Oct 2019-March 2020 RNI NO. UPENG/2018/76546 Volume 2 | Issue 2 DESIGN QUEST AN ADVANCED RESEARCH JOURNAL ON DESIGN
Oct 2019-March 2020
Dear Readers, With immense delight, we would like to present you the third issue of ‘Design Quest’ –an interdisciplinary journal talking about various facets of design. The journal is primarily centered on the exchange of ideas and research works done by different scholars that enrich the body of knowledge for our readers. In today’s time of technological advancements providing us a vast network of knowledge management through various platforms, we still feel that periodic journals hold an essential value for dissemination of information. These sector-focused journals have a potential of From reaching out to the specific readers which make use of the information shared for activating another chain The of novel ideas for further research. Researchers are always looking for a binding effect which their articles Editor’s can have for those swimming in the same ocean of knowledge. With this notion, we also want to act as an Desk... impetus for the future researchers to share their ideas and keep engaging our readers. This issue of Design Quest presents research works ranging from Traditional art and design practices across India to discussing gender identities for Male characters to the importance of design portfolio for the professionals in the design industry. With all our previous issues, we strongly feel that traditional crafts serve as one of the biggest inspirations for emerging works related to diagnostic studies, documentation practices, design analysis, product diversification and the development of newer markets for a brighter future of the craft sector in the world. The related papers on rallis of Rajasthan, Khandua of Orissa and Kalamkaris of Andhra Pradesh covered in this issue really provide a mental stimulation for loving the crafts all the more. Character portrayal is one of the important applications in the field of designing as it gives a life to the actors’ skill which is reflected in the 2D or 3D space. Exploring the changing identities of Male characters with
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020
reference to its western ideals as seen in the popular culture would surely be encouraging to develop a historical perspective on cross-dressing and gender representations through changing fashion choices. Gupta period – a golden era in the Indian history for cultural developments in different parts of the country, has been an inviting area for the researchers from all walks of life. In this issue, an interesting paper on the developmental phases of Temple of Kalcuris and the changes in the architectural styles brings out its distinctiveness to this date. For design educators, the paper on a detailed analysis of Design portfolio would work as a foothold for the importance of the digital design developments in the industry. We not only need to focus on bringing out the strong works matching the skill set but also its creative and relevant presentation for carving a mark in the industry. With this, we wish for a thought provoking reading and keep writing to us for further issues. As J. K. Rowling says, “Words are our most inexhaustible source of magic.”
Happy reading and writing!
Dr. Vandana Jaglan Editor
For feedbacks and abstract submission, please write to us: [email protected]
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2
Oct 2019-March 2020
ith great pleasure, I present the third edition of WDesign Quest a research journal for probing minds and questioning intellects. I hope that this journal will be instrumental in bringing about change and development in our society.
Manjulika Gautam (Retd. IAS) Publisher
Foreword...
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Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020
Dr. Neetu Malhotra (hc) Editorial H.O.D, Sfi
Board Dr. Manawwar Alam Professor & Dean, Bachelor of Arts (Mass Media), Sfi
Mr. Ujjwal Ankur Programme Coordinator, Bachelor of Design (Foundation), Sfi
Ms. Priyanka Sarkar Programme Coordinator, Bachelor of Arts (Mass Media), Sfi
Dr. Sakshi Shail 4 Examination Coordinator, Sfi
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2
Oct 2019-March 2020
From The Editor’s Desk 01
Foreword 03
Ralli Art - Its Routes and Significance 06
The Needs and Strengths of a Design Student 14
Timeless Elegance: Traditional Odishi Handwoven Khandua 21
Kalamkaria: Development of Contemporary Motifs Using Traditional Craft 28 Con te n t s
Changing Gender Identities in the Male Char- acter- A Perspective on Popular Culture 5 & Fashion in India 39
Temples of Kalcuris: Diversification, Adaptation and Interaction 51
Call for Paper for the Next Issue (April – September 2020) Vol. 3, Issue 1 57
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Akriti Jain
Ralli Art— Its Routes and Significance
By Akriti Jain
Abstract ndia is a vast source of handicrafts. There are many crafts that are already in practice and are commercialized; however, several are unknown and unexplored and this is Iwhere research comes into play, to bring these arts into the mainstream. With my overall analysis, I have found that the Ralli Craft is almost extinct. With the help of research and concurrent popularity, one can bring it back to life. Ralli craft originated in Sindh, Pakistan and post Partition, the states of Gujarat and Rajasthan (bordering Pakistan) have shown traits of this craft form.“Ralli” or “Relli”means “to connect” or “to get mixed” and in Hindi, it is synonymous with “Ralanna ”. It is the coming together of one fabric swatch with another, using Patchwork and Appliqué work. “Rallis” are made by women of rural villages, nomadic tribes and small townships. The patterns used are geometric and bold and give a dynamic and graphical finish; very similar 6 to OP Art. A wide range of colors is used with as many as 5 different shades in one design composition. “A single thread of hope is stronger than all the chains that bind you” - Jeffrey Fry The quote above applies aptly to this nearly extinct craft which can be heavily diversified and brought into contemporary handicraft. Keywords: Indian Handicraft, Patchwork, Applique, Geometric Patterns, Sustainability, Embroideries, Surface Technique.
Introduction colors identify a specific community; new cloth, sequins, beads and tassels indicate a Ralli Folk Art ralli made for an important occasion, such as Every ralli quilt has a story, illustrating the a wedding. Rallis help us understand more strength of tradition. Every ralli tells of natu- of their creators’ lives, thoughts and imagi- ral creativity and a love of color and design nation. Its artisans have created not only by its artisans. Examining a ralli gives a peek beautiful designs but a textile craft which has into the life and community of the woman universal appeal. who made it. Some ralli shawls signify the Ralli quilts are a visual feast of color, agricultural background of its creator, certain pattern and energy and are made extensively
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Ralli Art- Its Routes and Significance in Sindh, Pakistan, Baluchistan, southern reed mat on the ground. No quilting frame is Punjab, Rajasthan and Gujarat. The quilts used. The layers are sewed together by thick are called “ralli” (or rilli, rilly, rallee and colored thread stitched in straight, parallel rehli) derived from the local word “ralanna” lines. Depending on the thickness of the quilt meaning to mix or connect. Rallis are made and the skill of the quilters, the stitches may by women of rural villages, nomadic tribes be as close as 1/8 inch apart. and townships, coming from a wide variety of castes and occupations that are predomi- Methodology nantly Muslims and Hindus who are farmers, The present study was undertaken with the herders, craftsmen, businessmen and land- following objectives: owners. ▪▪ Ralli folk art is very interesting on account Rallis are made from scraps of hand-dyed of how different layers of fabric are used cotton fabric. Typically, a ralli is 7*4 (or to make a product 5) feet. Much of the fabric comes from old, ▪▪ To find out the current scenario and exis- worn shalwar- kameez (traditional loose shirt tence of the craft by visiting places where and pant outfits). The most common colors it is still practiced in rallis are white, black, red, yellow, orange, ▪▪ To bring awareness about ralli as it is a green, dark blue and purple. However, there dying craft are some unique regional and tribal color 7 ▪▪ To analyze its limitations and scope for palettes. For the bottoms of the rallis, the further clarity about the craft women often use old pieces of tie-dye, ajrak ▪▪ To come up with contemporary solutions (red and blue block printed material) or for the craft other shawl fabric. An old head shawl will usually be large enough for the back of the Data Collection quilt, minus about six inches on the top and side that need piecing. Ralli quilts have three In the initial stages of this research, infor- to five layers of worn fabric or cotton fibers mation on ralli was collected from various between the top and bottom layers. sources like the internet, books in the library The filling is basted to the backing using and talking to people with knowledge about long stitches that are later removed. Usually it. This also included studying the work the piecing on the top is done by one woman. of NGOs focussed on ralli and its closest She calls on female family and friends to handicrafts and getting directly in touch with help with stitching the quilt together when artisans via these NGOs. she is ready. This is a time of talking, news Simultaneously, I visited several museums sharing and singing for the women. To sew and emporiums to collect data on ralli. I also all three layers together, several women sit visited Bikaner as a major hub of ralli to see on opposite sides of the quilt placed on a the handicraft first-hand.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Akriti Jain
Bikaner Ralli Making Process With the help of Rangsutra, a visit to Bikaner 1. Tools Required- Fabric, Needle, and surrounding villages was organised- Thread,Scissors, Beads & Laces. where I was able to witness ralli artisans at 2. The making of Ralli starts from the work. At Bikaner, Rangsutra does most of its centre. The centre most pattern is formed manufacturing and retail in their head office first and then the other patterns are which also provided a beautiful glimpse into stitched around it . this handicraft. 3. The fabrics are folded and then cut into Post Partition, immigrants were housed in pieces into a particular geometric shape in refugee camps. The government eventually order to get multiple pieces of same size. distributed lands to the immigrant refugees. 4. The cut geometric pieces are then hand- However, earning a living in the barren Thar stitched together using a needle and thread desert was difficult and immigrant women to form patchwork. began to use their handicrafts as a major 5. Later, once the pattern is ready, the fabric source of income. used at the border is machine-stitched with the hand-stitched patchwork. Geographical Location 6. A fabric is used at the back and the same The city of Bikaner lies in west Rajasthan. is stitched with the front patch worked 8 Scarcity of water allows scarce vegetation piece. of cactus and thorny bushes. The soil here 7. A running stitch is done all over to keep is mainly alkaline with some saline soil the upper and lower layer of the fabric with a calcareous base. Some seasonal intact. dwarf trees, a few types of shrubs and 8. To embellish, tassels are made using grasses also grow here. woolen yarns and beads and sometimes Agriculture in this part of Rajasthan fancy laces are used to decorate it further. includes Rabi and Kharif crops like wheat, mustard, bajra and pulses. The total straight Conceptualization – Breaking the line distance between Bap and Bikaner is Monotony in Patterns 140 kilometres. The actual travel distance Ralli folk art is itself very beautiful and between Bap and Bikaner may be higher or proficient and has its individualistic approach vary due to the curvature of the road . Below like any other handicraft. But, there is always is a short map of the places I visited for this scope of betterment depending upon the cur- research, from Bikaner. rent need of society. Thus, the main idea is BIKANER 14 km BAP 45km contemporizing the art form to suit modern KANASAR 5km NURE KI BHURJ lifestyles and culture. KALU KI DHANI (opposite to Nure Ki From a design aspect, this art form is a Bhurj 18 km BHADLA visual feast with its use of multiple colors
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Ralli Art- Its Routes and Significance
The material required-fabric, The cutting of fabric into pieces. The stitching of inner most pattern. The stitching of pieces around thread, scissors & needle. the centre pattern.
The stitching of backside fabric The corners are folded and The fringes made of woolen yarns The ready sample of Ralli with front patterned fabric. stitched inside for final finishing. and beads. and dynamic, graphical geometric patterns group, Fabindia, the Pot Pourri store, Heart- which often give an OP Art look. However, made India, Goodearth and Le Precis.. beyond certain designs and patterns, the handicraft begins to look repetitive. Critical Analysis Thus, the key scope of future evaluation The survey clarified that none of the above is breaking the monotony of its patterns mentioned top fashion companies were 9 through the following aspects, borrowed aware of ralli art. Bringing this craft into from the “Mix & Match Tiles” trend in wall the limelight has been the sole focus of my and floor décor: research as it would not only lead to innova- Multi directional: Continuous, linking pat- tions in the craft but also create awareness terns create the possibilities of many differ- about it and infuse new life into it. ent pattern options Survey results: Dimensional Relief: Using mix and match ▪▪ 66.67% favoured the pattern,50% layouts to create undulating visual effects favoured colour and 16.67% favoured Textured Touch: Minimalistic use of texture the overall appearance of the craft. One via use of different fabrics and surface appli- can be most innovative and playful with cation, breaking the monotony in the pattern. the patterns of ralli to further popu- larise it. Professional Practice ▪▪ 83.33% believed in contemporising Ralli An online survey was conducted using the to suit modern lifestyles. My focus now Survey Monkey portal to connect the desires will be more on this very contemporary of the populace with the needs of handicraft newness in the craft.This same percentage companies. The survey eventually targeted of people are willing to promote ralli e-commerce segments of the Aditya Birla commercially to their buyers.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Akriti Jain
100% of companies agreed that a Ralli collection would be eagerly accepted in both domestic markets (household) and commercial/corporate markets. This makes the target audience a lot larger. ▪▪ Ralli colour palette was appreciated 50-50. I opt for the second half which is more modern and fresh and in keeping with the modernisation of this handicraft. ▪▪ 83.33% preferred it as outdoor space design. - Product Range - Seating Poufs - Table Runners - Table Lamps - Mini Storage Cabinets - Wall Clocks 10 - Pendant Lampshades Overall, the survey was useful in knowing the commercial value of research and design. It even helped avoid the errors which I would along withtie & dye on cotton satin fabric to have made unknowingly in making choices make it more playful and give it a textured of colour, product range and the commercial appearance. The addition of cotton linen fab- value of Ralli. ric in the base, along with canvas fabric on tri- Link to the survey: https://www.survey- angles with hand embroidery (running stitch) monkey.com/r/8CTH8DJ giving it more density of texture as well. To the left,dimensional relief is provided Art Work Summary by using foam. Alongside this, a colour on This art work speaks about the different tran- colour flap of linen add further relief with bits sitions that take place in the ralli folk art from of tie & dye fabric to allow breathing space in its typical authentic design to something more design. The use of mesh fabric on the scattered modern. This includes not only traditional pat- pattern gives further texture. Minimalistic hand terns, colours and use of polyester fabric but work and fringes also add dimension. also breaking its monotony and fusing poplin At the base, the use of cotton jute fabric cotton. Screen printed fabric was introduced gives a heavy textured look whilst raw fabrics with the semi-traditional motif of paisley like silk and velvet make it more royal.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Ralli Art- Its Routes and Significance
Ickis Marguerite, The Standard Book of Quilt In art, there is always scope for rein- Making and Collecting, Courier Corporation vention and this is only a humble new (1959). beginning in the journey of ralli. Keller Ila, Batik: The Art and Craft: The Art Conclusion and Craft ,Tuttle Publishing (2013). The vision behind the project was to trace Karasz Mariska, Adventures in Stitches, Funk the origin of Rallifolk art and an attempt & Wagnalls Co. (1959). was made to depict my journey with this Lawther Gail, Practical Patchwork and craft, showcasing its different design as- Appliqué Techniques , Tiger Books Interna- pects and colour dimensions. tional (1991). Breaking the monotony in pattern and Meech Sandra, Creative Quilts: Inspiration, adding minimalistic texture, giving it new Texture and Stitch , Batsford (2006). volume and newness without hindering its essence, was my primary objective. I Mirza Villoo and Mallya Vinutha, Handloom and Handicrafts of Gujarat. hope that continued efforts in this direction will give this handicraft new direction into Websites: modernity and economic profits. URL : from http://www.bubblews.com/ 11 List of References: news/7003249-applique-works-of-rajasthan URL: from http://www.craftmark.org/stan- Askari Nasreen & Arthur Liz, Uncut cloth, [saris, shawls and sashes] , Rizzoli Interna- dards tional Publications (1999). URL: from http://www.dartmouth.edu/~matc/ math5.pattern/ShiboriDefinition.html Ash Bethan, Instinctive Quilt Art: Fusing URL: from http://www.dastkar.org/ Techniques and Design , Batsford (2011). URL: from http://www.dsource.in/gallery/ Brown Pauline, Patchwork for Beginners, gallery-0104/index.html Guild of Master Craftsman (2000) URL: from https://www.facebook.com/ scarydriver Crabtree Caroline & Shaw Christine, Quilt- URL: from https://www.facebook.com/gram- ing, Patchwork & Appliqué: A World Guide, Thames & Hudson (2007). invikas.chetnasanstha URL: from https://www.facebook.com/Sadh- Eddy Celia, Quilted Planet: A Sourcebook nahandicrafts of Quilts from Around the World , Octopus URL: from https://www.facebook.com/ Publishing Group (2005) khamir.crc.craft?fref=ts Holmes Cas & Kelly Anne, Connected URL: from https://www.facebook.com/rang- Cloth: Creating Collaborative Textile Proj- sutra.crafts/ ects, Batsford (2009).
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Akriti Jain
URL: from https://www.facebook.com/ dastkarsociety URL : from http://www.indus-crafts.com/ rilli-art-introduction.html#.Ve6zk9JViko URL : from http://www.indus-crafts.com/ history-of-rilli.html#.Ve6WAtJViko URL : fromhttp://www.indus-crafts.com/ catalogue.html URL : from http://www.indus-crafts.com/ regional-variations.html#.Ve64rdJViko URL: from www.kala-raksha.org URL: from www.kala-raksha-vidhyalaya.org URL: from www.khamir.org URL: from http://www.rangsutra.com/con- tact.html
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Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Ralli Art- Its Routes and Significance
Author’s Biography Ms Akriti Jain is an academic with expertise in textiles and fashion design. Her areas of specialization and interests include “Design Collection” and “Computer Application for the Fashion Industry”. She has worked in home décor, furnishings and e-commerce fashion for the past three years and is currently a lecturer at the Amity School of Fashion Technology in Uttar Pradesh.
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Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Dipti Ahuja
The Needs and Strengths of a Design Student
By Dipti Ahuja
Abstract he purpose of an online portfolio for a design student goes beyond the compilation of their work but also reflects their strengths and ease of sharing. An online portfolio in- Tcludes input text, electronic files, images, multimedia, blog entries and hyperlinks. It provides a rich platform to connect to various networks, using the web to its utmost. There are a number of online portals which allow design students to showcase their work. More recently, the use of virtual learning environments in schools and universities has led to a spike in the creation of e-portfolios for various reasons. Technological skills are vital to success in almost every pro- fession. When you use the latest web-based tools to showcase your professional skills, abilities and samples of your work, you will get noticed. There are a number of online sites like Behance, Wix, Portfolio Box etc. that allow and help you create a professional looking portfolio in min- utes, without any HTML or programming know-how. They offer limitless creativity, enable you to personalize the overall look of your online portfolio, translate into your language and use your own domain. Many universities and schools are currently working to make sure that students are 14 gaining experience with digital portfolios so that they are able to use the web to the best of their abilities. Universities such as the University of Waterloo and Loyola University offer digital portfolio courses as a way to share learning and resources with fellow students and community partners in a public format. Prospective employers google their applicants before interviews and look for online portfolios, on priority. Whether you’re a design student, photographer or graphic designer, creating an online portfolio is an absolute must for potential clients, recruiters etc. Digital portfolios are also great teaching, learning and assessment tools. From students to teachers, designers to recruiters, it is the most effective platform for recognition and comparison of work. A portfolio, according to Arter and Spandel, “is a purposeful collection of student work that exhibits to the student, or others, her efforts or achievement in various domains. The key word here is ‘purposeful’, a portfolio is different from a folder in that it has a purpose and is guided by a number of learning objectives and expected outcomes. One needs to have relevant work to make a portfolio or a digital portfolio. Portfolios are as unique as the individuals who prepare them. While there are no rules about what goes into a portfolio, it should represent the best of you. It should also demonstrate that you have thought through your experiences and gained a clear picture of what you have to offer. Include meaningful and relevant items from all your learning to create a clear picture of ‘who you are’ and ‘what you know’ and ‘what you can do’. A design student can gain a lot of benefits from developing an online digital portfolio.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 The Needs and Strengths of a Design Student
Benefits of Creating An Online main purpose is to provide an avenue for Portfolio: communication between a student and an 1. It enables students to record their instructor: learnings and document their growth over a period of time. 1. Behance- Behance is a social media 2. It acts as a tool for self-reflection and platform owned by Adobe which aims “to personal development. showcase and discover creative work” 3. It presents concrete evidence of your serving effective layouts for design students work and achievements to prospective or design professionals. employers. 4. It can give more recognition for 2. Weebly- Weebly provides users with a individual learning abilities and simple drag and drop editor that allows you preferences. to design and publish your website within 5. It is a source which will be used in minutes. It gives a creative edge to design life-long and life-wide learning pursuits. enthusiasts. 6. It is s personalized tool. 7. It is a platform to receive feedback in 3. Google Sites-Without using any the form of remarks that can also be programming, google sites give you a implemented to one’s work. platform to create high-quality sites for your 15 8. It demonstrates progress over time. organization which helps how case your 9. It is a source to showcase abilities and designs by providing various layouts. measure personal growth. 10. It creates transparency. 4. Adobe Portfolio-Adobe Portfolio offers 11. It is the easiest and most simplified way options to create a single-page websiteor a to reach a recruiter. full gallery of your work and gives lots of 12. Mantainance/Handling is hassle free. curated designs to follow. 13. It can be enriched by uploading video clips of your work. 5. Wix- A very effective cloud-based web 14. It makes your work editable every time development platform that allows users to you want to follow trends and work create HTML5 websites and mobile sites accordingly. through the use of online drag and drop tools 15. It provides 24/7 accessibility. and provides wide spaces which can be well There are several web tools students can use used by designers. to develop digital portfolios. The following sites give various options to develop your 6. Evernote- Evernote provides various own work portal without learning any organizational features that enable users to programming or coding language. The effectively organize their work so it can be
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Dipti Ahuja
easily searched and accessed across different providing sample design salaries. These devices. sites are not only user-friendly for students but also a great window for educators and 7. Seesaw- Seesaw allows its users to capture professionals. Creative professionals such and showcase their learning in multiple as fashion designers, photographers, graphic formats, where audios, shows, videos etc. designers, interior designers and textile can be easily added. designers can make the most use of these. There are many more online portals like That doesn’t mean that these sites are not Dribble, Crevado, Pixpa, Folio link etc. useful to others. Even if you don’t belong which can be used to upload your work. The to any of the above-mentioned creative purpose of these sites is to connect designers fields,you can still use digital portfolios with career opportunities and to expose to your advantage to upload resumes, innovative clients to top-notch design work, completed/undertaken projects and to look which they do through hosting portfolios/ for new opportunities. designer profiles, posting job listings and
Examples of Free Templates from Various Online Portals
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A school/university guide might require important projects and academic work. students to make digital portfolios to evaluate Such portfolios serve students kick start and their learning progress by comparing early maintain their careers. work to later work, to help them reflect on One can develop an online portfolio in academic goals and progress ,to review their different ways and each format is structured work in order to determine whether they differently. Some of the most used formats have met the established learning standards for student portfolios are blogs, online set for their grade-level or for graduation, to journals, digital archives, websites and create an archive that compiles their most notebooks. One must look towards all the
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 The Needs and Strengths of a Design Student benefits and limitations for each portfolio added unique work including your projects, type and choose the one that works best for illustrations, images, presentations and one’s needs and inclinations. It helps to take photographs as per your field of work and assistance from one’s mentor or guide in interest. starting such portfolios. 6. Relevant supporting materials – One Some guidelines for a Well-Made should always go beyond the minimum Online Portfolio requirements of a portfolio and add all sorts 1. Sorting wisely– Your portfolio should be of relevant support materials to further first sorted wisely and then organized well. enhance it. It should comprise of a summary, a table of contents, concept notes, work samples Understanding A Portfolio Before (organized into chapters) and a conclusion. Uploading It You must add images and have a logical 1. Look for the best of your work explanation for the order in which your One has to make sure about the best work portfolio work is presented. they have before applying for a job or fulfilling requirements of a university course. 2. Checklist – Make a checklist with all Recruiters look for the best works on these the items that have to be included in your portals, to screen prospective employees. 17 portfolio. Check and double check your To enhance your chances for interviews, list to avoid omitting important required hyperlink all text-based documents to sites elements. outlining some of your pedagogical beliefs. Start a blog on your site that highlights your 3. Formatting– Pay attention to typos, reflections, educational leanings, personal spelling and formatting because a neat, experiences and passion for improvement. organized-looking portfolio will look Your portfolio is a reflection of your work impressive. Being organized and neat will abilities and strengths. If done well, the help you in future projects beyond high final product can further your academic school or college. career or land you a dream job. A well-done portfolio is an essential tool in 21st-century 4. Visual appeal – To enhance the appeal, learning. Quality takes precedence over add images, videos and other interesting but quantity. The more unique your portfolio is, relevant materials. the more weightage it gets.
5. Growth comparison –Your mentor/ 2. Clearly establish/define your objective recruiter may compare your work to other Develop a clear and specific approach of applicants so make sure that you have your digital portfolio to tell your story.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Dipti Ahuja
You can use this section to showcase keep your digital portfolio’s purpose and your personality, experiences, goals and audience in mind when deciding what videos ambitions. Mention your requirements if to include. Video testimonials can be an you are looking for a job. Try to specify the additional bonus for a good portfolio! work profile you are looking for. Try to give The more you add to your online digital a theme to your portfolio that is unique and portfolio, the more multi-dimensional your universally appealing. Your concept notes application will become since traditional should be well framed and must justify the applications are designed to narrow down illustrations added. applicants. An online Portfolio is a repository for 3. Feedback approach digital artifacts that represent your learning. Always keep solid proofs if you are adding You may upload or create artifacts on work done with clients or for companies any number of topics and at any stage of in the past. You can add short clips of your completion. An artifact may be a document, previous works in your digital portfolio graphic, audio file, video file, presentation or to make it more relatable. Clips and any other form of digital media. Regardless testimonials from previous employers of the purpose or type of digital portfolio go a long way in attracting recruiters. being created, it should always include 18 One can also add shorter testimonials of evidence of competence in areas of expertise parents, students and peers that attest to being highlighted. However, with an online your practice. Showcase your participation portfolio, you can do more than just share within the greater community you belong your strengths—you can show them. This to, by including links to news pieces, videos allows anyone viewing the online portfolio at various events and documenting your to understand the range of skills, knowledge participation in extracurricular activities. and abilities of the creator. Each artifact included should have a purpose, overview 4. Fixing a Video of goals, social importance, and expected Fixing a video in your online portfolio might learning outcomes. With each artifact you be a requirement of many recruiters. Adding add to your site, make sure you also upload videos of your shows, photography sessions, a thoughtful reflection—which adds deeper photos hoots will help recruiters understand meaning to your purpose. your personality and judge your competence for a job. A modern digital portfolio will give 6. Awards and Honors you an edge over other professionals when Digital portfolios are mainly used to rep- competing for a job, especially when you are resent capabilities and competence in a a fresher. You can always add video shoots of specific field; hence, it is important to show your projects in any field. However, always any honors and kudos received, awards
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 The Needs and Strengths of a Design Student and accolades won, certificates and train- showcase your work to potential clients ings taken and promotions or performance without compromising your existing clients’ appraisals received. You can always add confidentiality. You can keep your portfolio relevant pictures to support your docu- public and share your password with ments. An online portfolio turns you into a clients, recruiters or educators,as per your smart professional who can show all of her/ requirement. his dynamic achievements under one roof and therefore, becomes much more attuned In A Nutshell with evaluation. To summarize, your portfolio is a great opportunity to curate exactly how you are 7. Be confident and positive seen. An online portfolio for a designer is a Be confident of the work you add and never must-haveto showcase your work. Utilize underestimate your work. Attitude really this space with high resolution images, well matters. Never show poor attitude, no matter framed videos, crisp themes, clear concept how amazing your work may be. Never notes and defined illustrations. Beautiful discuss your old job’s drawbacks; instead layouts given in the portals mentioned focus on what you have learnt. Talk about earlier, provide you with great support to experiences which contributed to your enhance your work and makes your portfolio learnings. Be patient and show all aspects of highly attractive to companies and recruiters. 19 your work, whilst focusing on what recruiters A portfolio is never truly complete, as it is a are looking for and what you have to offer. living and breathing asset that should reflect your evolving design identity and it changes 8. Safeguard your work with new designs, trends and collections. The flip side of the digital world is that Your online portfolio should have very clear anyone can copy your work; however, contact details,so provide your email address, saving your work on PDF files and contact number and social media profiles maintaining passwords goes a long way .These inbound messages could lead to job in protecting your creations. Always keep openings and freelance or online projects. An individual copies of your work. An online online portfolio is a global communication portfolio can help you reach clients while hub to understand,compile,document, building your brand and provides you with a express and communicate the learner’s stable, reliable, secure environment to host thinking and ideas to an authentic global your work. audience who is always alert to judge and If you’re concerned about copyright issues give you opportunities. or people stealing your work, a password protected portfolio keeps your content safe. A password protected portfolio lets you
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Dipti Ahuja
Author’s Biography Dipti Ahuja is a creative professional and Academic with 15 years’ experience which includes developing various course curriculum ,heading several Graduation Design shows,winning the best faculty award, heading a fashion department and teaching design courses. I have expertise in teaching design softwares which I learnt at NIFT, Delhi. I believe my skills and talents blend exquisitely with innovative concepts—that can help make digital designs and assist in technical learning. I worked at Amity University from 2007-2017 and am now a visiting faculty member there. I am now exploring new ventures,writing platforms and upcoming design softwares.
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Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Timeless Elegance: Traditional Odishi Handwoven Khandua Timeless Elegance: Traditional Odishi Handwoven Khandua
By Dr. Sasmita Panda
Abstract he Indian textile industry consists of a diverse range of textile production activities, employing an extremely labour intensive handloom sector and a highly capital Tintensive, machine-made cloth sector. This industry is closely linked to the agricultural sector as it is dependent on it for raw materials like cotton, jute and organic dyes. This industry is one of the largest employers in the country and contributes significantly to the overall GDP of our country. The total textile and clothing export for 2015-2016 is valued at approximately $28.05 billion (Textile Ministry, 2015). The handloom sector forms an important part of the textile industry. It supports as many as 43 lakh (4.3 million) weavers in rural, semi-urban and urban areas. It also contributes to Indian textile exports and produces nearly 15% of all cloth manufactured in the country (Textile Ministry, 2015). The diversity of Indian hand-woven textiles is obvious in the distinct character of its products and processes. Variations occur as per regional differences. For example, highly skilled and 21 artistically decorated fabrics like Banaras silk sarees, Kanjeevaram silk sarees, Ikat dyed Patola of Gujarat, Jamdani from Bengal and a host of other hand-woven fabrics like Ikat of western Odisha were also developed which were considered as prized possessions by traditionally conscious women. The “Khandua” saree belongs to this category of hand-woven fabric with a colourful historical background. This article makes an effort to find out its present status in this era of globalization where innumerable sarees and apparel flood the market posing serious challenges for traditional handwoven work. “Khandua” started its incredible journey as a ritualistic fabric when the 12th century poet Jaydev wanted his epic “Gita Govinda” to be woven with calligraphy designs and offered to lords Jagannath, Balabhadra and sister Subhadra to adorn their bodies as a mark of utmost reverence. Legend says that the original production started at the village of Kenduli, the birth place of the poet Jaydev, but due to some unknown reasons shifted to village Nuapatna in the year 1719 AD, at the direction of Gajapati King Rama Chandra Dev of Puri. Since then, “Khandua” (also called Pheta) is produced in the Nuapatna area with diversification for adapting to saree production. A Khandua saree is handwoven by the traditional weavers of Maniabandha and Nuapatna areas, located in the Cuttack district of Odisha. It is prepared with mostly weft Ikat
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Dr. Sasmita Panda
(tie & dye bandha) designs by using cotton, pure mulberry silk and tassar yarn. The weaving of Khandua is a glorious chapter in the history of handloom weaving, not only in Odisha but also the entire country. With bright, enchanting, unique and traditional colors, yarn dyed motifs of flora and fauna, local kundi finish along with a little bit of emotional weaving embedded into it, Khandua still continues to struggle for its existence on account of dwindling market demands and an aged workforce of traditional weavers. The challenge then remains—how does one sustain the timeless beauty of Khandua amidst the aggressive marketing of Indo-Western apparel? Perhaps, innovation is the only way to keep the loom running.
Key Words: Khandua, Handloom, Bandha (Tie & Dye), Nuapatna, Maniabandha
Introduction with traditional “bandha” designs and other The state of Odisha is located in eastern sarees woven by Meher weavers, are valued India. Odisha is also known as the land of higher than their price1. temples, with famous temples at Puri and In addition to these sarees, “Khandua” Bhubaneshwar. It has beautiful valleys, an sarees woven in Maniabandha and Nuapatna 22 enchanting beach line shared with the Bay of areas in Cuttack district in central Odisha top Bengal and an exotic landscape of mountains the list, under the most popular artistically and waterfalls. In addition to its abundant woven bandha sarees with a highly deco- natural beauty, it has a wonderful legacy of rative historical and social value. customs and rich traditions with handlooms A Khandua saree is hand-woven by the playing a larger part of the same. traditional weavers of Maniabandha and Odisha’s love affair with handlooms is Nuapatna area. It is prepared with mostly ongoing and gives the state a prime status in weft Ikat (tie & dye bandha) designs by using the handloom landscape of the country. The cotton, pure mulberry silk and tassar yarn. craft is widely dispersed in different areas Weaving of Khandua is a glorious chapter of the state. The grandeur of bandha saree in the history of handloom weaving not of western Odisha produced in Sonepur, only in Odisha but also the entire country, Baragarh, Bolangir and Sambalpur areas is dating back several centuries2. Indeed, the an example of not only artistic excellence, saree may be considered a crowning glory of intricate craftsmanship but also portrays handloom, not because of its sheer elegance sheer elegance. The tradition of weaving but because of its sophistication, grace and 1 Bijoy Chandra Mohanty Ikat Fabrics of Orissa and Andhra Sakatapar, with the designs of “Sakata” the Pradesh”, Published by Calico Museum of Textiles, Ahmed- dice, the eye catching wondrous “Bichi- abad, First edition 1974, Second revised edition 2003. 2 Alfred Buhler, “Indian Tie-Dyed Fabrics” Published by trapar” (Bichitrapuri-wonder world) saree B.U.Balasari, Calico Museum of Textiles, Ahmedabad,
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Timeless Elegance: Traditional Odishi Handwoven Khandua aesthetic appeal combined with functionality. of Khandua fabrics as offerings and dresses In short, it is used as a symbol of romantic of deities. This tradition is still till date and beauty with an oriental Odishi touch. The Khandua fabric with texts from the famous motifs are taken from flora and fauna, animal epic “Gita Govinda” composed by Jaydev is prints and bright colors like red, yellow, blue, reverentially offered to the deities at Puri. green, maroon with bleached white are some A glimpse of the Gita Govinda Khandua is of the attractions of the Khandua saree. presented in Figures1 and 2 below: Khandua began its incredible journey a MadalaPanji, the religious sacred doc- few centuries ago, conceived and promoted ument maintained by Lord Jagannath temple by the great poet Jaydev. This began as a which also records rituals conducted by the ritualistic fabric at the famous Puri Jagannath temple, states that king Ram Chandra Dev Temple, for Lord Balabhadra, Devi Subhadra of Puri directed the weavers of Nuapatna to and Lord Jagannath. As the legend goes, it weave special clothing for Lord Balabhadra, originated from the village “Kenduli” and Devi Subhadra and Lord Jagannath for dif- therefore even today some learned temple ferent festive occasions. Thus,the practice priests call it “KenduliPheta”3 . of using handwoven fabrics for the lords has Thus, Khandua sarees have a religious been in vogue since 1719 AD4 . origin. Right from its early days, it was closely As per the legends, the poet Jaydev associated with temple culture. Historical wanted the “Gita-Govinda” text to be put on 23 references are found on the origin and use the fabric as an offering to the Puri gods. The Figures 1 & 2
3 Eberhard Fisher and DinanathPathy, Jayadeva and Gitagovin- 4 Bijoy Chandra Mohanty Ikat Fabrics of Orissa and Andhra da-Textiles-chapter-12,p121-133,2010 Pradesh”, Published by Calico Museum of Textiles, Ahmed- abad, First edition 1974, Second revised edition 2003.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Dr. Sasmita Panda
deities were clad with fabrics woven with The original was smaller in length and width. “Gita Govinda” text, which were initially For this, preparation was done only for one woven at the birth place of the great poet at piece of fabric (in the local language it was village Kenduli. For some unknown reasons, called “KhandeLuga”, meaning one piece of it was not possible to weave Khandua at cloth). Every time the fabric was completed, Kenduli. Hence, King Ram Chandra Dev it was cut from the loom as “KhandeLuga” of Puri directed that Khandua be produced (Khande means one piece and Luga means at Nuapatna5. It was in 1719 AD, as stated cloth). Perhaps, that is the reason why it was earlier, that Nuapatna started weaving the named Khandua. “Gita Govinda” Khandua regularly. Today, seven generations of families carry on the Khandua: The Historical Evolution legacy of preparing and weaving this Gita Khandua was specifically made for the Puri Govinda Khandua and they are the families temple and was locally called “Pheta”, which of late master craftsmen and National was used as a turban cloth with the Gita awardees Shri SudamGuin and Madan Naha Govinda script woven in calligraphy on it. of Nuapatna. The cloth was also used as a shoulder cloth.
Etymology of the Khandua Khandua: Important Motifs and 24 Documents about the naming of “Khandua” Designs and its derivation are hard to find. However, The most important motif on Khandua is efforts were made to find out and explore as the calligraphy of the Sanskrit verses of to why the name Khandua was given to this Gita Govinda put in Odia script on the particular fabric. During the survey, some fabric by use of ikat (bandha) technique7. very senior, artistic, award-winning weavers The colors were as per the requirements were asked and their responses were rather of various occasions, and ranged from heartening. red, yellow and green depending upon the According to Shri Sarat Kumar Patra6 of deities of Lord Jagannath Temple of Puri. Nuapatna, a national awardee from the Pres- However, sarees made for ladies have a ident of India, the name Khandua has been in wide range of designs, motifs and colors vogue, perhaps since the production of this based on the imagination of weavers; fabric which was not in its present form. Shri motifs were taken from natural flora and Patra states that centuries ago, when the pro- fauna, different characters described duction of this fabric was started, production by sastras and epics, particularly in the was only in one piece unlike the present Kama Sastra. system of making 8 to 32 pieces at a time. 5 Desai Chelna, “Ikat Textiles of India”, published by chronicle 7 Desai Chelna, “ Ikat Textiles of India”, published by Chronicle books, US, 1988 Books, US, 1988 6 Shri Sarat Kumar Patra, National award winner, expert weaver, Nuapatna(Version)
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Timeless Elegance: Traditional Odishi Handwoven Khandua
Khandua Sarees from Nuapatna: Figures 3 & 4
According to Shri Sarat Kumar Patra8, a appreciation and approach. Shri Patra national awardee of Nuapatna, the designs mentions some of the design stanzas of the and motifs of a Khandua saree are put epic which formed the basis of these designs. piece by piece, each different and slightly One such verse in Sanskrit is reproduced modified, so as to have an individualistic below in figures 5 and 6. 25 Khandua Sarees with Calligraphy: Figures 5 & 6
“Padmini Padma Gandhasa Sankhini Mina Gandhasa PayoGandhasaChitrini Kesha Subash Kati”
8 Shri Sarat Kumar Patra, national award winner, expert weaver, Nuapatna,2016
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Dr. Sasmita Panda
Some of the motifs put on Khandua sarees A Snapshot of the Study Area are the lotus flower symbolizing “Padmini”, The present article gives a glimpse of a lion motif symbolizing Kati, an elephant the study area where this research was signifying “GajaGamini”, a creeper (Lataa) conducted. The study was concentrated symbolizing Kasha Vinyash, deer symbolizing in Nuapatna and Maniabandha villages its eyes “MrigaNayani”, a sunflower for a under the Athagarh sub-division of beautiful, round face of a wonderful lady9. Cuttack district, Odisha. Nuapatna and Shri Patra10 adds that some of the motifs Maniabandha villages occupy a significant have also been taken from the famous place in the craft atlas of the state, Konark Temple (the famed Konark wheel particularly in handloom. and dancers), particularly while converting Khandua designs to an exquisite wall hanging. Location Map of Nuapatna Village: Figure 7
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Source: Gopabandhu Academy of Administration, Bhubaneswar
As per the 2011 census, there are 915 ratio per 1000 males in Hindus is 914 and females per 1000 males in town. The sex among Buddhists it is 950.11 ratio in general caste is 911, in schedule cas- A total of 6094 people in town are literate; tesit is 876 and in schedule tribesit is 1230. among them 3426 are males and 2668 are There are 884 girls under 6 years of age per females. Literacy rate (children under 6 are 1000 boys of the same age in town. The sex excluded) of Nuapatna is 84%.12
9 Shri Shyama Sunder Karan, award winning expert weaver, Ma- niabandha,2016 11 Ibid 10 Shri Sarat Kumar Patra, national award winner, expert weaver, 12 Ibid Nuapatna,2016
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Timeless Elegance: Traditional Odishi Handwoven Khandua
Caste-wise distribution of the population of the study area is projected below:
Table 1 Caste-based Gender &Age-wise distribution of the Population of the Study Area Total General Schedule Caste Schedule Tribe Child
Total 8,057 7,543 349 165 761
Male 4,208 3,948 186 74 404
Female 3,849 3,595 163 91 357
Source: Census,2011
Demographic Details average family size is of 5 individuals.13 The census town is home to 8057 people, Hindus contribute 97% of the total among them 4208 (52%) are males and 3849 population and form the largest religious (48%) are females. 94% of the whole popu- community in the census town, followed lation are from general caste, 4% are from by Buddhists who contribute 2% of the schedule castes and 2% are schedule tribes. total population. Sex ratio per 1000 males The child population (aged under 6 years) of in Hindus is 914 and among Buddhists it is Nuapatna census town is 9%, among them 950.14 27 53% are boys and 47% are girls. There are The religious composition of the study 1689 households in the census town and an area is indicated below:
Table 2 Religious Composition of the Study Area Bud- Not Total Hindu Muslim Christian Sikh Jain Others dhist Stated
8,057 7,842 15 1 0 197 0 0 2
4,208 4,098 8 1 0 101 0 0 0
3,849 3,744 7 0 0 96 0 0 2
Source: Census, 2011 The religious composition of the study area is projected below:
13 Ibid 14 Ibid
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Dr. Sasmita Panda
Graph 1 weaver population in Nuapatna, as per the GI application submitted by the Khandua cluster Religious Composition of the authority, is around 1500 weaver families, Locality 5400 weavers and 2340 running looms. According to Shri Shyam Karan, an award- winning weaver of Maniabandha, there are approximately 3000 weavers and 1000 looms in Maniabandha. The 3 km road stretch, leading to Maniabandha from Nuapatna, is interspersed with numerous weavers’ cot- tages, accompanied by the rhythmic beating sound of working handlooms, stretched warp Caste-wise distribution of the population sheets, colorful dyeing of yarns and open of the study area is projected below: sun-drying of multi-colour dyed yarn, with typically unpretentious countryside sur- Graph 2 roundings. As per census information, the workforce participation rate of the people of Nuapatna 28 indicates that Nuapatna has 41% (3287) of its population engaged in either main or marginal works. 57% males and 23% female comprises of its working population. 54% of total male population are main (full-time) workers and 3% are marginal (part-time) workers. For women, 14% of total female population are main workers and 9% are Village Economy marginal workers. Every household of Nuapatna and Mania The workforce classification of the bandha practises the craft of handloom. The villages is presented in below:
Table 3 Workforce Classification of the Villages Under Study
Workers Main Workers Marginal Workers Non-Workers Total 40.8% 35% 5.8% 59.2% Male 56.9% 54.3% 2.5% 43.1% Female 23.2% 13.9% 9.4% 76.8%
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Timeless Elegance: Traditional Odishi Handwoven Khandua
This classification is graphically presented innumerable hurdles, faced unimaginable below: challenges but with the dedication of its Graph 3 devoted and committed weavers, it shall stand tall as one of the prized possessions of traditional handloom. Unfortunately, the future of Khandua seems uncertain as its weavers are uncertain of its commercial viability. Innovation and a contemporary approach with technological upgradation may lead to better days for this handloom craft and its weavers. Coop- Conclusion eration of all stake holders is essential for The traditional Odishi handwoven Khandua the survival of the languishing but timeless started its incredible journey as a ritualistic Khandua. fabric when the 12th century poet Jaydev wanted his epic “Gita Govinda” to be woven Bibliography with calligraphy designs and offered to lords Buhler, Alfred, Indian Tie-Dyed Fabrics, Jagannath, Balabhadra and sister Subhadra as Calico Museum of Textiles, Ahmedabad a mark of his utmost reverence. Legend says (1989) 29 that the original production started at vil- Dash Satya Narayana, “The death of a won- lage Kenduli, the birth place of poet Jaydev, derful craft”, Odisha Review (2008) but due to some unknown reasons shifted to Desai ,Chelna, Ikat Textiles of India, Chroni- village Nuapatna in the year 1719 AD, at the cle Books, US (1988) direction of Gajapati King Rama Chandra Eberhard Fisher & DinanathPathy Jayadeva Dev of Puri. Since then “Khandua” (also and Gitagovinda, (1996) called Pheta) is produced in Nuapatna. Ghosh, GK and Shukla Ghosh, Indian A Khandua saree is handwoven by the Textiles Past and Present, APH, Publishing traditional weavers of Maniabandha and Corporation, New Delhi (1995) Nuapatna villages, located in Cuttack district Hacker Katherine F, “Dressing Lord Jagan- of Odisha. It is prepared with mostly weft nath in Silk: Cloth, Clothes, and Status”, Ikat (tie & dye bandha) designs by using Res. Autumn97, Issue 32 (1995) cotton, pure mulberry silk and tassar yarn. Lynton Linda, The Sari,Thames and Hudson Weaving of Khandua is a glorious chapter in Ltd, London (1995) the history of handloom, not only in Odisha, MohantyBijoy Chandra,Ikat Fabrics of but also in the entire country. Orissa and Andhra Pradesh, Calico Museum During its journey since the past seven of Textiles, Ahmedabad (2003) centuries, this timeless beauty has sustained
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Dr. Sasmita Panda
Author’s Biography Dr. Sasmita Panda is currently working as an Associate Professor in the Textile Design Department and as a Campus Academic Coordinator at NIFT Hyderabad. Her areas of interest include traditional textiles, surface techniques, garment construction, intellectual property rights, craft cluster (handloom and handicraft) and design colloquium. She was involved in various projects like “Training the Trainers” in the fields of resist dyeing, hand embroidery, garment construction and surface techniques. She coordinated and worked for the GI certification of crafts like Patachitra Painting, Konark stone carving and Pipli applique craft of Odisha. She has coordinated and been involved with various government projects like the MCH, DRDA, SERP, NEPGEL, Board of Intermediate Education, EDP and project package schemes. She has cumulative work experience of 23 years in both industry and educational institutions. She is working with NIFT since 2000. She is a qualified ISO internal auditor. Many articles have been published by her in national and international journals, newspapers and in seminars. 30
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Kalamkaria: Development of Contemporary Motifs Using Traditional Craft
Kalamkaria: Development of Contemporary Motifs Using Traditional Craft
By Shoba Uppe
Abstract India has a rich craft heritage of textiles and handicraft, often handed down many generations as family tradition. In modern times, crafts such as stone sculpting in Odisha, cotton/silk weaving in Maharashtra and Madhubani in Bihar are facing a steady decline. Innovations, including value addition, play a major role in present textile manipulations and finishes—apparel and surface. Andhra Pradesh’s innumerable, historical craft traditions are still alive. Kalamkari painting is unique in its own style, concept, form and expression. It involves, on a preliminary level, painting with a brush (an improvised bamboo stick) and natural dyes (grey cloth treated with myrobalan fruit and milk). “Kalam” means pen and “kari” means art. Kalamkari has Mughal and Persian influences with Srikalahasti’s temple town being a major source of inspiration for its artists. Mythological figures abound in this art form with most motifs being imaginative rather than real. There is now a slow but certain shift in this expensive textile craft, from mythology to florals, from temple offering 31 to apparel. The objective of this paper is mainly to transfer cultural heritage to new generations,understanding the technique of kalamkari and creating modern motifs. For this,secondary data has been largely collected from craft documentations, field visits, articles and various websites. I have also analysed concept generation and motif development.
Keywords: Kalamkari Painting, Motifs, Contemporary Apparel, Design Range
Introduction (intended for the Portuguese market), were The embroidery tradition of the Indian sub- in yellow silk. Indian embroidery bears a lot continent is one of the most richly diverse of regional diversity. Most domestic work and masterful in the world; by the 16th comes from the Kutch and Saurashtra, in century, Indian quilts embroidered in chain Gujarat. In Rajasthan, handicraft is based on stitch were already being exported to Eu- caste, and tradition involves “cuts” rather rope. Those from Gujarat depicted flowers, than “drapes”—women’s clothing being a animals and birds while those from Bengal mix of skirts, bare-backed blouses and head
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Shoba Uppe
cloths, coats and caps for children, small The above techniques can be used in covers for food and animal trappings and innovative ways tocreate plain and textured hangings for festivities and marriages. surfaces, enhanced further with hand printing Techniques and styles vary as per caste; and painting. Hand painting is an art of luxury however, mirror work is common amidst all, involving skilled labour. Kalamkari is an being known as “shisha” in the Hindu com- intensive “hand” craft, from Srikalahasti, munity and “bla” in the Muslim community. where a “kalam” or pen is used forfree-hand The use of satin and motifs of flora, pea- drawing and the entire motif is filled with cocks, elephants and mangoes is abundant; colour. Designs are illustrated on large bolts of colours used include yellow, white, pink, canvas, painted on the spot with a story. Fabric green and red. painting is also done with blocks,similar to Indian embroidery includes a number kalamkari, but using wooden blocks and is of regional stitches, formed on the basis known as block printing. of the texture, design, fabric and stitch Kalamkari is an art work of natural dyes quality. Most stitches are in the form of and a wooden kalam, which involves twenty- dots,circles,squares and triangles or a com- three steps. This craft is practiced in two bination of all. Surface textures sometimes different places, Srikalahasti in Chittoordis- include materials like mirrors, beads and trictand Machilipatnam Krishna district of 32 shells. Some rich Indian embroidery surfaces Andhra Pradesh with two different styles. In are: Aari—a chain stitch done with a hook, Srikalahasti, the style of kalamkari craft is Banjara—from Lambada, a mix of applique, crafted with a pen, done entirely free hand. mirror and bead work, Chikankari—from This is a predominantly religious style with Lucknow, Kantha—from Bengal, comprising mythological motifs and its products are used of running stitches on several fabric layers; as temple hangings and chariot banners. another form is dorukha, which is similar Machilipatnam’s kalamkari is also known to quilting and have patterns visible on both “Pedana Kalamkari”, which is primarily, sides, Kasuti—from Karnataka, Kutch—from block printing of vegetable dyes on fabric. Gujarat and Kashmirikeshida from Kashmir. These dyes are natural and are derived from Machine-made embroidery is used in plants, invertebrates and minerals including creating patterns on textiles and comprises roots, berries, bark, leaves, wood, salts of alignment, use of templates and applique of iron ,tin, copper, aluminium and other outline stitching around the fabric applique. biological sources such as fungi and lichens. It has man-controlled or computer controlled Various effects are obtained by using cow embroidery through CAD/CAM, Digitize- dung and crushed seeds and plants. dAdjusting stitch sections, lettering, auto The fabric is pre-treated with buffalo milk digitizing turning artwork into embroidery and myrobalan. The latters removed milk and design created with bobbin thread. odour and also helps in fixing the dye colour.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Kalamkaria: Development of Contemporary Motifs Using Traditional Craft
Alum is also used to treat the fabric to ensure soaked in buffalo milk and cow dung for permanence of colour. a few hours. Then it is washed in running Although kalamkari originated as a religious water; thereafter, it is treated with myroba- handicraft, it attained popularity in the 17th lan to remove the odour and colour of milk. century when the Muslim king of Golconda With the use of a “kalam” or wooden block, addressed craftsmen as “kalamkars”. Since iron acetate is used as an ink to draw and then, it has been practised in Madurai, Kala- more colourful areas are marked in red with hasti and Salem Masulipppatnampalakollu. alum solution as a mordant.This treated Historical evidence also shows the fabric is then kept aside for a day and re- presence of kalamkari in Harappa and Fustat washed. If the fabric has to be dyed in any (old Cairo) in Egypt. Kalamkari was a major colour, it undergoes the process of dyeing trade commodity, often exchanged for spices, before further work. with Arabia, Africa and Persia. With each step of drawing and colouring into the design, the fabric has to be Technique of Kalamkari continually washed in running or boiling The process of Kalamkari is a little complex water. as it involves many steps.The fabric is first
Kalamkari with a “Kalam” and Kalamkari with Wooden Blocks: 33
Fig-2 Fig-3 Fig-1 Fig-4
Fig-8 Fig-6 Fig-7 Fig-5
Fig-9 Fig-10 Fig-10
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Shoba Uppe
Methodology lost. Similarly, our culture is what keeps us The methodology is based on research, grounded and firm. The more we try to un- inspiration,analysis, development and design tangle ourselves from our culture, the more of a collection. Using small parts of the motif we find ourselves in turmoil. The garments to understand texture and patterns throws in the collection depict the story of untan- new light on the craft and experimentation gling, through simple garment details like allows us to build innovation into this tradi- half capes, wraparound pants, deconstructed tional art. panels, straps and thread surfaces. One can draw inspiration for new texture The collection was sustainable, using from tree barks, fossils, flora, birds, entagled khadi fabric and the natural dyes of roots, flying kites and seashells. Let me share kalamkari and had a contemporary edge a project undertaken by me, in this regard, with modern motifs. Using khadi as a fabric which was inspiring and received several was a challenge as it is not traditionally accolades. used in kalamkari work and hence, it went through several shrinkage/absorbent tests. Inspiration The dye tends to bleed on khadi fabric but “The Untangling Bondage” is a collection since most of the design was geometric, of fusion wear inspired by flying kites. As it ended up looking rather aesthetically 34 the kite soars up in the sky, its movement pleasing. Motif development for this col- seems to be restricted by its string, but the lection was inspired by free flow, directional string itself prevents the kite from getting flow, movement and speed.
Step-3 Experimented on fabric Step-2 Exploredkey words onto texture. Step-1 Started with doodling
Step-4 Developed designs and motifs onto the fabric Step-5 Final fabric Step-6 Constructed the approval (fig-5) collection (fig-6)
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Kalamkaria: Development of Contemporary Motifs Using Traditional Craft
Finally developed designs are shown below:
From the inspiration to the collection, the work was based entirelyon practical explo- ration, with geometrical motifs resembling kites and bringing in an innovatively contem- porary kalamkari look.
Trading and Commerce: Past & Future The kalamkari of Masulipatnam was 35 exported to Persia in the 17th century and became an important trade commodity by the 19th century. Today, it is heavily used in clothing, home furnishings and life style goods. However, it is struggling to attain commercial viability on account of very less design and motif variations. The objective of this research was to study the history and evolution of kalamkari and infuse new life into it.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Shoba Uppe
Author’s Biography Shoba Uppe is a fashion designer, assistant professor and Head of the Foundation Programme at NIFT, Hyderabad. She has been working with NIFT since 2003 with a specialization in design, fashion forecast and crafts (Kalamkari, stone carving, leather puppetry, silver filigree, Ettikopakka toys, Bidri). Previously, she headed the Department of Fashion Design and is currently leading 233 students under the Foundation Programme. Shoba attained her Masters degree in 2015, a diploma in fashion design in 1998 and another certificate in fashion from NIFT in 2011. She has published two papers and worked ingarment export for several years.
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Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Changing Gender Identities in the Male Character- A Perspective on Popular Culture & Fashion in India
Changing Gender Identities in the Male Character- A Perspective on Popular Culture & Fashion in India By Shovit Dasgupta
Abstract Gender identities have always been portrayed in classical and folk cultures all across the world, from Brihannalain the Mahabharata to drag fashion of today; the male character has gone through a lot of identities throughout the ages. This paper is based on the changing representations of gender identities and corresponding categories of fashion and clothing, in the Indian context, with reference to western ideals of popular culture. From the very beginning of the male portraying the female in traditional temple dances or folk forms of theatre; and the tabooing of the overtly ‘feminine’ male as a target of ridicule in Bollywood movies – to the acceptance of genderless clothing in high fashion; this paper aims at following the changing representations and narratives of mostly drag, cross-dressing and LGBT individuals as people with valid choices and opinions. Bollywood being the very face of popular culture in India – this paper aims at tracing 37 a few characters from popular movies; thus focusing on the changing representations of gender and sex as separating parameters. This paper also aims at pointing out certain new fashion terminologies related to changing gender identities for evaluation with urban students of fashion design and related disciplines; and hypothesize on the basis of opinions of the generation that is going to be at the giving and receiving end of changing gender representation in popular culture. This paper finds its relevance in the fast changing virtual and social scenario of contemporary time; in the middle of multiple events shaping freedoms and boundaries of self-representations in fashion– as an Indian viewpoint separate in identity from the western one. Keywords: fashion, identity, gender, drag, popular culture, genderless
Introduction first written code of conduct of Hammurabi Man has come a long way from modest cave to the law of modern society—this journey dwellings to the complex social structure of has been an extensive one. In the course today. What started off as a primary group of this journey, visual language has also for the protection of the next generation modified itself to suit the needs of an ever- and ease of food hunting and gathering, has changing society. For the longest time in evolved into the societies of today. From the human evolution, man did not feel the need
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Shovit Dasgupta
to represent himself through visual depiction. Sultanate, and then the Mughals, followed by It was about 40,000 years ago that the first the European establishment of colonies, the cave paintings were documented in Upper Indian subcontinent went through upheavals Paleolithic sites across Europe, Africa and in society and its representation of people in Asia (Ember, Ember, Peregrine, 2008). It is visual arts and performances. still not clear why these visual representa- This volatility of Indian society at large tions started, but some have said that it was a gave rise to the concept that women would documentation of daily life and others have not be allowed to leave domestic premises, said that it might have been a representation thus leaving all outside work to men. Since of a ritual performance (How Art Made The invasions mostly originated at the western World, 2005). side of the subcontinent via land, the sys- India has been a a land of culture that goes tems of Purdah or confinement of women past recorded history. The subcontinent has became more prevalent in those geographical seen many civilisations come and go; and areas. Thus, even public performances had evolve into new ones. From the early onset to be practised by men; and male actors got of civilisation as seen in the cave paintings dressed as women to portray stories from the of Bhimbetka in Madhya Pradesh, visual great Indian epics of the Ramayana and the representations have continued to evolve Mahabharata. 38 and are evolving till date. The developed civilisation of the Indus Valley had a number Representations of the Male of terracotta artefacts that show how advanced Character in India: From their skill and representation was. Figurines Mythologies to Cinema found included a goddess with an elaborate In the Upanishads, that form the spiritual headdress and the bust of a man thought to be a backbone of the belief system of the notable person, perhaps a priest-king. Post the subcontinent, every individual person is Indus valley civilisation, human representations a combination of several forces; and the have not been found in India during the Vedic concept of “Purusha” and “Prakriti” (person period; only to re-surface at the time of the and nature) coming together to form life is of Mauryan empire, with Buddhism developing as primary importance. All beings are governed a religion and taking inspiration from the Greek by the three “Gunas”: “Sattva”, “Rajas” and civilisation. The sculptural representation of “Tamas”; and every individual has all the the male and female form reached its pinnacle three attributes in varying degrees. Thus, the during the Gupta Period, and thus serves as Upanishads do not have defined boundaries a visual record of the beliefs and lifestyles of between the physical male and female. It was the people. only in the Indian epics of the Ramayana and After numerous invasions by first the the Mahabharata, and subsequent stories Ghaznavids and the establishment of the of the Puranas, that one sees these ideas
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Changing Gender Identities in the Male Character- A Perspective on Popular Culture & Fashion in India manifested in the form of persons, for the atedly feminine body language. Devotional common manto understand. performances evolved over time and became In Indian mythological epics,male characters more relatable to the common man, lead- are quite diverse. The ideal and just king ing to new forms of theatre like the Bengali Lord Rama, who crosses the sea to fight the Jatra or the Gujarati Bhavai, with male actors demon king Ravana gives way to the Yadava portraying female characters that the viewers king Lord Krishna, who himself does not could identify themselves with. fight but engages in the battle through others. All of these made way for an early advent of The warrior Arjuna, the ideal man, has to dis- the moving pictures in India, in the begin- guise himself as the eunuch Brihannala for ning of the previous century. The moving a year at the end of the Pandavas’ exile. The picture was invented by the Lumiere broth- honest king Yudhisthira indulges in a gamble ers, and brought to the country by pioneers in and loses everything. Mumbai and Kolkata. In later times, with numerous local adaptations Dadashaheb Phalke made the first Indian of these epics, the characters became more silent movie Raja Harishchandra in 1913. relatable to viewers, and folk plays evolved as The costumes and cinematography were all a method of storytelling—involving short tales done by Phalke himself. He was inspired by from the epics. Many sub-stories and local visual culture, including modern Indian art versions evolved and became integral parts of alongthe lines of the Europeans, chromoli- 39 popular culture—popularizing characters with thography and photography, religious pro- the common man. cessions and performances, folk and urban The southern part of the subcontinent has theatre and foreign cinema (Rajyadhaksha, had a relatively distinct culture, mostly 1987). Notably, all female characters were guarded from foreign invasions, and thus played by male actors in the style of classi- home to a variety of classical and folkdance cal Indian theatre. forms following the ancient grammar of The 1920s saw more silent films made on Natya Shastra by Bharata Muni. Theatre, similar topics; and the movie industry was such as the Yakshagana of coastal Karna- highly influenced by Hollywood. Although taka or the Kathakali of Kerala have seen female characters were dressed tradition- male actors or dancers performing female ally, male characters were always dapper in roles. This could have been because these Hollywood fashion. This was also the time performances were long and physically tax- that India’s first movie with dialogues was ing and hence, more ideally suited to male launched—Alam Ara, directed by Ardeshir performers. Irani. This led to the rise of a Hindi-Urdu Live theatre has been a part of daily life speaking film industry that later evolved to in India. Male actors would cross-dress as become Bollywood. female characters and adhere to an exagger- As the country stepped closer towards
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Shovit Dasgupta
its independence, there was an influx of Evolving Masculinities: A Case Punjabi and Gujarati producers and actors Study of Popular Movies into Bollywood.Post Indian Independence, The male character in Bollywood movies has fair skin and European features came to partly evolved to break away from the stereo- be coveted in male lead actors with the typical hero, besides just the visual approach. superstarRaj Kapoor attaining instant This paper traces some male characters in stardom with his blue eyes. film, with a focus on evolving masculinities. In the 1950s, actors like Dilip Kumar be- The following case studies attempt to show gan portraying characters from villages and the changing form and face of male charac- hence wearing “Indian” clothes. Raj Kapoor ters through the examples of popular movies was seen in western suits that were mostly a from the post-independence era to recent size smaller; thus, identifiable as the “man in times. Three movies willbe considered, all in the street” (Dwyer, 2000). a leap of around two decades, in order to put In the 1960s, the male star moved from being forth the generations that have followed or exotic to becoming the “man next door” with grown up on each of them. Shammi Kapoor donning American street Tostart with, the case study of Shree 420, styles, Rajesh Khanna as the fashionable man made in 1955, is discussed. The hero Raj giving way to the angry young man Amitabh wears western suits that are a size too small 40 Bachhan. Bachhan was often dressed in the for him, and is a village boy who has come whiteflared pants and vests that made him to the city. He proudly proclaims in a popular look macho and melancholy. song “Mera joota hai Japani” that his heart The 1980s saw the rise of gym bodies and is Indian, inspite of his Japanese shoes and muscular shows from Salman Khan leading English trousers. He falls in love with the to the 1990s, where Shahrukh Khan led the sari-clad schoolteacher Vidya, and is later way as an approachable “boy next door”. Post distracted by Maya, who is a vamp in west- the 1990s, Bollywood has seen a surge of the ern clothes. Only after he becomes a property groomed and exercised male lead, dressed in developer and realises that his profession the latest fashion, always up for display for his would make the homeless suffer, does he own narcissistic gaze, while inviting the gaze come back to Vidya to begin a new life away of the audience towards his body. from the greed of power. As India’s gaze turns global, with access to The next movie to be studied is Sholay social platforms likeNetflix and Youtube, (1975). This movie explores the bond be- the male lead has been in the process of tween two ex-convicts Jai and Veeru who morphing into an identifiable character, have been hired by Thakur, a retired police devoid of the maintained characteristic that inspector to have his revenge against a dacoit has been the biggest feature of male leads who has killed the latter’s entire family. This till now. movie explores the friendship between the
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Changing Gender Identities in the Male Character- A Perspective on Popular Culture & Fashion in India two men; both of them being non-stereotyp- young neighbor Tia. Arjun falls for her ical heroes. Veeru is quite a flirt and Jai is whilst she has feelings for Rahul. Rahul more introverted. Jay is often seen playing is the prodigal elder son—a successful the harmonica and has feelings for Radha, writer; Arjun is still struggling to make a the widowed daughter-in-law of Thakur. In mark as an author. Cracks in the family be- the end, after putting up quite a fight, they come pronounced at an event that revolves are able to kill Gabbar the dacoit; but Jai is around a family photoshoot. The young shot and killed. He dies in the arms of his men’s father has been hiding an extra friend Veeru. marital affair and dies in an accident. The Another movie, approximately twenty mother is heart-broken when she realizes years after Sholay is Hum Aapke Hain that her ideal elder son is in a relationship Kaun(1994). Its plot follows the life with a man. The movie ends ona lighter of Prem, an orphan, who lives with his note, with the brothers coming back for brother Rajesh and uncle Kailash. Rajesh the family photoshoot and Arjun and Tia is betrothed to Pooja, who is the daughter embarking on a relationship. of Kailash’s friend Siddharth. Prem falls in In all these movies, the male characters break love with Pooja’s sister Nisha. Pooja dies a lot of stereotypes—showcasing that main- in an accident when she is pregnant. Nisha stream Bollywood has opened up to a range is left to look after Pooja’s son. Later, of topics. 41 Nisha agrees to marry Rajesh instead of Prem for the child. Rajesh comes to know Fashion and Bollywood of Nisha and Prem’s relationship and gets This paper now follows changing identities them married instead. of the male character and its impact on the The male characters are shown to be sensi- realms of fashion. Fashion is a testimony of tive and sans the machismo of the 1970s the times, and is a non-verbal language that and 1980s. There is a scene where the men reflects change in cultures and identities. of the house cross-dress as women to get Fashion is the visual marker of national and access to a pregnancy ritual that is sup- sexual difference and an important product posed to be attended women only. This of global and local pop culture (Luckett, signifies bonds built on breaking gender 2000). boundaries. Fashion revivals are a strong social The last movie to be studied is Kapoor and commentary on nation, gender and Sons(2016), another two decades post the identity. While women’s fashion has release of Hum Aapke Hain Kaun. Rahul varied influences, its male counterpart and Arjun are brothers who come back is almost always in search of validation to their hometown at the behest of their in popular music and cinema. Breaking grandfather. Both the brothers meet their of conventions in male dressing has to
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Shovit Dasgupta
be counter-supported by popular visual Question 1: Is the Indian film industry today elements. The change in masculinities in more inclusive in terms of representation of popular culture is important and shows its male characters? impact in the modern men’s fashion. 60 Society is seen to swing between the male 52.4% and female principle in alternate periods. 50 Masculine ages are characterised by heroic and martial representations, whereas femi- 40 nine ages are characterised by a validation of 30 artistic qualities (De Marly, 1985). 23.8% 23.8% Concepts like gender non-binary—signi- 20 fying the scope of non-conformation to 10 only male or female, is reflected in popu- 4.8%
lar culture, ranging from advertisements 0 to movies, or even shows in streaming Yes No No Idea They are platforms such as Netflix. This is reflected trying in the fashion terminologies of current Question 2: Name any recent movie/show times; transitioning itself from unisex to you have watched with a non-stereotypical 42 genderless clothing. And hence, being male character? more inclusive to the idea of gender non- To this, the most common answers were: binary and the differences between sex and Dream Girl and Bala (2019), Ki and Ka, gender as physiological markers and social Khaandaani Shafakhana, Bajirao Mastani, constructs. Liza Koshy’s Youtube channel, Padman and Super 30. Methodology As a part of this study, a questionnaire Question 3: Makeup for Men? was shared with Indian fashion students of To this, 100% of the respondents answered in 18-22 years of age. This was done with a favour of the same. sample size of fifty respondents who were The next two questions were aimed at ana- all fashion design students across reputed lyzing the respondents’ awareness of certain colleges in India. Out of the fifty, forty- terms associated with male representations two successful responses were collected. in fashion and popular culture. The questions covered topics of awareness on changing male identities in cinema and Question 4: Do you know of Drag fashion in India. or Cross-dressing? The findings are discussed as follows: The responses were, as mentioned below:
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Changing Gender Identities in the Male Character- A Perspective on Popular Culture & Fashion in India
Drag or Cross-dressing to jeans and t-shirts as genderless clothing, but majorly, they seemed to have a fair idea of the term. 19% Cross-dressing The next question was regarding awareness about any fashion brand in India that might Drag 47.60% be working with inclusive fashion. 52.38% 14.30% Wouldn't like to of the respondents answered no.Of the rest, comment No Idea examples included Anaam Clothing, Antar Agni and Manish Arora and retail brands 19% such as HRX, Allen Solly, FabIndia and Manyavar. The final question was aimed at analyzing Question 5: Do you know the the conceptof technically making clothing terms Genderless or Unisex? genderless. 52.38% were close to the idea The responses were as follows: of making clothes of a relaxed, oversized or box-fit by getting rid of darts or even gen- Genderless or Unisex? der markers such as plackets or ornamented surfaces. 19.04% did not have any idea about 43 0 this, and the rest of the responses were differ- ent from the concept.
33.3% Inference 38.1% Genderless This study was aimed at analyzing the extent Unisex Both are the same of awareness in contemporary students of fashion in India, regarding evolving cloth- ing categories and terminologies coming out 28.6% of the global movement for inclusivity and non-conformation to pre-conceived notions The rest of the questions were aimed at ana- that our society has come to take for granted. lyzing respondents’ awarenessofnew fashion As an outcome of the study, it was noted that terminologies tied with popular culture. awareness amongst the respondents accounts The next question was regarding the defini- for about 50% of the responses. It could tion of “Genderless” clothing. also point out how popular Indian culture To this, most of the respondents were close is evolving to break down the stereotypical to the meaning of the term as clothing that male character in cinema and shows. Terms can be worn by everyone irrespective of their such as drag, cross-dressing, unisex and gender construct. A few respondents referred genderless; and the extent of awareness and
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Shovit Dasgupta
Gibson, Pamela Church (2000), ‘Redressing acceptance of these terminologies could be the Balance: Patriarchy, Postmodernism observed through the survey. and Feminism’, In: Bruzzi, S and Gibson, P, (eds.), Fashion Cultures: Theories, Conclusion Explorations and Analysis. London: To conclude, it has to be noted how the rep- Routledge, pp. 349-362. resentation of the male character has under- Luckett, Moya (2000), ‘Performing gone an immense change since the beginning Masculinities: Dandyism and Male Fashion of cinema in India; and how popular culture in 1960s-70s British Cinema’, In: Bruzzi, has always been the primary influence on S and Gibson, P, (eds.), Fashion Cultures: fashion and vice-versa. In the current climate Theories, Explorations and Analysis. of inclusivity, body- positivity and gender London: Routledge, pp. 315-328. non-conformation (growing in the grounds McRobbie, Angela (2000), ‘Fashion as a of social media), this change is inevitable. Culture Industry’, In: Bruzzi, S and Gibson, The quicker it is accepted and absorbed by P, (eds.), Fashion Cultures: Theories, the fashion industry, the more Indian fashion Explorations and Analysis. London: Routledge, pp. 253-263. brands will be relevant to the evolving face of men’s fashion in India. Rajadhaksha, Ashish (1987), ‘The Phalke 44 Era: conflict of Traditional form and Modern References Technology’, Journal of Arts and Ideas, 14 (5): pp 47-75. Breward, Cristopher (2000), ‘The Dandy Laid Bare: Embodying Practices and Fashion https://oll.libertyfund.org/pages/upanishads- for Men’, In: Bruzzi, S and Gibson, P, (eds.), and-philosophy Fashion Cultures: Theories, Explorations https://www.livemint.com/Leisure/ and Analysis. London: Routledge, pp. 221- I4LdzsoVsu6wcY1LaYIaKN/When-women- 238. play-men.html De Marly, Diana (1985), Fashion for https://www.mapsofindia.com/my-india/ Men: An Illustrated History, London, B.T. history/history-of-indian-cinema Batsford https://www.youtube.com/ Dwyer, Rachel (2000), ‘Bombay Ishtyle’, watch?v=eQWKpKbvc9M In: Bruzzi, S and Gibson, P, (eds.), Fashion Cultures: Theories, Explorations and Analysis. London: Routledge, pp. 178-190. Ember, Carol R., Ember, Melvin., Peregrine, Peter N., (2007), Anthropology: Twelfth Edition, Pearson Education India.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Changing Gender Identities in the Male Character- A Perspective on Popular Culture & Fashion in India
Author’s Biography Shovit Dasgupta is an alumnus of the National Institute of Fashion Technology, Kolkata. He is currently associated with several centres of NIFT as a guest faculty in the Fashion Design department and is also pursuing a Master’s degree in anthropology. He aims to incorporate anthropological knowledge with fashion as a study of the ever changing visual identity of human beings. Shovit also co-owned as ustainable, handwoven, handcrafted clothing brand called “Not like you” and has represented the same at various eminent avenues. He has also worked as a freelance fashion designer and fabric weaving consultant with indigenous clothing brands.
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Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Saurabh Pal
By Saurabh Pal
Abstract The time between 6-8 century CE is considered a transitional phase in Indian history. This was when the golden era of Indian history, ruled by the Gupta dynasty in north India and Vakat akas in the Deccan, started declining and led to the rise of other provincial powers. These provincial powers captured vast lands and were in a continual process of winning and losing. This meant that although patronage was ever-changing, artist and art was getting influenced by a variety of kingdoms and sources. The Kalcurīs were amongst the rising provincial powers of this transitional phase. They ruled in the Deccan during the 6th to the 7th century CE and after that shifted their capital to Tripurī in central India. In central India (Ḍāhalmaṇḍala), they ruled for almost 150 years and later divided into three branches during with a variety of influences in their artistic activities. This paper intends to focus on the diversified nature of the temple building of theKalcurīs 46 in Ḍāhalmaṇḍala. It will highlight the influences of other art styles in Kalcurī art and the role of Kalcurīs art in the formation and adaptation of different dynastic art.
Keywords: Gupta Dynasty, Kalcurīs , Tripuri,Ḍāhalmaṇḍala
Paper rulers establish their supremacy in different The unique geographical situation of regions and competed each other in the field central India facilitated different ruling of art and architecture. Numerous extant dynasties to perform their political and temples, monasteries, forts towns etc prove cultural activities from all quarters through to their zeal. the centuries. This was further aided by the Kalcurī came into power in the history various ambitious kings of early medieval when political hegemony of Gupta- ruling dynasties like the imperial Gurjara- Vakaṭakas had come to an end with the Pratihāra, Caṇḍellas, Kalcurīs, Paramāras erosion of their power and classical art and minor Kacchapagata, Nāga etc. These tradition where other mighty dynasties were
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Temples of Kalcuris: Diversification, Adaptation and Interaction in progress of degeneration of leading style p. 216-269). Some of the inscriptions of this into proliferation of provincial styles. Even dynasty trace their descent through the moon during the rule of Guptas regional variations Purūrvā, Bharata and Kārtavīrya (Mirashi, in sculptural art had started showing with 1955, p. 296). three distinguished idioms in the Gupta- By the mid of the 6th Century CE Kalcurī Vakaṭakas period. The Kalcuri patronage led were settled in Western Malawā. Kr̥ snarāja to the resuscitation of sculpture in their realm and his son San̊ karagaṇawere two main and the Kalcurī monuments of Jogeśvarī, people for the existence and extension of Maṇḍpeśvara, Elephantā and Ellorā have the lineage of Kalcurīs. Kr̥ snarāja ruled for much in common architecturally and sculp- twenty five years probably from c. 535 CE. turally. A comparison of architecture between In ‘Kr̥ s̥ narāja Rūpaka’ (silver coins of his Kalcurī caves with those of Vakaṭakas period) he refers to his parents therefore, caves at Ajanta and Aurangabad indicates a father of Kr̥ snarāja was probably the father gradual transformation highlighted by pillars of Kalcurī dynasty of Mahiśmati. Mirashi brackets sculptures and other decorative opines that his father divided the kingdom motifs. The whole complex of figure sculp- among his feudatories; North Konkan region tures and relief that materialised on the vast to the Mauryas and parts of Gujrat to San- stone canvas was destined to create a new gramsimha. On the basis of acquisition of upsurge in the art and iconography of the the ‘Kr̥ s̥ narāja Rūpaka’ it is assumed that 47 subsequent period and it is interesting to see their kingdom was extended in the region that trends which formed at Elephantā and of Maharashtra, Rajasthan and Gujarat. Ellorā ultimately modulated themselves into Same has also been acquired from Elephantā distinct regional variations riding through the hence this art centre was also under them. different dynasties in the region contiguous In two out of four copper plate inscrip- to the Deccan. (Sharma, Chakraborti, 1991, tions pertaining to Śan̊ karagaṇa of Kalcurī p.42) dynasty, which were issued from Ujjayanī Most of the rajput dynasties of the post he is referred as master of a region extending Gupta period like Caṇḍella, Paramāras from Eastern to the Western ocean and of etc try to trace their origin from the lunar other lands. The Sankhedā plate indicates or solar race of the paurāṇika times. The that the central portion of Gujarat was under traditional theories of their descent are gen- their control. Śan̊ karagaṇa was succeed by erally comes from myths and folklores. The Buddharāja and according to inscriptional Kalcurīs like the other contemporary rajput data Man̊͘galeśa, Cālukyan king defeated dynasties called themselves Chandravam̊ sīs Buddharāja in 602 CE but even after that his and traces their descent from Haihayas hold was prevalent in the other parts of his Sahaśtrarujuna, the son of the Kārtavīrya, territory till in 610 CE1. Pulakeśina II(son who had vanquished Rāvaṇa(Mirashi, 1955, of Man̊͘galeśa) successfully drove him from
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Saurabh Pal
Maharashtra and Konkan region(Mishra, Saugor and Jabalpur area of M.P. “During the 1987, p.6-7). period of Śan̊ karagaṇa (Palaeographical 8th When Kalcurīs shifted from Khaṇdeśa to century CE) the Kalcuri power was extended Ḍāhala region, Tripurī was already in exis- upto Nasik”( Rahman, 1980, p.2) tence. On the literary and archaeological ref- Śaivism was the paramount religion of erences Tripurī was established in 600 BCE Kalcurīs not only in Ḍāhalamaṇḍla but also (Ahirwar,2004, p. 176) After the downfall of among other branches. At the same time they Mauryas Tripurī was converted into one of were religiously tolerant and other reli- the janapatha capital. As per the later Vedic gious sects’ co existed during their time, the texts, Jain and Buddhist; Tripurī was one of depiction of other religious sects in their art the sixteen mahājanapada (Rahman, 1980, proves that. Rewa inscription of Karṇa very p.3) It was the city of high antiquity. Later it beautifully supports this which states that he was ruled by Sātavāhanas, Śakas, Bodhi etc. constructed the temple of Śiva at Kadambari During Sātavāhanas, Tripurī was well estab- village and an image of Viṣṇu was also lished and prosperous but later it suffered installed (Mirashi, 1955, p. 278). downfall and revived with the new advent Śan̊ karagaṇa III was the only devotee of of Kalcurīs, when Kalcurīs started ruling Viṣṇu Among Kalcurīs so far known and all Ḍāhala with Tripurī as their capital. That other kings and even chief queens were the 48 was the golden period for Tripurī and both devotes of Siva. Names of the Kalcurīs kings become the synonym of each other. Under and the titles associated with them and even Kalcurīs Tripurī was not only a political the Śaiva ācāryas or rājagurūs, found as per centre but it was equally important for lit- the inscriptions, all are the names of Siva, erature, cultural and religious practices. Vāmadeva, Gan̊geyadeva, Śan̊ karagaṇa, According to the data available Vāmarāja Praśantaśiva, Prabhāvaśiva, Īśanaśiva, was the first in the race ofKalcurīs of Rūdraśiva are few. Tripuri and he was succeed by Śan̊ karagaṇa Many scholars propounded their theories II. Successor of Śan̊ karagaṇa is not known. that which Śaiva sect Kalcurīs followed. Kalcurī lineage gets light from the time of In that reference Paśupata and Śaiva Lakṣamanarāja I that also on the basis of Siddhāntika sect of Śaivism were mainly Karitalai inscription (Mirashi, 1955, p.178) followed by Kalcurīs and started the pro- dated(841-42 CE). He was rendered to a sub- gramme of building activity (Mishra, ordinate position by the Rāṣtrakūṭas. Mirashi 1987, p.75). From Śaiva Siddhāntika sects opines Śan̊ karagaṇa ruled under the feet of many sub sects originated later and among Vāmarāja who appears to have ruled inth 8 them the reference of Mattamayūra sect is Century CE; comprising Gomti in North to important which found mentions in Kalcurī the Narmada in South, central part of Uttar inscriptions. Pradesh and Bundelkhand , Bhagelkhand, Yuvarājadeva I his wifeNohallā ,
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Temples of Kalcuris: Diversification, Adaptation and Interaction
Lakṣmanarāja II, Kokalla II and Lakṣmīkarṇa intact to the classic and basic formations of were important patrons of the architectural structures but also tried new things as per the activities which mainly includes temples convenience or just to break the monotony. and monasteries. Along the kings, queens In another view they were the followers of and ācāryas have actively participated in the paśupata sects so somehow they were liberal development which has been proved from when comes to paurāṇika tradition. the various inscriptions of Kalcurī period. Their art was very distinctive when Art of temple architecture was started observed closely but at the same time it during the classical time of Guptas which shows development and influences from con- developed with the passage of time, during temporary schools and styles. Reasons for as well as after their rule. With lots of these can be many and each possibility will political chaos in 6th 7th Century finally be explored in the sequence. Gurjara-Pratihāra established themselves As stated Cālukyas snatched their land and ruled most of the part of North and from Kalcurīs in Khaṇdeśa and forced them Central India. to re established at Ḍāhala. It is confirmed Contemporary to Gurjara-Pratihāra, Para- that in 6th Century CE Kalcurīs were maras were ruling in Malwa as the second ruling in Khaṇdeśa and celebrated caves feudatories2 of Rāṣṭrakūṭas and Kalcurīs in of Elephantā and two caves at Ellorā are the area of Bhagelkhand and Dakṣiṇa kośala. attributed to them. 49 Later Caṇḍellas of famous Khajuraho The style of Elephantā and even other came into light, who were the feudatories caves of Ellorā, Dhūmarlenā and Rāmeśvara of Gurjara-Pratihāra. Gurjara-Pratihāra is different. All these places flourishing under directly or indirectly continued the tradition Kalcurīs and the ateliers were different. of Gupta art which got distorted with time. Dhūmarlenā proximity is with Rāṣtrakūṭas As art does not have boundaries, in the and Rāmeśvara with Cālukyas in terms later phase of Gurjara-Pratihāra artist have of sculptural art. From these two ateliers added with some modifications in the art Cālukyas proceeded for one and Rāṣtrakūṭas of temple architecture. In the same way the for other and originally both were under fully matured Nāgara style of temple archi- Kalcurīs. The style which was popularised tecture is seen in the art of Caṇḍellas. To with Cālukyan and Rāṣtrakūṭa style was mark distinctive identity, every dynasty had mainly the style of early Kalcurīs. Dynasties tried to portrayed things in their own way by who invaded and captured their area, worked adding or subtracting things which ultimately on the same style and plate with devel- results in the formation of their own style. opment. Among all contemporaries Kalcurīmarked Early Kalcurīs were not in constructing their own style which was full of variety and temples but later Cālukyas constructed regional influences. Somehow they were temples and the similarities can be seen
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Saurabh Pal
in the Śikharas of the temples. The early temples of Kalcurīs were very simple but later in the interaction with contemporaries, influences and adaptations can be seen. Kalcurī created the trend of Vr̥ tasamsthānaka temples (circular garbhagr̥ ha) having open space for cir- cumambulation in Rewa and Sidhi region while other region followed the trend of rectangular or square garbhagr̥ ha. Temple at Chandrehe (Plate 1) is erected on a high jagati while at Mehsaun (Plate 2) it is not, though both are having square maṇḍapa and circular garbhagr̥ ha and an open space for pradakṣinā. Walls are plain and devoid of any sculptural depiction. In order to create light and shade artists had provided reces- Plate 1: The Siva temple at Chandrehe. 10th Century CE. C/O RN Misra. sions and projections which continued till 50 Sculptures of Dahala and Dakshina Kosala andtheir background.
Plate 2: The Siva temple at Mahsaun. 10th Century CE. C/O the Archeological Survey of India.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Temples of Kalcuris: Diversification, Adaptation and Interaction
Plate 3: The Virateshwar temple at Shadol. 11th Century CE. C/O the Archeological Survey of India.
varanḍikā. Similar kind of architecture can be seen in the early temples of Pratihāra at 51 Gopācala with small openmaṇḍapa and a garbhagr̥ ha with pyramidal śikhara. Both belongs to the early phase of Kalcurī and Pratihāra, respectively. Antarāla in Gurjara-Pratihāra temples was created by pillars instead of walls and same arrangement is visible is the afore- mentioned temples of Kalcurīs and also in Maribagh, Sohagpur and Amarkantak. Mandapa with three way open portico was also one of the influence fromGurjara- Pratihāra and even Caṇḍelas. Virateshwar temple (Plate 3) is an example to this. Though the maṇḍapa is not it its original form but extensions can be seen. Twelve tala can be seen in the śikhara. The addition of urusr̥ nga in the śikhara, voluted Plate 4: The Vishwanath temple at Umaria. 11th Century CE. C/O the Archeological Survey of India. rathas are the characteristic features of
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Saurabh Pal
Nāgara style which is very well projected in the temples of Caṇḍelas. It can also be said that artists must have seen all these styles and created their own taking inspiration and referring other art styles. The high jagati is the key feature of Caṇḍelas which is very well projected in Shadol and Vishwanath temple (Plate 4) at Umariya. Pīṭha moulding and walls details are in conjunction with other dynasties Cālukyan temple style is different as compared to Nāgara and Darviḍa. The roof of maṇḍapa and śikhara of garbhagr̥ ha are used to be different. The śikhara is adopted by Kalcurīs by adding bhūmi tala which is
Plate 5: The Nohaleshwar temple at Nohta, Damoh.10th-11th described as in Virateshwar temple, Shadol. Century CE. C/O the Archeological Survey of India.
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Plate 6: The Karna temple at Amarkantak. 11th Century CE. C/O the Archeological Survey of India.
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Temples of Kalcuris: Diversification, Adaptation and Interaction
These features can also be seen in the temple factors of Kalcurīs. The geographical area of Nohaleshwar at Damoh (Plate 5), which which Kalcurīs ruled was full of calamities completely looks replica of Cālukyas. There and not easy to rule. In that scenario these are other temples like Kodal and Mandi ascetics stayed in solace and for security Bamora but śikahara is gone so cannot be they fortified themselves with monasteries referred. Nohaleshwar temple was patronised for which they got money from Kalcurīs by the Cālukyan queen of Yuvarājadeva I royals. In return these gurūs protected kings th th around 10 -11 Century CE, she was active from the native people by intermingling with in patronising art even after the death of them. That was the give and take relation. Yuvarājadeva I, Artists and artisans were the native people Lakṣmīkarṇa erected many temples and patrons were śaiva gurūs. There was in Amarkantak and Benaras. Among all, not a specific atelier and because of which Triyāyatana temple (Plate 6) is important to diversity appears in the art of Kalcurīs. mention where instead of sculptures in the jan̊ ghā wall which was the trend and only References space for artist to show best of his skills, Ali, Rahman., 1980. Art and Architecture of diamond shape motifs have been provided. the Kalcurīs. Delhi: Sandeep Prakashan. This temple also has one more important feature of being trikūṭaśālā. This was the 53 Ahirwar, Ramkumar. 2004. Tripuri ki Mur- fashion of later Cālukyas of Gujarat and even tikala (hindi). Delhi: Pratibha Prakashan. it was started with the Vesara temple archi- tecture which was continued by Hoyasallas. Jambulinga temple at Badāmī of 7th Century Ahirwar, Mahesh Prasad. 2003. Tripuri ki is a trikūṭaśālā. Three shrine (garbhagr̥ ha) Kalachuri Kalin Shaiva Pratimayen (hindi). have been erected on a platform, which acts Delhi: Sharda Publishing House. a common maṇḍapa for all three shrines. Jagati is plain and pīṭha has mouldings. Still Benerji, R.D., 1931.The Haihayas of Tripuri the beauty of the temple lies in the minimal- and their Monuments, Memoirs of Archeo- istic decoration which suggests the highest logical Survey of India No 23. Calcutta: ASI. quality of the art produced. These influences in temple architecture of Berkon Carmel, Wendy doniger O’Flaherfty, Kalcurīs could be because of the matrimonial George Michell. 1983. Elephanta: the cave alliance which they had with Cālukyas and of Shiv. Delhi: Caṇḍelas. The diversification occurred in their art may because of the association Deva, Krishna, 1995. Temples of India, Vol. with śaiva siddhātntikas and paśupatas. I, II. Delhi: Aryan Book International. They were one of the important ruling
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Misra, R.N., 1987. Sculptures of Dahala and Dakshina Kosala and their Back- ground. Delhi: Agam Kala Prakashan.
Misra, R.N., 2018. Ascetics, Piety and Power. Delhi: Aryan Book International.
Soundararajan. K.V. 1981. Cave Temples of Deccan. Delhi:
Sharma R K, Kalyan Chakrborti. 1991. The art of Kalcuris. Bhopal: Commissioner Archeology and Museums Madhya Pradesh.
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1 Mirashi opines that Pulakesina II was succeeded in 620 CE and Shastri opines c. 630CE 2 The Kalcuris were the first feudatories of Rastrakutas but later they declared themselves independent
Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Temples of Kalcuris: Diversification, Adaptation and Interaction
Author’s Biography Saurabh Pal has a fine arts and art history background with a Bachelors degree in Fine Art (specialization in painting) and a Masters degree in Art History. In the latter course,his key focus was Indian art, guided by aesthetics. He has worked on the Nataraja and Mewar miniature paintings. At present, he is working on his doctoral thesis titled, ‘Shaiva sculptures in the Kalchuri period’ from the National Museum Institute in New Delhi, which includes field work in remote areas of Bhagelkhand (Rewa, Satna, Jabalpur, Saugor, Damoh etc).
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