01 final documentation on metal craft

DOCUMENTATION METAL CRAFT

SUBMITTED BY- POOJA KAMBLE RITU SINGH SANYIA SHAIKH SHIVANI GUPTA SREJOYEE NASKAR VANSHIKHA PAREEK

Group-B Textile Design Department Semester- IV Batch: 2013-17

METAL CRAFT- CRAFT CLUSTER

CONTENTS1. INTRODUCTION....................................................................................4

1.1 SONGIR (Suvarngiri)...........................................................................6

1.2 HISTORY.......................................................................................7

1.2.1 HISTORY OF METALWORK................................................7

1.2.2 METAL TYPES............................................................................8

2. LIFESTYLE AND CULTURE:...............................................................13

2.1 CASTE INVOLVED:.........................................................................14

2.2 COMMUNITY:................................................................................14

2.2.1 LANGUAGE:.............................................................................15

2.2.2 GENERATION TO GENERATION:................................................15

2.3CONTIBUTION OF WOMEN:..............................................................15

2.4 USAGE OF VESSELS:.......................................................................16

2.5 FOOD:............................................................................................16

2.6 VACATIONS................................................................................17

2.8 BASIC AMENITIES:.........................................................................18

3. PROCESS OF METAL CRAFT..............................................................19

3.1 RAW MATERIALS...........................................................................19

3.2 PRODUCTS.....................................................................................20

3.3 PROCESS.......................................................................................21

3.3.1 MAKING OF COPPER KALSHI.....................................................21

3.3.2 PROCESS OF MAKING BRASS GAMLAS......................................23

3.4 THE JOINING..................................................................................23

3.5 THE WELDING...............................................................................23

3.6 ACID WASH...................................................................................25

3.7 COPPER AND BRASS VESSELS COATING..........................................26

3.7 DESIGN..........................................................................................26

3.8 TOOLS USED..................................................................................28

3.9 FINISHING.....................................................................................30

3.10 OTHER COPPER AND BRASS PRODUCTS.........................................31

4. DESIGNS AND MOTIFS.........................................................................32

4.1 DESIGN AND PRODUCT..................................................................36

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4.1.1 TYPES OF KALASH....................................................................36

4.1.2 COLLECTION OF KALASH.........................................................38

4.1.3 UTTAR PRADESH (MURADABAD) COLLECTION..........................39

5) ECONOMY.......................................................................................40

5.1) ECONOMIC CONDITIONS OF SONGIR..............................................40

5.3.1) COSTING OF TOOLS AND THEIR MAINTENANCE..............................42

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ACKNOWLEDGMENT

We would like to express our gratitude to all those who gave us the possibility to complete this documentation. It is indeed a matter of great pleasure to be able to submit this report on craft cluster in metal craft. The completion of this project gave great satisfaction and a feeling of an achievement.

We are immensely grateful to our mentor Dr.Senthil Kumar Venkatalu , for his guidance, appreciation and his invaluable help, enduring efforts, patience and enthusiasm that has given us a sense of direction through the cluster and the report.

We would like to render our sincere thanks to our director Mrs. Nilima Rani for giving us such an opportunity to discover our traditional crafts and learn about them.

We would also like to thank our course coordinator Mrs. Reena Agarwal for her cooperation, guidance and highly valuable time and her support in formulation of the report.

Now we would like to thank to all the people who directly or indirectly helped us during our research and making it a successful attempt.

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1. INTRODUCTION

The HANDICRAFTS in India represent our cultural tradition. They embody our heritage of creativity as aesthetics and craftsmanship. At a more substantial level, the handicraft tradition has sustained generation of people in our country. The skills of craftsmen reflected in the handicrafts became living symbols of self-reliance.Since the dawn of man, we have manipulated raw materials for tools and decoration. Beginning with adapting simple organic materials we have advanced to shaping stones and eventually working with metals. The warm glow of copper, with its suggestion of a rural diary or a farm kitchen, was a part of the ambience of the art and craft home. Copper and Brass utensils are an essential part of both ceremonial rituals and daily life in Maharashtra. The most commonly used items are the kalash and lota, vessels that are ideally suited for the traditional way of drinking water. They are made by joining together the bowl shaped base and the bell shaped upper part made from hammered sheets of copper. Different textures are by hammering the metal at different angles. Using the same construction principle, a variety of utensils is crafted by the craftsmen of a village in Dhule district called ‘Songir’. The craftsmen of Songir are masters in constructing the handmade metal utensils. The craft has been carried away from many years. They specially construct ‘Ghagar’, a water container, created while beating the metal sheets. Copper utensils are then sold in the local village shop according to the orders placed by the traders of nearby places like Pune and Nasik.

Fig. Ghagar

Traditional arts and crafts have a special charm. However, lack of innovation designs often makes them dreary for the customers. Therefore, to get creative help from the experts, NIFT approached Ministry of rural development with a project plane focusing on clean deliverables and the project was sanctioned.

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The craft cluster documentation was introduce in the curriculum of NIFT, with the idea of sensitizing design students who came background towards regional craft traditions of India in 1990. This gives students a good exposure resulted in developing greater sensitivity and appreciation of the craft and indigenous processes. The craft cluster program has been designed to meet the requirement of the diminishing market realities of a craft.To design novel ideas, about 6 students of Textile Designing Batch 2013 – 2017 at the NIFT interacted with artisans of metal craft of a rural area called Songir. In the 10-days long craft cluster, students learnt different techniques, materials, craftsmen lifestyle.The aim of the documentation is to showcase the creative potential of Songir’s craftsperson and make available a directory of resources – skills, materials, capabilities and product. The documentation on Songir metal handicraft tradition is a vehicle for bringing the hidden contribution of craftsmen for the economy of the country.The craft is diminishing because of changing lifestyles and preferences of the other materials. In order to save the dwelling craft of Songir the CRAFT CLUSTER was organized, as an effort towards the craftsmen achieving self-reliance and confidence to showcase their skills in order to attract users and craft lovers from all over the world to a new partnership that will take this craft to the rest of the world.

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1.1 SONGIR (Suvarngiri)

Songir is a village panchayat located in the Dhule district of Maharashtra state, India. It is the largest town in DhuleTaluka, situated on the intersection of National Highway 3 (Mumbai-Agra) and state highway 17 (Ahmadabad). It is the trading hub for around 100 small villages and localities. Mumbai is the state capital for Songir village. It is located around 312.8 kilometers away from Songir. The other surrounding state capitals are Daman 216.4 KM., Gandhinagar 332.0 KM., Bhopal 360.6 KM.

Historically Songir has been famous for its trade skills, such as manufacturing of brass

and copper utensils, shawls and rugs, carpentry work, blacksmith and goldsmith jobs,

also famous for "Bullock carts" which are made from special wood since long time.

There are three communities which work on this craft – Bangari, Tambat and

Gujarati.

It has a science college, D.Ed Colleges, Science and Arts Senior College on the

education and training front.

Small-scale industry is sprawling up around the area to support the big houses like

Suzlon and also help construct the part of Golden Quadrilateral that runs through it.

Famously known for its "Dhaba Style Food", especially "ShevBhaji". Songir fata

provides employment for hundreds if not thousands in the region.

Songir is covered by 3 small forts, which are helping in winter and summer season from

cold and hot wind respectively. King Gavili was the ruler of the forts in the time period

of Shivaji.

Temples in Songir include Someshwar, GurugovindMaharaj, Jain Mandir and also

BalajiRath. Couple of the notable temples areSomeshwar and Samadhi of Guru

GovindMaharaj.

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http://en.wikipedia.org/wiki/Agra

http://en.wikipedia.org/wiki/Mumbai

http://en.wikipedia.org/wiki/National_Highway_3_(India)

http://en.wikipedia.org/wiki/National_Highway_3_(India)

http://en.wikipedia.org/wiki/List_of_villages_in_Dhule_District#Dhule_Taluka


1.2 HISTORY

The linage of the craftspeople dates to at least 150years. In 1600s, when Shivaji was

ruling, the people of Jalgaon, Songir and Dhule used to make coins from copper.

In Gujarat, metal craft was done in a village called Pawagad. Then In 1865, the Kasara

community migrated from Gujarat to Songir and continued the metal craft. The reason

metal craft was started was because of the dowry system in society. Back in that time

the marriages were fixed according to the number of utensils exchanged. Therefore, the

people started learning more and making the utensils in their homes and that is how the

craft is still alive in Songir. This is the only source they have for their living. Passed on

through apprenticeship from generation to next, today the craft remains in the hand of a

few craftspeople with even fewer willing to take on this heritage craft.

1.2.1 HISTORY OF METALWORK

Indian artisans knew the art of metalworking since 3000 B.C. The beautiful figurine of the dancing girl belonging to the Indus valley civilization indicates the high level of workmanship attained by ancient craftsmen. The other high points reached by the craftsmen in the field of metalworking are bronze sculptures belonging to the Chola rulers and the iron pillar at Mehrauli, in Delhi, which was made during the time of King Ashok.

Artist unknown, pre-historic

Year c. 2500 BC

Type bronze[1]

Dimensions 10.5 c.m.[1] × 5 c.m. (?? × ??)

Location National Museum, New Delhi

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http://en.wikipedia.org/wiki/Dancing_Girl_(Mohenjo-daro)#cite_note-museum-1

http://en.wikipedia.org/wiki/Dancing_Girl_(Mohenjo-daro)#cite_note-museum-1


Fig. Dancing Girl

1.2.2 METAL TYPES

In India craftsmen use different metals like iron, copper, silver and alloys like bronze, bell metal, white metal etc. to make a variety of items such as pots, pans, utensils, photo frames, sculptures of deities, mythological figures and animals etc. Items like doorknobs, taps, key chains, boxes etc. are also made, using different metals.Sculptures are generally made with the lost wax process. This process begins with creation of a wax model of the sculpture or any item. This model is then covered with clay and holes are made into the clay. Finally molten metal is poured through the hole at the top, which causes the wax to melt. The cavity created within is automatically replaced by the hot metal. The metal is allowed to cool and the final product is freed from clay and polished.Pouring molten metal in molds of desired shapes also creates metal items.

What did our rishis/ saints say about copper

Our Rishies/Saints have enlightened a most easy formula by their experience. Only remedy to remove the new & old serious diseases that the water should be kept in the copper utensil in the night. In the morning drink 4 Glasses (1.25 liters) of water without washing mouth before sunrise. After drinking water, you can wash your mouth & brush your teeth (Manzan). But do not drink tea for 45 minutes. today in every hour, about 91 persons are dying due to ;heart problems. About 107 population of India have this disease. Scientists assume that in the fear of 2010 in entire world the highest patients of the world will be in India.The patient and disease persons who cannot drink 4 Glasses of water at a time in the beginning, can start by drinking one or two Glasses of water in the starting and gradually come to 4 Glasses of water.By drinking water of pure copper, utensil is useful in following old & new diseases. Diabetes, Headache, Anemia, Paralysis, Fatness, T.B., Lever disease, All eye disease, Stomach disease, Mental weakness, Cough & gastric problems, Monthly ladies problem, urine disease, (Stone) etc. Old age weakness, Blood pressure, joint pains, Heart disease, Bronchities, Monozities, Utris, cancer, Lucuria, Pimples, Acidity, Piles etc.

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Use of Copper and Brass - Way to Good health

Our ancestors used to have good health throughout their life; one of the various reasons was daily use of Copper and Brass utensils. It has been proved that Copper and Brass (Brass = 60% Copper+ 40% Zinc) carries lots of medicinal properties, which are tremendously beneficial for human health. According to this the medicinal properties of Copper and zinc, gets leached into water stored in them and this stored water we call 'Tamra-Jal'. Human body gets benefits of these medicinal properties by drinking 'Tamra-Jal' or cooking food in 'Tamra-Jal'.

Today, to ensure good health how much effort one takes? As a precaution we drink only pure water either boiled or purified with expensive electric purifiers. Instead of all this, one should drink only ‘Tamra-Jal’, which is pure and medicated too!

Medical benefits

Copper water beneficial for heart patients

Most of people do not know that copper works to remove roots disease like latrine-barricade and blood-barricade etc. Copper water plays an important role to remove these barricades. If anybody takes copper water regularly, his/her heart will not get pressure. In the heart problems and breath-problems, Copper-Bashan controls beeping of heart and speed of breath. Fat creates many diseases. Much weight is the main cause of heart problems.

Copper-ash controls weight. If physical-fire goes on, human being could not get any disease. If we use Copper water, Copper-jewelry and copper pots, we cannot face any problem all of these are beneficial for heart patients.

Metal Charged Water

when metals like gold, silver or copper are put in water for a specific time period, the resultant water gets charged with the health benefitting qualities of the metal.

Health Benefits Of Metal Charged Water

Copper

Those suffering from a number of chronic and complicated diseases like joint diseases, polio, leprosy, high BP, knee pains, stress and mental tension, paralysis find it benefits to consume copper charged water.

Copper is needed by the body for various physiological functions like RBC synthesis,

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protein metabolism, enzyme activity and benefits the nervous and circulatory systems and bone health.

Deficiency of Copper causes severe health problems such as :

· Loss of resistance power to diseases,

· Severe anemia,

· Skin diseases,

· Abnormalities in bones and weakness of bones which eventually leads to frequent fracturing.

Benefits of Copper:

· Helps healthy growth,

· Regulates blood flow, useful in heart problems,

· Helps to loose extra fat,

· Gives luster to skin.

· Useful in preventing Anaemia, Amoebiasis, Cough, Acidity, Piles etc.

The influence of copper upon human health is due to the fact that it is part of enzymes, which are proteins that help biochemical reactions occur in every cell. Copper is involved in the absorption, storage and metabolism of iron.

Zinc is also present in utensils. It is use as a paste for combing the different parts of the product.

Benefits of Zinc:

40% Zinc from the Brass helps human body as:

· Improves resistance power to diseases,

· Improves skin tone and cures skin problems,

· Nourishes healthy hair.

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Deficiency of Zinc causes:

· Slow and improper growth in kids,

· Hamper resistance power to diseases,

· Skin diseases,

· Loss of appetite,

· Loss of wound healing capacity.

Copper - The most economical and natural water purifier

Impure water gives rise to different diseases such as dysentery, cholera, jaundice and typhoid and sometimes they can cost your life. Along with above said properties, copper also has significant antibacterial property. Pitambari'sown R&D department successfully proved that all bacteria even the stubborn one like E-coli gets killed if the water is stored in a Copper vessel just for 2 ½ hours, purifying water to make it ideal for drinking. Copper bottom kitchenware consumes 40% less L.P.G. for cooking than other kitchenware.

The atmospheric reaction forms a greenish black layer on the surface of Copper and Brass metal. So, cleaning these utensils was quite difficult. Cleaning Copper-Brass with traditional items like lemon, buttermilk, tamarind and ash

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WHY COPPER IS PRECIOUS?

Fig. Noble Metals

Copper is one of a noble metal which makes it a precious metal with the property to

resist corrosion and oxidtaion in moist air.It is also a transition metal having the ability

of slower oxidization because it form a passivating layer of oxide that protects the

interior.

Copper is antibacterial / germicidal, via the oligodynamic effect. For example, brass

doorknobs disinfect themselves of many bacteria within a period of eight hours.

Antimicrobial properties of copper are effective against MRSA, Escherichia coli and

other pathogens. At colder temperatures, longer timesare required to kill bacteria.

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http://nlkcopper.com/copper/component/content/article/46#copper1


Copper has the intrinsic ability to kill a variety of potentially harmful pathogens. Several

of the aforementioned bacteria are responsible for a large portion of the nearly two

million hospital-acquired infections contracted each year in the United States.

Frequently touched surfaces in hospitals and public facilities harbor bacteria and

increase the risk for contracting infections. Covering touch surfaces with copper alloys

can help reduce microbial contamination associated with hospital-acquired infections

on these surfaces.

2. LIFESTYLE AND CULTURE:

The metal handicrafts are specialized skills which are passed on from one generation to another and these handicrafts are means of livelihood of the artisans staying in these villages.

It has been heard for ages that the lifestyle varies between a city and village. Definitely there is a great difference in the lifestyle among people living in villages and cities. Neither of them is above one another, but definitely has their own advantages and disadvantages.

It is considered that life in a city is almost equal to heaven and is wonderful and enjoyable. The reason behind such kind of thinking or feeling is only because, cities get expanded and more opportunities are made available for the people flooding in. New ventures, experiments and socializing happen in cities. The doors for each opportunity are more open in cities when compared to villages and therefore the facilities and comfort would be different from what you may find in villages.

Cities provide great facilities for education, medical treatments, job opportunities etc. which makes life more settled and takes it to the next level. The life led in a city is more enjoyable with the kind of amenities made available there.However things are different in villages. Though the lifestyle is not as advanced as what you see in the cities, the culture and attitude of people are more warm and welcoming. They are more considerate and know each other in the village.

The artisans of this village earn their livelihood by producing different handicrafts both utilitarian and decorative over centuries. Thus self sufficient economy of these people does not have substantial surpluses to warrant establishment of regular markets nor

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knew their potentialities for their handicrafts. Traders or middle men came on the scene and slowly these artisans who display their skill, acquired through tradition, used to sell their products to these traders or middleman, unfortunately these artisans are being exploited and are paid paltry amounts.

These artisans over generations inherited their traditional art. This art is still continuing despite all odds faced by these artisans households. This chapter mainly brings out with various types of handicrafts made by these artisans in different states and in different districts and problems faced by these households.For more expansion and growth, one has definitely be at the cities as they have more opportunities that would help one grow professionally. However, to understand the moral values and culture of a state or a place, you definitely need to spent some part of your life in a village and also to enjoy and understand the beauty of nature in all its true colors and aspects.

The various factors affecting the lifestyle of these villagers are:

2.1 CASTE INVOLVED:

The caste involved in this handicraft is mainly the artisans of ‘ kasara’. There are three more castes that comes under kasara caste that is:

Baugadikasar Tambar kasar Gujarati kasar

These people started their tradition of metal handcraft in Pawangarh, in Gujarat. And later most of them migrated here in SONGAIR , which is in Dhule district of Nasik. So they are even called gujjars.

A majority of the artisans, irrespective of their occupation is living below the poverty line. Their poverty levels are reflected in their low levels of incomes and expenditures as well as their standard of living. Lack of basic facilities and infrastructure along with secluded life cut off from the rest of the country further characterize the tribal life in the country.

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2.2 COMMUNITY:

Generally kasara community is involved in this handcraft. But there are even other castes like Marathi people who even do this work but those are in less number. And these artisans don’t even mind in teaching their art to others. As this would help them to expand their handicraft and this would probably prevent the craft from dyeing.

2.2.1 LANGUAGE:

These artisans mother tongue is Marathi .so most of them speaks Marathi only. Out of them very few people can speak Hindi or Guajarati as they used to live in Gujarat before and have migrated few years back from Gujarat to Songair.

2.2.2 GENERATION TO GENERATION:

This craft of copper has been passing from one generation to another as this would help their craft from dyeing and they even would not mind if their children wants to study further and work in some other field. But they would better prefer teaching their craft to them and carry their craft to further.

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2.3 CONTIBUTION OF WOMEN:

Men and women work the same fields, but carry out different tasks. Generally women don’t contribute much in this metal craft as they have to look for household work like cooking, cleaning and to look after their kids and secondly because of health issues and their life safety so they don’t work in high furnace area. As one of the artisan told that

once their daughter was working their and suddenly the pallu of her saree catches fire and she got burnt and later it did not get cure and she died. So ladies

only contribute in secondary things like washing of these copper plates and final utensils or in finishing.

2.4 USAGE OF VESSELS:

The different types of vessels that they make are copper Handa, Tapila, kalashi, Ghagar, Gangal and water filter. They even use their self made copper vessels in their household work also for different purposes like cooking or to keep the ration stuff or even for bathing which is called Gangal and these are even used in religious purposes and ceremonies and for some purposes they even use aluminum and machine made copper

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vessels which is been made in Pune and is made by using the press technique in which no joints on the vessel can be seen. The vessels are made out of molding a single whole sheet of copper and no jointing is done.

Fig. Top left: a product use on temple’s top decoration. Top right: a copper water container.Bottom left: In process ghagers in a kitchen with other utensils.

2.5 FOOD:When coming to the kind of food habits that people of both these places follow; people living in cities are more vulnerable to many diseases because of their sedentary lifestyle and fast food intake. With inappropriate exercising and large intake of fast food, the fast moving crowd compromises on their health which would have to be heavily paid off later in life. However, in villages, people stick to the old homemade food habits and since transportation is still to be up to the mark, a lot of exercising happens and this helps them to remain fit and healthy in the long run. The food they eat is proper

homemade vegetarian food. Some of the families even eat non-veg food once or twice in a month. As they earn very less amount of money so they cannot afford eating it more frequently.

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Fig. Stole of vegetables.

2.6 VACATIONSIn the monsoon these people don’t work as the monsoon time is the only time when these people get some break out of their busy schedule. So for spending their vacations well they might go to their religious place like Rishikesh or for amaranth yatra. As these people continuously work for 8-9 months so in the rest of the months they just roam around and go for religious tours.

2.7 HEALTH AND SAFETYThe amount of pollution is extremely high in this village and this has led to great amount of pollution and allergic diseases, even in small kids. This craft can cause many health related problems to the workers like working in the continuous high temperature area can even cause eyesight weakness. And can even be harmful and cause breathing problems as the metal burns and emits other gas can cause breathing problems. And a person can even become deaf as they continuous beat the metal to get it into shaped. So for them working in such hazardous condition is not at all an easy task.

2.8 BASIC AMENITIES:The educational status of the people in the villages of India is not so good, some of the villages even don’t have school. There are no water supply, no indoor toilets and no electricity. River water, well or hand pump are the main source of water. Life in the villages of India differs from one region to another. The life style of villagers is very

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clean, sweet and simple. They don’t dream for big houses, vehicle, and money etc, whatever they got that is enough to live their life happily.

2.9 DEEPLY RELIGIOUS:The villagers are deeply religious. They strictly use their self made copper utensils in every religious ceremonies. They worship a number of gods and goddesses. They devote regular time to player and worship. The village priest enjoys great respect. But they are highly orthodox and any change is dislike and opposed. Many kinds of superstitions flourish among them. They believe in a number of omens. The villagers are socially knit together. Their life is co-operate and interdependent. They depend on each other for the supply of their daily wants. They share in the joys and sorrow of each other.

3. PROCESS OF METAL CRAFT

3.1 RAW MATERIALS

The products that are made in this cluster are mostly made up of Copper and Brass.

Physical properties of copper- Copper is a ductile, malleable, reddish-brown metallic element that is an excellent conductor of heat and electricity and is widely used for electrical wiring, water piping, and corrosion-resistant parts, either pure or in alloys.Chemical properties of copper-Chemical properties are only observable during a chemical reaction. Reactions to substances may be brought about by changes brought about by burning, rusting, heating, exploding, tarnishing etc. The melting point of copper is 1,085 °C.

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Brass is an alloy made primarily of copper and zinc. The proportions of the copper and zinc are varied to yield many different kinds of brass. Basic modern brass is 67% copper and 33% zinc.Physical properties of Brass- Its density is 8.369/cm3. It is bright gold in appearance, higher malleability than bronze or zinc, acoustic properties appropriate for use in musical instruments, low friction, soft - may be used where low chance of sparking is necessary, relatively low melting point, easy to cast and not ferromagnetic (which makes it easier to separate from other metals for recycling).

Chemical properties of Brass- The relatively low melting point of brass (900 to 940 °C, 1652 to 1724 °F, (depending on composition).

Raw materials are obtained from Pune, Ravivarpeth. There is no transportation cost involved as it is borne by the traders or the shop keepers. Raw materials come in the form of circular plates of copper with diameter 15 to 25 inches and brass plates come in sizes of 30 to 40 inches diameter, since the brass vessels are bigger in size.

Other raw materials that are included are zinc/swagi, jhust, nauhsagar, kathil, coal, tamarind and sulphuric acid. These raw materials are provided to the workers by the traders who assign they work. These materials are available locally in their common market, so there is no special importing activity involved.

3.2 PRODUCTS

There are two basic products that are made. 1) Copper Kalshithey come in two shapes. They have three parts and 2 joineries. One on the neck part and the other on the middle.

2) Brass Ghagarthey have one shape, only the size varies. These have two parts and only

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http://metals.about.com/od/metallurgy/a/Malleability.htm

http://chemistry.about.com/od/elementfacts/a/copper.htm

http://chemistry.about.com/od/dictionariesglossaries/g/defalloy.htm


Fig. Left; in progress kalashi, right: in progress ghagar

3.3 PROCESS

3.3.1 MAKING OF COPPER KALSHI

I) The copper plates are placed against iron pot like structures that are buried in the ground. They come in various sizes. It has hollowness inside where the copper plates are kept and hammered to give it a U shaped. This part is generally the lower part of the

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kalshi or the vessels they make. Some are in the different form of U shape. Some are flattened U and some are steep V shaped.

II) The second process is the making of the upper half of the kalshi. They are made in the same way, beating circular plates with hammer and given them depth. Various shaped upper parts are made and then on the bottom flat surface, a point is made with a compass and a circular dimension is marked. That part is hammered with a sharp chisel and cut out.

These are various sized openings where the neck lines vary.

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III) The cut out parts are now hammered and given then shape of the neck of the kalshi. It has a circular cut out part too, in order to join the parts with each other.

3.3.2 PROCESS OF MAKING BRASS GHAGAREverything in the making of brass vessels is same like the copper vessels. But these are bigger in size, so the tools are bigger in size. Mostly there is no other difference. Brass vessels as beaten and hammered from one circular plate and one part has a hollow

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cut out. The same cut out is used to make the lower part with more bending and formation. These vessels have one joinery unlike the copper ones and the same mixture if Swagi and Jhust are used to wield the two parts. Then heated to solidify them and stick to the main body made of brass.

3.4 THE JOININGIn a kalshi is it any shape there are 2 joineries.In the joint 1 that is the neck line the 2 cut out surfaces are placed on top of each other the neck part's circumference is a little smaller than the other one.

The upper smaller part is hammered and bent towards the outside so that it does not come out of the vessel's grip. The lower part of the neck is inverted and hammered outwards too, in the shape of a convex.

In the joint 2, the big structures are interconnected in the form of cut outs. There are small cuts on the circular edges of the parts and they are joined together in a way when the gaps fit in with each other they are interlocked from inside and outside and hammered to make the cut surfaces even.

3.5 THE WELDINGZinc/Swagi, which looks like a silver stone is powdered and melted and mixed with Jhust, a type of liquid and made to a semi-liquid form.

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Then with a brush like structure it is applied on the joineries, externally as well as internally in a single slim straight band. It covers up the place which shows the joined parts and since it is silver in color it is aesthetically pleasant to the eyes as well. When the mixture is left to dry, it solidifies and becomes a part of the kalshi. Later it is heated in high temperature to make it permanent.The vessels after they are made are heated in a chulah. The chulah burn with the help of coal and it is controlled by air that is generated through a motor that has the mechanism of a blow dryer. There is also an old fashioned hand rotating fan that is churned in order to produce air and control the flames.

Later on the heated vessels are put in cold water and it solidifies more and mainly "pakka" and even.

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3.6 ACID WASHThese vessels when finished with their basic structures are then washed with sulphuric acid. They mix 10ml of sulphuric acid with 1ltr of water and then it is used as a scrubbing agent for these vessels. H2SO4 is a moderately strong oxidizing agent and a powerful dehydrating agent and has the ability to dissolve copper. Hence it is used in such a mild and dilute quantity to clean copper.

After the acid wash these vessels shine in a different level , all the brown spots and the hammer dents vanish and the surface clears completely and shines. The acid is also diluted so that it does not react to the skin of the workers and acts harmful for them.

The cleanliness and shine is very distinguishable once these vessels are washed with the acid.

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Fig. Left: unwashed kalshi, Right: acid washed kalshi

In case of the brass vessels, they are washed with Nauhsagar and a mixture of tamarind to remove the stains and make the vessels glossy and stain less.

Fig. washing with Nauhsagar and tamarind mixture

3.7 COPPER AND BRASS VESSELS COATINGThere are 2 families in the village that does the coating of the insides of large brass vessels as well as copper vessels.This is done to prevent corrosion and this coating stays for 2 to 5 years. The coating is done with a silver foil like structure knows as Kathil.

Fig. Kathil- silver stripes

The vessel is first heated up and when the sides are already hot the silver foil is placed and it is mixed with a silver powder known as Nauhsagar the Kathil and Nauhbhsagar mixes and forms a thick silver liquid which evenly spreads all along the inner walls of the vessel. After the liquid evenly spread it is then placed in the water to cool and solidify.

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Fig. Silver coated vessel

The original names of these materials were not been able to found, so according to other researches, this Kathil is supposedly Galvanzine. It comes in the form of silver foil. It is soft and tear-able as well. And the Nauhsagar is just some form or salt that acts as a catalyst in the whole process.

Fig.: Conversation with the local living people of our group members.

3.7 DESIGNThe workers get a wage of Rs.140 to Rs.150 per Kg of copper product they make per day. There is a special hammer that comes with steel plating in various sizes.The workers sit on a iron peddle like structure and places the kalshi upside down and the neck part is inserted in the handle. There is no particular design in the process but a fair amount of calculation is made where to hit one spot another. When the steel hammer is struck a dent is formed but a deep dent though. The steel touches copper gives a

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polished surface. There are other designs that come as well but those are cravings and surface embellishment.

They use the same method for huge bronze vessels that are a part of their manufacturing unit. No other design or process is used here.

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3.8 TOOLS USEDThese tools have various names and functions.

The scissor like tool is known as Kamparle and is used to trim the edges and circumference if the vessel parts.

The two big hammers are used to give depth to the copper plates and turn and bend them to form shapes of U.

The other three hammers are known as Grindu. They are used for various purposes, like hammering the edges and refining some dents, etc.

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There is a big scissor like structure that is used to cut the edges of the circular end surfaces to give them a proper and even circumference. This is known as GhairiKauli.

This sword like structure is known as Kanas. It is used to file the sharp edges smooth. It acts like a nail filer, only in a bigger shape.

This round iron structure is known as Aadi, where the plates are kept against and beaten to give shape.

These are a set of steel plated hammers used for the outward design.

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3.9 FINISHING

After the vessels are given their trademark steel hammer strikes, they are given a plastic coating that increases the longevity of the product. There is specialized machine that comes for this purpose. Also these vessels are coloured externally sometimes with a Deccan soap.

3.10

OTHER COPPER AND BRASS PRODUCTSApart from the regular and typical steel struck design, there are a few other products made as well. But those are intricate works and they are not used for large scale production. These works are done by one master artisan, that too by custom orders. He uses a chisel and pin and carves out surfaces. Also there is a rotating machine that is used to smoothen the surfaces.

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4. DESIGNS AND MOTIFSOrnamental or decorative art can usually be analyses into a number of different elements which can be called motifs. In a metal craft songir is the place they do 10% of work metal and rest of 90% work done in Uttar Pradesh state in muradabad village. In songir Craftsman buy the sheet from contractors, earlier copper was extracted by the tamtas from local name. And brass called as pital.

MODAK MOTIF

A modak is a sweet dumpling popular is western, eastern India. It is called modak in Marathi.Oriya and Konkani as well as Guajarati language. Modak have a special importance in the worship of Hindu god ganesh; modak is believed to be his favorite food. They get inspired by the food and make the motif of madak shape. This motif they only used in their personal order or personal used.

LAMB PAKHALI MOTIF (Long leaf)

CHOTI PAKHALI (short leaf)

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Lamb and chotipakhali means long leaf and short leaf. They locally called as lamb and chotipakhali. they inspired by nature.

TIN PAN MOTIF (three leaf)

Tin pan motif means three leaves join together. In Marathi three called as tin so they called in their local language tin pan motif.

BADAM MOTIF (heart)

Badam means heart. In Marathi language heart called as badam.

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AARDH GOL MOTIF (half circle)

Aardhgol means half circle. They locally called as aardhgol (half circle). Inspired to the bangles. There is cast bangadikasar. This people make a bangle so these half circle motifs come through this people.

BELLPAN MOTIF

Bellpan is the type of leaf. These leaf normally used in mahadev temple. The motif is inspired by the nature.

TIKALI MOTIF (dot motif)

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Tikal is the local name of the motif. Tikali means bindi. Normally women used bindi in round shape. So they used as design in small round dot. This dot gives a shiny effect. This is very famous motif in songir place. Normally 80% of product they used these motif.

4.1 DESIGN AND PRODUCT

4.1.1 TYPES OF KALASH

LAHAN KALSHI (small vessel)

GANGAL (bath top)

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This is a small vessel. They locally called is kalshi. And they used as store water in this. This is made up by copper. In this vessel they used the three leaf motif in middle part of vessel. And upper part of vessel they used as half circle motif. And the most

common motif. In metal craft is tikali motif the dot. They used as bottom part of vessel.

This people called as gangal in their local language. The bath top full of design make in dot motif. Some dots are very close and some dots are give them distance. The dots give a shiny effect of product.

PADUKA BOX

Paduka means the rushimuni used sleepers’ they kept in box that’s sleepers called as paduka and they kept in box called as paduka box. This box is making with the copper metal after long time.

KALASH

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In Songir place they work on copper 90% and only 10% they work in brass metal. In brass metal they create some product for example kalshi with their different sizes. Kalash price depend upon their height. They make it in different size for example in this picture the first one kalash height is nine inch (9”) and around 700 to 800 grams weight. In this kalash production weight it is doesn’t matter the price is only depended on their height. Second one kalash height is half feet and third one kalash height is two and half feet and the last one kalsh height are seven feet around.

4.1.2 COLLECTION OF KALASH

4.1.3 UTTAR PRADESH (MURADABAD) COLLECTIONIn Utter Pradesh state there is small place of Muradabad village. In India 90% metal work done in Muradabad. And in this 90% metal work they are only doing 80% of brass metal work. The small collection of Muradabad work done Songir people have.

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TotivalizariTotivalizari the name has given in Muslim community. And they used as glass for washing hand after dinner and lunch.

5) ECONOMY

WHAT IS ECONOMY?

The status of a country region in terms of the production and consumption of goods and services and the supply of money.

5.1) ECONOMIC CONDITIONS OF SONGIR.

Over time, many factors have altered the economic conditions of the artisan communities. Back then in 1865 when this craft was started in Gujrat, Pawagad the rates of metals like Copper and Brass were different then what it is now, 12 years before the prices were 2rs per kg for copper and 1rs per kg for brass as said by the craftsmen of Songir. The wages of labors have changed the prices of utensils have changed over the years the demand of copper and brass utensils have decreased over the years after silver and steal utensils have taken their place in most of the homes.

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5.2) PERIOD OF WORK

The craftsmen of Songir are very hard working as they work continuously for 8 months in a year but during monsoon season they only do the finishing and embellishing part of the utensils. The shaping and molding of the utensils are not done as rains affect the metals and tools and cause rusting of metals .They don’t work on Amavas nights, on this night they perform a ritual puja by making Kaliker Matas idol in mud and keep all the tool they use in metal craft in between and perform the puja and prepare the meal. This holiday is of 2 days. Normally Amavas is a monthly holiday other than that they don’t work on Gudipadva, Shravan and Dipavali (Diwali).

They don’t work when there is a marriage in the village or when somebody dies. The period during which they don’t work affects their economic conditions; the money which the shopkeepers give them has to be returned by the labors.

5.3) COSTING OF RAW MATERIAL

The raw material is usually given by the shopkeeper to the craftsmen they have nothing to do whit the transport cost and the material cost .The raw materials used by the craftsmen are Copper, Brass, Sulphuric acid, Gold water, Saras (joining gum), Black sand, Swagi, Jast and White soap .The copper sheet cost 550-600rs for 1 kg approx. 45 Inches by 15 inches sheet. Brass cost 280-300 /- per kg .Swagi white powder mixture

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cost 80rs per kg rest everything is made at home except the sulphuric acid. The transport cost is taken care of by the shop keepers as they purchase the metal required. They get the metals from Pune, Nashik and Moradabad. In Up, Moradabad rate of metals here is 500/- for 50 grams of brass. The joining gum known as Saras cost 50/- per kg.Black sand (Put on the wheels of the polishing machine of utensils) 100rs per kg. The mixture of jast, brass and swagi is sold 10rs per kg. The big carry bag weight is 100 grams and cost is 400rs per kg (carry bags are used to transport utensils) another small carry bag which weight 70 grams is used; it cost 400/- per kg as well.

5.3.1) COSTING OF TOOLS AND THEIR MAINTENANCE

The tools used by the craftsmen are made by themselves they use big nut bolts for shaping the utensil or kalash, nut bolts of different sizes are used, the hammers are also made by the craftsmen the base or handle of the hammer is made of wood and the upper part that is used to beat and mold the utensil is made of iron and steel. The polishing machine is also made by the craftsmen the hard wheel in the polishing machine is made up of iron and black sand and the soft wheel is made up of iron the polish wheel is made up by arranging layers of fabric in a bundle.For the maintenance of the tool they are kept away from water for cleaning the tool wet cloth is used. The labors pay for the costing and maintenance of tools

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5.3.2) COSTING OF PRODUCTS

The craftsmen are not paid the amount they deserve for the products they make they are paid very less amount for their hard work by the shopkeeper who make a fortune by selling these products. The shopkeepers are paid 60-80/-per kg. A craft man on an average can make up to 4-5 utensils a day. The shopkeepers sell a 9inch kalash for700-800rs, a half feet kalash is sold for 1500rs, a 2and half feet kalash is sold for 7000 /- , a 7 feet kalash is made on demand so price not available the product prices may vary according to the demand of the product .the shopkeeper make around 25 lakh a month on an average. The shopkeepers are surely in profit most of the time the craftsmen are paid on wages so no question of profit and loss arise.

5.4) PROFIT AND LOSS

The profit and loss conditions is not for the workers its more for the shopkeepers they are the one who actually have to deal with the ups and downs of the market conditions and prices .Metal prices in India are seen according to the stock price and share market the buying and selling prices of these metals are determined. The shopkeeper also sells the products according to the market conditions and demand of the product. The craftsmen

have a fixed price for each product they deliver so it’s on them how much they make per day .On an average they make 300-400 per day .The shopkeepers pay taxes, cost of the raw material, transport cost of getting the raw materials from places then transporting them back to the user. Sometimes the shopkeepers have to sell their products at a very low price hence they face a loss. When it comes to profit on an average the local shopkeepers of Songir make 22-25 lakh a month. They even have some foreign customers. There has been a decrease in demand for brass and copper vessels after the increase in demand for silver wares and the china platters and other glass wares. The income differences between the shopkeepers and the craftsmen are huge. The craftsmen earn 8000-9000 on an average monthly, whereas the shopkeepers earn 20-25 lakh a month. The craftsmen earn 2000-3000 more if they get any special order from some customers.

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5.4.1) SAVING AND EXPENDITURE

The craftsmen don’t save much as they make very little they work hard for 8 months continuously. they don’t work during monsoon the shopkeeper whom they work for pay them little amount to survive during the monsoon when they are not earning .the banyas lend them food material for which they pay later when they start earning .the government used to provide loan to the craftsmen but now they have stopped as the craftsmen were unable to repay the loan amount.

5.5) PROGRESS IN ECONOMIC CONDITIONS:

The economic conditions of craftsmen have not improved much but little changes in the economic condition have been seen in the past 12 years .The wages of craftsmen have increased from 2Rs back then to now 60 Rs. The economic conditions of their home has changed a bit now some homes have TV, speakers some homes have bicycles and motor bikes the nub housed have now become brick houses.

6) Maharashtra government’s involvement in development of metal craft:

The Khadi and Village Industries Commission (KVIC) is a statutory body formed by the Government of India, under the Act of Parliament, 'Khadi and Village Industries Commission Act of 1956'. It is an apex organization under the ministry of micro, small and medium enterprises, with regard to khadi and village industries within India, which seeks to - "plan, promote, facilitate, organize and assist in the establishment and development of khadi and village industries in the rural areas in coordination with other agencies engaged in rural development wherever necessary. In April 1957, it took over

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the work of former All India Khadi and Village Industries Board. The First Director of KVIC was Late Sardar KA Venkataramaiya, a veteran freedom fighter from Karnataka. Its head office is based in Mumbai, with its six zonal offices in Delhi, Bhopal, Bangalore, Kolkata and Mumbai and Guwahati. Other than its zonal offices, it has offices in 29 states for the implementation of its various programs.Any Industry that is located within a rural area, where the Fixed Capital investment per Artisans (weaver) does not exceed Rupees One hundred thousand. The Central Government of India can change the Fixed Capital investment whenever it so requires.

6.1) OBJECTIVES OF THE KVIC:

The Commission has three main objectives which guide its functioning. These are -• The Social Objective – Providing employment in rural areas• The Economic Objective - Providing salable articles• The Wider Objective - Creating self-reliance amongst people and building up a strong rural community spirit.

The commission seeks to achieve these objectives by implementing and monitoring various schemes and programs.

6.2) IMPLEMENTATION OF SCHEMES AND PROGRAMS:

The process of Implementation of schemes and programs starts at the ministry if micro, small and medium enterprises which is the administrative head of the programs. The Ministry receives funds from the Central Government of India, and routes these to the Khadi and Village Industries Commission for the implementation of programs and schemes related to Khadi and Village Industries.The Khadi and Village Industries Commission then uses these funds to implement its programs either directly - Through its 29[8] state offices, by directly funding Khadi and Village institutions and co-operatives, or indirectly through 33 Khadi and Village Industries Boards, which are statutory bodies formed by the state governments within India, set up for the purpose of promoting Khadi and Village Industries in their respective states. The Khadi and Village Industries Boards, in turn, funds Khadi and Village Institutions/Co-operatives/Entrepreneurs.At present the developmental programmers of the commission are executed through, 5600 registered institutions, 30,138 cooperative societies and about 9485,000 people

Another facility provided the government to the craftsman provided the land by the government to the craftsman near Songir, in order to give those better living conditions.

6.3) NON-GOVERNMENT ORGANIZATIONS:

In the absence of a corporation for the development of handicrafts, the government offers schemes and subsidies, and NGO’s are free to take the initiatives in the sector. According to the planning commission, Government of India, there were 3000 NGO’s in India in 1999. These are charity organizations registered under Charity Act.

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The NGO’s are supposed to set up Self Help Groups of artisans but this objective has not been met by the NGO’s adequately. Thus, the primary data collected for this project indicated that the formation of self Help Groups must be left with artisans themselves. The data revealed that NGO’s were assigned funds to “facilitation centers”, where artisans could interact with the ‘master craftsman’ and provide training to the new craftsmen but the Ngo’s have failed in this task.

6.4) HANDICRAFTS OF MAHARASHTRA:

Handicrafts are perhaps the oldest craft practiced from the times of ancient civilization since human beings started making utility tools. This sector is embedded in the socio-economic and cultural milieu of India. Handicrafts are skill “specific“ and “master craftsman specific”. Irrespective of raw material used these crafts can be classifies in two categories:

a) Utility articles like utensils, furniture, bags etc.b) Artifacts or decorative articles.

6.4.1) METAL CRAFTS OF MAHARASHTRA :

Ahmednagar:Ambadi - sisal craftTaal, jhaanj, ghanta - brass musical instrumentsAurangabad-Bidri ware

Nasik:Tambaatkam-copper and brass workUthavachekaam-metal embossing

Chandichekaam-silver ware:PuneMumbaiNashikKolhapur

Metal work in copper, brass and other alloys was being conducted in several places in Maharashtra for centuries. Old records reveal that there was a large manufacture of idols in all the metals at Nasik & Pune. Good brass utensils were also made at Kelshi and at Begmandli in the Ratnagiri Collectorate. Bombay Copper Bazaar was also equally known as recorded by Birdwood. He had observed that: "The most active industry in the town of Bombay is the manufacture of brass and copper pots and other untensils in

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universal use among natives of India. The Cooper Bazaar opposite Mombadevi Tank is the busiest and the noisiest, and one, of the most delightful streets in all the native town. Mr. Terry states (Maclean's Guide to Bombay) that, there are 1,069 coppersmiths, and 1,536 blacksmiths in Bombay."That Copper Bazaar of Bombay does not exist now. In today's stainless steel age', handmade metal crafts cannot survive. But in Nasik, even today there are hundreds of craftsmen who have their workshops and shops in a particular lane known as Tambat Ali. Some of the craftsmen can still execute utensils and vessels with traditional designs.Objects such as ghangal, abhishekpatra, ghagar (water pot), pan-patra, laman-diwa (hanging oil lamp), samai etc are today collected by art loving people as decorative objects and not as objects of utility. Several highly artistic craft objects such as kalamdan, pan-dan, nutcracker (adkitta), foot scrubbers, toilet box, pali (spoon) for rituals and various types of oil lamps, which we see in Raja DinkarKelkar Museum, Pune and in other collections may have been executed in Nasik and Pune. Murbad is also known for copper and brass work. Along with other utility vessels Murbad produces miniature kitchen vessels and utensils as toy objects for girls to play with and get education for becoming future housewives.

6.4.2) METAL WARE:- Copper ware is a traditional craft of Maharashtra which is practised in Ambernath, Thana, Kalyan, and Nasik. The wide range of copper articles produced at the units here include perforated chandeliers and lamp stands, ashtrays, glass holders, paper cutters, pin cushions and trays. Articles such as decorative door handles, key chains, cuff links and molded figures of Trimurti (the Hindu trinity of Shiva, Vishnu, and Brahma) are prized possessions amongst tourists and for export markets.

The art of silver inlay on a metal alloy, called bidri, came to Maharashtra from Andhra Pradesh along with artisans who migrated from Bidar to Aurangabad many years ago. The major products crafted are decorative wall plaques. However, in pilgrimage centres like Nasik, initially only ritual objects such as idols of gods and kumkum boxes were crafted in silver but with growing demand, other articles such as paandans, gulabdans, attardans, bowls and trays have been added to the list. The metal craft of Maharastra has socio-cultural links and according to the traditions of the state, the bride is presented with a set of brass and bell metal articles for starting off her new home. However, in all major temples almost invariably the moving image or the `ChalantiPratima` of the presiding deities is made of brass. Among the major icons, the large brass image of Radha in the`Sakhigopal temple` in Puridistrict , images in temples in Ganjam district, Krishna, Radha, Ganesha, GurundiGopal and Laxmi idols are created with the brass metal. The artisans generally create items based on the motifs of human heads, kings, `Manas` or miniature replica of measures; other items include containers with lids, with or without locking devices, candle stands, ashtrays, pen stands, bowls, plates, spoons, glass, tumbler, bells, thali (plates), handi, baltis (buckets), gina (tumblers), pots and pans, ladles or `Chatu`, perforated flat cooking spoons etc. Even items like the brass fish and snakes are made by the craftsmen of Belguntha in Ganjam

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district.

Another popular craft of Maharashtra is the Bidri Work. The Bidri ware is an old craft that originated in Aurangabad and makes use of zinc and copper as raw materials. This art involves intricate work of silver in different ways such as brocaded, overlaid or inlaid on metal surfaces. At present this art is used to make decorative pieces that are sold as souvenirs.

6.4.3) Tambat:Copper artisans in a tiny little alleyway (Tambat Ali) tucked away in Pune’s by lanes, produce works of art that transcend borders andembody how art can be a unifying factor the world over. Copper smiths (tambats in Marathi) were brought to Pune during the reign of the Peshwas in the 18th century to make copper coins. Initially four or five families moved to Pune but their numbers grew and eventually the tambats made this particular patch of Pune their own.Physically, Tambat Ali is an interconnected maze of streets and buildings with narrow spaces and wider chowkswhere the coppersmiths have their workshops and living quarters. Pune is the most important place for tambat craft in Maharashtra. They achieved this status initially as a direct result of Peshwa patronage and later because of the introduction of railways during the British occupation and thus the need for copper utensils through TRADE .The tambats of Pune specialize in matharkaam which is the art of beating copper to make it strong. The coppersmiths of Tambat Ali are an intrinsic part ofKasbaPeth and a significant feature of Pune’s heritage tapestry.Copper craft relies on a number of factors. The principal raw materials include copper and an alloy of copper. The traditional craft process uses manual shaping and beating. Each step has to be done by hand and it takes a long time. The beauty of the art of beating is that it can vary from piece to piece and artisan to artisan. Skill comes into play to achieve the required density of indentations as well as the size and orientation. Different tools such as chisels, hammers, clippers and tongs are used to mould and beat the metal and coerce a shape. Watching a coppersmith at work is spellbinding.The body of work created by thetambats is substantial and today with the help of INTACH, Forbes Marshall and RashmiRanade, a designer and heritage conservationist fresh life has been infused in this age old art by giving the tambats modern designs to be made using the old traditions. These patrons of the copper artisans have revamped this industry by extending help and guidance to the traditional craftsmen and created a demand for beaten copperware across the world.

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REFERENCES:

http://cteindia.weebly.com/articles/use-of-copper-and-brass-way-to-good-healthhttp://www.india-crafts.com/metal_work/history_metal/http://en.wikipedia.org/wiki/Dancing_Girl_(Mohenjo-daro)http://dir.indiamart.com/pune/metal-crafts.htmlhttp://dsource.inhttp://www.maharashtratourism.gov.in/mtdc/html/MaharashtraTourism/Default.aspx?strpage=..%2FMaharashtraTourism%2FArtsCrafts%2FCraftsofMaharashtra.html

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http://www.maharashtratourism.gov.in/mtdc/html/MaharashtraTourism/Default.aspx?strpage=..%2FMaharashtraTourism%2FArtsCrafts%2FCraftsofMaharashtra.html

http://www.maharashtratourism.gov.in/mtdc/html/MaharashtraTourism/Default.aspx?strpage=..%2FMaharashtraTourism%2FArtsCrafts%2FCraftsofMaharashtra.html

http://dsource.in/

http://dir.indiamart.com/pune/metal-crafts.html

http://en.wikipedia.org/wiki/Dancing_Girl_(Mohenjo-daro)

http://www.india-crafts.com/metal_work/history_metal/

http://cteindia.weebly.com/articles/use-of-copper-and-brass-way-to-good-health


DESIGN MODIFIACATIONS:1) BY SANIYA SHAIKH

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2) BY VANSHIKHA PAREEK:

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3) BY SHIVANI GUPTA:

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3) BY RITU SINGH:

Product 1Design Modifications

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Product 4 Design diversification

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5) BY POOJA KAMBLE:

Design modification

Design diversification

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CONCLUSION

THE INDIAN HANDICRAFT INDUSTRY IS CHANGING ITS FACE WITH A RAPID SPEED IN THE CURRENT SCENARIO. VARIOUS HANDICRAFTS HAVE CHANGED THEIR ORIGNAL FORMS DUE TO CERTAIN REASONS THAT CAN BE CONTROLLED.

IT’S OUR RESPONSIBILITY TO SAVE OUR HERITAGE AND CRAFTS AND STRONG EFFORTS SHOULD BE TAKEN TO STOP THE CHANING TREND OF HANDICRAFTS.

But the scenario is totally different in this craft. There are very less craftsmen working for this craft. The artisans, who are working, do not make intricate designs which restrict their profession with the limited products and designs. They are just involved in making products to earn their livelihood.

The shopkeeper holds and handles the demand and supply between the artisans and the buyers.

People compare machine made products with handicrafts thus the crafts lag behind and the value of it degrades.

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01 final documentation on metal craft

Documents

craft home

metal types82

copper kalshi213

process of metal craft193

brass vessels coating263

hammered sheets of copper

warm glow of copper

brass gamlas233