptation
Aspect
Before Technology
Production Techniques
Manual craftsmanship
Materials Used
Leather, jute, cotton
Quality
Cultural significance, unique
craftsmanship
Drawbacks
Time-consuming
Limited quantity
Less durable
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Efficiency in production
Sustainability efforts
Cultural preservation
Economic opportunities
Table 18.1 Transformation Of Indian Traditional Footwear.
18.13. Case Study: Fusing Cultural Elegance With Medical
Insights: A Case Study On The Therapeutic Potential Of
Mojari In Alleviating Metatarsalgia.
Stone bruises, also known as metatarsalgia or stone
bruise syndrome, can cause pain and discomfort when
walking due to the inflammation of the metatarsal bones
in the foot. Traditional footwear, designed to cater to
specific cultural and environmental needs, can offer
solutions to alleviate foot stone bruise problems. This
case study explores how a traditional footwear design
from a desert region effectively addresses and prevents
foot stone bruise issues.
18.13.1 Background: In the arid desert regions of
Rajasthan, India, a traditional footwear known as "Mojari"
has been worn for centuries. The Mojari is a type of
slip-on shoe made from soft leather or fabric, intricately
embroidered and embellished with decorative elements. It
is renowned for its comfort, flexibility, and unique
design.
18.13.2 Problem Identification: Walking
on the desert terrain can often lead
to stone bruises due to the harsh
and uneven surfaces. The foot's
metatarsal bones are particularly
susceptible to injuries when they
experience repeated pressure and
impact against hard surfaces like rocks and pebbles.
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Figure 18.16 Stone bruises.
18.13.3 Problem Solving: The mojari footwear design
effectively addresses and prevents stone bruise problems:
Cushioning: The soft leather or fabric used in Mojari
acts as a natural cushion, reducing the impact of
walking on hard surfaces and minimizing the risk of
stone bruises.
Flexibility: The flexible sole of the Mojari allows for a
more natural movement of the foot, preventing excessive
pressure on any specific area and distributing the impact
evenly.
Design Elements: The intricate embroidery and
embellishments are not just decorative; they often serve
as additional padding, providing an extra layer of
protection against impact.
Foot Shape: Mojari footwear is designed to accommodate
the natural shape of the foot, reducing friction and
pressure points that can lead to stone bruises.
18.13.4 Ideation and Brainstorm: The Mojari footwear design
offers several benefits in preventing and alleviating stone
bruise issues:
Reduced Pain: The cushioning and flexibility of Mojari
help in minimizing pain caused by stone bruises and
metatarsalgia. Preventive Measure: By providing a barrier
between the foot and hard surfaces, the footwear helps
prevent stone bruises from occurring.
Cultural Continuity: The use of Mojari preserves the
cultural heritage of the region while offering practical
benefits for foot comfort and protection.
Adaptation Potential: The traditional design can be
adapted with modern materials and comfort enhancements,
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allowing for the incorporation of contemporary features
while retaining the core principles of foot protection.
Modernization and Preservation: As fashion and comfort
trends evolve, efforts have been made to adapt the
Mojari design with modern materials, cushioning
technologies, and improved sole structures. This
modernization allows the footwear to continue serving its
purpose while meeting contemporary expectations.
18.13.5 Result & Discussion :The Mojari footwear design
exemplifies the effectiveness of traditional footwear in
addressing foot stone bruise problems. By providing
natural cushioning, flexibility, and a well-fitted design,
Mojari offers a practical solution to a common foot
issue in desert regions. This case study underscores the
importance of preserving and adapting heritage footwear
to provide comfort, protection, and cultural continuity in
changing times.
18.14 Conclusion:
As we journey through the enchanting story of Indian
traditional footwear, we discover a narrative that goes
beyond decoration. It's a journey that teaches us about
history and culture, and its impact extends far beyond
its place of origin. This influence on global fashion
shows how culture can cross borders, inspiring designers
worldwide to embrace the timeless charm of Indian
design.
Exploring the timeline of design evolution reminds us of
the lasting artistry. The unique features of these shoes
hold the stories of diverse communities, woven together
into a rich tapestry that echoes the traditions of many
generations.
Yet, while we celebrate this cultural heritage, we
remember that these shoes are not relics. They continue
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to adapt and change, blending old and new design
elements in a way that reflects the ever-evolving nature
of culture.
Recognizing the collaborations that bridge old and new,
we understand that Indian traditional footwear isn't just
about style. It's a symbol of the connection between
identity, beauty, and innovation. This journey invites us
to appreciate the depth and significance of each pair,
and how their appeal stretches far beyond their origins.
In essence, the world of Indian traditional footwear isn't
limited by geography. Its impact spans global fashion,
showing us how culture is a thread that ties us all
together. It reminds us that traditions can inspire modern
creativity, creating a blend that resonates with people
worldwide.
18.15 References:
1. Abdul Rahuman M, Fashion Accessories 1.0, 2020.
2. Thomson Gal, Fashion, Costume and Culture (Vol-5),
Sara Pendergast and Tom Pendergas,2016,p 883.
3. Swayam siddha, FDDI-Product Knowledge.
4. Somenathganguly, Comprehensive Footwear Technology, 1st
Edition.
5. A. Luximon, Handbook of footwear design and
manufacture,2013,p109,387-397.
6. J.H. Thornton, Textbook of Footwear Manufacture A.
Luximon, Handbook of footwear design and
manufacture,1964.
7. Shoe Design by Fashionary.
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19
INDIAN TERRACOTTA CRAFT IS USED IN FASHION
JEWELRY AND ORNAMENTS.
MR. SADHEESHKUMAR.A1 & MS. ARCHANA PRASAD2
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1Sr. Faculty – FD, Schoolof Fashion Design, FDDI Ankleshwar.
2 Founder & Designer – Archana’s Aakriti, Tamilnadu.
ABSTRACT.
In Chhattisgarh, terracotta handicrafts are well known. This
study effort presents the direct decoration of textiles made in India
and the West with Terracotta art. The Raipur locals who would adopt
them would then realist that they preferred terracotta art on Indian
clothing over terracotta art on Western garments. The potter's hands
softly coax the rich red clay from the riverbed into practical things as
well as modern artistic pieces.
The potter bends the supple dirt of the river's top layer into smooth
curves and shapes, and when they are dry, bakes them in a slow fire.
When they are finished, earth from the deeper strata of the river bank
is used to colour them in rich sienna hues. His dexterous hands
construct matkas, lamps, elephants, and horses. In the research study
that is being presented, the artwork is simply made of lightweight
terracotta, and it is coated with chemicals to make it more durable.
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Keywords: - Terracotta craft, Ornamentation, craft, Jewellery etc…
1. Introduction:
A form of burned clay called terracotta is utilised
as an attractive building material. It often has an
unglazed, brownish-red colour. Terracotta,
which is created from natural clay, literally
means "baked earth." In addition to its usage in
jewellery and handicrafts, it was originally
employed to make statues of deities for
celebratory events and rites.
The art of making glazed or unglazed porous earthenware, figurines,
and other decorative items out of clay that has been dried and fired at
temperatures of around 1000°C to give it a distinctly orange, red,
brown, yellow, or grey colour is known as terracotta, which is derived
from the Latin terra cotta, or baked earth. Sand is then placed on top of
it to help it cool. This hue is influenced by both the firing process and
the type of clay that may be found in the water body beds in the region
where the artist is situated. For example, allowing the smoke from the
firing to escape via the kiln vents results in a red or orange colour. If,
on the other hand, the vents are sealed, the things turn black. To make
decorative elements more appealing, they are either left in their natural
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colour or painted in several hues. When terracotta artefacts are not
cracked, they produce a ring when lightly struck with fingers. [1].
2. Origin and History of Terracotta:
The ancient craft of terracotta may be one of the first examples of
human ingenuity. Hindu doctrine holds that the utilisation of the five
elements—air, water, earth, fire, and ether—gives the terracotta art
form a sense of mystery and good fortune. Approximately 7000 BC
terracotta figures of male gods, mother goddesses, and cart frames and
wheels have been discovered in Indus Valley Civilization sites like
Birhana, Mehrgarh, Mohenjodaro, etc.demonstrating that the
technique was practised extensively on the Indian subcontinent before
spreading elsewhere. In this ancient civilization's commerce
operations, terracotta played a significant role. Merchants used
terracotta seals for stamping and had human or animal motifs
engraved into them. Along with illustrating the writing they used,
these seals also show the people's attire, hairstyles, decorations, and
religious beliefs.
Terracotta art has been around for 1000 of years not just in China
but also in other parts of the world. Terracotta house models from
about 1900 BC have been discovered in Egypt. These reproductions of
poor people's homes were typically included in their funerals as part
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of the models. Beautiful clay figurines of goddesses and miniature
sculptures from approximately the 19th century BC have been
discovered by archaeologists, demonstrating the wealth of the arts and
crafts produced by Mesopotamian civilizationA notable example of
Terracotta art from the ancient world is Bell Idols, or statuettes of
women with movable legs, from Greece in the eighth century BC. Both
ancient Greece and ancient Rome were big on these bell idols. The
Terracotta Army of China, created by the Chinese emperor Qin Shi
Huang in 210 BC as part of an ancient necropolis, is another terracotta
marvel from antiquity. Six thousand life-size terracotta warriors, or the
army of the King, defend his tomb. With troops, archers, horses, and
chariots, the army is well equipped. The fact that each of these
warriors has been created with unique face traits is astonishing. [2].
The Indus Valley Civilization,
which existed in Mohenjo-daro
between 3000 and 1500 BC, left
behind terracotta artwork in the shape
of human and animal figures. In
India, this skill is still in high demand.
In order to preserve the tradition of
this art, Indian potters and craftsmen acquired how to create terracotta
things from their forefathers.
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Terracotta has been used to make
pottery, create sculptures, and build
houses since ancient times.
3.India's use of Terracotta:
Many Indian states, like
Pushkar (Rajasthan) and Bishnupur,
have made significant contributions
to preserving this rich history (West
Bengal). In actuality, terracotta
temples, artefacts, ceramics, and
jewellery are Bishnupur's most well-
known attractions. The statuettes of Nataraj, Lord Ganesha, elephants,
and exquisitely adorned jars are among the most sought-after goods.
Gujarat is acknowledged as a centre for producing great terracotta
work. .
Some areas in East Uttar Pradesh, like Nizamabad, are well
known for its Terracotta art. A specific kind of locally obtained clay
that becomes black when dried in the sun is used to make terracotta
items in the city of Nizambad. Gorakhpur itself is well-known for its
red terracotta goods. The traditional terracotta craft has been practised
by some of the most talented artisans for many years. In Gorakhpur, a
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little terracotta figure of Ganesha has become a tradition in the
majority of Hindu houses. Additionally, the terracotta artisans of
Aurangabad, who have been working in this industry for five
generations, are well-known. [3].
4.View the terracotta artwork by state wise in India.
4.1. Bihar:
In Bihar, terracotta art
dates back to the
Mauryan era (2nd-3rd
century BCE). In
many Indian states,
terracotta frequently
features horses, and
Bihar is no exception.
Terracotta horses
from Darbhanga in
Bihar are widely
recognised for being finished with vibrant rainbow hues. Clay
elephants are another object that is displayed on roofs to symbolise
marriage in the home.
4.2. West Bengal:
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Terracotta is one of the arts and crafts with a long
history in West Bengal. In reality, the state's rural areas
are a veritable goldmine of beautifully produced
terracotta pots, figurines, notably those of lovely
horses, and other little and big objects that serve both
functional and ornamental purposes. Murshidabad,
Jessore, Birbhaum, Digha, and Hooghly are aa some of
the cities recognised for its terracotta artwork.
Terracotta sculpting on Krishna temples was a form of
the Vaishnavite movement. erected by them, brought
the art form to this condition in the 16th century. West
Bengalis also build a shrine out of tree branches, ceramic snakes, and
pots to honour the snake goddess Manasa. West Bengali terracotta
craftsmen blend two or more different types of clay from riverbeds and
pits, and their designs are typically based on tradition or community.
Locally obtainable firewood, dried leaves, and twigs are the fuel
sources for burning. The moulded pieces are baked at temperatures
between 700° and 800°C in conventional kilns. Both men and women
are involved in the process, with the women handling the wheel and
giving the necks and upper portions of the pots their rounded shapes.
In burned clay moulds, other things including dolls, figurines,
jewellery, windchimes, and toys are cast.
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4.3.Gujarat:
Gujarati potters, particularly those from
Gundiyali in the Bhuj region, utilise the
potter's wheel to produce stunning hand-
painted clay pots with geometric designs
that are nearly comparable to those seen on
the Indus Valley civilisation ruins. Votive
statues of animals including horses, cows,
elephants, tigers, bulls, buffalos, and even
insects are very common in the state and are
erected in shrines by followers. The state is
renowned for its Dhabus, dome-shaped
residences for the afterlife.
4.4. Madhya Pradesh:
Terracotta figurine production has a long
history in this region of central India, both for
ceremonial purposes and everyday use. Some
of the most well-known ones made by the
artisans include life-like figures of Hindu
deities, human shapes, birds, horses, snakes,
and enormous elephants.
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4.5. Tamil Nadu:
Large terracotta horses are a specialty of Tamil
Nadu, the temple state of India, which has a
rich cultural legacy and a history dating back
thousands of years. In fact, it is customary for
communities in the state to have a sizable
terracotta horse sculpture protecting the
entrance. This horse serves as a companion to
the Tamil village deity Aiyyanar. His colourful
monuments are flanked by large white horses
and elephants, or the lord himself is depicted
riding them. To obtain a certain consistency,
clay is combined with sand and straw to make these figurines. The legs
of the sculptures are made of wooden pieces that have been encased in
clay. The head and the accessories are manufactured separately,
combined on a good day, and cooked in a mud-covered kiln made of
cow dung and straw. The remaining ceramic components are made
separately. As a result of their popularity, these horses are now made
using moulds.
Terracotta sculptures also serve as shrines for other local gods and
goddesses in addition to Aiyyanar and his companions. These consist
of Ganesha statues, the Naga or Serpent temple, and others. Terracotta
is also used to create everyday objects like containers for storing
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grains, cooking pans, and water and other items of utility. According
to tradition, the kuyavar or velar potters of Tamilnadu, also known as
velar or master craftsmen Vishwakarma, are descended [4].
4.6. Haryana:
The Pre-Harappan and Harappan
cultures have a long history in this state
of clay and terracotta art. The ability
was utilised to make a broad variety of
goods, including toys, jewellery,
figurines, toy cart frames, etc.
Excavations at several sites around the
state, notably Kurukshetra, have revealed that painted grey ware
(PGW) with black motifs started to be produced approximately 1000
B.C. These are often connected to the time of
the Mahabharata. Another significant
Terracotta hub is Sugh in Haryana, where
Yaksha sculptures, animal and bird figurines,
and mother goddess figures have all been
discovered at various locations. Today, the
state's terracotta artisans produce items like
musical instruments, wall hangings, toys,
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two-toned or brightly painted vases, pots, lamps, and lampshades,
among others. A feature of the state is lovely terracotta jewellery,
including neck and ear pieces.
4.7. Rajasthan:
Rajasthan and Haryana both have a long history of terracotta art, and
both states are widely renowned for their many unique terracotta
products. Since villagers use terracotta pots to transport water from
far-off sources to their homes, the dry state also has a unique affinity to
clay and terracotta. Additionally, clay god idols are linked to their
everyday worship. Alwar in Rajasthan is well-known for producing
Kagzi, or paper-thin, lightweight pottery, while Pokharan is well-
known for producing red and white terracotta items with geometric
designs engraved into them. The state is also known for its terracotta
horse sculptures, Ganesha idols, and idols of regional deities like Nag
Dev or the snake deity, Bhairav, as well as other heroes created in
Molela. The pottery in the Bikaner area is well known for its vibrant
lac-colored paintings. Both at fairs and in local haats or marketplaces,
terracotta toys and animal figures are available for purchase. The
ancient Indus Valley civilization's Kalibangan site in Rajasthan left
behind the craft of producing these toys.
4.8. Himachal Pradesh:
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Terracotta artisans in this mountainous
region of northern India have roots in
Kashmir, Punjab, and Rajasthan. The
majority of the terracotta painters in this
region live in Shimla, the state capital,
and the cities of Kangra, Chamba,
Mandi, and Kulu. These artisans, who
can trace their ancestry back to Lord
Vishwakarma, are widely known for its
red and black pottery, which is painted black and white and etched
with circular or linear patterns before burning.
4.9. Odisha:
Odisha has been producing
terracotta art since the fourth century
BC, and the tribal artists use a
particular clay to produce distinctive
designs that are popular both
domestically and internationally. Bulls,
horses, and elephant sculptures are
expertly sculpted, highlighted, and
preserved in their natural clay colour.
Other home products with the distinctive tribal touch include jars, tea
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cups, plates, roof tiles, pots, toys, candle stands, etc. Bangles and
necklace sets are common pieces of jewellery.
The potter's wheel, a wooden stick to turn the wheel, a hollow
tube, a hammer, and a wooden slab to beat the clay are the tools the
artists utilise. Before being sculpted into the required forms, the clay is
combined with ash and sand. [5].
4.10. Jammu and Kashmir:
Terracotta art exists in two separate
types in this state, which is the most
northern. The other is made up of items like
tea kettles, barley wine pots, cooking stoves,
oil lamps, etc., but the one manufactured in
Ladakh is made up of icons, sculptures, and
images associated to Buddhism and made
primarily to serve the numerous
monasteries. These beautifully crafted, vividly coloured products are
utilised for both interior design and functional reasons. Particularly the
brazier, handle, lid, and spout of the kettles are exquisitely
constructed. Simple leather, stone, and wood tools are used to make
them. Clay masks, another unusual item, are created with fabric, scrap
paper, flour, and glue [6].
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5.Methodology of study:
The terracotta artisans of today are broadening their work to create
new and creative goods that brilliantly showcase the combination of
the ancient and the new. There are many additional things that are
gaining appeal, from contemporary terracotta jewellery to home décor
including tables, wall art, and terracotta lamps.
5.1. Wearing Terracotta:
Terracotta jewellery is crafted with amazing detail and polish to
resemble Kundan or Meenakarijewellery. Terracotta may be used to
create simple patterns with few features that can be worn with casual,
ethnic, or even semi-formal attire. Jhumkas, earrings, pendants, rings,
bracelets, and bangles with intricate embellishments are a suitable
accessory to use with lehengas, Anarkali kurtas, and traditional
heavier sarees because they come in both traditional and contemporary
patterns, clay jewellery and art are excellent gifts and go well with
both ethnic and Western clothing. Clay and terracotta jewellery is non-
reactive by nature, making it suitable for all skin types and allergy-
free.
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5.2. Making of terracotta jewellery:
The artist can use a more creative and flexible technique while
modelling terracotta, often employing just a few knives and wooden
shaping tools. Its creation is both incredibly
fascinating and simple. Using natural clay and
some simple techniques, you can produce it
quickly at home. The nice aspect of wearing
terracotta jewellery with any attire is that it is
considered traditional jewellery. With a saree or
any other ethnic-style clothing, it looks much
better.
Each piece of terracotta jewellery is
individually hand painted in earthy tones such as brown, grey, blue,
green, pink, and red. These colours give the jewellery a rustic feel.
Typical and well-liked designs for terracotta jewellery include
depictions of people, animals, or tribal deities. But to give a
fashionable touch, artists frequently represent modern shapes and
patterns. Among teenagers and young adults, clay jewellery with tribal
patterns is particularly popular [7].
5.3. Procedures involved in making of Terracotta Jewellery
• Preparation of clay
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• Making Designs
• Drying Process
• Baking Process
• Painting Jewellery
• Making it ready to wear
5.3.1. Preparation of clay:
Once you purchased the clay, change the clay in
to an airtight container otherwise it will dry.
Take required amount of clay and knead well
using your hands. If you feel it is having cracks, then use your finger
as an eraser.
5.3.2. Making Designs:
Make beads and make one hole using
toothpick. Roll the clay using roller and use
bottle cap or cookie cutter to cut the required
design. You can make impression with pen
cap or needles.
5.3.3. Drying Process:
Keep the jewellery in a tray and allow it to
dry for 1day to 3 days on its own, depending
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on the weather. Never leave in direct sun light, it may cause the
breaking or cracking of jewellery.
5.3.4. Baking Process:
This is the main and very
important step. You must be very
careful while baking the jewellery.
When terracotta is fired, it turns
red in color. But when you heat it
under anaerobic conditions, the
jewellery turns black in color. You
can bake clay using saw dust. Take an iron pan and
make a layer of saw dust then jewellery pieces and
again some more saw dust over it.
5.3.5. Painting Jewellery:
Now you can paint the jewellery with your
favourite colours.
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5.3.6. Making it ready to wear
Now you can insert black rope or jewellery wire in to the beads and
make your necklace [8].
5.3.7. Benefits of owning terracotta pieces:
Pocket-friendly:-It is incredibly inexpensive. A classic terracotta
earring may cost you anywhere between 100-250 rupees if you
are purchasing from the local vendors. A terracotta set might be
costlier but still falls within the affordable bracket.
Distinctly charming:-While diamond earrings ooze elegance
and gold earrings make you look radiant, a terracotta piece will
add a refreshing touch to your whole look. The subtle charm of
these handcrafted trinkets, make them a unique addition to
your jewelleryensemble [9].
5.3.8.Maintenance
Clay or terracotta things need to be handled carefully since they
are not strong. The majority of clay objects are covered in a protective
glaze, however it is important to avoid getting them wet. If necessary,
the jewellery can be cleaned with a wet towel. It is possible to certify
that a product is water resistant at the time of purchasing.
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6.Conclusion:
Terracotta jewellery has a highly noticeable and organic
appearance when it is composed with tones of brown, orange, white,
and grey. Additionally, this raises the market worth of local artists'
technical know-how. Mixing several types of clay results in variations
in shade, which is a good outcome for jewellery creation. Terracotta
jewellery is obviously a skin-safe and environmentally friendly item to
have in your collection because it is manufactured out of the earth's
own soil. The understated terracotta jewellery has managed to get the
love and respect it really deserves in the modern era of fashion. The
terracotta style will endure and be popular for a very long time as the
fashion industry continues to develop [10].
7. Reference:
1. Agrawal, V.S., - Indian Art; PrithiviPrakashanv.v.s. 1965.
(Indian Terracotta – pp. 308-24).
2. Agrawal,V.S. “RajghatTerracottas.” Journal of the Indian
Society of Oriental Art, 9 (1941).
3. Biswas S.S., - Terracotta Art of bengal; New Delhi – 1981.
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4. Barnard,Nicholas (1993): Arts and Crafts of India; Conran
Octopus, London
5. Chakraborti, Uma (1988): Some Bengal Terracottas of Foreign
Inspiration, Sraddhanjali; Studies in Ancient Indian History,
K.K. Das Gupta, et al., eds., Sundeepprakashan, Delhi.
6. Das, A.K. (1979): Tribal Art and Craft; Agam Kala Prakashan,
New Delhi.
7. Manohar, Aashi, ed. Tribal Arts and Crafts of Madhya pradesh.
Mapin Publishing Pvt.Ltd.,with Vanya Prakashan, Ahmedabad,
1986.
8. https://citeseerx.ist.psu.edu/document?repid=rep1&type=pdf
&doi=1da40870bfd5e621127866f8b64aa7bc319bd1ef
9. https://www.weddingwire.in/wedding-tips/terracotta-
jewellery--c2147
10. https://www.utsavpedia.com/attires/jewelry/rustic-art-of-
terracotta/
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HEALTH CARE THROUGH DIGITAL TECHNOLOGY:
DESIGN FOR SOCIAL GOOD
MS. RUCHI SINGH1
---------------------------------------------------------------------------------------------
1Faculty, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design Development Institute), HS Darga Rd, Gachibowli,
Rai Durg, 500008, Telangana state, India.
ABSTRACT:
The influence of the technology in our life is so much that, we can’t
imagine a world without this. It has changed human life very much.
Now people are coming up with new technology, keeping this thing in
mind that, design should be synchronised with human need and
psychology, a design should be Human Centred.Designing for the
social good is the best way to address any problem going on in our
community. It can drive a positive change in the society and provide a
creative solution for everyone. It means more equitable access, like
increasing access to understand and tackle environmental issues,
health care, any other societal problems.The purpose of doing this
research is to study about the impact of Inclusive design on product
and accessibility.
Keywords: Inclusive design, Design Process, User Experience,
Equitable access, Human centredDesign.
20
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INTRODUCTION:
Designing products specifically to resolve the problem of a diverse
group, as well as to improve the quality of life.The product should be
accessible to the diverse communities, which can tackle the problems
of society, like health care. It is very difficult for working professional
to take a proper care of health and keep track record in today’s
lifestyle. The purpose of doing this research is to identify the relevant
problems and to develop a prototype to address that problem. The
development process of the prototype involvedthese steps, Empathize,
Define, Ideate, Prototype and Test. The outcome of the research and
development is a prototype of responsive web design. Its can
automatically adjust according to the screen size of the users device. In
the initial phase of the research part, I empathize users, this is the most
crucial part of the research, on the basis of the collected data from this
phase, I identified the issues, which needs to be addressed. People
need a platform where they can find easy healthy recipes with the
nutrition details, they can keep track records of their health, where
they can consult a dietician, where they can form friend groups to
share their views, suggestions on health and motivate each other. Then
came ideation part, this phase was really important, as we develop our
concept for the digital wire framing and then low fidelity prototype
and then high fidelity. Usability study helped a lot to iterate my
design.
Objective of the study
To do the case Study’s human-centric design and develop
wireframes for design
To develop a high-fidelity prototype of a responsive website.
Research methodology:
A range of questions were asked topeople from diverse groups to
identify their pain points. This phase is really important.Empathize
users is to know, what exactly is their requirements. Working
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professionals, health conscious youngsters, people of all age groups
who want to learn and cook easy healthy meals. People who want to
follow healthy lifestyle. Empathy map helped to understand users
behaviour while interacting with the product. Personal Interview of 10
people from each groups was taken. Data collected from online survey
as well.
Problem statement:
Neha is a health conscious working women,she wants to try new
recipes, which are healthy too.She would like to keep a track on her
daily calories intake as well. Neha is a health conscious working
women,she wants to try new recipes, which are healthy too.She would
like to keep a track on her daily calories intake as well.
Sl.
n
Case study Details
Goals
Frustrations
1
Age:
32
I want to
cook
healthy
meals and
want to
keep track
on my
calories
intake..
She is unable to find one
platform,where she can
check the recipes with the
nutrition details.
She is unable to keep a
track on her daily calories
intake.
2
Education:
Post
Graduate
3
Hometown:
India
4
Family:
Single
5
Occupation
Asst.
Manager
6
Age:
32
7
Education:
Post
Graduate
“I am a health conscious working woman,like to cook
healthy meals and also want to keep on track on daily
calories intake,but unable to find one platform for
this”
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Neha is a working as an assistant manager in a firm. She has a busy
work schedule,she is health conscious and love to cook and try new
healthy recipes for herself.but she is unable to find any platform,
where she can check new and easy recipes.She wants to keep track on
her calories intake as well.
Users pain points:
1. Unable to find easy cooking recipes, with nutrition details.
2. Unable to find books on healthy cooking on one
platform.Unable to find blog or articles on healthy cooking with
recipe details and nutrition chart on one platform.
3. Diet consultation
VISUALISATION:
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Primary research helped me to visualize my hypothesis, which could
be developed into functional product. Research provided the insight to
develop Wireframes, these research findings helped to inform ideation
during design process. The ideation process helped to create
storyboard and using this story board, wireframes has been created. To
create the wireframes, the understanding of Information architecture is
must including the use of lines and shapes to create a basic layout.
PAPER WIREFRAMES AND DIGITAL WIREFRAMES:
It gives us a basic idea of what we are going to create and costing is
also very low. As the design is for Responsive Website, so I created one
wireframe for the website and other one is for small screen device like
mobile phone. First page is the home page, Information related to the
company is there on the home page, navigation is smooth, idea is to
provide material like videos, books, articles of easy healthy recipes
with the nutrition details to the users. Users can track their health and
maintain the record as well, They can form a friend group to Share
their views, tips, ideas with other users. Users can consult with
experienced dietician as well. They can order the books to purchase,
they can download the articles, publish the articles, they can upload
their own videos for other members.
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Figure 2: Digital Wireframes.
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PROTOTYPE DEVELOPMENT:
Prototype of the product is a visual representation of myidea. It helped
to get the feedback from users. Low fidelity prototype has been
developed to check the navigation, functionality of the product.
Figure 3 : Low Fidelity Prototype
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USABILITY STUDY FINDINGS:
The insights from the usability study helped to iterate the design.
Five users participated in Usability study. Two task was given to
participants
1. Navigation – to reach the video and article page and again come
back to the home page.
2. Order a recipe book
Findings –
1. Navigation was smooth, all participants completed that.
2.Navigation was easy. Participants suggested, there should be
a search button on book page, online book reading option
should be there.
3. Health tips should be there on home page.
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Figure 4 : Usability Study Chart
Figure 5 :Usability Study Findings
REFINING THE DESIGN:
The findings after conducting the usability study was really helpful to
modify and refine the design. On the basis of these insights, I created
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mock ups. The below given pictures are the mock ups of low fidelity
and High fidelity prototypes.
Figure 6 :Mock Up for Mobile phone and Website
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Figure 7 :Mock Up for Mobile and Website Screen
REVIEW OF LITERATURE
Alexandra Kovács, Wrote (2018): This article inspired me to take any
social issue for my project, Design for a social good is something,
which we develop for the betterment of society.Not just to resolve the
issue, but to improve the any situation. Designing for a good cause is
always the best thing. The aim of creating any product is not just to
make profit, but to provide a solution and improve that situation.1
Selvarajah thuseethan, wrote (2014): The above article is sharing the
insights about how cultural diversity can impact the user interaction.
We should always keep the diverse society, culture in mind, whenever
we create any product. People interact with the products differently,
Any task could be easy for certain set of people, for others it may be
difficult. User experience research is very crucial to understand this
behavior.2
Rika Godelava Danny, Wrote (2018): In the above research paper,
author has talked about the mental health condition of people, during
covid -19 pandemic. We are social beings, it was a difficult time,
people were isolated, they were facing mental issues. College students,
young people were facing the mental issues. Students were attending
online classes. Due to less interaction, activities people were
isolated,To tackle this issue, solution was provided in the form of
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mobile application. This product was designed for social good, to
tackle a social problem. This is one of the very good example, that how
design can provide a solution for a social problem, it can tackle
complicated situation like a pandemic, which affected everyone in the
world.3
Peter Tolstrup Aagesen, Wrote (2016): The above article has
provided the insight about the brands personality and how one should
always consider these things in mind before creating any product for a
brand.The visual representation of the product should reflect the
brand identity. It can help users to connect with the brand, to
understand the brand personality better and can develop a connection
between brand and consumer. The artifact, layout, typography,
iconography, other elements should picked very carefully to represent
the visual design.4
Cai Xinyuan Wrote (2005): The above research paper is highlighting
few things like how culture can influence the interaction of humans
with a product.Culture is a pattern of certain thoughts, feelings and
acting and we need to think how we can do the digitization of these
things to make the human computer interaction better. The cultural
influence come from the social environment, set patterns by society,
assumption and values, behaviour.5
SURVEY: RESEARCH QUESTIONS:
Questionnaire for the interview and survey, was prepared to know the
pain points of the users, to know about the information related to their
lifestyle and surroundings, circumstances, where they spend their
most of the time. Most of the questions were open ended, so that
people could share their opinion.
1. Do you know about the nutrition value of your meals?
2. What do you do to control your weight?
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3. Do you like cooking? How much time it takes you to cook
any meal?
4. What is your profession? What are the working hours?
5. How frequently you order food in a week ?
6. Are you satisfied with the quality and nutritional value of
your order food?
On the basis of collected date the empathy map,personas, user story,
user journey map, problem statementhave been prepared to find out
the pain points of users.
RESULT ANALYSIS - HIGH FIDELITY PROTOTYPE:
After the modifications in low fidelity prototype, according to
the research insights ,I developed high fidelity prototype of
responsive website. The design process is iterative, so testing of
a product after low fidelity and high fidelity prototype helps to
improve the designs.
High fidelity prototype gives an idea of final look of the
product.The layout, typography, iconography, colorsgives a life
to a product.
As the product is for responsive website, it was important to
design a layout which can work for different devices and
different screen sizes.
Here, the first prototype is for website, accordingly I decided
the layout. The space is more so main bar is at the top to go to
next pages. First page is Home page, details of the
brand/company is here. Other pages are designed to search and
watch the videos, read the articles, books, to order books, profile
etc.
OUTCOME OF DESIGN
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Figure 8 : High Fidelity Prototype for Website
Figure 9 : High Fidelity Prototypefor Mobile phones
I have used Adobe XD software to design this, In the below image I
have shown the connections between pages and created links to made
the product functional. Second prototype is for a mobile screen. There
are few modifications according to the size of the screen, but I used
similar colors, fonts, icons to maintain the brand identity. The
navigation is smooth, there are three bars in the top left corner of the
layout to move to next pages or users can move to the next page by
clicking the icons at bottom of the pages.
FINDINGS: ACCESSIBILITY CONSIDERATIONS:
1. The design of app is accessible to everyone, because its
easy,user friendly,simple.
2. The feature are easy to use.Color Palette is accessible for every
user.Users who has low vision.
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3. The design is easy to understand,navigation is easy, user flow is
easy.
CONCLUSION:
The design of the product has been created, keeping the society
in mind. How the society can get benefit from the product.
There are lots of social issues are there, health care is one of
them. Human lifestyle has changed with technological
advancement. People are more busy, work pressure, stressful
life, no time for health care. Resulting in lots of health related
issues. So many products are there in the market to make our
life more comfortable and easy. The purpose of creating this
product is to provide benefit to the society. This product is
useful for the users who are health conscious, and love to live a
healthy lifestyle, but due to job and other engagements they are
unable to take care of their health, People who are looking for
recipe switch are easy, healthy and delicious. People who want
to keep track on their daily calorie intake. Users can get all
kinds of health related material, like videos, articles, books here.
They can upload their videos, articles, health related tips as
well. They can create and join friend group to provide health
care tips, they can motivate each other to live a healthy lifestyle.
REFERENCE
Books / Journals/ Web:
1. Alexandra Kovács, “How Can Ux Save The World –
Products For Social Change”, January 23, 2018 .
2. Selvarajah thuseethan, “An Anthropological Analysis of Mobile
Applications: Exploring Cultural Dimensions in User
Experience Design” , Research gate, IJSR,12 (8),janury,2014.
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3. Rika Godelava Danny, “Mobile App Design To Help College
Students Cope Mental Health Crisis During The Covid-19
Pandemic” May 2023.
4. Peter Tolstrup Aagesen, “ Personality of Interaction: Expressing
Brand Personalities Through Interaction Aesthetics” Published
May 2016
5. Cai Xinyuan, Industrial Design Department, The Academy Of
Arts & Design, Tsinghua University, tsinghua ,” Culture-Based
User Interface Design “Iadis International Conference on
Applied Computing 2005.
FIGURES/TABLES:
6. Figure 1 : User Journey Map
7. Figure 2: Digital Wireframes.
8. Figure 3 : Low Fidelity Prototype
9. Figure 4 :Usability Study Chart
10. Figure 6 :Usability Study Findings
11. Figure 7 :Mock Up for Mobile phone and Website
12. Figure 8 :Mock Up for Mobile and Website Screen
13. Figure 9 : High Fidelity Prototype for Website
14. Figure 10 : High Fidelity Prototypefor Mobile phone.
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SURPUR PAINTING: REGIONAL PAINTING OF
KARNATAKA(SPECIAL FOCUS ON BRING THIS
EXTINCT ART TO LIGHT)
MS. SHIKHA VERMA
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1Faculty, Department of Leather Goods and Accessories Design,FDDI
(Footwear Design& Development Institute), A-10/A Sector 24 Noida,
India.
ABSTRACT
Surpur paintings are a classical South Indian painting style that
originated in and around Surpur District-Yadgir in Karnataka. The
paintings are characterized by their delicate lines and intricate brush
strokes. It includes the graceful delineation of figures and the discreet
use of bright vegetable colors and palm leaf. This style of
workmanship was ignored for long, for right around a century, That’s
why this is languishing craft. Since every fine art has a one of a kind
creation process, without instructor’s artists must attempt to duplicate
the current masterpiece utilizing present-day strategies and methods.
The reign of Surpur area was established in 1636 by Gaddipida
Nayaka. According to historians, these nayaka came to Karnataka from
Tamil Nadu. There are 14 kings in his lineage, the last of whom was
Goshti Pid Nayaka, who was a contemporary of Shivaji Maharaj.
My research is about history, techniques and Artisans of Surpur
painting and to bring this extinct art to light.
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Keywords: Surpur, Folk Art, Line work, Karnataka Painting, Extinct,
Small Scale, Tradition
INTRODUCTION
The Surpur style of painting is considered as a branch of the
Vijayanagar style. The Surpur style of paintings originates in
Yadgir district’s Surpur. This painting is flourished under the support
of rulers for around two centuries, which was Immadi Venkatapa
Nayaka and Mummadi Venkatapa Nayaka.This art form was brought
to Karnataka by the artists belonging to the Garudadri family when
they migrated from Andhra Pradesh to Surpur in Yadgir district.
Mythology formed the major subject of these paintings. This style of
workmanship was ignored for long, for right around a century. Since
every fine art has a one of a kind creation process, without instructor’s
artists must attempt to duplicate the current masterpiece utilizing
present-day strategies and methods.
An attempt was made by artist Vijay Hagargundgi, who is credited
with giving impetus to the craft. Another group of painters, known as
Garudadri Chitralaya, moved towards re-establishing on different
canvases such as divisive creations, paper synthesis and beautiful
expressions on wooden sheets.
History: The reign of Surpura area was established in 1636 by
Gaddipida Nayaka. According to historians, these nayaka came to
Karnataka from Tamil Nadu. There are 14 kings in his lineage, the last
of whom was Goshti Pid Nayaka, who was a contemporary of Shivaji
Maharaj. The British attached it in 19th century after ruler Venkatappa
Nayaka was discovered dead in a very secret position. Venkatappa
Nayaka belonged to Karnataka. In 1857, it is believed to have accused
the southern kings of siding with the British.
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Surpura state is believed to be 800 years old from the known date of
Shivaji Maharaj 1630 AD. It was a very beautiful city. Many temples,
mosques, forts etc. have been found here, which have been built very
beautifully and very beautiful artwork has been done. This gives an
idea of the artists here. A very famous fort has been found near it. Due
to the beautiful structure of Surpura, the British government chose it as
a political state.
The Garudadri family is considered to be the first painters of the
Surpur painting style. It was during this period that the Garudadri
family moved from Andhra Pradesh to Surapura. Banaiah Garudadri
who was a remarkable expert of Surpur painting. The first Banaiah had
three children: Kamalaiah, Venkaiah, and Sheshaiah Kamalaiah’s child
the second Banaiah was likewise a craftsman. Garudadri family went
out and settled in Adoni and Hyderabad. A large number of their
family members despite everything live in Surapura. In the 17th
century after the fall of the Vijayanagar kingdom, a group of painters
relocated to Surpur where they started work of art currently known as
the Surpur style of painting. Since Garudadri appointed as a court
craftsman he made painting on the instruction of the king. It spread
incredible consciousness of the complexities of the fine art.
It can very well be viewed as a tribute to this withering work of art
which has hardly any living professionals today. In this painting we
can likewise discover the compositions of Shiva Parvati, Lakshmi,
Hanuman, Krishna and different divine beings and goddesses. Current
artist Vijay Hagargundgi who is credited with reviving the art and
fitting it into the modern medium has work on it. Presently these
paintings can be seen at Jagan Mohan Palace in Mysore.
OBJECTIVE OF THE STUDY:
The aim is to bring this lost folk art to light in this time of
modernity.
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To know more history of Surpur Painting.
To spread awareness regarding Indian art.
Our objective is to tell people about the greatness and simplicity
of our folk art and to support the artisans associated with it and
provide them employment opportunities.
RESEARCH METHODOLOGY: primary and secondary research
studies done
PROCESS AND TEQUNICES
Materials & Tools- Wooden panels, Palm Leaf, Cloth, Paper, Mineral
Colours, Plant Colours, Brushes, Agate Stone and Seashells, Pure gold
string.
Image: The Surpur style of painting.
Processes & Techniques
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Surpur scaled-down craftsmanship, perceived as one of the best small
scale works of art on the planet. It is confronting annihilation because
of the absence of institutional help and preparing to mature artists by
seniors to keep this wonderful fine art alive. It’s Intricate strokes in
artistic colors and the use of pure gold string set into the canvas,
depicting stories from Indian folklore, lend sublimity to the work of
art. Tones of light and shade used in body parts render a feeling of
volume and yet add to a feeling of clarity to these figures. Lines are
what rule in each work. In this way, there is a consistent
incomprehensible circumstance inside the edge on the potential
outcomes of the work.The craftsmen show highly complex and
detailed handiwork to create the paintings with brushes, aquiqor,
agate stone for mixing paints.Jagannath draws the style and themes for
his current work series from the Surpur style, but modifies the scale of
drawing to fit into a newer medium and context. He shifts from the
original size of the Surpur painting, which is a miniature scale and
shifts the base from walls and scrolls to canvas. The drawings of gods
and goddesses seem to float on the surface of canvas as though their
existence is unbound by the abstractly painted, colourful background.
Tones of light and shade used in parts of the body render a sense of
volume but at the same time contribute to a sense of translucency to
these figures. Lines are what dominate in each work. Thus there is a
constant paradoxical situation within the frame on the possibilities of
on the possibilities of the work.
Craft- Surpur Painting, Karnataka [Remark- Surpur Painting is one of
the finest art contribution from Yadgir district Karnataka.]
G.I. Status- Yes [Remark-Surpur Painting has G.I. Status because this
is an another art work of Mysore Painting.]
Languishing craft- Yes [Remark- This style of workmanship was
ignored for long, for right around a century, That’s why this is
languishing craft. Since every fine art has a one of a kind creation
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process, without instructor’s artists must attempt to duplicate the
current masterpiece utilizing present-day strategies and methods.
Material (Main): Wooden panels, Palm Leaf, Cloth, Paper, Mineral
color, Plant color.
Other Materials: Canvas, Ink Pen, Glitter Pen, Acrylic color, Water
color. Tools: Brushes, Aquiqor, Agate Stone and Seashells.
Culture/Community: Garudadri Chitralaya, State & District-
Karnataka, Surpur, District-Yadgir
The present day Surpur style paintings owe their origin to the murals
found in the walls of ruined mansions and temples of Surpur taluk in
Yadgir district.Many Artists like- Krishnaprakash Vasant Martand,
Vijay Hagargundagi, Jagadisha Kamble, Jagannath Bellad, another
group of painters, known as Garudadri Chitralaya, including painters
like Pulliah, Benakaiah, Banniah, and Kamalaiah, they moved toward
re-establishing the craftsmanship on different canvases like divider
masterpieces, paper syntheses and imaginative manifestations on
wooden sheets. The style is similar to the more established Mysore
(now Mysuru) and Tanjore styles of painting in terms of the gesso
work and the rendering of gold leaf with embedded semi-precious
stones. The thematic content adheres to mythology and Vedic themes
such as the ashtadikpalas or the guardians of eight directions. While
some paintings were made in honour of kings and noblemen, some
paintings were used to embellish actual photographs.
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Artisan: painting on Krishnaprakash Surpur style paintings.
REVIEW OF LITERATURE:
Purva 2022 shines a spotlight on Indian art like Surpur and Kalighat
paintings by Ms. Anagha M, Wrote (2022): The Surpur style of
paintings originates in Yadgir district’s Surpur taluk. It thrived under
Raja Venkatappa Naik during the late 1700s. The highly intricate style
of art is nowadays pursued by very few artists in the state. This
exhibition features traditional Surpur miniature art by Jagadish
M Kamble and Surpur line art pieces by Krishna Prakash. Jagadish’s
work is inspired by classical Indian art, whereas Krishna takes a more
revisionist approach to the style. Jagadish’s canvas boasts figures of
gods and goddesses in muted colours. Krishna takes these same fine
lines and creates a contemporary canvas with more abstract elements.1
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Art of Surapur in Karnataka by Mr. Amaresh Yatagal and Ramesh
Kamble, Wrote (2012): Surapur samsthana was located in between
Krishna and Bhīma rivers. This area is now located in Gulbarga district
Karnataka. Totally twelve kings reigned this samsthana from 1636 AD
to 1858 A.D. The first ruler of this dynasty was Gaddipiddanayaka.
Venkatappanayaka, one who brought unity among all south Indian
rulers, during the first war of Independence in India (1857 A.D.)
belonged to this dynasty. As much as this dynasty was prominent in
the field of politics, in the same way it had contributed to the field of
culture.2
ARTISAN CASE STUDY AND INTERVIEWS
1- Name- Krishnaprakash Vasant Martand-
Krishnaprakash Vasant Martand, born on 11/05/1979, hails from
Gulbarga, Karnataka. He specializes in ink and paper ‘Line Art’
that features for the large part abstract, heavily ornamented Gods
and Goddesses drawn primarily from Indian mythology. Unlike
the famed Surpur miniature paintings which his work has a
passing resemblance to, and which he claims as a big influence.
Gender- Male
Address-Karnataka,
Status- Living.3
2- Vijay Hagargundagi-
Born on 1 November 1957, Dr. Vijay S Hagargundagi holds a Diploma
in Fine Arts from The Ideal Fine Arts Institute, Gulbarga. He is a
recepient of an Honorary Doctrate from Gulbarga University. Vijay
Hagargundagi studied miniature painting at Vijayanagar (Surapura
Garudadri school) and headed to the Ideal Fine Art Society’s MMK
College of Visual Art.It contributed a lot in bringing Surpur painting to
light and making it famous.
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Date of Birth-1957,
Gender-Male,
Address-C/o Abhay R Patil, Plot no 51/1, Kotambri Layout,
Behind Central Bus Stand, Gulbarga 585103 ,
Status-Living.4
CONCLUSION:
Like this the rulers of Surapur patronized too many artists, encouraged
to create many paintings and enriched Surapur with their contribution.
They had given their own, special style to the world of art. The words
of art during their time resemble to that of Lepakshi models. But they
have newness in using color scheme and developing lines of art. The
lines are as thin as hair. The delicate lines drawn around the holy of
legendry scenes, enchant the viewers. It is proud to say that the art of
Surapura dynasty has become world famous. The works of art
belonging to Surapur dynasty can be seen in museums constructed in
different cities in England, Delhi, Mumbai and Salarjung Museum of
Hyderabad. Such type of art can also be seen in house of landlords and
among the family members of Surapur dynasty, and rich people. But
they are now at the verge of extent. It is sad to know that the people
belonging to this dynasty have least concern for the preservation of
paintings. It is needed to preview the works of art, by constructing an
art gallary in Surapur. It is who the responsibility of public to preserve
two heritage
Reference:
Journals /books
1-Sagaranadu Darshana
2-Karnataka Paintings- Author- Śivarāma Kāranta
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3-Traditional Paintings of Karnataka
4-The Hindu
5-Deccan Herald
6-Asia InCH
7- Narashihan A. L., Heritage of wall painting in Karnataka, 2001,
p.106.
Tables/ Image:
8. The Surpur style of painting.
9. Artisan: painting on Krishnaprakash Surpur style paintings.
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STUDY ON LEATHER CRAFT (JAMMU AND
KASHMIR)
MS. PRIYA PANDEY & MR.HIMANSHU BALUNI
----------------------------------------------------------------------------------------------
1Faculty, Department of Leather Goods and Accessories Design, FDDI
(Footwear Design& Development Institute), A-10/A Sector 24 , Noida,
India.
&
2 HOD & Faculty, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design& Development Institute), A-10/A Sector 24 ,
Noida, India.
ABSTRACT
Introduction
Jammu and Kashmiris the northern most state of India and share its
borders with Himachal Pradesh, Punjab and the neighboring states of
Pakistan, China and Afghanistan. The state consists of 2 regions
including Jammu and the Kashmir valley. The natural beauty and
picturesque locations have made it a favored destination for tourists
across the world. Those visiting Jammu and Kashmir can take back not
only the visual images of the valley but also the excellent crafts, to
keep alive the memories of Kashmir. Jammu and Kashmir has a rich
history of crafts, integral to its economy, culture and aesthetic. Almost
every family in the valley has at least one or two members engaged in
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either making or selling craft. It is a part of India that contains every
possible hand skill. Traditionally men have been the master craftsmen,
but women have always been part of the process. Now they are taking
a more active role, both as craftspeople and entrepreneurs. Leather
craft of Jammu and Kashmir traces its origin from the period when it
was ruled by the royals. This craft has managed to survive the wave of
modernization for its exquisite beauty and intricacy in
Kashmir.Besides leather embroidery goods, craftsmen also make
articles of plain leather such as shoes, gloves, coats and suitcases.
Leather work is also renowned in Kashmir andare in huge demand
within tourists. Some of the finest embroidery goes on to make it an
exclusive item in the closet with great export possibilities.
OBJECTIVE OF THE STUDY:
To study the market scenario, artisan life style, and different
materials leather craft industry
To study the making process and material of the study case
study
RESEARCH METHODOLOGY:
Methodology survey regarding the topic and related concepts has been
done. Secondary data inclusive of quantitative and qualitative data
collected from various sources including books, websites, topic related
informative interview has been done with the Jammu and Kashmir
artisans.
CASE STUDY ON LEATHER INDUSTRY OF JAMMU AND
KASHMIR: Leather Industry in the Kashmir Valley was experiencing
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a boom until the COVID as the people of leather industry were
engaged in the rawhide business since generations and living in the
downtown of Srinagar localities. Now slowly with the situation getting
back to normal globally, the leather industry is also expected to revive.
The growing daily turnover figures are statistical evidence of the
profitability of this business. Rawhide dealers collect hides of various
animals like sheep, goat, and cattle mostly from abattoirs in Srinagar
and also from villages. Raw hides are tanned with a coat of non-
iodized salt and other materials at various storage points from where
they are segregated and transported to various places outside
Kashmir.
Craft: The main centers for leather products and for crewel work is
mostly from Srinagar now. Embroidery products are from Udhampur,
Doda, Rajouri. For leather (Zari embroidery) juti and boots dhaliki
sirajan in Jammu city and machhedi and bani in Kathua district are the
main center. Jammu artisan mainly use sheep, buffalo, goat leather for
the products. They make plain as well as embroidered leather bags and
small leather accessories. Apart from bags, leather jackets and juti
(with embroidery) are made by the artisan as per the market demand.
PROCESS OF MAKING:
The work that has been done on the bags are called Kashmiri crewel
work.Kashmiri crewel work is one of the many variations of the
Kashmiri embroidery style. It is surface embroidery technique that
utilizes a hook (aari) and woolen yarns. Locally it is known as
zalakdozi and it pointed crochet hook utilized in the craft. A crewel
needle is a medium length (4-5cm) sewing needle with a sharp point
and a long eye for threading multiple or thick yarns. this type of
needle is often used for crewel work.
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Image : craft making process
DESIGNING :
Item to be manufactured is designed based on market demand and
raw material requirement is estimated.
SOURCING :
Sourcing& transporting of raw materials (leather, colors, etc.).
Different grades of raw material are selected for different
components of the footwear/bags and jackets. As an example, if
you are making footwear butt portion of leather is used for the
vamp component of shoe; belly portion is used for quarter
component. Slightly defective portion may be utilized for tongue
component.
CLIKING/CUTTING :
Clicking/cutting is carefully done in order to get the right
component from the right part of leather. Clicking can be done
mechanically (for bulk production) or by using knives.
SKIVING:
Reducing thickness of edges of leather pieces using a skiving
machine/knife,so joining pieces together doesn’t make the finished
product bulky. Skiving also avoids discomfort in the final product.
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LINING:
Lining is done to improve the aesthetics of the products. Lining
pattern should always be bigger than the leather component.
Excess glue should be avoided. Of different types including edge
lining, full lining, drop in lining.
CONSTRUCTION : Differenttypes of construction includes:
Cut edge construction
Turnover-edge construction (fold-edge construction)
Turn-edge construction (stitch and turn construction), d)
butt-edge construction
Molded construction
Built-up construction
Box-work construction
Limp construction
Semi-limp construction
Stiffened construction
Edge construction
JOINING
Required to cut down on costs since long lengths of leather straps
etc. proves an expensive process. Seems may be piped or bind.
STITCHING
Sewing finished product is done in flat bed sewing machine or
cylinder bed sewing machine. thread used are cotton, nylon cotton
and polyester cotton.
FINISHING
Excess thread, adhesive is removed, cleaning is done and quality
control check carried out before final packing of the product.
TOOLS:
Sl.n
Tools
Details
1
Cutting
is used as a surface along with sewing
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Mat
2
Strap
Cutters
tools are used for cutting straps and strips
from leather
3
Punch
is used specifically for making holes in leather
4
Stitch
Groover
is a leatherworking tool that creates grooves at
the edges of your leather piece
5
Skiver
is a specialized tool used to thin leather
6
Awlare
used for making or piercing small holes in
leather, usually for later running thread or
stitches
7
Mallet
Hammers are designed to avoid marring of
the leather. These are often used on belts,
shoes, luggage, handbags, purses and other
leather goods.
Table 1: various tool uses
Artisan Interviews
SL.N
Artisan
Name
Company
List of Products
Photo
1
Shri.
Owais
Raja
Lone
Mehraj
Leather
house
Srinagar
/Paradise
Emporium
pahar ganj
Exporter of
Embroidery leather
bag, plain leather
bags, jackets and
small leather
accessories.
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2
Shri.
Asim
Lone
Friends Co
Leather
Goods &
Handicrafts
Exports of
Handbags, Scarves,
Stoles, Embroidery
Shawls Long /
Shorts Suede Coats,
to various countries
U.S.A, Europe
Handbags, Scarves,
Stoles, Shawls,
Coats, Cushions,
Rugs, Jackets etc.
3
Shri.
Niyaz
Ahmad
Malla
Niyaz
Leather
Enterprises
Leather Jackets,
Embroidered Bags,
Purses, Pouches,
mobile pouches etc.
4
Shri.
Shabir
Ahmed
Zarger
Precious
Arts
Hand Embroidered
Cashmere & Silk
Jackets, Cape
Shawls, Suede Bags
and much more.
Table 2: Case Study on Senior Artisans in Jamu and Kashmir
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IMAGES: LEATHER PRODUCTS
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Image-1 : Accessories Product design - jammu kashmir leather bags
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Image - 2: A leather artisan working on embroidered leather panel in
Srinagar
Image- 3: Leather shop in Dal gate Srinagar
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CONCLUSION
The leather craft sector of Kashmir is unique in its richness and beauty.
In spite of the increasing influence of modernity and mechanization,
the artistry and skill of artifacts of Jammu and Kashmir continue to
receive world -wide acclaim. Big shots in leather industry says
Kashmir’s climate provides one of the best environments for leather,
one way is that instead of depending on exporting raw skins outside J
& K, the artists may tan it here to produce finished goods locally.
These finished goods will be cheaper to the buyers and more profitable
to the artists & the craftsmen due to involvement of little overheads.
Finished goods at cheaper rates will extend buyer market and increase
sales yielding greater profit to the dealer and more revenue to the
economy. Leather products occupy an important position in the
economic structure of J&K, it is indeed a pride for the state which has
been able to maintain growth and development in the sector especially
in terms of export thus it occupies an important position in the
international market. Government of Jammu and Kashmir directorate
of handicraft &handloom Kashmir has working on the preservation of
handicrafts and crafts of the state in order to achieve these objectives
they are co ordinating craft training centers, registration of all
interested artisans, organizing them into cooperatives & SHGs,
ensuring of quality control, design guidance, marketing assistance,
working for welfare of the artisans and giving due recognition to the
talented master crafts-persons.
REFERENCES:
Journals /books
1. Bhat FA, Yasmin E (2013) An Evaluation of Handicraft Sector of
J&K-A Case study of District Budgam. European Academic Journal
1: 367-381.
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Web references:
2. https://www.jkhandicrafts.com/citizens-charter.htm
3. https://www.craftscouncilofindia.in/indian-crafts-map/jammu-
kashmir/
4. https://asiainch.org/craft/leather-craft-of-jammu-kashmir/
5. https://kashmirlife.net/leather-lackluster-35414/
https://books.google.co.in/books?hl=en&lr=&id=vQShV9jNzIUC&oi
=fnd&pg=PA137&dq=jammu+and+kashmir+leather+craft+state+
&ots=2Pey
7. pdUX3&sig=5D0pryCoC5xDldP_eXtS52DgfZ4&redir_esc=y#v=on
epage&q=jammu%20and%20kashmir%20leather%20craft%20state
&f=false
IMAGES/TABLE:
8. Image-1 : Accessories Product design - jammu kashmir leather bags
9. Image - 2: A leather artisan working on embroidered leather panel
in Srinagar
10. Image- 3: Leather shop in Dal gate Srinagar
11. Table-1: various tool uses
12. Table 2: Case Study on Senior Artisans in Jamu and Kashmir
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EXPLORING THE FASCINATING ART OF HOT WAX
METAL CRAFT IN HIMACHAL PRADESH
MR. ANOOP SINGH RANA & MR.HIMANSHU BALUNI2*
----------------------------------------------------------------------------------------------
1HOS & Sr.Faculty, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design& Development Institute), A-10/A Sector 24 ,
Noida, India.
&
2 HOD & Faculty, Department of Leather Goods and Accessories Design,
FDDI (Footwear Design& Development Institute), A-10/A Sector 24 ,
Noida, India.
ABSTRACT
This research paper delves into a comprehensive examination of the
intricate art form known as hot wax metal craft, primarily centered in
Chamba, Himachal Pradesh. The study involves immersive interviews
and direct participation in the craft-making process, aiming to unravel
the intricate steps involved in creating exquisite jewelry, divine
sculptures, utensils, and gift items.
Furthermore, this research not only seeks to preserve the traditional
aspects of this craft but also endeavors to shed light on how it can be
adapted into contemporary designs. This adaptation is expected to
enhance its appeal, resulting in increased demand and economic
opportunities for the skilled artisans, thereby contributing to their
livelihoods.
23
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KEY WORDS:
Metal craft jewelry, metal sheet craft , hot wax metal , chamba craft
INTRODUCTION:
Chamba District, nestled in the picturesque expanse of Himachal
Pradesh, serves as an evocative canvas reflecting the tapestry of its
vibrant culture and enduring traditions through its diverse crafts.
Within this region, a mosaic of artistic expressions flourishes,
captivating the hearts of both the local populace and curious travelers.
This paper embarks on an exploration of these cherished crafts, each
representing a unique facet of Chamba's artistic heritage.
Intriguingly, Chamba District boasts a remarkable array of art forms,
including metal craft, wood carving, painting, basket weaving,
Chamba rumal embroidery, pottery, traditional weaving techniques,
and leatherwork, each deeply ingrained in the lives of its residents.
These crafts have endured through generations, becoming an integral
part of the local identity.
Of particular fascination is the intricate art of metal craft, a testament
to the region's historical evolution and cross-cultural influences. This
craft finds its roots in the craftsmanship of Kashmiri artisans, whose
indelible imprint is discernible in the exquisite Chamba bronzes.
Notable among these creations are bronze sculptures portraying
deities like Lakshmi, Ganesh, and Narsimha in Bharmaur, as well as
the magnificent Harirai and Gauri Shankar in Chamba. The casting
technique, known as Cire Perdu, entails the meticulous process of
crafting wax models, enveloping them in clay molds, and subsequently
pouring molten metal to give life to the envisioned images.
Remarkably, the tradition of metal craft remains vibrant in Chamba,
with dedicated artisans continuing to practice and nurture this
centuries-old craft, often referred to as "Mohra." These metal works
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predominantly feature revered deities, including Lord Shiva, and find
their prominence in regions such as Kullu and Chamba.
Beyond its artistic allure, metal craft in Himachal Pradesh embodies a
unique fusion of tradition and contemporary creativity, resulting in the
crafting of distinctive jewelry by skilled metalwork designers.
Moreover, temples in the region showcase intricate metalwork,
adorning doors and embellishing sacred spaces. Notably, Buddhist
monasteries also embrace metal crafts, incorporating them into their
architectural and religious aesthetics, emphasizing the enduring
importance of these crafts in the local culture.
In this paper, we embark on a journey to unravel the multifaceted
world of Chamba District's crafts, delving into their cultural
significance, historical evolution, and the enduring fascination they
hold for both residents and visitors alike.
PROBLEM STATEMENT
This study aims to examine both the current status and the future
prospects of the craft. Additionally, it seeks to evaluate the craft's
impact on the livelihoods of artisans in the Chamba region and their
overall artistic output.
OBJECTIVE
To explore more on ancient metal craft of chamba
To reach to the artisans and spread awareness of this craft
To Know historical background of the craft
To explore the possibilities to diversify the craft into more
lifestyle products
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RESEARCH METHODOLOGY
The research methodology employed a qualitative approach, utilizing
both extrinsic and intrinsic methods for data interpretation. Data was
primarily sourced from secondary references, including books, art
reviews, and reports. Throughout the data collection process, books
and online resources played a pivotal role as the primary sources of
information. To enhance clarity and understanding, a glossary was
provided to explain local terminology, and images were sourced from
original photographs.
REVIEW OF LITERATURE
Suhail M.Ghouse, Indian handicraft industry wrote (2012): That the
handicrafts and the major handicraft products are majorly made by
hand, they are produced with low investment materials available
mostly within the producing country, and these designs reflect local
cultural factors and skills. The workers in this industry do not form as
a union, handicrafts are important productive sector and export the
growth of international markets for home accessory products and an
increased interest in global goods have opened up new market
opportunities for artisans. Even we have widespread production; there
is a lack of handcrafts although various attempts have been made to
characterize this broad and rather unstructured sector.1
S.Venkataramanaiah Handmade in India wrote (2011): The amount of
units they make is directly equal to the current population of India;
due to this high production they can face common opportunities and
problems. Artisans geographically concentrated on house hold units
and basic products such as handicrafts, handloom leathers etc...
Basically, these artisans belong to traditional community producing
long-established products for generations.2
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Historical context
The history of Chamba metal craft can be traced back to ancient times
when the region of Chamba, located in the state of Himachal Pradesh,
India, was flourishing with artistic and cultural activities. The craft has
a long and illustrious heritage, deeply rooted in the rich traditions and
religious practices of the local community.
Historical accounts suggest that metal casting in Chamba dates back to
the Bronze Age period. The presence of minor copper mines in the
region provided a steady supply of raw materials, facilitating the
development of metalworking skills among the local artisans.
Chamba metal craft was initially utilized for creating sacred objects
and ritualistic items for religious ceremonies. Artisans crafted exquisite
metalware pieces like idols of deities, ceremonial vessels, and
ornamental objects, which were used in temples and religious rituals.
Over the centuries, Chamba metal craft evolved and incorporated
influences from various art forms, including local painting and
embroidery traditions. The motifs used in Chamba metal craft are
often inspired by the famous Chamba Rumals, elaborately
embroidered handkerchiefs known for their intricate designs.
The craft has been passed down through generations, with artisans
honing their skills and preserving the traditional techniques. Small
studios or workshops, often attached to the artisan's homes, became
centers for metal casting and sculpting, where skilled craftsmen
transformed molten metal into stylized and aesthetically pleasing
forms.
As the art of Chamba metal craft gained recognition, it became an
essential part of the region's cultural identity. The craftsmanship and
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beauty of the metalware attracted the attention of rulers and patrons,
leading to its patronage and promotion.
In recent times, efforts have been made to revive and promote Chamba
metal craft to ensure its continuity and preservation as a living
heritage. The art form has gained appreciation beyond the local
boundaries, attracting collectors, tourists, and art enthusiasts from
across the globe.
Today, Chamba metal craft stands as a testimony to the artistic legacy
and cultural richness of the region. It continues to be a source of pride
for the people of Chamba and a symbol of their artistic prowess and
devotion to their traditions and heritage.
The craft primarily utilizes brass, an alloy compound, for casting
intricate metal pieces. Skilled artisans create small and medium-sized
sculptures in stylized forms, often operating from traditional studios
that also serve as their shops. Larger casting work is carried out in
separate furnaces located away from the main shops.
The motifs used in Chamba metal craft draw inspiration from the
famous Chamba Rumals, renowned for their delicate and detailed
embroidery. Artisans skillfully incorporate motifs like the Raas
Mandala, depictions of Shiv Parvati, and various other Gods and
Goddesses into their metalwork, showcasing their artistic prowess and
reverence for the region's rich cultural and religious heritage. The
result is an array of captivating metalware pieces that not only
demonstrate exceptional craftsmanship but also reflect the deep-rooted
traditions and beliefs of the Chamba community. Now a days its is
registered under dc handicraft chambyal campaign .
GEOGRAPHICAL ETHNOGRAPHIC CONTEXT
The geographical and ethnographic context of Chamba metal art craft
in Himachal Pradesh plays a crucial role in shaping the unique
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characteristics and significance of this traditional art form. Let's
explore the key elements of this context:
GEOGRAPHICAL CONTEXT:
1. Location: Chamba is a picturesque town located in the northwestern
part of Himachal Pradesh, India. It is situated amidst the stunning
Dhauladhar mountain range, which provides a serene and inspiring
backdrop for the artisans practicing the craft.
2. Natural Resources: The region surrounding Chamba is abundant in
natural resources like copper, tin, iron, and other metals. These
resources have historically been essential in the creation of metal
artworks and sculptures, providing the raw materials for the craft.
3. Climate: Chamba experiences a temperate climate with cold winters
and pleasant summers. The weather conditions influence the
availability and usability of certain materials during specific seasons,
impacting the crafting process.
4. Cultural Heritage: Chamba has a rich cultural heritage deeply
rooted in its historical significance and religious traditions. The metal
art craft of Chamba is closely linked to these cultural aspects, as it
often involves creating sculptures of deities and other religious
symbols.
ETHNOGRAPHIC CONTEXT:
1. Artisan Communities: Chamba metal art craft is carried out by
skilled artisans who belong to specific communities or families that
have inherited the craft techniques and knowledge over generations.
This passing down of skills ensures the continuity and preservation of
the craft's traditional methods.
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2. Religious Significance: The people of Chamba hold strong religious
beliefs, and metal art plays a significant role in their worship and
rituals. The metal sculptures of deities and religious symbols are used
in temples, monasteries, and sacred spaces, reflecting the spiritual
devotion and cultural importance attached to the craft.
3. Artistic Expression: Chamba metal artisans have developed their
unique artistic expression and styles over the years. They often
incorporate intricate designs, detailed motifs, and traditional patterns
into their metal artworks, reflecting the region's artistic sensibilities
and cultural identity.
4. Socio-Economic Impact: The craft of Chamba metal art has social
and economic importance in the local community. Artisans and
craftsmen depend on the craft for their livelihoods, contributing to the
region's socio-economic development.
5. Cultural Tourism: Chamba metal art has gained recognition and
popularity beyond the local community. It attracts tourists and art
enthusiasts, promoting cultural tourism and generating opportunities
for showcasing the craft to a wider audience.
The geographical and ethnographic context of Chamba metal art craft
provides a backdrop of natural resources, cultural heritage, and artistic
expressions that contribute to the craft's distinctiveness and continued
significance in the region. It reflects the seamless integration of
tradition, artistry, and spirituality in the lives of the people of Chamba,
making it a cherished and valued aspect of their cultural heritage.
MATERIALS & TOOLS
Brass metal sheet , glue, lead, reetha,coal, heated wax Ball-pen hammer
,Sinking or disk hammer , Lifting hammer , Planishing hammer
,Chasing hammer ,Raw-hide mallet ,Ball or mushroom stake ,Raising
stake ,Iron Pin ,Loose cylinder head, Bottom stake ,Jewellery saw
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,Hack saw ,Shears or snips ,Try square ,Cutting pliers ,Flat nose pliers
,Hand drill ,Bunsen burner ,Dividers ,Bench vice , Metal burner, metal
cutter, metal bender, metal roller, drill presses, lathes, and pipe
products
Image – 1: Tools Description
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Image – 2:Tool Description
Image - 3: Tool description
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Image – 4: Tool description
Process & Techniques in Chamba Metal Craft:
1. Preparatory Work: Before beginning a metal craft project, careful
preparatory work is essential. This includes making patterns or
templates, selecting suitable materials and gauges of metal, and
calculating the required length of wire. The goal is to minimize
material wastage and ensure efficient execution.
2. Cutting: Straight shears, typically 12 inches long, are used for
general cutting work. Heavier gauge metal can be cut by securing the
shears in a vise. A hack saw, made of hard steel, is employed for
cutting wire rods or tubing. Care must be taken to avoid sudden jerks
or twists that may break the hack saw blade.
3. Annealing: Annealing is the process of softening metal through
heating. During metalworking and shaping, the metal becomes hard
due to compression or tension. Annealing is necessary before further
shaping can be done.
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4. Shallow Hollowing: Hammering up a shallow piece of work
requires various methods based on the shape of the design and
available equipment. Hammering a small bowl, for example, involves
using a ball-pen or hollowing hammer along with a block of wood.
The metal is gradually stretched into the desired shape.
5. Raising: Raising involves shaping a hollow vessel from a flat disk of
sheet metal using hammers, mallets, and stakes. The process differs
from hollow and shallow raising, as it primarily focuses on working
the metal from the outside in.
6. Planishing: Planishing is the process of making a metallic surface
smooth by light hammering, producing a textured effect. The hammer
blows must be even and evenly distributed to achieve the desired
result.
7. Bending & Shaping: Bending and shaping sheet metal and wire
often require specially prepared blocks of wood or iron. Hand pressure
is sufficient for lighter gauges, while heavier gauges may require a
mallet or hammer.
8. Leveling & Turning Up: Ensuring a piece of work remains level and
true during shaping processes requires periodic truing, testing, and
correcting. This ensures uniformity and consistency in the final
product.
9. Wiring & Clamping: Ingenious methods are employed to hold pieces
of metal together during soldering. Annealed iron wire is commonly
used for this purpose. It can be doubled or twisted to create stronger
holds for specific jobs.
10. Tinning & Cleaning: Tinning refers to the process of applying a thin
layer of solder to a soldering bit, ensuring a clean and hot surface for
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soldering. Flux, typically zinc chloride or soldering salt, is used for
cleaning and preparing the metal surfaces.
11. Soft Soldering: Soft soldering is a low-temperature soldering
process where the metal is not brought to a red heat. It involves
applying flux to the joint, heating the work until the flux boils, and
then applying wire solder to complete the joint. The finished joint is
rinsed in water to remove any flux residues.
These various processes and techniques showcase the intricate
craftsmanship and skill required in Chamba metal craft. Each step
contributes to the creation of unique and captivating metalwork pieces
that embody the artistic essence of the region's cultural heritage.
Image - 5:Heating the metal plate to give shape -
Annealing
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PRODUCT RANGE
Motif used- Lakshmi, Ganesh and Narsimha bronze statues in
Bharmaur and Harirai and Gauri Shankar at Chamba are the marvels
of the Bronze Sculptures. Another metalcraft unique to Himachal is
the mohra. Lamps, handles, bells, ghungroo, etc are some other
products. Thali, Sculptures. Musical instrument, and vessels, jugs,
trumpets, jewellery boxes. Ornaments like Chokers, heavy anklets,
bangles and silver bracelets. Necklace made out of metal called
‘Chandrahaar’ which comprises 5-7 rows of quality gold beads
Thals , jewelry ,bracaeltes , customized thaal (portraiture) ,armours
weapons, ranna sangha music yantra for marriage ceremonies, temple
bells, diety statues. Rings, bangels, mang tikka ,
Image - 6: Customized Portraits in metal thal
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Image - 7: Portrait Making Process in metal plate
Image - 8: portrait making process in metal plate
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Image - 9: Metal plate crafted god- deity images
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Image - 10: Metal Bracelets Image - 11: Metal Bells
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Image – 12: Ranasingha a badgh yantra used for marriage & worship
occasions.
Image – 13: Deity statute.
Contemporary adaptations
Candel stands , mirror frames, pen holders , office table top accessories
, lamp stands , tissue paper box,
Swot analysis of chamba metal craft
Strengths of Chamba Metal Craft:
1. Heritage Reflection: The craft serves as a timeless reflection of
Chamba's heritage, with a history spanning thousands of years.
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2. Cultural Celebration: It celebrates the local culture and religious
sentiments, prominently displayed in temples and other religious
places across the district.
3. Legacy of Artisans: The craft carries forward a rich legacy, passed
down through generations of skilled artisans deeply associated with its
establishment in the district.
4. Livelihood Provision: Chamba Metal Craft provides a means of
livelihood for craftsmen and practicing artisans, contributing to their
economic well-being.
5. Skill Development: It fosters skill development, equipping artisans
with versatile skills applicable in various metalworking techniques
and beyond.
6. Market Potential: The craft has a vast and diverse market potential,
offering opportunities for a wide range of products and consumer
groups.
7. Diversification: The craft allows for product diversification,
influenced by various craft traditions, catering to different consumer
preferences.
8. Low Entry Barriers: The craft has relatively low entry barriers,
making it accessible to new entrants.
9. High-Value Products: Chamba Metal Craft produces high-value,
handcrafted products that can benefit from design interventions.
10. Export Opportunities: The craft holds potential as a source of
foreign revenue, with promising export opportunities.
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These strengths, combined with the right design interventions and
market strategies, position Chamba Metal Craft as a valuable heritage
craft with the potential for sustained growth, cultural preservation,
and economic development in the region.
Weaknesses of Chamba Metal Craft:
1. Limited Financial Returns: The craft often fails to provide substantial
financial returns, primarily due to a lack of awareness and marketing
efforts.
2. Physical Demands: The craft is physically demanding and can lead
to ergonomic problems such as back and neck ache, as well as eye
strain due to constant exposure to heat and fire without proper
equipment.
3. Lack of Product Variety: The craft's strong association with religious
traditions in the region limits the variety of products, as customers
often demand traditional items.
4. Restricted Artistic Freedom: Artisans may find their creative
freedom constrained by rigid customer preferences and the traditional
nature of the craft.
5. Limited Promotion : Chamba Metal Craft is not well-promoted,
leading to a lack of awareness both locally and nationally.
6. Infrastructure and Communication Challenges: Inadequate
infrastructure and communication facilities hinder the growth and
promotion of the craft.
7. Unawareness of International Requirements: Artisans may lack
awareness of international market requirements and trends, limiting
export opportunities.
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8. Lack of Coordination: There is a lack of coordination between
government bodies and private sources, hindering the craft's
development.
9. Inadequate Information about Technology: Artisans may have
insufficient knowledge of new technologies relevant to their craft.
10. Less Youth Interest: The craft struggles to attract young
individuals, potentially affecting its sustainability.
11. Shortage of Skilled Labor: There is often a shortage of skilled labor
in the craft.
12. Rural and Small City Concentration : Chamba Metal Craft remains
confined to rural areas and small cities, missing out on untapped
markets.
13. Limited Promotion Efforts: There is a lack of promotional activities
for craft products.
Addressing these weaknesses through targeted interventions and
initiatives could help Chamba Metal Craft overcome these challenges
and thrive in a competitive market.
Opportunities for Chamba Metal Craft:
1. Exhibitions and Fairs: Showcasing the craft in various exhibitions
and fairs can help raise awareness and promote it to a broader
audience.
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2. Versatility: The craft can be combined with different materials and
crafts, offering opportunities for innovation and diversification of
products.
3. Government Support: Government schemes and subsidies can
facilitate the teaching of the craft in various public settings and
workshops, encouraging more people to learn and practice it.
4. Customization: The flexibility of techniques and materials allows for
the creation of customized products, potentially expanding the target
audience base.
5. Rising Demand: Increasing demand for handicraft products in
developed countries like the USA, Canada, Britain, France, Germany,
and Italy presents export opportunities.
6. Fashion Industry Integration: The craft can find applications in the
fashion industry, providing unique and handcrafted elements for
fashion products.
7. Retail and Real Estate: Development in sectors such as retail and real
estate may generate demand for handicrafts as decorative and artistic
elements.
8. Tourism: Domestic and international tourism can drive the demand
for authentic handicrafts as souvenirs and decorative items.
9. e-Commerce: Leveraging e-commerce and the internet can open up
new distribution channels, allowing artisans to reach a global customer
base.
10. Cultural Promotion: The craft can contribute to the preservation
and promotion of cultural heritage, attracting interest and support
from cultural organizations.
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11. Collaborations: Collaborating with designers and artists from other
fields can lead to the creation of unique and contemporary craft
products.
12. Sustainable and Eco-Friendly : Growing awareness of sustainability
and eco-friendliness can position Chamba Metal Craft as an
environmentally conscious choice.
13. Educational Programs : Developing educational programs and
workshops can help train a new generation of artisans and designers in
the craft.
By capitalizing on these opportunities, Chamba Metal Craft can
expand its reach, diversify its product range, and gain recognition on
both domestic and international fronts.
Threats to Chamba Metal Craft:
1. Depletion due to Lack of Awareness: The craft is at risk of depletion
because of insufficient awareness, which can result in a decline in
interest and demand.
2. Lack of Financial Returns: The limited financial returns from the
craft may deter young individuals from pursuing it as a viable
livelihood option.
3. Customer-Centric Nature: The craft's customer-centric nature can
lead artisans into debt if not managed properly, as they may invest in
producing customized products that do not yield sufficient returns.
4. Domestic Market Competition: Intense competition within the
domestic market can make it challenging for Chamba Metal Craft to
stand out and maintain market share.
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5. Demand-Supply Balance: Striking the right balance between high
demand and supply can be tricky, as overproduction or
underproduction can lead to financial losses.
6. Competition from Other Countries: High-quality products from
competing countries like China and South Africa may pose a threat to
Chamba Metal Craft's market share, especially if they offer more
competitive pricing.
7. Better Trade Terms: Competing countries might provide better trade
terms, making it more attractive for buyers to source similar products
from them.
8. Technological Advancements: Increased technological support and
the presence of Rand-D facilities in competing countries could lead to
the production of more advanced and efficient craft products.
9. Unskilled Labor and Occupational Shifts: The availability of
unskilled labor and their shifts to other occupations due to low income
can lead to a shortage of skilled artisans in the craft.
10. Machine-Made Competition: Mass-produced Chinese handicrafts
created by machines and produced in bulk can offer similar products
at lower costs, challenging the handcrafted nature of Chamba Metal
Craft.
To address these threats, Chamba Metal Craft should focus on raising
awareness, diversifying products, improving marketing strategies,
exploring international markets with unique offerings, and investing
in skill development and technology to stay competitive.
Current status of art & other information
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The ongoing pandemic has posed a significant threat to the art of
Chamba metal craft, raising concerns among artisans about its
survival. To ensure its preservation and support the livelihoods of
skilled craftsmen, they appeal for the government's intervention and
safeguarding measures.
In a collective plea, artisans propose that the government consider
procuring their exquisite metal products and present them as gifts to
dignitaries visiting the state. Such initiatives would not only promote
the art form but also provide much-needed support during these
challenging times. Additionally, artisans suggest engaging corporate
houses to purchase bronze artifacts, thereby creating a sustainable
market for their craft.
To adapt to the digital era, artisans urge the state government to assist
them in establishing an online presence to showcase and sell their
creations. This step would expand their reach to a wider audience and
help secure a brighter future for the craft.
A glimmer of hope shines as Chamba District's unique metal casting
craft, introduced by skilled Kashmiri artisans, is poised to receive the
prestigious GI tag. This recognition, facilitated by the district
administration and the Himachal Pradesh Patent Information Centre
in Shimla, will provide the much-needed boost to the artisans. By
securing the GI tag, the craft's traditional lost-wax technique will be
officially recognized and protected, ensuring its legacy for future
generations.
The once-thriving livelihood for numerous families, the art of Chamba
metal craft, has faced challenges with only a handful of artisans
continuing the tradition. However, with the GI tag and the Chambyal
project, art and craft societies registered by the district administration,
there is newfound hope. This project aims to integrate the local crafts
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into the mainstream economy, bolstering the socio-economic
conditions of the artisans and reviving the craft's significance.
Suggestions & design interventions-
Design interventions play a pivotal role in revitalizing and
transforming the age-old craft of Chamba metalwork, offering it new
dimensions and opportunities for recognition. These interventions
assist artisans by:
1. Creating Awareness: Design interventions help in spreading
awareness among artisans regarding innovative methods, materials,
tools, and potential clientele. This knowledge empowers them to
explore new avenues within their craft.
2. Promoting Indigenous Innovations: Recognizing the importance of
indigenous innovations, design interventions encourage artisans to
incorporate traditional techniques and local wisdom into their work,
preserving heritage while adapting to contemporary demands.
3. Driving Economic and Social Growth: Design interventions facilitate
economic and social growth. By expanding the scope of metal craft,
artisans can create a more diverse range of products, leading to
increased income and improved livelihoods.
4. Diversifying Product Offerings: Traditionally, Chamba metal craft
has focused on items like thaals, war instruments, marriage procession
instruments, statuettes, and figurines. With design interventions,
artisans can diversify into crafting lifestyle products, such as wall
hangings, clocks, décor items, frames, condiment holders, intricate
cutlery, dining sets, candle stands, and accessories like earrings,
bracelets, and necklaces.
5. Enhancing Artistic Expression : Design interventions encourage
artisans to explore their artistic potential and produce a wider range of
items. This expansion includes creating jewelry boxes, combs, hairpins,
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keyrings, bookmarks, pen holders, mirror holders, walking staff heads,
and more. Incorporating contemporary design concepts and
expanding product offerings not only adds a fresh perspective to
Chamba metal craft but also helps artisans attract a broader audience,
potentially leading to greater recognition and economic opportunities.
Design interventions serve as a bridge between tradition and
modernity, ensuring the craft thrives in the evolving market landscape.
CONCLUSION
In conclusion, the government's support and efforts to promote,
protect, and bring Chamba metal craft to the forefront are vital to
preserving this precious art form and sustaining the livelihoods of
talented artisans in the aspirational Chamba district.
In response to these formidable challenges, Chamba Metal Craft must
adopt a multifaceted approach to safeguard its heritage and secure its
future. Raising awareness within and beyond its borders is paramount,
ensuring that the world recognizes the value of this unique craft.
Diversifying its product range and refining marketing strategies can
help carve a distinctive niche in a competitive domestic market.
Exploring international markets with its distinctive offerings can
counter the threat of high-quality, lower-priced products from
competing countries. Moreover, investments in skill development and
technology are imperative to remain competitive and preserve the
craft's authenticity. By addressing these challenges head-on, Chamba
Metal Craft can continue to shine as a symbol of cultural richness and
artisanal excellence.
REFRENCE
1. Suhail M.Ghouse , Indian handicraft industry: problems and strategies,
Ijmrr, July 2012,p183.
2. S. Venkataramanaiah, Handmade in India: a geographic,
encyclopaedia of Indian handicrafts. Sep 2011vol2, issu3, p2.
STUDY ON INDIAN HANDICRAFTS: AN ART, CRAFT AND DESIGN SCENARIO
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Web refrences Source & credit
3. https://niftcd.wordpress.com/chamba-handicrafts/
4. Metal craft for craftsmen by Emil F. Kronquist
https://www.indianmirror.com/cra fts/crafts.html
5. www.artisan.gov.in.
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ASSESSING THE PHYSICAL PROPERTIES OF
RECYCLED FIBERS
MS. S.MONISHA1, DR.R.I.SATHYA2 & MS. P. DHANALAKSHMI3
----------------------------------------------------------------------------------------------
1M.Sc. Student1,, Department of Home Science, The Gandhigram Rural
Institute , Deemed To Be University, Gandhigram, Dindigul District,
624302,Tamil Nadu.
&
2Professor2, Department of Home Science, The Gandhigram Rural
Institute, Deemed To Be University, Gandhigram, Dindigul District,
624302,Tamil Nadu.
&
3Research scholar , Department of Home Science, The Gandhigram Rural
Institute , Deemed To Be University, Gandhigram, Dindigul District,
624302,Tamil Nadu.
ABSTRACT
Recycling is a new approach to minimize the waste and maximize the
utilize the used materials in a form of new products or materials
which will prevent the water pollution, air pollution, land pollution
from and filling and also it reduce the consumption of raw materials.
From this paper the recycled cotton fibre and low material of polyester
were selected and tested by the standardized equipments of AFIS
system and Single fibre length, denier and tenacity were evaluated.
24
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Both of the fibres were given the better results for conversion from
recycled fibre to fabric stage.
Keywords: Recycled Cotton Fibre, Low Material Of Polyester, AFIS
System, Length, Denier, and Tenacity.
1.1 INTRODUCTION
The process of assembling, categorization, cleaning, treating,
and reconstituting materials that also became solid waste, and
returning them to the conventional in the form of raw substance for
new, reused, or restore the products which will meet the essential
requirement of quality standards essentially to be used in the
market place which is known as recycling. (SharmaAet.al.2017).
Recycled product means a product that contains the highest amount
of post-consumer material practicable restrain significant amount of
pre-consumer material. (GoelAet.al. 2015)
A huge number of products are made from reprocessed
fibre because of this fibre is re-spun into new yarns or
manufactured into woven, or non-woven fabrications, or
upholstery material , knitted, or composite biomaterial, or other
methods including garment linings, household items, furniture
upholstery, insulation materials, automobile sound absorption
materials, automobile carpeting, and toys (Y. Wang, et.al.,2006).At
least 3-4% of the weft yarn including catch ends is unavoidable
waste in every type of weaving machine. The catch selvedge yarn
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strip is sold at throw away price. The fibres are separated by the
garneted who uses them for stuffing of pillows and quilts. Some
use this waste for making fancy composites for floor covering. By
using 100%wool yarn for 100% wool weft or polyester-wool
blended yarn, the wool rich catch selvedge can be teased to recover
fibres to feed to the woollen cards to produce blankets which have
a market in cooler regions. This is a cost effective solution and
provides for the wool rich raw materials needed for producing
blankets.(A.D.Sule, et.al.2001)
OBJECTIVES OF THE STUDY
To know about the importance of recycling in textile
sectors.
To study various types of recycled fibres available in the
market.
To identify and evaluate the physical properties of fibres
which is used to various purpose in textile industry.
2.1 MATERIAL AND METHODS
2.1.1SelectionofSource
Recycled cotton fibre and low material polyester fibre was used in
this study. The cotton fabric can also produced from recycled cotton
fibers which are also used as in textile products. The waste cotton
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fibre comes from during spinning process from the cotton industry.
The cotton waste fibre was recycled from the wastage from pre
consumer that is post industrial waste and post consumer of cotton
waste. During the textile production of yarn and fabric the excess
materials were known as pre consumer waste. Post-consumer waste
comes from discarded textile products. Recycled cotton was less
durablethanvirgincotton.
Andalsothelowmaterialpolyesterfibrewasusedinthisstudy.Thelowpol
yesterfibreshavehightenacityandlowwaterabsorptionaswellasminim
alshrinkage. The polyester fibre was made from the linear polymer
poly(ethylene terephthalate) which is widely used and also it is
referred as PET. It has the great effectiveness of low shrinkage, light
fastness and chemical resistance strength ,high modulus; high heat
setstability, etc.
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PlateNo:2.1.1(a) Recycledcotton fibre PlateNo:2.1.1(b)
Low material polyester
2.1.2 Collection of Fibre
The waste cotton fibre was collected during spinning
process from LS MILLS LTD in Theni. The quantity of 300g of
fibres was purchased. The low material polyester fibre was
collected from SITRA (South India Textile Research Association) in
Coimbatore. About 200g of fibres were purchased.
2.1.3PhysicalPropertyofCottonFibre
The collected recycled cotton fibre and low material polyester fibre
were determined under the following equipments.
2.1.3a) Advanced Fibre Information System (AFIS)
The AFIS instrument was used to measure the individual fibre of
length, maturity, each of each fibre fed, fineness. From this data ,it
provide the average length of individual fibres in a sliver fed to the
system, as also the length distribution both by number and weight
after measuring the individual fibre length for a selected number of
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fibres. This number can be varied between 1000 and 10000. Other
parameters, the instrument can measure are short fibre content,
immature fibre content, nep/g and percentage of dust and trash. In
thepresentcase, 5000 fibres were used for measurements
persample. The cotton fibre wastested at R.H. 65% ± 2% and
Temperature 21ºC ± 1ºC as per ASTM D 5866-12 (2020) & In House
Method SITRA/FP/01-2015. (Cenote, M. 2015).
2.1.3 b) Single fibre length measuring instruments
Thefibrelengthiscalculatedbyutilizationofmicroscopes(numberavera
ge),byclassification with screens (weight average). In single fibre
length measurement, each fibre is taken separately and gently
straight enedover the slide. The length is recorded as tedious & time
consuming; not used in millpractice; used where number of fibres is
small. The instruments can measure are mean length, longer length
and short fibres. The polyester fibre was tested at R.H. 65% ±
2%andTemperature21ºC ±1ºCas per In House Method
SITRA/FP/03-2017. (Elsevier, 2016).
2.1.3 c) Single fibre denier instrument
In denier testing is performed on the raw material, on in-
processed material and finished goods to make sure the material
meets the required specifications throughout the entire
manufacturing method. For every test, 9 samples are tested on the
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denier reel to attain an average weight of the material. The
polyester fibre was tested at R.H. 65% ± 2% andTemperature21ºC ±
1ºC as perASTM D 1577-07(2018). (Houck, M. M. 2009).
2.1.3 d) Single fibre tenacity instrument
The machinery is used to compute the tensile properties of
both natural and man-made single textile fibres that are of enough
length to allow mounting into a
tensiletestingmachine.Theinstrumentisusedtomeasurethetensilepro
pertiesincludingultimate tensile strength, elongation, yield
strength, tensile energy. These are being to cutin strips that plainly
have to be eight times longer than wide one. The polyester fibre
wastested at R.H. 65% ± 2% and Temperature 21ºC ± 1ºC as per
ASTM D 3822 M-14(2020). (Houck, M. M. 2009).
3.1Results and discussion
3.1.1 Physical properties of Recycled Single Cotton
fibre
S.No
AFIS–Length&Maturity
Mean
CV%
1.
Length(w)mm
23.4
1.7
2.
Length (n)mm
18.4
1.6
3.
Length(w)CV%
39.5
2.7
4.
Length (n)CV%
51.7
2.3
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5.
UpperQuartile Length(w)mm
29.2
1.5
6.
5.0%Lengthmm
34.1
1.8
7.
ShortFibreContent%(w) <12.7 (mm)
11.1
4.9
8.
ShortFibreContent %(n)<12.7 (mm)
28.4
3.4
9.
Fineness(mtex)
153
0.9
10.
ImmatureFibreContent%
5.4
5.0
11.
MaturityRatio
0.89
0.7
TableNo:3.1.1 Physicalpropertiesof SingleCottonfibre
From the above table shows the physical properties of
Cotton fibre of length and maturity. In length (w) measurement
of cotton fibre has been reported as 23.4 mm and also remaining
the percentage of cumulative variance of length (w) has
beenreportedas1.7mm.Inthelength(n)measurementofcottonfibreh
asbeenidentifiedas 18.4 mm and also remaining the percentage of
cumulative variance of length(n)has been reported as 1.6
mm.Inthepercentageofcumulativevarianceoflength(w)hasbeenre
portedas39.5 mm and also remaining the percentage of
cumulativevariance of length (w) CV% has been reported as
2.7mm. In the percentage of cumulative variance of length (n)
has been reported as 51.7 mm
andalsoremainingthepercentageofcumulativevarianceoflength(n)
CV%hasbeenreportedas 2.3 mm.
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In the Upper Quartile
Length(w)hasbeenreportedas29.2mmandalso remaining the
percentage of cumulative variance (UQL) has been reported as
1.5mm. In the 5.0 percentage length has been reported as 34.1
mm and also remaining the percentage of cumulative variance of
5.0% length has been reported as 1.8 mm.
In the percentage of short fibre content (w) has been
reported as 11.1 mm when it is less than 12.7 mm and also
remaining the percentage of cumulative variance of short fibre
content% (w) has been reported as 4.9 mm when
itislessthan12.7mm.Inthepercentageofshortfibrecontent(n)hasbee
nreportedas28.4 mm when it is less than 12.7 mm and also
remaining
thepercentageofcumulativevarianceofshortfibrecontent%(n)hasb
eenreportedas3.4mmwhenitis lessthan12.7mm.In the fineness of
cotton fibre has been reported as 153 (mtex) and also remaining
the percentage of cumulative variance of fineness has been
reported as 1(mtex).
In the percentage of Immature Fibre Content (IFC) of
cotton fibre has beenreported as 5.4 % and also remaining the
percentage of cumulative variance of(IFC)%has been reported
as5.0 %.In the Maturity ratio of cotton fibre has been reported as
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0.89 mm and also remaining the percentage of cumulative
variance of Maturity ratio hasbeenreported as 0.7 mm.
S.No
AFIS-Neps
Mean
CV%
1.
Neps(microns)
599
1.5
2.
Neps(Cnt/g)
161
23.2
3.
SeedCoatNeps(microns)
688
7.6
4.
SeedCoatNeps(Cnt/g)
8
61.1
TableNo:3.1.2Physicalpropertiesof recycled Single Cotton fibre
neps
The above table shows the Physical properties of Cotton
fibre of neps. During cotton harvesting or in the ginning process,
the neps and seed coat neps are all entangled and knotted fibers
that are formed. In the neps (microns) of cotton fibre has been
reported as 599 (microns) and also remaining the percentage of
cumulative variance of neps has been reported as 1.5 (microns).
In the neps (cnt/g) of cotton fibre has been reported as 161
(cnt/g) and also remaining the percentage of cumulative
variance of neps has been reported as 23.2(cnt/g).
Intheseedcoatneps(microns)ofcottonfibrehasbeenreported
as688(microns) and also remaining the percentage of cumulative
variance of seed coat neps has been reported as 7.6 (microns).In
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the seed coat neps (cnt/g) of cotton fibre has been reported as 8
(cnt/g) and also remaining the percentage of cumulative
variance of seed coat nepshasbeenreportedas61.1 (cnt/g).
3.2 Physical Properties of Low Material of Single Polyester Fibre
S.No
Single Fibre Length
Measurement(BISFA)
Mea
n
1
MeanLength(mm)
51.9
2
CV%ofLength
4.2
3
MinimumLength(mm)
47.0
4
MaximumLength(mm)
73.0
5
MeanDenier
4.89
6
CV%ofDenier
6.69
7
Tenacity(g/den)
3.58
8
CV%of Tenacity
9.93
9
Elongation
61.84
1
0
CV%of Elongation
20.88
TableNo:3.2 Physical properties of low material
Polyester fibre
The above table shows the Physical properties of Polyester fibre.
In length measurement of polyester fibre has been reported as
the mean value of length is 51.9mm and the percentage of
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cumulative variance of length has been reported as 4.2 mm. The
maximum length of polyester fibre has been identified as 73.0
mm and also the minimum length of polyester fibre has been
identified as 47.0 mm.
Denier is a unit of measurement used to determine the
fibrethickness.Inthethicknessofpolyesterfibrehasbeenreportedas4
.89mmandthepercentageofcumulative variance of denier has
been reported as 6.69 mm. The tenacity is measured in grams per
denier. In the Tenacity of polyester fibre has been reported as
3.58 (g/den) and the percentage of cumulative variance of
tenacity has been reported as9.93(g/den).
Elongation is specified as a percentage of the starting length. In
the elongation of polyester fibre has been reported as 61.84% and
also the percentage of cumulative variance of elongation has
been reported as 20.88%.
4.1 CONCLUSION
From this paper revealed that the recycled cotton fibre and low
material of polyester were shown the better results of single fibre
properties of length, Fineness, Immature Fibre Content%, Maturity
Ratio and the neps and seed coat neps of cotton fibre, denier and
tenacity, etc. Based on evaluation these fibres were can be replaced in
the form of yarn, non woven products. The result suggest an
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alternative approach from recycled cotton and low material of
polyester fibres can be reconstituting into either recycled yarn or non
woven products which will be used for textile applications. Hence this
approach will reduced the environment impact of the wastage of fibres
and also reduced the consumption of raw materials.
REFERENCE
1. A.D. Sule, M K Bardhan, (2001).Recycling Of Textile Wastefor
Environmental Protection: An Overview of Some Practical
Cases in Textile Industry, Indian Journal of Fiber and Textile
Research. 78, 79, 81
2. SharmaA,SharmaR(2017)andGoelA(2015).StatusofTextilesRecycl
ingandWasteUtilizationinAmrohaDistrict.InternationalJournalo
fBasicandAppliedAgricultureResearch.
3. WangY (2006).Recycling
InTextiles.WoodheadPublishingLtdCRCPress. 2
4. Cenote, M. (2015). In the SAGE Guide to Key Issues in Mass
Media Ethics and Law (pp. 847-858). SAGE Publications, Inc.
5. Elsevier (2016). Performance testing of textiles (1st Ed.). Wood
head publishing.
6. Houck, M. M. (2009). Identification of Textile Fibres (1st Ed).
Wood head publishing.
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