introduction of mata ni pachhedi

8/13/2019 Introduction of Mata Ni Pachhedi

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Geographical IndicationGujarat`s Mata Ni Pachedi

Submitted to - Ms. Priti Gadhavi

Submitted By -Anamika Sachan

Palak AgarwalUpasana Singh


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Intellectual Property Rights and Geographical Indication

Intellectual property is the creation of human mind, human intellect and hence called

Intellectual property. The intellectual property is created by incorporating

information intangible objects capable of multiplying in an unlimited number of times

at different locations anywhere in world.

The property is basically in the concept, idea thought and thereafter in the actual

product work or process etc.

Intellectual property is usually divided into two branches

Patents, Designs, Trade Marks and Geographical Indications which is also termed

as Industrial Property and

Copyright and Neighboring Rights.

What is meant by Geographical Indication?

Geographical Indications of Goods are defined as that aspect of industrial property

which refers to the geographical indication referring to a country or to a place

situated therein as being the country or place of origin of that product. Typically, such

a name conveys an assurance of quality and distinctiveness which is essentially

attributable to the fact of its origin in that defined geographical locality, region or

country

.

India, as a member of the World Trade Organization (WTO), enacted the

Geographical Indications of Goods (Registration & Protection)Act, 1999 has come

into force with effect from 15th September 2003.

A geographical indication is a sign used on goods that have a specific geographical

origin and possess qualities, reputation or characteristics that are essentially

attributable to that place of origin. Most commonly, a geographical indication

includes the name of the place of origin of the goods.

Agricultural products typically have qualities that derive from their place of production

and are influenced by specific local factors, such as climate and soil. Whether a sign

is recognized as a geographical indication is a matter of national law. Geographical

indications may be used for a wide variety of products, whether natural, agriculturalor manufactured.


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An appellation of originis a special kind of geographical indication. It generally

consists of a geographical name or a traditional designation used on products which

have a specific quality or characteristics that are essentially due to the geographical

environment in which they are produced. The concept of a geographical indication

encompasses appellations of origin.

India and geographical indications act

An effective protection for GIs was of considerable importance for a country like

India, which was richly endowed with natural and agricultural products and which

already had in its possession renowned geographical names such as

'Darjeeling'(tea), 'Alphonso' (mango), 'Basmati' (rice), etc., there was no separate

legislation on GIs until the enactment of 'The Geographical Indications of Goods

(Registration and Protection) Act, 1999' (henceforth the GI Act).

The tea from Kenya, Sri Lanka, have often been passed off around the world as

Darjeeling tea, which originally denotes the fine aromatic produce of the high-

altitude areas of North-Bengal, from where it derives the name. Corporations in

France and the US have been producing rice based on Basmati varieties in those

countries, and registering trademarks that refer to Basmati, thereby seeking to gainfrom this renowned geographical name. The US-patent on Basmati Rice Lines and

Grains granted to Texas based Rice Tec Inc, which triggered a lot of controversy in

the recent past, is a glaring example of wrongful exploitation of a renowned GI from

India. So on and so forth.

It is in such a scenario, that the GI Act was enact formulated as part of the exercise

in the country to set in place national intellectual property laws in compliance with

Indias obligations under the TRIPS Agreement. Under this Act, which has come into

force with effect from 15th September 2003, the Central Government has

established the Geographical Indications Registry with all India jurisdictions at

Chennai, where the right holders can register their respective GIs. After a GI is

registered any person claiming to be the producer of the good designated by the

registered GI can file an application for registration as an authorised user. The GI Act

is to be administered by the Controller General of Patents, Designs and Trade

Marks- who is the Registrar of Geographical Indications


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Benefits of registration in India

Confers legal protection to geographical indications in India.

It prevents unauthorized use of a registered geographical Indication by others.

It boosted exports of Indian geographical indications by providing legal protection.

It promotes economic prosperity of producers.

It enables seeking legal protection in other WTO member countries.

Application for geographical indication in India

Any association of persons, producers, organization or authority established by or

under the law can apply:

The applicant must represent the interest of the producers

The application should be in writing in the prescribed form

The application should be addressed to the Registrar of Geographical Indications

along with prescribed fee.

Validity for geographical indications in India

The Registration of a Geographical Indication is for a period of ten Years. Renewal is

possible for further periods of 10 years each. If a Registered geographical indication

is not renewed, it is liable to be removed from the register.


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Introduction

Indian temples have been centers of art and architecture since ancient times. Each

temple according to geographic locations has their own art style, motifs,

representation of deities and their stories. Clothes of the deities, their adornments

and vibrant temple hangings have intensified the ambience of these temples. The

main textile art that evolves from the temples are depicted in the temple hangings.

These pieces of cloth are

embroidered or painted with stories

about the relevant God.

Although Gujarat is known for its

exquisite embroidery, the lesser

known art of Kalamkari is equally

appealing and unique. Kalamkari

refers to a method of painting natural

dyes onto cotton or silk fabric with a

bamboo pen or kalam. When one

thinks of Kalamkari it is usually

associated with the one that is done

in the South of the country (AndhraPradesh) predominately portraying a

variety of Hindu narrative themes, including the Ramayana, Mahabharata, and Shiva

Purana.

Kalamkari in Gujarat differs from that done in South with its central theme the

Mataji.

Mata ni Pachedi represents the art history, creativity and cultural heritage of the

Vaghri community now settled in Ahmadabad.
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Mata Ni Pachedi

Mata ni pachedi, which translates to behind the mother goddess, is a cloth that

features a temple of the Goddess.

When members of the nomadic

Vaghri community of Gujarat were

disallowed from entering temples,

they made their own shrines with

depictions of the Mother Goddess

on cloth. The boldness of the

paintings, which usually follow a

set pattern, is reinforced by the

starkness of red and black, theonly colors used. In the center is

the commanding figure of the Mata or Mother Goddess in various iconographic

forms, either sitting on a throne or mounted on an animal.

In Ahmedabad, artisans make these paintings using the same methods followed 200

years ago. Cotton fabric is first de-starched and then treated with harada paste, to

prepare it for absorbing the colour. The outlines of the figures are painted first, with

black colour prepared from jaggery and iron. After this, red colour, extracted fromtamarind seeds, is filled in and the areas supposed to be white are left blank.

After the application of each colour, the fabric is boiled in alizarin solution, to bring

out the colour, and then washed. For washing, the craftsmen go to Sabarmati (a river

in Gujarat) as the cloth must be washed in running water only, so that excess colour

flows away, instead of staining the cloth. It takes days of patience and dedication, to

prepare one piece. For instance, painting a cloth of 5x9 inches can take up to two

months.

The strong lines and bold use of colour, that reflect the power and energy of the

goddess, have now transformed to more artistic and detailed illustrations; but the

style of depicting mythical characters remains the same. The artists now incorporate

many more colours such as indigo, green and yellow in the paintings, using the age

old methods of extracting colour from natural materials.


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History

The Vaghri Harijans settled in Ahmadabad make their living by block printing and

painting shrine cloth known as Mata ni Pachedi or Mata no Chandarvo.

These imposing textiles are used as canopies over the image of the mother

Goddess. Traditionally the shrine cloths were made by the Vaghri Harijan community

who were not allowed to enter the temples.

They made the Pachedis as

an offering to the Goddesses.

The cloth has a formal

patterned quality, strong and

bold, reinforced by thestarkness of red and black.

Pachedis are used in religious

ceremonies and record the

myths and legends associated

with the living traditions of the

people.

Always, the goddess is the

destroyer of evil with weapons

in all her ten arms looking

fierce and commanding,

invoking awe and fear in the

onlooker. She is at the centre,

the focus of the painting with motifs of deities, priests, devotees, angels and animals

drawn around her. Often they are performing garba, a traditional dance in the honour

of the mother goddess. These are narratives from epics arranged in columns around

her. The themes, stories, dimensions and proportions of the motifs are interpreted

differently according to the artists sensibility and visualization. Many legends are

depicted in these Pachedis.

They are usually derived from Puranic myths. What remains constant is the Mataji,

who according to the Vaghri tribes, protects and helps people.

Traditionally maroon and black were the colors used, with the surface of the material

as the third color. The maroon and black colors were natural dyes sourced from

alizarin and oxidized metal.

To meet contemporary tastes, the Vaghris have started using other natural colours

adding yellow, blue orange, rust, grey and even pink to the colour palette.

Contrasts between positive and negative spaces formed an important balancer to thework.
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The maroon and black colours were natural dyes sourced from alizarin and oxidized

metal Maroon was associated with the color of the Earth mother or Gaea and

believed to possess healing powers. White was considered the color for purity and

contact with ancestral spirits, deities and other unknown spiritual entities. The color

black was meant to repel malevolent spirits and intensify spiritual energy.As time went by the community got introduced to pigment dyes which had begun

arriving in Gujarat for a fledging textile industry. Exposure to a. wider palette meant a

riot of color and shade in the Pachedi.

These are however not used for religious purposes and are purely decorative.

The most common motifs, apart from Mataji astride a bull or a tiger, include lady with

a flower, trumpeters, angels, flowers, the tree of life and animals such as peacock,

tiger,parrotetc.

All the materials used in the creation of Mata ni Pachedi are organic. The dyes, the

fabrics (such as cotton, khadi, silk etc), the bamboo stick kalams are all made up of

naturally available products. Extremely eco-friendly in its nature, Mata ni Pachedi

reinforces the use of non-polluting, wholesome materials which do not compromise

in making outstanding aesthetic pieces.

Red the colour of blood, of life, vitality red, the colour of the Mother Goddess,

the embodiment of power, the nurturer and destroyer the protector of the weak.

In a great battle between Shiva and the asura (demon), Raktabija, every drop of the

asuras blood that fell to the earth, gave rise to more and more demons. The gods

then turned to Shakti, the goddess Durga, to annihilate the asuras. The fierce

goddess pierced the demons body and drank all his blood, thus saving both the

worlds. The goddess in her seven forms is now worshipped during the nine days of

Navaratri festival.

Mata ni pachedi literally means

behind the mother goddess,

and is a cloth that constitutes a

temple of the goddess. When

people of the nomadic Vaghari

community of Gujarat were

barred from entering temples,

they made their own shrines with

depictions of the Mother Goddess

on cloth. This ingenuous solution


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is believed to be the origin of Mata ni Pachedi, the sacred art, which is now revered

by all.

Whether it is the richly

decorated with gold Pichwai

paintings of Nathdwara, or

the folk art of Mata ni

Pachedi, Hindus have

always decorated their

temples and shrines with

narrative illustrations that

depict stories of the gods and

goddesses.

Traditionally, red is the

main colour of the

paintings, the sacred

red that punctuates

every auspicious

occasion in the life of aHindu. White and black

form the backdrop for

the brilliant red. Using

just these three colours,

the imaginative artists

depict entire stories

laden with numerous

characters and motifs.

The painting usually has a set pattern, with the mother Goddess dominating the

central area in her mighty form, surrounded by deities and commoners worshipping

her with equal reverence.

Mata ni Pachedi is also known as the Kalamkari of Gujarat, owing to its similarity of

the Kalamkari practiced in Southern India and the use of pens (kalam) fashioned out

of bamboo sticks, for painting. To quicken the process and meet demands of

villagers, who would commission paintings to offer to the mother goddess on

fulfillment of wishes, the painters started using mud blocks for printing. These blocks

were large and coarse, and after using a few times, would be thrown in the river

where they returned to the soil. Over the course of time, wooden blocks replaced


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mud blocks, facilitating the use of finer motifs. Yet, the craftsmen still often make the

entire painting with the bamboo kalam, using blocks only for printing the borders.

In a small locality in Ahmedabad, artisans make these paintings using the

same methods followed 200 years ago.

Process

Cotton fabric is first de-starched and then treated with Harada paste, to prepare it for

absorbing the colour. Outlines of the figures are painted first, with black colour

prepared from jaggery and iron. After this, red colour, extracted from tamarind seeds,

is filled in and the areas supposed to be white are left blank.

After application of each

colour, the fabric is boiled

in alizarin solution, to bring

out the colour, and then

washed. For washing, the

craftsmen go to Sabarmati

River as the cloth must be

washed in running water

only, so that any excesscolour flows away, instead

of staining the cloth.

It takes days of patience and dedication, to prepare one piece of this beautiful folk

art. For instance, painting a cloth of 5 x 9 can take two months. The artists get a

rush of orders a couple of months before the Navaratri festival.

The strong lines and bold use of colour, that reflect the power and energy of the

goddess, have now transformed to

more artistic and detailed illustrations;

but the depiction style of mythical

characters remains the same. The

artists now incorporate many more

colours such as indigo, green and

yellow in the paintings, using the age

old methods of extracting colour from

natural materials. They use their skills to

make smaller souvenir pieces for thefascinated visitor, and also make


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products like wall hangings and stoles, using newer motifs.

While craftsmen are refining this folk craft to suit the changing times, yet the sanctity

of this religious artifact remains untouched. Creating Pachedis as well as newillustrations that are relevant in todays context, but in the same folk style, these

craftsmen have remained true to the cause of spreading the glory of the Mother

Goddess and her wonderful art.

introduction of mata ni pachhedi

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