Dkxt Ij J[Ks Tkus Okyk Hkkj]

1 GOVERNMENT OF INDIA

GEOGRAPHICAL INDICATIONS JOURNAL

(SUPPLEMENTARY - 1)

MARCH- 24 , 2008/ CHAITRA - 4, SAKA 1930

vkf/kdkfjd lwpuk,¡ fo"k; % HkkSxksfyd min'kZu eky ¼iathdj.k vkSj laj{k.k½ fu;e 2002 ds fu;e 41¼1½ ds v/khu ;g lwfpr fd;k tkrk gSA 1- fu;e 41¼1½ ds vko';drk ds vuqlkj] ;g lqfpr fd;k tkrk gSS fd ekpZ 24 2008@&pSrz 10 'kd 1930 fnukafdr liyhesUVjh HkkSxksfyd min'kZu if=dk 1 dk laLdj.k la[;k 24] ekpZ] 2008 ls turk dks miyC/k djk;k tkrk gSA

OFFICIAL NOTICES

Sub: Notice is given under Rule 41(1) of Geographical Indications of goods (Registration & Protection) Rules 2002.

1. As per the requirement of Rule 41(1), it is informed that the issue of Supplementary Journal (1) of the Geographical Indication Journal dated 24th March 2008 / Chaitra- 4 Saka 1930 has been made available to the public from 24th March 2008.

3 HkkSxksfyd min'kZu vkosnu fooj.k%

HkkSxksfyd HkkSxksfyd oxZ Ekky min'kZu min'kZu ds uke vkosnu la[;k

1 nkftZfyax ¼oMZ½ 30 Pkk;

2 nkftZfyax ¼yksxks½ 30 Pkk;

3 vkjUeqyk /kkrq dk¡p 20 /kkrq dk vkbuk

4 ikspeiYyh bDdr 24 oL= rFkk oL= eky] csM vkSj Vscy doj 25 oL=] ixMh 27 dkisZV] #eky] dEcy vkSj pVkbZ

Q'kZ dks vkoj.k djus dh oLrq

5 Lksye oL= 24 oL= rFkk oL= eky

6 i;Uuwj ifo=k fjax 14 xguk

7 pansjh lkMh 24 lkfM+;ka

8 lksykiqj 24 pknj

4 G.I. Name of Geographical Application Goods Indication Class No. 1 Darjeeling (Word) 30 Tea 2 Darjeeling (Logo) 30 Tea 3 Aranmula Kannadi 20 Metal Mirror Textile & Textile 24 Goods, Bed and Table Cover. 4 Pochampally Ikat Clothing, Headgear. 25 Carpets, Rugs, Mats, 27 Mattings, Materials for covering floors Textile and Textile 5 Salem Fabric 24 Goods 6 Payyannur Pavithra Ring 14 Jewellary 7 Chanderi Saree 24 Sarees 8 Solapur Chaddar 24 Chaddars Textile Piece Goods – 9 Solapur Terry Towel 24 Terry Towel Textile and Textile 10 Kotpad Handloom Fabric 24 Goods 23 Raw Silk Yarn 24 Textile and Textile Goods including 11 Mysore Silk Sarees 25 Readymade garments, made ups, ties 24 Textile and Textile 12 Kota Doria Goods 25 Clothing Agarbathi / 13 Mysore Agarbathi 3 Oodabathi (Incense / Joss Sticks) 14 Basmati Rice 30 Rice 24: Textile and Textile Goods 15 Kancheepuram Silk 24 & 25 25: Clothing including Sarees & Rumal 24 Textile and Textile Goods 16 Bhavani Jamakkalam 27 Carpets, Rugs, Mats & Matting 17 Navara – The Grain of Kerala 30 Rice Agarbathi / 18 Mysore Agarbathi “Logo”` 3 Oodabathi

5 9 lksykiqj rsjh rkSfy;k 24 oL= rqdM+k eky &

rsjh rkSfy;k

10 dksVikM gFkdj?kk oL= 24 oL= rFkk oL= eky

11 eSlwj flYd 23 dPpk js'keh /kkxk 24 25 oL= rFkk oL= eky ds lkFk lkM+h rS;kj diM+s] cus gq,] VkbZl 12 dksVk nksfj;k 24 oL= rFkk oL= eky 25 oL= 13 eSlwj vxjcÙkh 3 vxjcÙkh@mncÙkh 14 cklerh pkoy 30 Pkoy 15 dkaphiqje flYd 24o25 24: oL= rFkk oL= eky( 25: iks'kkd ds varxZr lkM+h vkSj #eky 16 Hkokuh teDdkye 24 oL= rFkk oL= eky 27 dkisZV] dEcy] pVkbZ vkSj pVkbZ eky 17 uokjk & dsjy dk nkuk 30 Pkoy 18 eSlwj vxjcÙkh 3 vxjcÙkh@mncÙkh ^^yksxks**

6 19 Kullu Shawl 24 Textile and Textile Goods 20 Bidar 6 Boxes, Statues, Statuettes, Busts made of Metal Flower Vass, Trays 21 Cigar Can and Ashtrays made of Metal 34

21 Madurai Sungudi Saree 24 & 25 Textile and Textile Goods 23 Yarn & Threads Tied and Dyed for Textile Use 22 Orissa Ikat 24 Textile & Textile Goods Clothing 25 23 Channapatna Toys and Dolls 28 Toys and Dolls 19 Doors, Partition Screens & Veneers of Wood 20 Statues, Statutes of Wood & 24 Mysore Rosewood Inlay Furniture’s 27 Wall Hangings of Wood Jhoolas (Swings) & Toys 28

25 Kangra Tea 30 Tea 26 Coimbatore Wet Grinder 7 Wet Grinders 27 Phulkari 26 Phulkari Embroidery 24

Textile and Textile Goods not included in other Classes; Bed and Table Cover and all other goods falling in Class 24 25 28 Kalamkari Clothing and all other goods falling in Class 25 27 Furnishings, Bags, Covers, Cloth Envelopes, Handicraft Items, Wall Panels, Wall Hangings, Wall Paintings

29 Mysore Sandalwood Oil 3 Sandalwood Oil 30 Mysore Sandal Soap 3 Mysore Sandal Soap Kasuti Embroidery – Kasuti Embroidery – 31 26 Karnataka Karnataka 7

7 19 dqYyq 'kky 24 oL= rFkk oL= eky

20 fcnj 6 cDls] ewfrZ;k¡] NksVh ewfrZ;k¡] /kkrq ds cus v/kZizfrek 21 Qwynkuh] /kkrq ;k ydM+h dh Fkkyh 34 flxkj dsu vkSj /kkrq ds cus ,s'k~Vªs

21 enqjS lqaxqMh ¼;k½ 24 o 25 oL= vkSj oL= eky tqUuMh lkM+h

22 mM+hlk bDdr 23 oL= cukus ds fy, cka/kk vkSj jaxk x;k ;kuZ vkSj /kkxs 24 oL= vkSj oL= eky 25 oL=

23 pUuiVuk 28 f[kykSuk vkSj xqfM+;k f[kykSuk vkSj xqfM+;k

24 eSlwj jksloqM 19 njokts] insZ vkSj ydM+h dh iryh rg bUys 20 ydM+h dh eqfrZ rFkk NksVh ewfrZ vkSj QuhZpj 27 ydM+h ds nhokj esa yVdk;s tkus okyh 28 phtsa >wyk vkSj f[kykSus

8 Mysore Traditional 32 Mysore Traditional Paintings 16 Paintings (Mysore) Horticulture Product - 33 Coorg Orange 31 Orange Horticulture Product – 34 Mysore Betel Leaf 31 Betel Leaf Horticulture Product – 35 Nanjangud Banana 31 Banana 36 Palakkadan Matta Rice 30 Rice 37 Madhubani Paintings 16 Paintings 38 Jamnagar – MS 4 Motor Spirit (Petrol) Aviation Turbine Fuel 39 Jamnagar – ATF 4 (Kerosene Type) 40 Krishna Godavari Gas 4 Fuel Liquified Petroleum 41 Jamnagar – LPG 4 Gas (LPG) 42 Jamnagar – HSD 4 High Speed Disel 43 PISCO 33 Alcoholic Beverage Stationery, Artist Materials, Instructing 16 & Teaching Materials; Printing Blocks Goods (not included in Other classes) of 44 Kondapalli Bommallu (Toys) 20 Wood Wall hangings (non- 27 textile) Games, Playthings, sporting 28 articles not included in other classes; decoration of Christmas tree 45 Poddar Diamond 14 Jewellary 46 Kashmir Pashmina 24 Textiles 47 Thanjavur Paintings 16 Paintings 48 Kashmir Sozani Craft 26 Embroidery 49 Malabar pepper 30 Pepper Horticulture Product 50 Allahabad Surkha 31 Guava 51 Kani Shawl 25 Shawl Wall panels and more; Bolsters & Pillows; Throws, Cushions, 19,20,24 52 Nakshi Kantha Bed Spreads, Runners, &25 Duvet Covers, Lights Quilts (Single & Double), Baby quilts,

9 25 dkaxMk pk; 30 pk;

26 dks;EcÙkwj osV 7 osV xzSaMj xzSaMj

27 Qqydkjh 26 Qqydkjh d<+kbZ

28 dyedkjh 24 oL= vkSj oL= eky vU; oxZ jfgr] oxZ 24 es 'kfey csM vkSj Vscy vkoj.k 25 oxZ 25 es 'kfey oL= vkSj vU; eky 27 ltkoV dk lkeku] FkSyk] vkoj.k] oL= vkoj.k] gLrf'kYi oLrq,¡] nhokj esa yxk;s tkus okys iSuy] nhokj ij Vkaxus okyh oLrq] nhokj esa yxk;s tkus okys fp=

29 eSlwj lSaMyoqM 3 lSaMyoqM rsy rsy

30 eSlqj panu 3 eSlqj panu lkcqu lkcqu

31 dlqrh 26 dlqrh dlhnkdkjh&dukZVd dlhnkdkjh&du kZVd

32 eSlwj ikjEifjd 16 eSlwj ikjEifjd fp=dyk ¼eSlwj½ fp=dyk

33 dwxZ ukjaxh 31 ckxckuh mRikn&ukjaxh

34 eSlwj iku iÙkh 31 ckxckuh mRikn&iku iÙkh

35 uatuxqM dsyk 31 ckxckuh mRikn&dsyk

10 Yardage for Curtains, Apparel Fabrics, Bath Linen, Bath Sheets (Towel), Bathroom furnishings, Bathroom linen, Bean Bag Covers, Blanket Covers, Bed Covers/ Spreads, Bed Sheets, Blackout blinds (outdoor) or textile, Coasters (Table Linen), Cushion Covers, Pillow Covers, Toilet Seat Covers, Curtain Fabrics & Materials, Curtain Linings, Curtain covers, Pillow Covers, Toilet Seat Covers, curtain Fabrics & Materials, Curtain Covers, Pillow Covers, Toilet Seat Covers Curlin Linings, Curtain Holders of textile material, Curtain Loops made of textile material, Curtain for windows, Dinner Napkins, Dish Cloths for drying, Dish Mats, Door Curtains, Drapes, Drapes in the nature of curtains, Drink coasters of table linen, Drink mats of table linen, Fabric Covers for kitchen appliances, Fabrics for interior decoration, Fabrics for use as linings in clothing, Hand Towels, Handkerchiefs, Wall Hangings, Horizontal slatted blinds (outdoor) of textile, Horizontal Venetian blings (outdoor) of textile, Household cloths for

11 36 ikyDdkM eê 30 pkoy pkoy

37 e/kqcuh fp=dyk 16 fp=dyk

38 tkeyxj&,e- 4 eksVj LihjhV ¼isVªksy½ ,l

39 tkeuxj&,-Vh- 4 ,oh,'ku Vjckbu ¶;wy ¼dsjksflu ,Q izdkj½

40 —".kk xksnkojh 4 ¶;wy xSl

41 tkeuxj&,y-ih- 4 fyDohQkbM isVªksfy;e xSl ¼,y- th- ih-th-½

42 tkeuxj&,p- 4 gkbZ LihM Mht+y ,l-Mh

43 fildks 33 e|lkj is;

44 dksUMiYyh 16 LVs'kujh] dkjhxj oLrq] funsZ'k cksEeyq vkSj f'k{k.k

oLrq ( fizfUVax CykWd 20 ydM+h dk eky ¼vU; oxZ 27 es 'kkfey ugh½ 28 nhokj ij Vkaxus okyh oLrq] ¼xSj&oLrz½ [ksy] [ksy oLrq] [ksy inkFkZ vU; oxZ es 'kkfey ugha( fØlel isM+ dk ltkukA

45 Iksíkj ghjk 14 vkHkw"k.k

46 d'ehj i'ehuk 24 oL=

12 drying glasses, Household linen, Infants bed Linen, Jewellery sachets, Kitchen 21 sachets, Kitchen furnishings, Kitchen Linen, Kitchen Towel Mosquito Nets, Net Curtains, Piano Covers, Quilt Covers, Table Runners, Sofa Covers, Seat covers for use in automobiles, Table covers, Table Linen, Table Mats, Table Napkins, Textile articles for kitchen use; Sarees, upattas & Scarfts, Aprons, Babies’ bibs, Casual wear, Casual jackets for women/men, Casual shirts, Cloths, Dressing gowns, Dresses, Eye masks, Head shawls, House robes, House Coats, Kaftans, Ladies long Scarves, Ladies Wear, Quilted jackets, Sandals, Sarongs, Shawls, Silk scarves, Silk Ties.

Key Chains; Hand tools and Implements (Hand Operated) Cutlery, Side Arms, Razors; 53 Silver Filigree 6,8,14,1 Bangles, Brooches, 8,20, Bracelets, Arm Bands, 26&28 Ear Rings, Ear Tops, Coatpins, Necklaces, Chains, Tie Pins, Buttons, Paan-Dan, Attar-Dan, Cigarette Boxes,

13 47 ratkowj fp=dyk 16 fp=dyk 48 d'ehj lkst+kuh 26 d<+kbZ f'kYi 49 Ekkykckj dkyh 30 dkyh fepZ fepZ 50 bykgkckn lw[kZ 31 Ckkxokuh mRikn ve:n 51 dkuh 'kkWy 25 'kkWy nhokj ij Vaxus okys fp= vkSj vf/kd] rfd;k vkSj rfd;] Fkzksl dq'ku] fcNkou] nwosV doj] c kh] xík¼,d ;k nks½] 52 ud'kh dakrk 19]20]24 vkSj 25 f'k'kq dk xík] inksZa ds fy, ;kMsZt] oL=ksa ds /kkxs ugkus dk vLrj] ugkus dk 'khV ¼rkSfy;k½ ckFk:e ds lkeku] ckFk:e dk ykbfuu] chu FkSyh dk doj] jtkbZ dk [kksy] pknj] fcNkou oL=] inkZ¼ckgjh½] eksVk ¼esu ykbfuu½ dq'ku [kksy] rfd;s dk [kksy] Vk;ysV 'khV dk doj] inkZ dk diM+k] inkZ dh ykbfuu] djfyu ykbuu inkZ dks yVdk;s tkus oL= dk gksYMj] inZs dks yVdk;s tkus okyk Qkan tks diM+s dk cuku gksrk gS A f[kM+fd;ksa ds fy, inkZ ] jkrsa ds [kkus dk usifdu] crZu iksaNus dk diM+k] 14 Ornamental Boxes, Kum-Kum Boxes, Perfume Tins, Leaf Patterned Purses,Tea Trays, Key Chains, Other Contemporary Monumental Replicas Like Charminar, Hightech city, Globe etc., And Idols of Gods and Goddesses; Purses and Hand Bags; Furniture, Mirrors, Picture, Frames;Brooches, Hair Pins, Tie Pins and Buttons; Decorations for Christmas Trees. Coir Mats, Mattings, 54 Alleppey Coir 27 Carpets, Rugs and Geotextiles. Raw Silk Yarn, Textile and Textile Goods Including Sarees, 55 Muga Silk 23,24&25 Mekhela-Chadar, Readymade Garments, Made ups, Ties. 56 Tellicherry Pepper 30 Pepper Coconut shell products Coconut shell crafts of Kerala 20 of Kerala 57 Screw pine Craft of Kerala, Mats, Wall hangings, Shopping 58 Screw pine crafts of Kerala 27 bags, Parasols, Caparisons, bed mats, boxes, purses, tea coasters, prayer mats. Maddalam – a 59 Maddalam of Palakkad (Kerala) 15 percussion instrument of Kerala. Ganjifa playing cards 60 Ganjifa cards of Mysore (Karnataka) 16 falling under class 16. Woven Durries of 61 Navalgund Durries 24 Navalgund

15 c kZu ds esV] njokts ds insZ] insZ dks yVdk;s tkus okyk] Xykl j[kus okys esV dk ykbfuu] est ij Xykl ds fy, j[kk tkus okyk esV ] jlksbZ ?kj ds leku ds fy, oL= doj ?kj ds Hkhrjh Hkkx dh ltkoV ds diM+s ] diM+s ds fy, iz;qDr gksus okyk ykbfuu ] gkFk dk rkSfy;k] :eky] nhokj ij Vkaxh tkus okyh oLrq,¡] lh/kh ydhjinkZ] dkap dks iksaNs tkus okyk diM+k] ?kjsyw ykbfuu] foLrj dk ykbfuu ] vkHkw"k.k dh FkSyh] jlksbZ ?kj dks ltkus dh oLrqvksa ] jlksbZ ?kj dk rkSfy;k ] ePNj nkuh ] tkyhnkj insZa] fi;kuska ds doj] xís dk [kksy] est dk [kksy] lksQs dk [kksy] xkfM+;ksa ds Vsfcy ij yxus okyk doj] est dk doj] jlksbZ esa iz;qDr gskus okys oLrq,¡] lkM+h] nqiêk vkSj LdkQZ] Åijh tkek] cPpksa dk fccl] jkstejkZ esa igus tkus okys diM+s] L=h;ksa vkSj

16 Karnataka bronze ware – Religious idols, temple 62 Karnataka Bronze Ware 6 bells.and vessels, lamps and other ritual ware. Thanjavur Art plate 63 Thanjavur Art Plate 14 falling 64 Swamimalai Bronze Icons 6 Bronze Icons 65 Temple jewellery of Nagercoil 14 Jewellery 66 Blue Pottery of Jaipur 21 Pottery 67 Molela Clay Idols 21 Molela Clay Idols 68 Kathputlis of Rajasthan 28 Kathputlis Horticulture 69 Mysore Jasmine 31 Commodity Horticulture 70 Udupi Jasmine 31 Commodity Horticulture 71 Hadagali Jasmine 31 Commodity 72 Alleppey Green Cardamom 30 Spices 73 Applique (Khatwa) Work of Bihar 24 & 26 Textile & Embroidery Bedspreads, wall Sujini Embroidery work of hanging cushion & 74 24 & 26 Muzzaffarpur District in Bihar Bolster covers / Saris, Dupattas & Kurtas Utilitarian & 75 Sikki Grass Products of Bihar 20 Ornamental products from sikki grass 76 Ilkal sarees 24 Ilkal Sarees 77 Molakalmuru Sarees 24 Molkalmuru sarees 78 Coorg Green Cardamom 30 Agricultural Products 79 Chamba Rumal 24 Textiles

17 iq:"kksa ds jkstejkZ ds tSdsV] jkstejkZ ds deht] diM+s Mªsflax xkmu] oL=] vk¡[kksa esa yxk;s tkus okyk ekLd] flj esa yxk;s tkus okys 'kkWy ] ?kj esa igus tkus okyk tkek] ?kj esa igus tkus okyk dksV] fL=;ksa ds yacs LdkQZ] L=h ds oL= xeZ tSdsV] pIiy] lsjksaXl] 'kkWy] js'eh LdkQZ] js'eh VkbZ

Pkkoh dk psbu% gkFk }kjk iz;qDr vkStkj] pepk] cktwcan] Nqjk] pwM+h] fL=;ksa ds diM+ksa esa yxk;s tkus okyk fiu] dM+k] cktwcan] Ckkyh] dku ds cwans] 53 flYoj fQyhxjh 6]8]14]18]20]26vkSj dksV fiu] usdysl] 28 psSu] VkbZ fiu] cVu] ikunku] vVjnku] flxjsV ckWDl] vkHkw"k.k dk cDlk ] dqedqe dh fMfc;k] b= dk fVu] if k;ksa ls ltk gqvk ilZ] pk; ds Vsª] dh psbu] vU; ledkyhu Lekjd dk izfr:i tSls pkjehukj] mPprduhd 'kgj] Xyksc vkfn] vkSj nsoh vkSj nsorksvksa

G. I. Name of Geographical Class Goods Application No. Indication 80 Dharwad Pedha 29 Milk Products

81 Pokkali Rice 30 Rice Flower Vase, Candle Stand, Photo Frame, Hanging Lamp, Table Lamp, Diya Stands, 82 Bastar Iron Craft 6 & 21 Key Holder, Door Handle, Divwan, Cot, Centre Table, Chairs, Garden items, Arch etc Idols of Local deities, Idols of Nature and human forms, Products, Candle stand, Door handle, 83 Bastar Dhokra 6 & 21 Photo frame, Mirror frame, Flower Vase, Mobile Holder, Face Mask, Water Jug, Key Rings, Ash Tray, etc.

Decorative Products: Gods and Goddesses, Wall Panels, Wild Animals and Birds, Carving Scenes – Village Life, Tribal Cultures, Tribal Masks, Tribal Folk Dances with Tribal Motif etc. Furniture with Tribal Motif: Diwan, Sofa Set, 84 Bastar Wooden Craft 20 Dressing Table, Mirror Frame, Dining Set, Chairs, Doors and Door Panels etc. Daily Use Products: Combs, Hairpins, Knives and Other Kitchen, Accessories, Tobacco Cases, Musical Instruments, Jewellery Boxes etc.

85 Monsooned Malabar 30 Coffee

Wall Hangings made 86 Pipli Applique Work 27 of textiles Building Materials, 87 Konark Stone Carving 19 Non-metallics and

19 dh ewfrZ] ilZ vkSj FkSyh] ?kj dh oLrq,¡] niZ.k] fp= Qzse % fL=;ksa ds diM+ksa esa yxus okyk fiu] ckyksa esa yxk;k tkus okyk fiu] VkbZ dk fiu vkSj cVu% fdzlel ds isM+ dh ltkoV dh oLrq,¡

54 vYysIih dkW;j 27 Ukkfj;y ds tVs dk esV ] dkisZV] dacy vkSj HkkSxksfyd oL= 55 Ekqxk js'ke 23]24 vkSj 25 dPpk js'eh ;kuZ] oL= vkSj oL= eky] ftlds varxZr lkM+h ] es[kykpknj] cus ;k flys gq, diM+s] VkbZ A

56 Rksyhpsjh dkyh 30 dkyh fepZ fepZ 57 dsjy dk Ukkfj;y 20 dsjy ds Ukkfj;y [kksy f'kYi ds [kksy dk mRikn] 58 dsjy ds nsonkj 27 dsjy ds nsonkj ds uDdk'kh dk ds uDdk'kh dk f'kYi] f'kYi] eSV] nhokj esa yxkbZ tkus okyh oLrq,¡] /kwi dh Nrjh] ?kksM+s dk vksgkj] fcLrj dh pVkbZ] cDl ] pk; j[kus dk eSV] iwtk dk eSV

20 Pipes for Building, Asphalt Pitches and Bitumen, Non-metallic Transportable Buildings, Monuments, not of metal, Stone Carving Carpets, Rugs, Mats and Mattings, Linoleum and other 88 Puri Pattachitra 27 materials for covering, existing floors; Wall hanging (Non Textile)

Bell & Brass Metal 89 Budhiti bell & brass craft 6 Craft Products Textiles and Textile Goods, Clothing, Carpets, Rugs, Mats and Matting, Linoleum 90 Machilipatnam Kalamkari 24, 25 & 27 and other materials for covering existing floors; Wall Hangings (Non Textile) Wooden Toys: Mirrors, 91 Nirmal Toys and Crafts 20 & 28 Picture Frames Wood : Handicrafts Textiles and Textile 92 Arni Silk 24 & 25 Goods Textiles and Textile 93 Covai Cora Cotton 24 & 25 Goods Textiles and Textile 94 Salem Silk 24 & 25 Goods 95 E. I. Leather 18 Leather 96 Thanjavur Doll 28 Thanjavur Dolls (Toys)

21 59 ikyDdkM 15 eìye~ dsjy dk ¼dsjy½ dk ,d ctkus oky eìye~ midj.k

60 eSlwj ¼dukZVd½ 16 oxZ 16 esa vkus dk xaftQk dkMZ okyk xaftQk [ksyus okyk dkMZ

61 uoyxqM njh 24 uoyxqM ds cqus gq, njh 62 dukZVd ds 6 dukZVd dk dkaL; dkaL; dh oLrq,¡ eky/kkfeZd ewfrZ] eafnj dh ?kaVh] c kh vkSj vU; /kkfeZd oLrq,¡ A 63 ratkowj dh 14 ratkowj dh dykRed Fkkyh dykRed Fkkyh

64 Lokeh eyS dh 6 dkaL; dh oLrq,¡ dkaL; dh oLrq,¡

65 Ukkxjdksby ds 14 vkHkw"k.k eafnj ds vkHkw"k.k 66 t;iwj ds uhyh 21 feêh dk dke feêh dk crZu 67 eksysyk feV~Vh dh 21 eksysyk feV~Vh dh ewfrZ ewfrZ 68 jktLFkku dh 28 dBiqryh dBiqryh 69 eSlwj pesyh 31 ckx+ckuh oLrq 70 mMqih pesyh 31 ckx+ckuh oLrq 71 gMxyh pesyh 31 ckx+ckuh oLrq 72 vyIih gjk xeZ 30 xeZ elkyk elkyk

22 G.I. App. Name of Geographical Class Goods No. Indication 97 Leather Toys of Indore 18 Leather Toys

98 Bagh Prints of Dhar Textile goods 24 Silk brocades, textile goods,silk sarees, silk jamdhani,jangla 23, 24, sarees,jamawar tanchoi sarees, 99 Banaras Brocades and Sarees 25 & 26 tissue sarees,cut work saree,butidar sarees,etc.,silk embroidery sarees etc. 100 Sankheda Furniture 20 furniture

101 Agates of Cambay 14 Semi precious gemstones.

Datia and Tikamgarh Bell Bell metal ware falling under 102 6 Metal Ware class 6

103 Kutch Embroidery 26 & 24 Embroidery and Textile goods

Leather goods falling under class 104 Santiniketan leather goods 18 18.

105 Nirmal Furniture 20 Furniture Paintings, works of art framed and unframed and or for 106 Nirmal Paintings 16 & 20 mounting on frames. Art works of wood, works of art of wood. 18, 27, Goods made of leather, wall Andhra Pradesh Leather 107 & hangings, games, playthings and Puppetry 28 toys. Traditional umbrella, Taras, wall hanging Batua letter box, ladies 108 Pipli Applique Craft 24 vanit bag, banners, cushion cover, door screen, money purse, money purse etc. 109 Naga Mircha 31 Chilli 110 Eathomozhy Tall Coconut 31 Coconut 111 Laxman Bhog Mango 31 Mango 112 Khirsapati Himsagar Mango 31 Mango 113 Fazli Mango 31 Mango Mansooned Malabar Robusta 114 30 Coffee Coffee 115 Assam Tea 30 Tea

116 Nilgiri 30 Tea 23 73 fcgkj dk 24 o 26 oL= vkSj vIiyhd ¼[krok½ dlhnkdkjh dk;Z

74 fcgkj ds 24 o 26 fcLrj dk lkeku] eqt¶Qjiqj ftyk nhokj ltkoV dk dk lqthuh lkeku xÌh vkSj dlhnkdkjh dk;Z cksYLVj fcNkuk@lkMh] nqiV~Vk vkSj dqjrk 75 fcgkj dk flDdh 20 flDdh ?kkl dk ?kkl mRikn mi;ksfxrkoknh vkSj vkyadkfjd mRikn 76 bydy lkMh 24 bydy lkMh 77 eksydyeq# lkMh 24 eksydyeq# lkMh 78 dqxZ gjk xeZ 30 —f"k mRikn elkyk 79 pEck #eky 24 oL=

th-vkbZ HkkSxksfyd oxZ eky vkosnu la[;k min'kZu dk uke

80 /kkjokM+ isM+k 29 nw/k mRikn

81 iksDdyh pkoy 30 pkoy

82 cLrj ykSg f'kYi 6 o 21 Qwynku] eksecÙkh LVSaM] QksVks Ýs-e] yVdrk ySai] nh;k LVSaM] pkch /kkjd] ëkj gSaMy] nhoku] pkjikbZ] e/; est+] dqflZ;ka] cxhpk oLrq,a] esgjkc vkfnA

83 cLrj /kksdjk 6 o 21 LFkkuh; nsoh&nsorkvksa dh ewfrZ;ka] iz—fr vkSj ekuo vk—fr dh ewfrZ;ka] mRikn] eksecÙkh LVSaM] njoktk gSaMy] QksVks Ýs-e] niZ.k Ýs-e] Qwynku] eksckby /kkjd] psgjk eq[kkSVk] ikuh tx] pkch dk NYyk] ,s'k~Vz~s vkfnA

84 cLrj ydM+h 20 ltkoVh mRikn% nsorkvksa vkSj nsfo;ksa] f'kYi nhokj isuy~] taxyh tkuojksa vkSj if{k;ksaA uD+dk'kh n`'; & xzkeh.k thou] tutkrh; laL—fr] tutkrh; eq[kkSVk] tutkrh; yksd u`R; ds lkFk tutkrh; dFkkoLrq vkfnA tutkrh; dFkkoLrq ds lkFk QuhZpj % nhoku] lkQ+k lsV~] dqflZ;ka] njoktsa vkSj njoktsa isuy~ vkfnA nSfud mi;ksx mRikn% da?kk] cky dk fiu] pkdw vkSj vU; jlksbZ?kj vfrfjDr] rEckdw dsll~] laxhr laca/kh midj.k] tokgjkr cDlsa vkfn

85 ekulwuM+ ekykckj 30 dkWQh

86 fiIyh vIiyhd 27 oL= ls cuh nhokj ij Vaxus okyh phtsaA dk;Z

87 dksukdZ ik"kk.k 19 Hkou lkexzh] xSj&/kkrq&fo"k;d vkSj Hkou ds uD+dk'kh fy, ikbi] ,lQkYV dksyrkj vkSj jky] xSj&/kkrq&fo"k;d ifjoguh; Hkou] xSj /kkrq Lekjd] ik"kk.k uD+dk'kh

88 iqjh iV~Vfp= 27 dkyhu] dEcy] pVkbZ vkSj /kkl dh pVkbZ vkSj fo|keku Q+'kZ dks <+k¡ius ds fy, fyuksfyve vkSj vU; inkFkZ; nhokj ij Vaxus okyh pht+ ¼xSj oL=½

89 cq/khrh /kaVh vkSj 6 /kaVh vkSj ihry /kkrq f'kYi mRikn ihry f'kYi

90 eNyhiV~Vue 24] 25 oL= vkSj oL= eky] iks'kkd] dkyhu] dEcy] dkyedkjh o 27 pVkbZ] vkSj /kkl dh pVkbZ] fon~;eku Q+'kZ dks <+k¡ius ds fy, fyuksfyve vkSj vU; inkFkZ( nhokj ij Vaxusokyh pht+ ¼xSj oL=½

91 fueZy f[kykSuk 20 o ydM+h dk f[kykSuk% niZ.k] rLohj Ý+se ydM+h% vkSj f'kYi 28 gLrf'kYi

92 vuhZ js'ke 24 o oL= vkSj oL= eky 25

93 dksob dksjk dikl 24 o oL= vkSj oL= eky 25

94 lsye js'ke 24 o oL= vkSj oL= eky 25

95 bZ-vkbZ- peM+k 18 peM+k

96 ratkowj xqfM+;k 28 ratkowj xqfM+;k ¼f[kykSuk½

26 27 28 lkoZtfud lwpuk lHkh lacaf/kr O;fDr;ksa ds /;ku esa ;g lwpuk yk;k tkrk gS fd HkkSxksfyd minkZu if=dk dk ewY; fLFkj fd;k gqvk ,d izdkku tqykbZ 2004 ls miyC/k gS A ;g ,d f}ekfld izdkku gksxk A izR;sd izfr dk ewY; #o 300 ¼fnu lkS #i;s½ gS A okf’kZd pUnk #o 1800 ¼,d gtkj vkB lkS #i;s½ gksxk A izfro’kZ N % if=dk,a Nik tk,xk A okf’kZd pUnk Hkstus ds bPNqd ÞHkkSxksfyd minkZu iath;dß ds uke ij psUuS esa vnk djus okyk fMekaM MªkQ~V Hkst ldrk gS A

HkkSxksfyd min”kZu iathd`fr] ckSf)d lEink vf/kdkj Hkou] bUMfLVª;y ,LVsV] flM~dks vkj-,e-Mh- xksnke ,fj;k] th-,l-Vh-jksM] fx.Mh] psUuS & 600 032 ds dkÅaVj ij lHkh dk;Zfnolksa esa udn pqdkSrk Hkh fd;k tk ldrk gS A blds ckjs esa vfrfjDr tkudkjh dsfy,] lgk;d iath;d HkkSxksfyd min’kZu] HkkSxksfyd min’kZu iathd`fr] ckSf)d lEink vf/kdkj Hkou] bUMfLVª;y ,LVsV] flM~dks vkj-,e-Mh- xksnke ,fj;k] th-,l-Vh-jksM] fx.Mh] psUuS & 600 032 ls laidZ djsa A nwjHkk’k % 22502091, 92 & 93 QSDl % 22502090 E-mail : [email protected].

¼go½ ¼oh joh ½ HkkSxksfyd min’kZu iath;d

29 PUBLIC NOTICE It is brought to the notice of all concerned that a priced publication of Geographical Indications Journal is available from July 2004. It would be a bimonthly publication. The cost of each Journal is Rs.300/- (Rupees Three Hundred Only). The cost of the Annual Subscription is Rs.1800/- (Rupees One Thousand Eight Hundred Only). There will be six issues annually. Interested parties who are desirous of subscribing the Annual Subscription for the above Journal may forward a Demand Draft which should be drawn in favour of “Registrar of Geographical Indications” Payable at Chennai.

The public can also remit cash at the counter of Geographical Indications Registry, Intellectual Property Office Building, Industrial Estate, SIDCO RMD Godown Area, G.S.T Road, Guindy, Chennai – 600 032 on all working days.

For any further information in this regard please contact:-

The Assistant Registrar of Geographical Indications, Geographical Indications Registry, Intellectual Property Office Building, Industrial Estate, G.S.T Road, Guindy, Chennai – 600 032

Tel: 22502091, 92 & 93 Fax No: 22502090 E-mail: [email protected]. Sd. ______(V. RAVI) Registrar of Geographical Indications

30 Tkh vkbZ vkosnd la[;k 82

;g vkosnd pRrhlx<+ gLrf”kYi fodkl cksMZ] lh&^35] jfo uxj jk;iqj pRrhlx< jkT; ls gqbZ] Hkkjr ds Hkkx v iathd`r czkl`j vkbu Ø kQ~V dk jftLVJ v kosnd l a[; k 82 esa Q kyojokl] dsaMy LVk UM] QksVksQzse] fn;k LVSaM dh gksYMj] MkSj gSaMy lc oxZ 6 vkSj 21 esa foKkfir gS fd bldh mi/kkjk 1 ds /kkjk 13 esa HkkSxksfyd y{k.kksa ds eky (iathd`r vkSj lqj{kk vf/kfu;e 1999 esa Lohd`r gSA vkosnd % prhlx<+ gLrf”kYi fodkl cksMZ irk % lh&35] jfo uxj] jk;iqj] prhlx<+ jkT;] Hkkjr

HkkSxksfyd y{k.k % czkLVj yksgk f”kYIk oxZ % 6 vkSj 21 eky % Qkyoj okl] dsaMy LVSaM] QksVks Qzse] fn;k LVSaM dh gksYMj] MkSj gSaMy v- vkosnd dk uke % prhlx<+ gLrf”kYi fodkl cksMZ vk- irk % lh&35] jfo uxj] jk;iqj] prhlx<+ jkT; ]Hkkjr b- euq’; leqnk; dk lwph@mRiknd@laLFkku izkf/kdj.k % e;kZnkiwoZd miyC/k djuk gSA bZ- fofHkUu izdkj ds eky % f”kYidkj

31 G.I. – APPLICATION NUMB ER 82

Appli cat ion is m ade by T he Chhattisgarh hastshilp vikas board C35, Ravi Nagar, Raipur, Chhattisgarh State, India for registration in Part A of the register of Bastar Iron craft under Application No. 82 in respect of Flower vase, Candle stand, Photo frame, Diya stands, Key holder, Door handle falling in Classes 6 and 21 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Chhattisgarh h astsh ilp vikas bo ard

Address : C35, Ravi Nagar, Raip ur, Chhattisgarh State, India

Geographical Indication : Bastar Iron craft

Class : 6 and 21

Goods : Flower vase, Candle stand, Photo frame, Diya stands, Key holder, Door handle.

32 m- fofufnZ’V

^jksV vkbu^ okf.kfT;d {ks= esa LoPn vkbu gS] blesa NksVs NksVs dkcZu dk va”k jgrk gS] tks 0-15 izfr”kr ls vf/kd ugha c<+rk] exj gjoDR dqN eSy ik;k tkrk gS] ;g dBksj] eqyk;e] /ku o/kZU; vkSj bldks vklkuh ls tksM+k tk ldrk gSA dSls Hkh gks] bdls eqyk;d ls csYM vkSj ryokjsa cuk ldrs gSa] ugha rks QkMus ds txgksa esa LVhy dh vko”;drk gksrk gS tks dkjcuksa ds va”k ls gksrk gSA

;g mRiknd dk U;wure vkdkj ds 2 (bap ) ls vf/kdre vkdkj 50^ (QqV) fcuk tksM+s miyC/k gSA ;g mRiknd dk mi;ksx dh tfj;k dSaMy LVSaM] Qjfuf”kax] Qkyojokl] ysEi “ksM vkfn vkSj izn”kZu djusokyh mRiknd tkuojksa ds y?kqfp= ls gS vkSj Vscy Vksi] iqtsZ ls gksrk gSA

,Q- HkkSxksfyd y{k.k dk uke vkSj tkudkfj;kaW

czkLVj yksgk f”kYi tkudkfj;kaW th- eky dk fooj.k

lkfgR; esa “ksV yksgk ls ekuuk gS cuk gqvko vkbuA “ksV vkbu dk cukoV :fpiwoZd vkSfpR; curk gSA dSls Hkh gks Z”ksV vkbu dk rksM+k gqvk BaMs gq, va”k js”kk cukrk gS] tks dldj iSd djrk gS vkSj vkbu dks Hkqj Hkqjk vkSj dBksj cukrk gSA

;g mRiknd jksV yksgs cuk gS] tks okf.kfT;d esa LoPN vkbu gS] dkjcuksa dk NksVk lk va”k feyk gS] og 0-15 izfr”kr ls T;knk ugha c<+rkA ;g f”kYidyk dk en~ dSaMy LVSaM] Qjfuf”kax] Qkyoj okl] ysEi “ksM vkfn ds fy, mi;ksfxd gS] vkSj izn”kZuksa ds phtksa es tkuojksa ds y?kqfp= vkSj VscyVkiksa esa iqtkZa ls cuk gSA ikjaifjd mRikndksa esa ltkoVksa ds en~nkss ls mi;ksx gskrk gSA ;g izfØ;k QkMus] tykus vkSJ rksM+us esa iz;ksx gksrk gS vkSj fcuk oyMhax fd, tksM ldrs gSaA

33 (A) Name of the Applicant : Chhattisgarh hastshilp vikas board

(B) Address : C35, Ravi Nagar, Raipur, Chhattisgarh State, India

(C ) List of associ ation of pe rsons / Producers / organization / Authority : T o be provi de d on r e que st.

(D) Type of goods : Handicrafts

(E) Specification

W rought iron is comm ercially pure iron, havin g a very sm al l car bon cont ent, which does not exceed 0.15 %, but usually contains some slag. It is tough, m all eabl e, ductile and can be easily welded. However, it is too soft to make blades and swords, or at least for their cutting edges, which need to be made of steel with higher carbon content. The products are available from minimum size of 2” (inch) and maximum size 50‘(feet) without any welding. The products are utility p urpose like candle stan d, furnishing, flower vase, lamp shade etc and show case products such as miniature of animals and table top accessories.

(F) Name of the Geographical Indication and particulars : Bastar Iron craft

34 lHkh izdkj ds vkdkj] cukoV vkSj ewy Hkko] fcuk fofunsZ”kksa vkSJ ekiksa ls curk gSA tks ØkQ~Vksa ds fy, jkl;fud ifjlfTtr ;k dksfVax gksrk gS] og avfre mRiknksa ds fy, iz;skx uga gksrk A

,p- HkkSxksfyd {ks= esa mRiknd vkSJ ekufp= dks i`’B la[;k 54esa fpf=r gS%

1- ewyJksr dh ijh{k.k % ,sfrgkfld fooj.k prhlx< vf}rh; jkT; gS] tks izd`fr (taxyksa) ds lk/ku vkSj ikjaifjd dkS”ky dks cpkrk gS] tks lkS izfr”kr izd`fr;ksa ds nksLr jgrk gSA ;g dkjhxjh ,d rjg ls ;k nwlj ek/;eksa ls Hkh ?kus taxyksa ds tM+ksa ls vkSj izkd`frd mRiknksa ds dbZ {ks=ksa ls izkIr gksrk gSA jksV vkbu] yksgk f”kYi ;k yksgkjh ds rF; esa dksbZ viokn ugha gSA czkLVj {ks=ksa esa vf/kd ek= dk vkbu vksj izkIr gSA tutkfr ds f”kdkjksa esa vkbu dk vkfo’dkj gqvkA ;s yksx bl u;s vkfo’d`r dks vius f”kdkjksa ds fy, vf/kd etcwr vkSj rst+ curs gSaA

blls viuk gfFk;kj cuk fy;sA dPpk /kkrq ds fupksM+ ls Qjukl cukrs gSa tks ?kuk dgrs gSa] tks QqV ds fy, izpfyr gS vkSj lky isM+ ds dkB ls dks;yk cukrs gSaA vtdy vk/kqfud Qjokl dk iz;ksx gksrk gS vxj ,d ckj /kkrq dks m[kkM+k tkrk gS] rks xeZ yky jax dk vkbu dks ekjk tkrk gS] rkfd mlesa vkdkj vkSj eksVkiu vk,A vkjaHk esa gfFk;kjksa dks rhj vkSj pkdw cuk;k tkrk gSA mlds ckn d`f’k ;a= esa QkoM+k pykuk] dqygkMh] vkfncuk ldrs gSaA bl alaf{kIr le; esa ifjokjks aus vius dkS”ky dks c

35 (G) Description of goods:

W rought iron lit erally m ean s worke d iron. The fi bers of wrought iron giv e it som e interesting properties, however hammering a piece of wrought iron cold causes the fibers to become packed tighter, which makes the iron both brittle and hard. The products are made by wrought iron is commercially pure iron, having a very small carbon content, which does not exceed 0.15 % manually. These handicrafts include it ems like util it y purpose like c andle st and furni shing, flo wer va se, l am p shade et c sho w case products such as miniat ure of animals and table top accessories. The traditional products are mostly decorative items with utility. The process includes cutting, heatin g and hammering and joining without any welding. All the shapes, forms and motifs are made manually without any specifications and measurement. The chemical finishing or coating for these crafts are not done for the final product.

(H ) Geographical area of Production and Map as shown in page no 54.

(I) Proof of origin: (Historical records)

Chhat t isgarh is a uni que stat e, which has pre serv ed al l the nat ural (forest ) resources and holds traditional craft, which are 100% eco-friendly. The crafts in some way or t he ot her trace t heir root s t o t he dens e forest s an d nat ural re so urce s av ail a ble in the region; Wrought iron or the Loha Shilp or Lohary is no exception to this fact. The Ba st ar re gion has abundant iron ore. Iron was acc i dent ally discovere d by the tribal peopl e whil e huntin g. T hey fo un d this n ewly di scovered substance to be st ur dy and more effective in hunting, thus they started making their weapons with it. Extraction of metal from the ore was done in indigeno usly built furn aces called Gh an a whi ch wer e operat e d by foot and used coal derived from wood of Sal trees. Nowadays modern furnaces are being used. Once the metal is extracted the red-hot iron is repeatedly beaten to give the required shape and thickness. Initially only weapons like arrows and knives were made. Later agricultural tools like spades, axe etc were made. With the passage of time the residents developed their sk ills and started making pro ducts inspired by their surroundin g like god-goddesses, animals, tribal figures, leaves etc. products like Laman Deeya (a traditional lamp), an d local deities were made for gifting durin g tribal weddin gs.

“ksV vkbu ØkQV dk Jksr lcls iqjkuk gS] fdlh Hkh O;fDRk ds “kks/k ls okLrfod tkudkjh irk yxk ldrs gSa fd ØkQV ^yksgk f”kYi^ ;k jksV vkbu dk vH;qwn; gqvk gSA

ØkQV vkbu dk izkjaHk czkLVj ds tutkfr lewg esa 200 o’kZ igys ;gkaW dksbZ Hkh lH;rk ugha FkkA ;gkaW tutkfr ds euq’; dCtkl fd, gq, FksA ØkQVksa dk mRiknd cM+s iSekuksa ij 200 o’kZ igys vkjaHk gqvk] exj ,sfrgkfld esa JksV vkbu lkS o’kZ igys ;k tc yksgk dk vkfo’dkj gqvkA

Bl /kjrh esa yksgk dk vH;qn; o vkfo’dkj dSls gqvk\ bldh tkudkjh ds fy, dFkk ekStwngSA ;g dFkk ,slh pyrh gS ,d fnu tutkfr vius dkB ds okrkoj.k esa tk jgk gksrk gS rc ,d pwgs dks ns[kdj mldk ihNk djrk gSA og pwgk jSaxrs gqa, vius Nsn ij ?kql tkrk gSA og pwgs dks ckgj vkus rd bartkj djrk gSA mlds ckn og tutkfr Øks/k ls ,d iRFkj dks gkFk esa ysdj ml Nsn esa can dj nsrk gS] rkfd pwgk ckgj u vk,A og cgqr [kq”k gqvk D;kafd pwgk dks mlus vius tky esa Qalk fy;k] vkSJ ogkaW ls pyk x;kA dqN fnuksa ds ckn vpkud ml txg ij igqaWpk rks lkspus yxk fd dSLks Nsn dks can fd;kA fcuk dksbZ i’pkrkoksa ls og ml Nsnksa esa vkx yxk fn;kA ml Nsnksa ds ckWdh ls jk[k Hkh ugha vk;k] exj can fd;s iRFKjksa ls Hkh vkx yx x;kA blls mlds fnekx esa lksprs gq, ns[kusy xk fd ml iRFkj ds Åij Hkkx tyus ds ckj /kRoh; pedj Vidj fxjrk gS] tks tek gksdj Nsnksa dh vkdkj tSlk xksy Nsn cu tkrk gSA D;k gqvk lkspdj Mj ds ekjdj ml txg ls Hkkx vk tkrk gS ad qN fnuksa ds ckn fQj ls igqaWpk rks ns[k rk gS fd og fi?kyk gqvk /kkrq vc Bksl cu tkrk gSA mljus ml dksu “ks’k /kkrq dks mBKdj eglwl djus yxk fd ;g iRFkj ls T;knk dBksj o etcwr gS vkSj eqyk;e vkSj ped ned ls gSA ; gh rF; gS] tk s iRFkljls vkbu cukus dk dkj.k ftlls dPpk vkbu feykA bl ;qx ls yksgk dk fupksM+ dk dPps va”k “kq:vkr gqvk] o vdlj bldh izfØ;k tutkfr vius ?kj cukus ds mRiknksa ds o`fRr;ksa esa mi;ksx gksus yxkA (lwfpr MkW t;nso ckxksy vkSj Jheku jkeq jke] czkLVj ftyk esa jk’Vªh; iqjLd`r gSA)

37 They are still being made. Now with the advent of commercialization the craftsmen hav e st art ed m akin g util it y product s for export as wel l as domest ic market e.g. lam psh ade s, candle stands, hooks, handles etc.

The Wrought Iron craft’s origin is believed to be so old that one has to really go deep into research to find the authentic information as to how actually the craft of ‘Lauh Shilp’ or as we call Wrought Iron originated.

The craft of wro ught iron originated from the tribal land of Bastar some 200 years ago when there was no civilization in these lands. It was occupied mainly by the tribal people. The production of the craft started on a large scale only 200 years ago but the history of wrought iron goes back to 100s of years ago when iron was first discovered accidentally.

There is a story in which information about ho w iron was first discov ered in these lands. The story goes like, one day a tribal was on his way for a stroll in the woods surrounding the lands when he saw a mouse and started chasing the mouse for fun. After chasing for some time he saw that the mouse crawled into a hole belo w an anthill. He waited for the mouse to come out but it didn’t. The tribal then raged with anger took a rock in his hand and closed the opening of the hole into which the mouse had crawled. Happy that he had trapped the mouse inside the tribal went off from that place. After many days when he accidentally came to the same place he remembered how he had closed the opening of the hole. Sti ll hav in g no for giv ene ss in hi s min d he di d m ore by burning off t he ant hill belo w which the hole was there. In no time the anthill burnt to ash an d the rock which closed the hole also caught fire. This caught the eye of the tribal and he noticed that the upper part of the rock burnt off and some metallic shinin g part oozed out of it and deposited in the hole in the shape of the hole. Fearing what had happened he fled from that place. He returned after many days and saw that the molten liquid and solidified. He took out the cone shaped solid and realized that it was far more hard than the rock itself and saw it was shiny and smooth too. This in fact was iron and the rock from which the iron came out was the iron ore. Thus from that day onwards the extraction of iron from the ore became a regular process for the tribals and the use of it in the building of products became their professions (Informed by Dr.Jaidev Beghel and Mr. Ramuram, National Award Winner, Bastar District).

Tkutkfr;ksa ds lewg esa mRiknksa ds fy, jksV vkbu dk vfLrRo gksus yxkA os lkspus yxs yksgk dks ekjus ls ;k fi?kykus ls vius bPNk ds mi;ksx dss vuqlkj cuk;k tk ldrk gSA igys jksV vkbu dk fuekZ.k nsork ds ewfrZ cukus esa izfrfcfEcr fd;k D;ksafd os gekjs ifo= nsoh&nsork gS] ckj esa mldks ?kjksa ds pht+ksa ds fy, tSls cjruksa vkfn ds fy, izk;ksfxd gS] tks fookg ;k vU; mRloksa ;k izklafxd fnuksa esa mi;ksx gksrk gSA mlds i”pkr d`’kd ds mi;ksxksa esa Hkh vfLrRo gksus yxk] os lkspus yxs fd jksV vkbu dk dkS”ky /khjs&/khjs d`f’k iznku ds ;a=ksa ds mRiknd ds fy, izk;ksfxd gS] tks d`’kdksa ds fy, lgk;d curk gS vkSj og cukA blds yksdfiz;rk ls vkSj jksV vkbu ds iwjh rjg iuius ds dkj.k dkjhxjh f”kYiksa dks vk/kqfudhdj.k cukus yxs vkSj vusd ltkoV ds mi;ksfxd mRikn cukus yxs tSls dSaMy LvsSaM] QksVksQzse vkfn tks vc rd cuk;k tk jgk gSA

Blls ;g dkS”ky dk mRikj fodflr gqvk vkSj ladYi gksujs yxk exj ;g x`g ds euq’; ds lH;rk vkSj ijaijk esa izfrfcfEcr gksus yxkA ;g dkS”ky dh /kkj.kk ;k izfØ;k ds vk/kkj ls gS vkSj jhfrfjokt+ vkSj yksd lkfgR; f”kYiksa esa feyk gS D;ksafd blls tutkfr vkt ds u;s ;qxksa dks lans”k djkrs gSaA ;g dkS”ky vklkuh ls ,d ;qx ls nwljs ;qx rd igqaWpk ldrs gSaA blds tfj;s dkjhxjh vius dkS”ky dks cpkds j[k ldrkl gS tks lkS lky iqjkru gSA mijksDr tkudkjh ls irk pyrk gS fd ;g dkS”ky ;k vkjaHk vkSj fdl rjg czkLVj ds tutkfr txgksa esa bldk fØ;kfUor gqvk\ vkt ;g mRikn fo”oHkj esa izfrQy vkSj izfrxzg.k gqvk vkSj bldh ekaWx fnuHKj fnu c<+us yxkA

J- mRiknd dh i)fr

dPpk eky

dkjhxfj;ksa ds fofHkUu rjg ds dPps eky dk iz;ksx gS %

39 The use of wrought iron came into existence when the need of products came into the m inds of t he t ribes. T hey rea liz e d that by t he beat ing of iron or by m elt in g an d reformin g the iron they could produce different products to suit their needs. First the use of wrought iron was restricted to the manufacturing of deities which are the holy gods an d go ddesses, lat er t hey st arted makin g ho usehol d pro duct s l ike uten sil s & deeyas, which woul d t hen be used in occasions such as marriages or functions. After the agriculture came into existence it was realized that the wrought iron craft could also be used in the production of farming tools, which would aid the farmers, and they did. Then as the popularity and the use of wrought iron flourished the craftsmen also started modernizing the craft and making varied products for decorative purposes such as candle stand, photo frames etc. which is continuing till this date.

T hough t he cr aft has evolve d an d the product s may have diversifie d it st ill reflects the culture and traditions of the resident people. The craft is based on concept and process and the rituals and folklore attached with the craft are used by the tribal people to communicate with their upcoming generations. The craft is easily transferred from one generation to the other. In this way the craftsmen have been able to keep and preserve still their craft, which is centuries old.

Thus the above gives information about how exactly the craft originated and in what manner was it implemented in these tribal lands of Bastar. Today these products have gained world wide acceptance and their demand is constantly increasing.

(J) Method of Production:

Raw Materials

The various raw materials used by the craftsmen are:

Iron Traditionally the craftsmen used the Ghana Pakka stone locally available to extract the Ghana loha. The region has abundant reserves of Ghana pakka stone. The craftsmen source these stones from the forests and melt it in the “Ghana”. The iron obtained from this process was con sidered to be pure and deities and pio us items were made out of it.

40 yksgk (vkbu)

dkS”kydkj ikjaifjd ^?kuk iDdk iRFkj ^ dk iz;ksx djrs gS tks vklkuh ls ^?kuk yksgk ^ dks fi?kyk;k tk ldrk gSA bl izns”k esa ?kuk idk iRFkj ds izpqj esa vkj{k.k feyk gSA f”kYidkj dk mn~xe gS fd iRFkjksa dks taxyksa ls ysdj mldks ^?kuk^ gksus rd mldks fi?kyuk gSA bl izfØ;k ds fy, yksgk dks LolPn le> fy;k tkrk gS vkSj nsork ds izfrewfrZ vkSj /keZijk;.k en~nkasa ds fy, cuk;k tkrk gSA czkLVj esa dkjhxjh vkbu ds lkekU; lkefxz;ksa dk mi;skx gS fd

& og tykus ls eqyk;e curk gS vkSj vklkuh ls rO;dj vkSj tksM+ ldrs gSaA & ;g uje] dBksj vkSj /kuo/kZuh; gSA & ;g la;r ls yphyk gSA & ;g [kkjk ikuh ls vizHkkfor gSA & ;g la{kj.k dk izfrjks/k vPNh rjg djrk gSA

;g rkt+k va”k uhyk jax esa gksrk gS tks vf/kd eqyk;e] pedksa ls vksj js”ksnkj fn[kkrk gSA ckt+kjksa esa VqdM+s vkbu dks fofHkUu vkdkj o cukoVksa ls izkIr gksrk gS og gS % jksM % yksgk dk cukoV csyu jksM esa gSA “khV % cM+s iSekuksa esa yksgk A iV~Vh % yksgk ds eksVk “khV A

V[kuk (,sudy)

;s lHkh cukoVa fo”ks’k iz;skx vkSj xq.k ds fy, gSaA pkjdksy (mMdksy) f”kykdkj pkjdksy dk iz;ksx lky isM ds dkBka ls fudkys gSaA ;g dksy csgRrj ls tyus dh {kerk jgrk gS vkSj vf/kd ek= xeZ

41 The general properties of the iron used by the craftsmen of Bastar are:

¾ It becomes soft while at heat and it can be easily forged and welded. ¾ It is ductile, malleable and tough. ¾ It is moderately elastic ¾ It is unaffected by saline water. ¾ It resists corrosion in a better way.

Its fresh fr actur e sho ws clear bluish colo ur with a high silky luster an d fibro us appearance. In the market the scrap iron used is available in various sizes and forms. They are:

Rod : iron in the form of cylindrical rods. Sheet : large sheets of iron Patti : thick sheet of iron

Ankle All these forms have specific use and properties.

Charcoal (wood coal) The craftsmen use charcoal derived from the wood of Sal trees. This coal has superior burning capabilities and produces a lot of heat. Earlier the craftsmen used to produce coal themselves by burning the Sal wood, but now they purchase it from the market.

Red Soil Most of the designs produced by the craftsmen are made of a single piece of iron, but somet imes t here is a nee d t o join t wo or m ore pie ces t o m ake a pro duct . Red soi l i s use d for joinin g two pieces of iron. A paste of red soil is applied to both the pieces. They are then heated in the furnace till sparks come out. Then they are beaten together with a hammer. The joint is not only strong but also in distinguish able.

42 mRiUu djrk gSA igys f”kYidkj dksy dk mRiUu lky isM ds dkB dks tykdj fd;k tkrk gS vc os ckt+kjksa ls [kjhn ysrs gSaA yky feV~Vh (jsM lkbZy )

f”kYidkj cgqr ls Mht+u dks ,d gh va”k ds vkbuksa ls cukrs gSa] exj dHkh&dHkh ,d ls vf/kd ek= dh yksgk dk va”k mRiknd cukus ds fy, t:jr iM+rh gSA yky feV~Vh dks tksM+us ds fy, nks va”kksa ds yksgs esa yky feV~Vh dks fNidk;k tkrk gSA mlds i”pkr~ Qwjukl ea Mkydj tyk;k tkrk gSA tc rd mlesa ls fpjkx u vk, rc rdA mlds ckn ,d lkFk feykdj gFkksMs ls ekjk tkrk gSA blds tksM+ gh flQZ etcwr gh ugha ;g vfof”k’Vrk ugha igpku ldrs A rjdkjh rsy (osthVscy vkby)

yksgs esa tax tYnh iM+ tkrk gSA jksV vkbu esa ;g tx vf/kd ek= esa gSA mRiknksa eaa tax iM+us ds dkj.k mlesa lkSan;Z laca/k n`f’Vdks.k ugha jgrkA vFkkZr~ bl tax dks jksdus ds fy, f”kYidkj mRikndksa esa osftfVcy rsy yxk fn;k tkrk gSA mRiknksa esa osftfVcy rsy dks Mkyus ds ckn lw[ks iRrs ls dkoj fd;k tkrk gS vkSj tyk fn;k tkrk gSA ;gha ikjaifjd jkLrk gS tks mRikn tax ksa l s eq Dr jg rk gSA dps eky dk lzksr

jksV vkbu ØkQV ds lHkh dPps ekyksa ds lzksr taxyksa ls ;k bykds ds ckt+kjksa ls fy;k tkrk gSA ØkQV iwjh rjg izd`fr;ksa ls cuk gSA izfØ;k

dPps eky ds ØkQ~V dks NksVs ls va”k esa cnyk tkrk gS] ftlls bl flyflys esa LfkukuUrj.k gksrk gSA fofHkUu rjg ds LFkkukUrj.k ls tqMk gvk gS og ;Fkkfyf[kr gS

43 Ve ge tabl e oil Iron rusts very easily. Rusting is more in case of wrought iron. The aesthetic appeal of the product is lost if it is rusted. Thus, in order to prevent rusting craftsmen apply vegetable oil on the products. After the application of vegetable oil the products are covered with dry leaves and burnt. It is the traditional method of making the products rust free.

Sourcing of Raw Materials All the raw materials required for wrought iron craft are sourced from forests or the local market. The craft is totally eco-friendly.

PROCESS Raw iron is converted into a piece of craft by going through a series of transformations. The various steps involved in the transformation are as follows:

Step -1: Selection of iron type. Today the range of products being made out of iron is vast so the type of product to be made is to be decided and the type of iron to be used has to be selected. This depends on imagination and visualization of the product by the craftsman. There are t wo t ypes of iron use d by the craft smen of Bast ar: kacc ha or soft iron an d pucca or har d iron in addition to the traditional Ghana loha. Soft iron is used for making utility pro ducts an d de corative it ems. Hard iron is use d for st urdy it ems l ike ham mers and a gr ic ult ural tool s like spades.

Product Type Deities Ghana Pucca iron

Hammers Hard

Utility products Soft

Deeyas Soft Agricultural tools Hard

Decorative items Soft

44 igyk dne % fofHkUu izdkj ds yksgk

vktdy rjg&rjg yksgs ls cuk mRiknd vf/kd ek= esa c

izFke] fdl izdkj dk yksgk iz;ksx gksrk gS] mldks fopkj fd;k tkrk gS vkSj dkSu lk Mhtu dks lksp dj j[kk tkrk gS ml rjg yksgk esa dV fn;k tkrk gSA dfVax ,d laiw.kZ gkFkksa ls cuk dk;Z gSA f”kYidkj dfVax ds fy, gFkkSM+k vkSj VkWdh dk iz;ksx gksrk gSA yksgk dk dfVax yxHkx vuqekuksa ls fd;k tkrk gS] mlds fy, vyx lk vuqeku ugh cuk;k tkrk gS mlds ckn NksVs ls vax esa dfVax fd;k tkrk gS] mlds vuqlkj gh ewfrZ cuk;k tkrk gSA cgqr ls mRikn ds fy, ,d va”k ds yksgs ls dkQh gksrk gS] exj dHkh nks ;k mlls vf/kd va”k ,d mRiknd ds tksM+us esa t:jr iMrh gSA ;gkaW fgj.k cukus ds yksgs ds va”k iM+s gq, gSaA ;g mRikn nks va”kksa ls cuk;k tkrk gSA vyx va”k “kjhj ds fy, dj fd;k tkrk gS vkSj flax fuEufyf[kr gS %&

45 Step – 2: Cutting of the iron piece Once the type of iron to be used is decided and the design is in mind the next step is cutting of the iron. Cutting is an entirely manual job. The craftsmen use hammer and chisel for cutting. The iron is cut by approximate measure as no standard measuring tools are used. Once the iron piece is cut out, small cuts are applied on it according to the figure to be made. Most of the products are made of single piece but sometimes two or more pieces are joined to make a single product. Here there are a pieces cut for making a deer. It is a product made from two pieces. Separate pieces are cut for body and horns are shown below.

Step – 3: He ating After cutting the next step is heating of the iron in the furnace to make it soft so that they can be beaten into required shape. In the furnace, coal burns producing very high temperature (about 200°C). Iron is heated red hot in the furnace before shaping. While heating the piece is either wholly put into the furnace or held with forceps for selective heating.

Step – 4: Shapi ng Once the iron piece has been heated it is shaped immediately. When the iron is hot it becomes soft and flexible and can be easily transformed into required shape. Shaping is done by t he follo win g:

Beating T he red hot iron is beat en by hamm er t o give t he re quire d shape and t hickne ss . A small piece can be elongated by repeated strokes of the hammer. The small cuts shown in figures are elongated to make legs and head of the deer.

Turning and twisting Turning is also one of the major operations in shaping the products. The legs and head are turned at different angles. The craftsmen use forceps and hammer for turning. Twists are also produced with the help of forceps by repeated t urning.

46 rhljk izdkj (ghfVax ) tykuk

dfVax dk vxyk izdkj gS yksgs dks Qjukl esa tykdj uje cuk d s mldks ekjd j vius vko”; d v kd kj dks cuk; k tk ldrk gSA Qjukl esa dks;yk mPp rkieku 200 fMxzh ls esa tyk;k tkrk gSA yksgs dks Qjukl esa vkdkj cukus ds igys yky jax gksus rd tyk;k tkrk gSA ml va”k dks Qjukl esa tykus ds oDr ;k dqN va”ksa ds fpefV;ksa dks tyk;k tk ldrk gSA prqFkZ izdkj % “ksfiax

vxj yksgs ds tykus ds ckn mldks ,d esa vkdkj cukrs gSA tc yksgk xeZ gksrk gS rc og eqyk;e vkSj uE; jgrk gS ml le;l mldks vklkuh ls t:jr vkdkj cuk;k tkrk gSA “ksfiax dks fdl rjg fd;k tkrk gS og fuEufyf[kr gS fcfVax yky xeZ yksgs dh gFkksSMks ls ekjdj vius bPNkuqlkj vkdkj vkSj eksVkiu esa cuk;k tkrk gSA ,d NksVs ls va”k dks gFkkSMk ls foLrkj ls cuk fn;k tkrk gSA ml NksVs ls va”k ds yksgs dks foLrkj cukdj fgj.k ds lj vkSj iSjksa ds fy, cuk;k tk ldrk gSA

Vjfuax vkSj VqfoblfVax & eksMuk vkSj xwaFkuk

eksM+ Hkh ,d izdkj ds mRikn es “ksfiax esa eq[; izpkyu gSA iSj vkSj lj dks vyx rkSj ij ekSM+k tk ldrk gSA f”kYidkj J`[kysa ls vkSj gFkksMs ds iz;ksx ls Vjfuax fd;k tkrk gSA VqfobfLVsx Hkh J`a[kyksa ds lgk;d ls ckjEckj Vjfuax ls mRiUu fd;k tkrk gA ikapokaW & va”kksa dh tksM+ (tkbfuax vkWQ fill)

cgqr ckj nks va”kksa dks fefJr dj ;k tksM+dj mRiknu cuk;k tkrk gSA nksuksa gh izfØ;k Jfed ls gS] mRikn e”khuksa ls tksM+k ;k osYM ugha fd;k tkrkA

47 Step – 5: Joi ni ng of pie ces Many times two pieces are fused together or joined to make a product. Both the processes are manual and no welding or joining machines are used for the products of any size.

Fus i ng

The Bastar craftsmen have a unique method for fusing two metal pieces. They use the locally available red soil for the purpose. A paste of red soil is made and the pieces to be fused are dipped in that. Both the pieces are then heated in the furnace. Spark is produced while heating. When the pieces are red hot they are beaten together. This process gives a fine fused piece of iron which cannot be separated. Here the horns and the body of the deer are fused together. The process is depicted pictorially.

Joining Some product design requires joining of two pieces. The pieces are joined by using nails, which are beaten, into the holes created into the pieces. The nails are produced by the craftsmen themselves by beating iron into thin cylindrical wires. These nails are then cut according to size and beatenHo rn into the holes by theRed hammer. Soil Body

Step – 6: Finishing Once t he pro duct is com plet e t he next step is finishin g. Fini shin g is given t o the product s t o add vi sual appeal t o t he product s an d pr event it from rustin g. Fini shin g is of t wo t ypes:

Dry: Beating Heating In dry finishing surfaceTurning ornamentation is done with the help of hammer and small chisel. Different textures are produced on the surface of the product. This adds to the visual appeal of the products. Final product

Wet: Wet processing involves application of oils for prevention of rusting. There are two types of wet treatments given to the products. One of them is traditional and the other is relatively n ew. The processes are as follo ws:

48 Q;wflax

czkLVj f”kYidkj nks /kkrqvksa ds va”kksa ds feJ.k ls gh cukrs gSaA os bykds ds yky feV~Vh dks iz;ksx djrs gSaA ykjy feV~Vh dks yxkdj va”kksa dks Q;wl ;k fMi fd;k tkrk gSA fQj nks va”kksa dks Qjukl esa tyk;k tkrk gSA tykrs oDr fpjkx mRiUu gksrk gSA tc va”k yky xeZ gks tkrk gS] rc ,d lkFk feykdj fefJr ekjk tkrk gSa A bl rjg ds izfØ;k esa yksgs ds va”k vPNk Q;wl curk gS] tks vyx fd;k tkrk A ;gkaW fgj.k ds flax vkSj “kjhj ds lj ds fy, Q;wl fd;k tkrk gSA ;g izfØ;k lfp= if=dk cu tkrk gSA tksM+uk (tkbfuax)

dqN mRikn ds Mht+u ds fy, nks va”kksa dh vko”;drk gksrh gSA va”kksa d ks uk[kw u ls tksM+k t krk gS] v kSj ek jd j] [ N sn cukd j va”k e sa fd;k tkrk gSA f”kYidkj ds n~okjk uk[kwuksa dk mRiUu d jrs gSa] vkSJ yksgs dks ekjdj csyu ds vkdkj esa djkjk cukrs gSaA mlds ckn uk[kqwu dks rksM+dj vius bPNkuqlkj vkdkj ;k gFkkSMs ls ekjdj Nsn cuk;k tkrk gSA

NBk (fQfuf”kax)

vxj mRikn cu tkrk gS rks vxyk Hkkx gS fQfuf”kaxA fQfuf”kax mRikndksa ds vafre cukoV esa izn”kZu vkSj tax ls cpkrk gSA fQfuf”kax nks izdkj ds gSA lw[kk

lw[ks fQfuf”kax esa ckg~; :i es agFkkSMksa vkSj NksVs Nsuh ls ltkoVsa fd;k tkrk gSA mRikn esa fofHkUu [kqjnjh ls mRiUu Åijh Hkkx esa fd;k tkrk gSA ;g mRiknksa esa fpf=r u;s n`”; iznku djrk gSA

49 Ve ge tabl e oil : In this process the finished pro duct is coated with vegetable oil which is locally produced. The products are then covered with dry leaves and then burnt. After burning the products become rust free.

(K) Uniqueness: The Wrought iron craft is unique in every aspect. The uniqueness of the craft has also helped in the promotion of this craft. The uniqueness of the product is also an im portant considerat ion for the geo graphical indi cat ion. T he un i queness of t he Wrought Iron Craft of the Bastar district is categorized as follows:

Ra w Ma teri a ls Use d The raw materials i.e. the iron and coal are obtained from the natural resources of the Bastar district. The iron for the craft was obtained from the local quarry & melted by an indigenous process of the tribals. The coal they use also has special characteristics & made indigenously by burning the wood of Sal tree.

Design Motifs T he craft smen use only tri bal mot ifs in t heir pro duct s which is the un i quene ss of their craft. They are inspired by the figures they see in their day to day life, like, birds, elephants, monkeys, trees, tribal festivals etc. thus local flora &fauna is the category of t he de si gn m otifs.

Ot her un i queness that are im portant is as given below: Use of lan d red soil for joints. Sal wood coal used for furnace.

Punching is don e oft en t o get shape. Traditional iron ore is used No rivet and welding for joints. Only animal and nat ure motif is used. Hammering mark is not at all vi sible in t he pro duct . 25 – 30’ Arch and Gate was made by without using welding and machines. Dye m oul d is not use d. No paper design is required for the shape and no measurement for accuracy.

50 fxyk

fxys izfØ;k esa tax ds jksdFkke ds fy,rsyksa dk iz;ksx gksrk gSA mRikn ds fy, nks izdkj ds fxykiu ekStwn gSA ,d ikjaifjd vkSj nwljk bl ls vyx gSA ;g izfØ;k fuEufyf[kr gS % rjdkjh rsy

bl izfØ;k esa fQfuf”kx mRikn ds fy, rjdkjh rsy dk dfVax fd;k tkrk gS] bldk mRiUu ;gha ls “kq: gksrk gSA mRikn dks lw[ks iRrksa ls

jksV vkbu dzkQV gj igyw esa ;wfuD;w jgrk gSA ;g ;wfuD;wul ØkQV esa inksUufr Hkh cukrk gSA ;g ;wfuD;wul mRiknksa esa eq[; rkSj ls fopkj fd;k tkrk] tks HkkSxksfyd y{k.k ds fy, Hkh gSA czkLVj jkT; esa jksV vkbu ØkQV ds ;wfuD;wul dks oxhZ; esa crk;k gS tks gS dpk eky dk iz;ksx (esVhfj;y b;wlM) czkLVj jkT; esa dPpk eky ;kfu yksgk vkSj dks;yk vkfn izd`fr ds lzksrksa ls izkIr gSA yksgs ds f”kYi ds fy, bykds ds D;kjh vkSj tutkfr d s Lons ”kh izfØ ;k l s fi?ky k; k t krk gSA

Mhtu eksrhQl (Mhtu dk ewy Hkko)

f”kykdkj tutkfr ds mn~xeksa dks ysdj vius mRiknksa ds f”kYiksa esa ;wfuD;wul ls cukrs gSaA os bu euq’;ksa ls izHkkforo gksdj fnuksafnu ns[krs gSa %& if{k;ksa] gkFkh;kaW] cUnjsa] isM+] tutkfr ds vusd mRlo vkfnA bl oxZ esa Qksyjk vkSj Quk eq[; Mhtu dk ewy Hkko gSA

nwljs ;wfuD;wul lc eq[; gS tks fuEufyf[kr gS

51 (L) Inspection body: M anagin g Direct or, CG Ha st shi lp Vika s Boar d, C-35, Rav i Na gar, Ra ip ur (CG) National awardee from Bastar Iron Craft. President, Sathisamaj Sevi santha, Kumarapara, Kondagaon, Dist Jagdalpur, CG M arketing Partner, Sha bari Empori um, Hastsh ilp Vik as Boar d, C-35, Ravi Nagar, Raip ur (CG) Assistant Director, O/o DC (Han dicrafts), Jagadalp ur, CG

& yky feV~Vh dk iz;ksx tksM+us ds fy, gS A & lky dkB dk dks;yk Qjukl esa izk;ksfxd gSA & “ksi cuus ds fy, vdlj iaufpax djrs gSaA & ikjaifjd dPpk yksgk dk iz;ksx gSA & fcuk f”kcV ;k osfYMax ls tksM & flQZ tkuoj vkSj izd`fr dk ewy dk iz;ksx & lHkh mRiknksa esa gFkkSM+k ds fpUg ugha fn[kkbZ nsrkA & 25&30 vjd vkSj xsV dh osfYMax vkSj e”khuksa ds fy, cuk;k tkrk gSA

Ms; ekSYM dk iz;ksx ugha gksrk gSA

dksbZ Hkh i`’B esa Mht+u vkdkj cukus ds fy, ugha vkSj lgha vuqeku “kqn~/krk ds fy, ughaA

,y- ijh{k.k ds O;fDr

& izca/k funsZ”kd] lh th gLrf”kYi dofkl cksMZ] lh&35] jfo uxj] jk;iqj (lh th)

& czkLVj yksgk f”kYi ds jk’Vªh; iqjLd`rA

& jk’Vªifr] lrh lekt] lsok lUrk] dqekjkijk] dksMkaxt] txnyiqj ftyk] lh th

& ekjdfVax ikVZuj] “kcjh ;sEiksfj;e] gLrf”kYi fodkl cksMZ] lh&35] jfo uxj] jk;iqj (lh th)

& lgk;d funsZ”kd] 0 izfr”kr Mh lh (gLrf”kYi) txnkyiqj] lh th

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55 G.I – APPLICAT ION NUMB ER 87

Application is made by The Orissa State Cooperative Handicrafts Corporation Limited, D-2 & 3, Industrial Estate, Rasulgarh, Bhubaneshawar, India for registration in Part A of the register of Konark S tone Carving under Application No. 87 in respect of Statues and statuettes of gods and goddesses, nature and human forms, Candle stand, Konark wheel, Flower vase, M obile holder, Key rings, made of stone falling in Class 19 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Orissa State Cooperative Handicrafts Corporation Limited

Address : D-2 & 3, Industrial Estate, Rasulgarh, Bhubaneshwar

Geographical Indication : Konark S tone Carving

Class : 19

Goods : Statues and statuettes of gods and goddesses, nature and human forms, Candle stand, Konark wheel , Flower vase, Mobile holder, Key rings made of stone.

56 (<Ç) Ê´ÉÊxÉnæù¶É =i{ÉÉnù EòÉä ÊxÉÌ¨ÉiÉ Eò®úxÉä Eäò Ê±ÉB ÊxÉ¨xÉÊ±ÉÊJÉiÉ EòSSÉä {ÉnùÉlÉÇ EòÉ¨É ¨Éå ±ÉÉªÉä VÉÉiÉä ½éþ* ¨ÉÞnÖù±É ½þ®úÉ {ÉilÉ®ú ºÉ{Éæx]õÉ

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57 (A) Name of the Applicant : Orissa State Cooperative Handicrafts Corporation Limited

(B) Address : D-2 & 3, Industrial Estate, Rasulgarh, Bhubaneshwar, Orissa, India.

(D) Type of goods : Handicrafts

(E) Specification:

The Raw Materials used by the artisans for developing the products are as follows: Soft green stone (Serpentine): Initially it is looks like solid gray in color but when artisan work on it or wash the stone it become translucent green. It is very good in look. It is got from the kenthumundi.

Granite: It is used for heavy work. It is dark and heavy stone got from the Moyurbanj. Sand stone (Saan patar): it is used for rough big cheap sculpture. It is got from kunda Tapang district. Soft red stone (Naali stone): It is very good at work. It has fine lines and no translucency. Car patch (Adhesive): It is very much used in stone carving because of it’s quick bond behavior (It will fix and dry with in 15 min.). Araldite (adhesive): It is also used for joining the stone but it is takes long time to join (12 to 24 ours). Araldite is used because of its strong bonding. Sand paper: It is used for giving finishing the product and making the surface smooth.

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59 (F) Name of the Geographical Indication (and particulars) : Konark Stone Carving

(G) Description of goods:

The volume and skill of the stonework in orissa is known from the remains of massive temples and stone images in various parts of orissa belonging to the period. The present day stone carving products range from sculptures, vases, interior decorations to large monuments. The artist of konark has produced an endless variety of sculptures, which can be divided into four categories The divine The secular figure The world of flora The world of fauna

(H) Geographical area of Production and Map as shown in page no 64 & 65.

The main geographical areas of production of konark stone carving are Konark (district Puri, Orissa, India) and near-by areas and Bhubaneswar (Orissa, India) and its outskirts. The specific location can be given in the terms of latitudes and longitudes. Konark 86°E 19°N Bhubaneswar 85°E 20°N

(I) Proof of origin: (Historical records) The tradition of stone carving is very rich in Orissa. The crafts persons of the Kalinga School have built masterpieces like the Sun Temple, Konark, and the temples at Bhubaneswar. Konark is an important centre for stone-carving. Soft stone, red sand stone, and granite are used for carving. Konark specializes in icons and figures carved in different dance poses. A variety of household products are made from sand stone while granite is used to make images modelled on temple figures.

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61 The work is confined to people of Pathurias caste with surnames of Das, Mistri, Nayak, Maharana, etc. this has been mentioned in the year 1604 in an oriya inscription The art dates back to the late 6th century or early 7th century AD In the 20th and 21st century the evidence of this art can be given by the list of award winning artisans.

(J) Method of Production:

The process of doing is the basic design is traced on the stone and it is given a crude shape. The final carving is then carried out and the items are polished. The process is carried by the reduction of a block of stone to a finished state using a variety of tools. Procedures of carving processes can be used to create masonry for construction or for decorative purposes or both combined. Computers controlled cutters etc., cannot yet improve upon works finished by hand. Anyone able to swing a hammer and hold a chisel at the same time can attempt to carve. Though no one technique or method is suitable for all carving, every block of stone or marble demands a slightly different approach to the next piece because of its own unique nature. Process

The block of stone is broken down in to main planes or areas, following form of the desired shape. Surface is drilled to various desired depths and unwanted material removed. M ain rough body outline is made. Intricate work is then made. Tool marks are removed with flat chisels. Muscular definitions are further improved. Finally, all surfaces are meticulously finished.

(K) Uniqueness:

The most important feature of Konark stone carving is the raw material. Konark stone carving utilizes serpentine stone, which is not employed by other craftsman. The stone is called serpentine because of its color and markings resembling the skin of snakes. Serpentine stone is found in a staggering variety of colors. Serpentine comes in multicolored green, pink, gray, and black and has a distinctive dull to greasy luster and a greasy feel. Compared to other dark rocks, serpentine is soft. Chemically it can be given as ((M g, Fe)3 Si2O5(OH)4) minerals; it is also often rich in other metal ores, including chromium, manganese, cobalt and nickel. In

62 mineralogy, serpentine may refer to any of 20 minerals belonging to the serpentine group. Owing to admixture, these minerals are not always easy to individualize, and distinctions are not usually made. The figures genrally carved depict odissi dance poses (mudras) .Sculptures are dressed and ornamented with traditional Orissan graments and jewellery.

(L) Inspection body:

M anaging Director, Orissa State Cooperative Handicrafts Corporation Limited (Utkalika). Asst Director, Development Commissioner of Handicrafts Bhubaneswar, Orissa. Deputy Director, Handicrafts O/o Director Handicrafts & Cottage Industries, Bhubaneswar, Orissa. Executive Director, State Institue for Development ofArts & Crafts. One National Awardee/ Master Craftsman/ Local Designer from Bhubaneshwar/ Konark

63 64 65 VÉÒ. +É<. +É´ÉänùxÉ xÉ¨¤É®ú 88

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66 G.I. – APPLICATION NUMBER 88

Application is made by The Orissa State Cooperative Handicrafts Corporation Limited, D-2 & 3, Industrial Estate, Rasulgarh, Bhubaneshwar, India for registration in Part A of the register of ORISS A PATTACHIT RA under Application No. 88 in respect of wall hangings made of textile and paintings falling in Class 24,and 16 respectively is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Orissa State Cooperative Handicrafts Corporation Limited

Address : D-2 & 3, Industrial Estate, Rasulgarh, Bhubaneshawar

Geographical Indication : ORISS A PATTACHIT RA

Class : 24 and 16

Goods : Wall hangings made of textile and paintings

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(A) Name of the Applicant : Orissa State Cooperative Handicrafts Corporation Limited

(B) Address : D-2 & 3, Industrial Estate, Rasulgarh, Bhubaneshawar, Orissa, India.

(D) Type of goods : Handicrafts

(E) Specification :

Raw materials for Pattachitra can be divided into two broad headings i.e. raw material for patta and raw material for colors. These raw materials are listed below:

1) Patta It is a double thickness coarse cotton cloth pasted together. This Patta is usually of GSM 565.71 and thickness of 4.07 mm. The materials required for this are: ¾ Cotton cloth ¾ Tamarind seeds ¾ Chalk powder or khadi

2) Colors All the colors used in Pattachitra are vegetable and mineral colors. These are available at Rs-40-50 per kg. The source of each color is:

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(BSÉ) =i{ÉÉnùxÉ EòÉ ¦ÉÉèMÉÉäÊ±ÉEò IÉäjÉ ´É ¨ÉÉxÉÊSÉjÉ VÉèºÉä {ÉÞ¹`ö ºÉÆ 83 ¨Éå ÊnùªÉÉ MÉªÉÉ*

(+É<Ç) ¨ÉÚ±É EòÉ |É¨ÉÉhÉ (BäÊiÉ½þÉÊºÉEò +Ê¦É±ÉäJÉ)

{ÉÖ®úÉiÉxÉ ¨ÉÚ±ÉEòiÉÉ EòÉ |É¨ÉÉhÉ <ºÉºÉä Ê¨É±É VÉÉiÉÉ ½èþ ÊEò <ºÉEòÒ ¶Éè±ÉÒ +ÊiÉ |ÉÉSÉÒxÉ ½èþ +Éè®ú ¨ÉÎxnù®úÉå ¨Éå

¾ vermillion red – hingula (cinnabar) ¾ brick red - geru (red ochre) ¾ yellow – hartala (orpiment) ¾ white – sankh (conch shell) ¾ black – lamp black ¾ gum resin (limonia acidissimia)- kaintha plant

Other Raw materials which were used in the product diversification process are as follows:

¾ Card board of two types- thin and thick available at Rs-3-5 per piece ¾ Fevicol available at Rs-36 per 200 ml ¾ Glass pieces available at Rs-15 per box ¾ Fabric-tussar, cotton available at Rs-180 and Rs-45 respectively. ¾ Lamination sheets available at Rs-24/ sheet ¾ Fancy yarn available at Rs.2/m ¾ Buckram cloth available at Rs-30 per m ¾ Rivets available at Rs-2 per piece

(F) Name of the Geographical Indication (and particulars):

ORISSA PATTACHITRA

(G) Description of goods:

The paintings of patachitra is a living art which has its roots since ancient times. The word Pattachitra is derived from the Sanskrit word “patta”, which means a painted piece of cloth,or a plate;chitra means paintings or picture The brillinantly colored patachitra works were produced at puri or souveriers for the pilgrims of the Jaganath temple. Themes for these paintings range from incidents in Krishna life and the avatars of Vishnu to the epic tales of Ramayana and Mahabharata.

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72 Themes used in this arts are: Lord jagannath and the triad of deities Episodes from the Hindu epics Workship of various gods and Goddesses Folklores Erotic Paintings

(H) Geographical area of Production and Map as shown in page no 83.

(I) Proof of origin: (Historical records)

The proof of origin of the “Pattachitra” art can be traced from their primitive style and the important role it plays in temple services which are contemporary with the building of the Jagannath temple (12th century). All this suggests an early date for its origin.

Pata paintings or Patachitra is a very old form of art in Orissa. These paintings flourished in Orissa in early 15th 16th centuries. The cult of Jagannath used Pata paintings to spread the faith throughout Orissa and also outside because of the patronage by the temple of Jagannath.The Chitrakaras (the painters) painted Jagannath Patas in large number and slowly these Patas outnumbered other thematic ones in Orissa.Besides Jagannath,themes of Ramayana and Bhagabata are also popular theme for the Chitrakaras.

Every year on Jyeshtha purnima, the painted wooden images of Jaganath, Balabhadra and their sister Subhadra are ritually deansed with holy waters. This bathing discolors the icons and they are removed from the temple for 15 days so that they can be repainted. During this time, the three“Patachitra paintings” depicting the divine trio are substituted for the images by the temple painter. Originally the only centre of patachitra paintings was in the district of puri where the artists lived in the villages of Raghurajpur and Dhandasahi opposite banks of the Bhargavi River. Later, when Jaganath temples were created in other provinces, some of the painters move to these centers. The proof of origin of the art can also be extracted from the list of awardees who

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74 have been winning acclaimed awards through many years. Ram Maharana, the famous artisan of chitrakaro caste of traditional painters participated in Asian artist mela in New York.

The following supportive documents have been produced. Asian Artists In Crystal, printed in 1956, which proves the existence and popularity of the art. The entire story of the art, pattachitra , undersigned by Shilp Guru Ananth Maharana and the copy of his certificate . “Indian pigment paintings on cloth” (volume iii) written by Kay Talwar and Kalyan Krishna.

(J) Method of Production:

The method of production for Pattachitra is very long and entire process is completed in many steps. The artists and his family together perform these steps which are preparation of patta, preparation of pigments, motif selection and layout, and finally painting. All these steps again includes sub step which are discussed further. Each and every step is very crucial for the proper end product any mistake in any of these steps can lead to faulty painting. This being the tradition of these craftsmen they follow it very religiously. The steps are: 1 Preparation of patta , 2 Preparation of Pigments, 3 Motif selection , 4 Painting

Process:

Preparation of patta

Preparation of Pigments

M otif selection

Painting

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{ÉilÉ®ú EòÒ iÉ®ú½þ VÉ¨ÉÒxÉ ¨Éå +ÉèÊ®ú{É¨Éå]õ xÉÉ¨ÉEò ºÉ±¡èòb÷ +É®úºÉÊxÉEò +¨±É |ÉÉ{iÉ ½þÉäiÉÉ ½èþ* <ºÉ EòÉ ®ÆúMÉ ½þ±EòÉ ½èþ +Éè MÉä½þ®úÉ {ÉÒ±ÉÉ ¦ÉÒ ½èþ* Eò¦ÉÒ EäòºÉÊ®úªÉÉ ®ÆúMÉ ¦ÉÒ ½þÉä VÉÉiÉÉ ½èþ* +{ÉxÉÒ EÖònù®úiÉÒ nù¶ÉÉ ¨Éå +ÉèÊ®ú{É¨Éå]õ ¨Éå ¨ÉéEòÉ SÉiÉÊ®úVÉ SÉ¨ÉEò ®ú½þiÉÉ ½èþ VÉÉä º´ÉhÉÇ vÉÉiÉÖ Eäò ºÉ¨ÉÉxÉ ¦ÉÒ |ÉiÉÒiÉ ½þÉäiÉÉ ½èþ*

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ªÉ½þ ¤ÉkÉÒ Eäò EòÉVÉ±É ºÉä |ÉÉ{iÉ ½þÉäiÉÉ ½èþ* iÉä±É ¤ÉkÉÒ Ê¨É]Âõ]õÒ EòÉ ¤ÉiÉÇxÉ ±ÉMÉÉiÉä ½éþ* ¤ÉkÉÒ ¨Éå VÉ¨ÉxÉä´ÉÉ±Éä EòÉ±Éä EòÉVÉ±É EòÉä Ê¨É]Âõ]õÒ Eäò ¤ÉiÉÇxÉ ¨Éå ±ÉäiÉä ½éþ

®úÉVÉ®úiÉ ªÉÉ ±ÉÊ{ÉºÉ ºÉÉä±ÉÒ ºÉä +±]ÅõÉ ¨É®èúxÉ xÉÒ±ÉÉ ´ÉhÉÇ ¦ÉÉ®úiÉÒªÉ {Éä<Ïx]õMÉ Eäò Ê±ÉB ¤É½ÖþiÉ |ÉÉ®ú¨¦É ÊnùxÉÉå ºÉä EòÉ¨É ¨Éå ±ÉÉªÉä VÉÉiÉä ½éþ* ªÉtÊ{É {ÉÚ´ÉÇ ¦ÉÉ®úiÉÒªÉ {Éä<Ïx]õMÉ ¨Éå ªÉ½þ EòÉ¨É ¨Éå ±ÉÉªÉä VÉÉiÉä ½éþ*

76 1. Preparation of patta (patta astra) First of all patta is prepared by following the given. a. Canvas Making In Orissa, the canvas is prepared by pasting layers of old and used cloth with the help of tamarind glue. The first layer of cloth is spread on the connected floor or on a hensa(approx. size 158cm by 180cm). The glue is applied over it in the manner of smearing cow dung on the floor of a house. The second layer of cloth is spread over it and pasted together. The bubbles and patches of glue in between the layers are removed. Wherever it’s torn a small piece of cloth is pasted on it to make it up for that area. If need arises a third and fourth layer are also used. Before pasting the cloth, care is taken to remove the edges and borders of the cloth to avoid ridges on the surface.

The tamarind seeds are crushed on a sila and then soaked in water in an earthen pot for half a day. Then they are grounded and made into thick liquid. This liquid is cooked to obtain the glue. For large canvas or pati 3-4 layers of cloth are pasted together. Now this is left in the sun to dry. When it is dried, it is taken of the floor, rolled and preserved for painting. Especially during winter and summer or spring, these canvases are prepared in large numbers and are stored. The housewives execute the entire process of making the gum and preparing the patta. Since these are rolled like mats (pati in Oriya for mats) these are known as patis. In Puri area these are known as pataastra. b. Application of Khadi (Khadi Lagi)

The coating is obtained by mixing tamarind glue with chalk in the proper proportions. Generally the proportion of chalk and glue is fifty percent each. But in the rainy seasons due to dampness in the atmosphere the proportion of gum is increased by 5% to avoid the nasama (wet effect). This coating is also applied by hand in the manner of putting glue on the cloth while preparing pati.

When the first coat becomes a bit dry, it is rubbed with round soft stones called barada or jhuna barada. Two types of baradas are used. The rough one is called khadada barada and the fine one-

77 ½þ®úÉ

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VÉÉäc÷xÉä EòÉ ¨ÉÉvªÉ¨É

´ÉhÉÉç EòÉä VÉÉäc÷Eò®ú =x½åþ ClÉÉªÉÒ ¤ÉxÉÉxÉä Eäò Ê±ÉB MÉÉånù EòÉ¨É ¨Éå ±ÉÉªÉÉ VÉÉiÉÉ ½èþ* xÉÒ¨É Eäò {Éäc÷ +Éè EòÊ{ÉkÉ ´ÉÞIÉ ºÉä MÉÉånù |ÉÉ{iÉ Eò®úEäò ®ÆúMÉÉå ¨Éå Ê¨É±ÉÉªÉÉ VÉÉiÉÉ ½èþ* MÉÉånù ºÉÒvÉä {Éäc÷ ºÉä |ÉÉ{iÉ ½þÉäiÉÉ ½èþ +Éè®ú {ÉÉxÉÒ VÉÉäc÷Eò®ú iÉ®ú±É ÊEòªÉÉ VÉÉiÉÉ ½èþ* ªÉ½þ pù´É {ÉnùÉlÉÇ ®ÆúMÉÉå ¨Éå EòÉ¨É ¨Éå ±ÉÉªÉä VÉÉiÉä ½éþ* ±ÉEòË®úMÉ VÉÉäc÷xÉä Eäò ¨ÉÉvªÉ¨É Eäò °ü{É ¨Éå EòÉ¨É ±ÉÉªÉä VÉÉiÉä ½éþ {É®ú ºÉÉ¨ÉÉxªÉiÉ& ªÉÉ {Éä<Ïx]õMÉ {ÉÚ®úÉ ½þÉäxÉä {É®ú ½þÒ*

Ê´É¹ÉªÉ ´ÉºiÉÖ EòÉ SÉªÉxÉ

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(Eäò) Ê´ÉÊ¶É¹]õiÉÉ

{É]Âõ]õ ÊSÉjÉ Eäò |ÉÉ¨ÉÖJªÉ =ºÉEòÉ Eò±´ÉÉºÉ ½èþ ÊVÉºÉ {É®ú ÊSÉjÉÉÆEòxÉ ÊEòªÉÉ VÉÉiÉÉ ½èþ <ºÉ +ÉvÉÉ®ú Eäò Ê¤ÉxÉÉ ÊVÉºÉä {É]Âõ]õ +ºjÉ Eò½þiÉä ½éþ ÊVÉºÉ Eò±ÉÉ EòÉ ¨É½þi´É +{ÉÚhÉÇ ®ú½þ VÉÉBMÉÉ* {É]Âõ]õ ÊEòºÉ iÉ®ú½þ ÊEòªÉä VÉÉiÉä ½éþ +Éè®ú iÉèªÉÉ®úÒ EòÉ º´É°ü{É, ®ÆúMÉ +ÉÊnù {É½þ±Éä ½þÒ ¤ÉiÉÉªÉä VÉÉ SÉÖEäò ½éþ* {Éä<Ïx]õMÉ ¨Éå +ÉxÉä´ÉÉ±Éä Ê´É¹ÉªÉ ´ÉºiÉÖ+Éå ¨Éå =c÷ÒºÉÒ +Éè®ú MÉÉä]õÒ{ÉÖ´ÉÉ xÉÉSÉ Eäò Ê´ÉÊ¦ÉzÉ ¨ÉÖpùÉBÄ ±ÉÊIÉiÉ ½éþ* ºÉ¦ÉÒ {Éä<Ïx]õMÉ ÊEòºÉÒ xÉ ÊEòºÉÒ EòlÉÉ ´ÉºiÉÖ EòÉä ºÉÚÊSÉiÉ Eò®úiÉÒ ½èþ*

(B±É) ÊxÉ®úÒIÉhÉ Ê´ÉEòÉºÉ

|É¤ÉÆvÉ ÊxÉnäù¶ÉEò, =c÷ÒºÉÉ ®úÉVªÉ, ºÉ½þEòÉ®úÒ ½þÉlÉEòÉ®úÒMÉ®úÒ ÊxÉMÉ¨É Ê±ÉÊ¨É]äõb÷ (=iEòÊ±ÉEòÉ) ={ÉÊxÉnäù¶ÉEò, ½þlÉEòÉ®úÒMÉ®úÒ ´É EÖò]õÒ®ú =tÉäMÉ ¦ÉÖ´ÉxÉä·É®ú, =c÷ÒºÉÉ EòÉªÉÇEòÉ®úÒ ÊxÉnäù¶ÉEò Eò±ÉÉ ´É EòÉªÉÇEòÉ®úÒ Eäò Ê´ÉEòÉºÉ EòÉ ®úÉVªÉ ºÉÆºlÉÉxÉ BEò ®úÉ¹]ÅõÒªÉ {ÉÖ®úºEòÉ®ú |ÉÉ{iÉ, ¨ÉÉº]õ®ú EòÉÊ®úMÉ®ú ºlÉÉxÉÒªÉ +Ê¦ÉEò±{ÉEò (Designer), ¦ÉÖ´ÉxÉä¶É´É®ú, EòÉähÉÉEÇò ºÉä*

78 chikana barada. The first phase of rubbing is done with jhuna barada and the subsequent smoothing is done with chikana barada. Due to this rubbing the surface of pati becomes smooth and polished. Horizontal and vertical movements of the grinding stone do rubbing systematically. Sometimes barada is also replaced by pua, meaning a round stone. Rubbing and polishing are done on the both sides of pati otherwise it becomes shaky and twisted. c. Sizing (Sama-Nakariva)

After the coats are applied and polished the patis are trimmed on the sides and are cut into required sizes with the help of scissors. Patis for ganjapa are cut by the help of ssama (a round iron rim with a sharp edge attached to a log), which is beaten on the particular forms result from this. d. Preparing Tussar silk for painting Required size of ply wood board is taken on which silk fabric is pasted with the help of Fevicol and then it is allowed to dry. After drying it is ready for painting.

Preparation of Pigments

All earth, stone and mineral colors are used to paint the patas. Basically primary colors are used in pata paintings.these pigments are added with the binding media and then used

Whi te : It is the basic color of the pata painters in the sense that the total values of all other colors are determined from the white as one of the primary or pure colors may be noted in almost all silpa texta dealing with painting. In Orissa, the white used in the pata paintings is prepared from conch shells, which are easily available on the seacoasts of Orissa. The conch shells are crushed and ground and made into a paste. This is kept in an earthen pot, mixed with water. After a few hours of storing the sedemented water comes up and khadada (rough) portion goes down the pot and is thrown away. Now the whole substance is filtered and it is put on a banana leaf to dry in the sun. The liquid becomes dry and is gathered as small cakes.

79 Vermillion or crude cinnabar (hingula) The crude cinnabar is thoroughly levigated in a mortar with the help of sugar water or limejuice, which is a better substitute. Then the cinnabar is allowed to settle and the yellowish water is carefully drained off. The process is repeated fifteen times or even more to obtain the purest cinnabar. It is again levigated with sugared water or limejuice and gum and after being thoroughly mixed it is formed into tablets and dried.

Red Ochre (gairika or geru) It is also used in place of vermillion red in most of the cases. Red clay or gairika is pulverized on stone for one whole day and thereafter the color is obtained by washing it in pure water. Geru (red) ochre is available in the form of small balls as well as in powdered form in the open market.

Yellow: Oripment is a sulphide arsenic acid found in nature as stone. Its color is light, vivid yellow, but more often slightly inclined towards orange. In its natural state oripmment has a mica-like sparkle that recalls the lusture of metallic gold.

Black: It is obtained from oil wick lamp black. An earthen pot is put over the oil lamp. The black from the wick gets stuck inside the pot. Those are collected and put to use.

Blue: Ultramarine blue extracted from rajaarta or lapis lazuli was used in Indian painting from a very early date, though it is some what rare in Eastern Indian paintings.

Green: It is obtained by mixing yellow with blue or yellow with black.

The other colors which occur in present paintings are violet, grey, yellow, ochre, cobalt blue, orange, etc. there is no separate process of preparing these colors.

80 Binding media

Gum is used in all the colors to make them sticky and permanent. The gum obtained from neem tree and kapitha (elephant apple) are mostly mixed with colors. The gum is obtained directly from the trees and is made into liquid by adding water. This liquid is used in the colour. Lacquering is considered as another binding medium, generally applied to the painting after it is finished.

Selection of Motifs

Motifs or themes are one of those things, which identify Patachitra from other paintings. Like many of the folk paintings gods and goddess are main themes but their depiction and style makes it different. Vaishnava episodes form the major theme of the patta paintings. Stories from the Bhagvata (Krishnalla portion), Ramayana and the Jaganatha paintings are generally included in the vaishnava themes. Pata paintings are absolutely traditional in thematic content and have essentially religious overtones. The themes may be classified into the following categories: Vaishnava paintings ,Bhagavata (Krishnalila) paintings, Ramayana paintings ,Jaganatha paintings, Sakta paintings, Savia paintings, Paintings on legends, Other themes, Composite figures, Ragachitras, Bandhachitras, Yama pati

(K) Uniqueness:

The most important feature of pattachitra is the canvas on which the painting is done, without this base, called patta astra the significance of the art is incomplete. The uniqueness of the Patta chitra i.e. the preparation of patta has been discussed in the method of preparation. The motifs used in the painting sybolises the different posses of oddissi and gotipua dance. All the paintings done depicts one or the other story

81 (L) Inspection body:

M anaging Director, Orissa State Cooperative Handicrafts Corporation Limited (Utkalika). Asst Director, Development Commissioner of Handicrafts Bhubaneswar, Orissa. Deputy Director, Handicrafts O/o Director Handicrafts & Cottage Industries, Bhubaneswar, Orissa. Executive Director, State Institute for Development of Arts & crafts. One National Awardee/ Master Craftsman/ Local Designer from Bhubaneswar/Konark.

82 83 th-vkbZ-&vkosnu la[;k & 90

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G.I. – APPLICATION NUMBER 90

Application is made by The vegetable hand-block kalamkari printers association Near Brahmapuram Railway Gate, Agastheswara Puram, Pedana 521566, Pedana Mandal Krishna District, Andhra Pradesh.India for registration in Part A of the register of “Machilipatnam Kalamkari” under Application No 90 in respect of Textiles and Textile goods, not included in other classes; bed and table covers; Clothing, foot wear, head gear ;Carpets, rugs, mats and matting, linoleum and other materials for covering existing floors, wall hangings falling in Class 24,25 and 27 respectively is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Vegetable Hand-Block Kalamkari Printers Association

Address : Near Brahmapuram Railway Gate, Agastheswara Puram, Pedana 521 566, Pedana Mandal Krishna District, Andhra Pradesh

Geographical Indication : Machilipatnam Kalamkari

Class : 24, 25 and 27

Goods :Textiles and Textile goods, not included in other classes; bed and table covers; Clothing, foot wear, head gear; Carpets, rugs, mats and matting, linoleum and other materials for covering existing floors, wall hangings.

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86 (A) Name of the Applicant : Vegetable Hand-Block Kalamkari Printers Association

(B) Address : Near Brahmapuram Railway Gate, Agastheswara Puram, Pedana 521 566, Pedana Mandal Krishna District, Andhra Pradesh

(D) Type of goods : Handicrafts

(E) Specification

a. Made of natural fibre for e.g. cotton or silk or a mixture of both.

b. Dyed / Printed with Natural (vegetable) colors obtained from different parts of Plants.

c. Use of Natural Mordants

d. Hand-block printed

(F) Name of the Geographical Indication (and particulars):

Machilipatnam Kalamkari

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26 67 oxZ fdykeh- {sk= ij QSyk gqvk gSA eNyhiVue 16º-14 º mrj v{kka'k rFkk 81 º-10

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88 (G) Description of goods:

“Machilipatnam Kalamkari” visually identified by the all over floral twine / Persian designs which are block printed and produced in traditional laborious methods using natural vegetable dyes. The goods produced are 1 Upholstery (Custom printed wall decoratives, sofa and chair covers, durries, floor mats etc.) 2 Furnishings / Made-ups (Custom printed bed covers, table covers, cushion covers, pillow covers, bolster covers, quilts and quilt covers, etc.) 3 Fabrics (Printed Yardage fabrics for, tailored curtains, men’s and women’s wear garments, accessories like bags, sarongs, stoles and scarves etc.)

(H) Geographical area of Production and Map as shown in page no 115 & 116.

M achilipatnam, also known as Masulipatnam or Bandar, is the administrative headquarters of the Krishna District. The district is bounded by Khammam District to the north-west, West Godavari District to the north-east, the Bay of Bengal to the south-east, Guntur District to the southwest, and Nalgonda District to the west. It is located on the southeastern or Coromandel Coast of India, situated on the mouths of river Krishna at the Bay of Bengal, Machilipatnam town is situated 65 km away from Vijaywada city. It is a municipality with 34 panchayats and 28 villages. The city covers an area of 26.67 sq. km. Machilipatnam Revenue M andal is situated on 16o-141 north latitude and 81o- 101 east longitude. Pedana is an ancient town and the main industry is kalamkari and weaving. Pedana town is situated in Machlipatnam-Gudivada highway road and it is also situated on the Machlipatnam –Vijayawada broad-gauge railway line at a distance of 10kms from Machlipatnam. Pedana is located at 16.27° N 81.17° E. It has an average elevation of 1 metre. It is mandal head quarters. The municipal area of the town is 20.72 sq km.

Apart from M achilipatnam and Pedana the major production centers of Kalamkari, parts of Polavaram and Kappaldoddi villages of Gudur Mandal of Krishna District and

89 ds vykok d`".k ftys dk xqMqj eaMy dk iksYykoje rFkk dikyMksMMks xkao Hkh dyedkjh dk dasnz gS A izdk'ke ftys dk fpjkyk {ks= (15:49:18 mrj v{kka'k vkSj 80:21:21 iwoZ ns'kkarj esa fLFkr gS A ) esa eNyh iVue dyedkjh dh phtsa mRiUu gksrh gS A

¼>½ mRifk dk lcwr ¼,sfrgkfld½ % eNyhiVue uxj ds xsV ds fuekZ.k ls mRiUu gqvk gS ftls eNyh dh vka[k ls ltk;k x;k gS rsyxkl fuEu e/;e oxZ cukrs gS] os vPNh la[;k esa elwyhiVue esa cls gq, vkSj mUgksus bl mn;ksx viuk fy;k A xksdksaMk ds 'kklu ds nkSjku Qkjlh esa bl mn;ksx esa 'kkfey gks x;s A elwyhiVue xksydksaMk lkezkT; dk eq[;k okf.kfT;d canjxkg Fkk A ckn esa Hkh fonsf'k;ksa tSls Qzkalhlh] fczfV'k vkSj Mp yksx elwyhiVue esa vkdj cl x;s A ;s lHkh elwyhiVue esa fo[;kr dyedkjh mn;ksx dks c

90 Chirala (located at 15:49:18 N l at it ud e a nd 80 :21 :21 E ast lon git ud e) of Prakasham District also produces Machilipatnam Kalamkari Products.

(I) Proof of origin: (Historical records)

The name M achilipatnam derived owing to the construction of a gate to the town, decorated with the eyes of a fish (machli). Telgas who form the lower middle class inhabited Masulipatnam town in good numbers and they had taken up to this industry. Under the Golconda rulers the industry received a further filling with contact of the Persians. Masulipatnam was an important commercial port of the Golconda kingdom. Still later, the commercial interests of the foreigners as the French, British, and the Dutch came to be centered in Masulipatnam. All these gave a boom to the famous Kalamkari industry of Masulipatnam. It is said that the localities of Rustambada, Nizampet, Balaramunipet of Masulipatnam town were occupied entirely by the hundreds of family engaged in Kalamkari. It is claimed that the first automobile in the town was owned by one of the families engaged in the Kalamkari industry.

Machilipatnam natural color hand block printed bed cover/wall hanging on display at Victoria Albert Museum of London belonging to 15th Century , Items at Salarjung Museum, Hyderabad, A.P. India belonging to 17th Century , the book on “Machilipatnam Printed Kalamkari Art”, published by Marg Publications placed at Salarjung M useum, “Heritage of Kalamkari” a documentation by Nelli Sethana, Research carried out under Omi Baba Scholarship, hosted by U.K. Govt., Kalamkari printed samples at Calico Museum, Shahibagh, Ahmedabad are proof of origin of this craft.

Brief History and Revival of Kalamkari:

M achilipatnam in Andhra Pradesh, the nerve center of this art continue to be beehive of kalamkari activity. Kalamkari colours are made from vegetable dyes. Kalamkari leit motifs comprise different forms of the lotus flower, the cartwheel, parrots, an interlacing pattern of leaves and flowers.

Laf{kIr bfrgkl vkSj dyedkjh dk iqutZUe

vka/kzizns'k dk eNyhiVue tks bl dyk dk uoZ dsanz gS A vHkh Hkh dyedkjh fdz;k dk Nkrk gS A dyedkjh dk jax lfCt;ksa ds jaxksa ls curk gS A dyedkjh ds vkd`fr esa dye dk Qwy] jFk dk pDdk] rksrk] ,d varysfll isVuZ 'kq: ls gh eNyhiVue ds rVh; {ks= vius diM+ksa dh NikbZ rFkk jaxkbZ ds fy, izfl) gS A fo'ks"k :Ik ls bl 'kgj dh dyedkjh fo'oizfl) gS A dq'ky f'kYidkjh cgqr eghuksa dks QSyh gqbZ gS A tVhy fMtkbu ls CykWd rjk'kuk vkSj LFkkuh; tM+ksa ls jax cukuk bl dyk dh [kqclwjrh dks vkSj fu[kkjrk gS A le; le; ij nwljs ns'kksa esa Hkh bl mn;ksx dks tekus dh cgqr dksf'k'k dh xbZ ysfdu lQyrk ugha feyh A dqN Qkjlh O;kikjh elwyhiVue esa cl x;s vkSj vius ifjokj dh enn ls u;k fMtkbu rS;kj fd;k A vkSj LFkkuh; dq'ky dkjhxjksa ds lgkjs cgqr ek=k esa fu;kZr mRiUu fd;k gS A ysfdu ckn esa fu;kZr esa vf/kd dj yxus ls rFkk e'khu dh gksM+ ds dkj.k udyh jaxksa dk iz;ksx fd;k tkus A O;kikj ds ykHk esa Hkh deh vkus yxh vkSj Qkjlh us viuk O;kikj can dj fn;k A dqN LFkkuh; ifjokjksa us tSls foukdksVkl us bl O;kikj ds tkjh j[kk vkSj mudk dk;Z bruk ewY;oku lkfcr gqvk fd mudks fofHkUu izn'kZuh esa ind vkSj izek.ki= fn;s x;s A

dyedkjh dh dyk vkSj f'kYi dqN lnh ls pyk vk jgk gS ysfdu dh dyedkjh ds orZeku usrkvksa vlyh ;knxkj lgdkjh lehfr ds iqutZUe vkSj 1939 esa foukdksVk osadVLokeh uk;Mq dh v/;{krk esa cky;kyxqMse lgdkjh lehfr ds fuekZ.k ds lkFk vkjaHk gqvk A 1990 rd bl lehfr us vPNk dke fd;k vkSj mlds ckn bldk iru gksuk 'kq: gks x;k A jsdkiYyh ikFkkZ lkjk/kh dyedkjh tks :lre ckck ds ;gka dke djrh gSA csMj ds lkFk lkFk CykWd esdj cykdksVbZ vkSj iskUuq: iq:"ksakrre izkd`frd bafMxksa okV cukus

92 From very early times the coastal area around Masulipatnam has been famous for its cloth-printing and dyeing. In particular, Kalamkari of this city are world renowned. Patient and skillful craftsmanship spread over many months, dexterous plying of the blocks in intricate designs and preparation of the dyes from indigenous roots contributed to the beauty of these works of art. Several attempts were made from time to time to plant this industry in other countries, but without success. Some enterprising Persian merchants settled down in M asulipatnam with their families introduced new designs and with the help of local skilled workmen, produced large quantities for export. But, later owing to the levy duties on exported cloth, and the competition of machine made cloth dyed with artificial chemical dyes, the profits in the trade dwindled and the Persians closed down their business. Some local families like Vinnakotas kept up the trade, and their work was deemed so valuable that medals and certificates of merit were awarded to them at different exhibitions.

Though the art and craft of Kalamkari existed since few centuries ago, the actual momentum for the existing leaders of Kalamkari started only after the revival of cooperative societies and formation of Balyalagudem Cooperative Society especially for Kalamkari workers headed by Mr. Vinnakota Venkataswamy Naidu in 1939 as President. The Society functioned well till 1990’s and later started declining. Rekapalli Partha Saradhy Kalamkari works at Rustumbada, Bandar as well as Block Maker Balakotaih and Ponnuru Purushotham known for their expertise in preparing Natural Indigo Vat have also contributed to a great extent in supporting the Kalamkari Industry till 1960’s.

During the same period around 1968, many families belonging to the professional weaver’s community started migrating to the Kalamkari craft and got trained under Anumakonda Venkata Rangaih Naidu. They are found to be the existing pillars of the craft today, which is spread over Pedana, Polavaram and M achilipatnam. M r. P.B. L. Nagendra Rao, S/o Late Subbiah, Bandar Kalamkari House, Pedana and Mr. P. Mukkanteswar Rao, S/o Late P. Nageswar Rao, Polavaram, Bhatta Mohan Rao, Sajja Nageswar Rao, Mr. Gangadhar, Block maker and few others are now the master craftsmen practicing Exclusive Block Printing in the revised method (which uses no wax process and painting method)

93 vius ;ksxnku ds ckjs esa tkus tkrs gSa ftlus 1960 rd dyedkjh mn;ksx dks dkQh gn rd lgkjk fn;k A mlh vo/kh ds nkSjku 1968 esa cgqr ls ifjokjksa us tks is'ksoj rkSj ij cqudj gS ] dyedkjh dyk dks viukus yxs vkSj vuqdksaMk osadVk jka?k;k uk;Mq ds ;gka izf'kf{kr gksus yxs A ;s vkt bl dyk izkIr LraHk gSa tks isMkuk] iksykojevkSj eNyhiVue esa QsSyk gqvk gS A Jh ih-ch- ,y uxsanz jkm] LoxhZ; lqH;k ds csVs ] casMj dyedkjh gkml] isMkuk vkSj ih eqdkaVs'oj jkm] LoxhZ; ukxs'oj jkm ds csVs ] iksYykoje] HkVV eskgu jkm ] lTtk uxs'oj jkm] Jh xaxk/kj CykWd cukus okys vkSj dqN vU; ekLVj f'kYidkj tks nwljs rjhds (ftlesa dksbZ Hkh ekse dh fof/k rFkk fp= dkjh dh fof/k dk iz;ksx ugha gksrk )ls vyx gh rjg dk CykWd cukus dh dksf'k'k dj jgs gS vkSj ,d la?k ds lkFk dke dj jgs gSa dyedkjh dks ?kjsyw cktkj esa QSykus ds lkFk lkFk fons'kh cktkj esa Hkh izfrfuf/kRo dj jgsa gSa A Ikgyk Hkkjrh; mRlo 1982 esa bafnjk xka/kh }kjk pyk;k x;k vkSj lkFk gh bls vkt dh lnh esa dyedkjh ds iquZtUe dk cgqr vPNk dkj.k Hkh ekuk x;k vkSj D;ksafd blus 'kks/k dk;Z izkjEHk fd;k] gFkdj?ks esa fdkl ds dk;Z rFkk gLrf'kYi dks c

94 owning private units and working together through an Association, catering to Domestic markets as well as representing Kalamkari in International M arkets.

The First Indian Festival organized by Indira Gandhi in 1982 also was considered as a great cause for the revival of Kalamkari in the present century as it has initiated lot of Research and Development activities in the Handloom and Handicraft sector in a view to promote and establish faith on Indian arts and crafts abroad. The efforts of Kamala Chatopadhyaya and Nelli Sethana were found remarkable due to their effective study and dissemination of Design Knowledge pertinent to Kalamkari and documentation of historical evidences. M achilipatnam Kalamkari printers are experimenting these days with few contemporary motifs and even fabrics other than natural to develop new and modern designs to go with the current trends of the market but still following the regular printing procedures.

(J) Method of Production: The Process of Production of Machilipatnam Kalamkari can be explained under three broad headings.

(1) Block making (2) Preparation of Dye / Print paste (3) Kalamkari – Block Printing on fabric

1) Block making

Wood carving is not only an ancient but also a very famous craft of Andhra Pradesh. The art of Block engraving involves cutting a design in relief upon blocks of wood, so that the raised parts, when charged with the colour, will transfer the design to the fabric on which such an engraved block is stamped. Very fine chisels of different shapes and sizes are used to cut relief on the block. One block is needed for each colour of the motif to be printed on fabric. Teak wood is preferred because of the fine grains and strength.

95 ×k½ mRiknu fof/k eNyh iVuew dyedkjh ds mRiknu dh izfdz;k dks rhu cM+s gsfMMax esa j[kdj le>k;k tk ldrk gS A 1-Cykd cukuk 2- MkbZ cukuk ;k fizaV isLV 3- dyedkjh ds mij Cykd fizfVax

Cykd cukuk

ydM+h ij uDdk'kh djuk izkphu gh ugha cfYd vka/kz izns'k dk izfl) f'kYi Hkh gS A CykWd dks rjk'kus dh dyk esa ydM+h ds CykWd esa fMtkbu cukdj dkVk tkrk gS A ftlls dh fMtkbu dsk mHkkjk tk lds vkSj tc jax yxk;k tkrk gS rks fMtkbu dks diM+s esa mrkjk tk lds A ftlls dh mHkjs gq, CykWd Ni lds A fofHkUu vkdkj ds cgqr gh ckjhd ls Nsuh dk iz;ksx CykWd cukus ds fy, fd;k tkrk gS A izR;sd jax ds vkd`fr cukus ds fy, ,d ,d CykWd dh vko';drk iMrh gSA ckjhd vukt rFkk etcwrh dkj.k Vhd dh ydM+h dh vko';drk iM+rh gS A iz;qDr dPpk eky : CykWd cukus ds fy, Vhd dh ydM+h ] fVVsfu;e Mkb vkWDlkbM +fpifpik inkFkZ ftlls fd fpdus CykWd ds lrg ij fMtkbu dks vkadk tk lds ] CykWd dh {kerk c

96 1.1 Raw materials Used: Teak wood for making blocks, Titanium dioxide + adhesive for coating the surface of the smoothened block to facilitate easy transfer of design, Groundnut oil for seasoning the blocks to impart strength, water repellency and durability Sand paper for smoothening of wood

1.2 Tools: Randa: Used to smoothen the surface of teak wood. Tipni: Used for tracing design on block. Tapi: Used as a hammer for tracing designs. Chisel: Used for carving the design. Compass: Used for defining curves in motifs. Panna: Used for smoothening edges of block. Cycle wire: Used for same purpose as Tipni. 1.3 Process:

a) Cutting of wood pieces: The teak wood pieces are cut in 1”-2” thickness and 6”X6” size for Jaal motifs. Other sizes are also cut according to the requirements e.g. 8”X8”, 10”X10” and 12”X12”. These are cut directly from the trunk of the tree.

b) Leveling of wood log with randa: Wood is leveled against any uneven surface to make the process of carving of design easy. Time required for leveling a log of wood: 5-15 minutes

c) Finishing with sand paper: After the removal of unevenness on the surface of block, it is then finished using a sand paper so as to smoothen it further. Total time consumed in this process is about 10-20 minutes.

d) Preparation of white base: After final finishing of the block, the block is prepared using titanium dioxide paste mixed with adhesive to get a white base. The purpose of doing it is to ensure that design is clearly visible when traced. After the application of paste, the blocks are dried in sunlight for 1 hour. This process is also called as “CHEO” locally.

97 daikl vkd`fr dks mHkkjus ds fy, iz;qDr iUuk CykWd ds Nksj fpduk cukuk lkbfdy fViuh dh rjg mlh edln ds fy,k iz;qDr gksrk gS A izfdz;k : d- ydM+h ds VqdM+s dks dkVuk : Vhd ydM+h ds VqdM+s dks tky dh vkd`fr 1”-2” eksVkbZ rFkk 6”-6” dh vkdkj esa dkVk tkrk gS A nwljs vkdkj ds fy, mles vko';drk ds vuqlkj 8”-8”, 10”-10” vkSj 12”-12” esa dkVk tkrk gS Abls isM+ ds rus ls lh/ks dkVk tkrk gS A

[k- ydM+h ds VqdM+s dks jaMk ls ,d leku djuk : ydM+h dks VqdM+s vleku lrg dks leku cuk;k tkrk gS A ftlls fd fMtkbu dks rjk'kus dh fdz;k vklkuh ls dh tk lds A ydM+h dks leku cukus ds fy, vko';d le; 5 ls 15 feuV yxrk gS A x- lsaM isij ls fpduk cukuk : CykWd ds vleku lrg dks gVkus ds ckn mls lsaM isij sl fpduk cuk;k tkrk gS A bl izfdz;k esa dwN 10ls 20 feuV yxrk gS A

?k- lQsn csl dks rS;kj djuk : Cykd dks vk[kjh ckj lery cukus ds ckn fVVsfu;e MkbvkWDlbM dk isLV fpipis inkFkZ ds lkFk feyk;k tkrk gS A ftlls lQsn csl feyrk A ;g blfy, fd;k tkrk gS fd fMtkbu cukus ls lkQ :Ik ls utj vk;s A isLV yxkus ds ckn CykWd dks /kwi esa FkksM+h nsj ,d ?kaVs ds fy, lq[kk;k tkrk gS A LFkkuh; rkSj ij bl izfdz;k dks fp;ks dgk tkrk gS A

98 e) Tracing of designs: After the application of white base, designs originally made by the master designer are traced onto the block using Tipni and Tapi and sometimes cycle wire. Total time consumed in this process is about 2-4 hours depending upon the intricacy of the design. Compass can also be used in case geometric motifs are used. This process is known as “TIPAI” and “GUIYAN” (when using compass) locally. f) Carving of design: After the designs are traced, these are carved using different types and shapes of chisels (Kalams) depending upon the intricacy of the design. All the processes discussed above are easy to handle but engraving of design requires great skill on workers part. This is the maximum time consuming step in block making. The final look of the design entirely depends upon how it is carved. Total time taken for blocks is: 2-3 days for outline block (Masa), 1-2 days for filling blocks (Tapki) and 1-2 days for background block (Kappu) g) Handle attachment and final finishing: This process is carried out when no more engraving has to take place. This process involves the use of Panna tool for smoothening of edges for easy application. A handle is also attached at this stage to ensure good grip during printing process. Total time consumed in this process is about 10-20 minutes. h) Soaking in ground nut oil: After the completion of all processes described above, this is the last step in block making. In this process, blocks are soaked in ground nut oil for 5-6 days. This is done to ensure that block acquires proper strength so as to handle beating. This process also improves the water repellency and increases the shelf life of the blocks.

99 M+- fMtkbu cukuk : lQsn isLV dks yxkus ds ckn ekLVjksa }kjk cuk;s fMtkbu dks fViuh vkSj Vkih dk iz;ksx djds cuk;k tkrk gS A dHkh dHkh lkbfdy ds rkj ls Hkh ;g dke fd;k tkrk gSA bl izfdz;k es dqy 2ls 4 ?kaVs yxrs gSA tks fMtkbudh tVhyrk ij fuHkZj djrk gSa A T;fefrd vkd`fr cukus ds fy, daikl dk Hkh iz;skx fd;k tk ldrk gS A bl izfdz;k dks LFkkuh; rkSj ij fVikbZ ;k xqb;ku (daikl dk iz;ksx djus ij) dgk tkrk gS A p- fMtkbu dks rjk'kuk : fMtkbu dks cukus ds ckn budsk fofHkUu rjg rFkk vkdkj esa fMtkbu dh ckjhdh ds vuqlkj rjk'kk tkrk gS A igys tksk Hkh izfdz;kvksa dh ppkZ gqbZ gS A mudsk vklkuh ls fd;k tk ldrk gS ysfdu fMtkbu dks rjk'kus ds fy, dkjhxj esa cgqr dq'kyrk dh vko';drk iM+rh gS A CykWd cukus esa blesa lcls T;knk le; yxrk gS A fMtkbu vafre :Ik iwjh rjg ydM+h ds rjk'kus ij fuHkZj djrk gS ACykWd ds ckgjh Hkkx (eklk) ds fy, 2 ls 3 fnu ] CykWd dks Hkjus ds fy, (ridh) 1 ls 2 fnu vkSj dkyk cSd xzkmaM cukus ds fy, (dIiq) 1ls 2 fnu yxrk gS A

N- gsafMy dks yxkuk : tc uDdk'kh dk dke [kRe gks tkrk gS A ;g izfdz;k izkjaHk dh tkrh gS A bl izfdz;k esa Nksjksa dks lery cukus ds iUuk midj.k dk iz;ksx fd;k tkrk gS A ftlls dh vklkuh ls dke fd;k tk lds A bl voLFkk esa fizafVax izfdz;k dks vklku cukus ds fy, gsafMy Hkh tksM+k tkrk gS Abl izfdz;k esa 10 ls 20 feuV yxrk gS A t- cknke ds rsy esa lsk[kdj j[kuk : mij crk;s x;s iwjh izfdz;k ds [kRe gksus ds ckn ;g gh CykWd cukus dh vk[kfj izfdz;k gS A bl izfdz;k esa] CykWd dks cknke ds rsy esa 5 ls 6 fnu ds fy, lks[kdj j[kk tkrk gS A ;g izfdz;k CykWd dks etcwr nsus ds fy, dh tkrh gS A ftlls dh ml ij fiVkbZ dh tk lds A ;g izfdz;k ikuh fjisalh dks c

100 2) PREPARATION OF DYE / PRINT PASTE

2.1 Raw materials: Jaggery + iron pieces for black color (kasim), Indigo leaves for blue color (neelam),Myrobalam flower for yellow color (haldi),Madder plant for red color (kharam), Pomegranate peels for Yellow color

Mordants: Alum: Improves brightness and fastness of red and pink color and Myrobalam: improves the absorption and fixation of dye on the fabric especially black colour.

2.2 Dye Preparation:

In Kalamkari process, only natural dyes are used. These are prepared locally and used as and when required. Some dyes take a lot of time to prepare and some are produced in few hours depending upon the type of dyestuff. A lot of care is taken to store natural dyes as these get rotten very soon. Some of dyes used in M achilipatnam and the preparation methods used are described as:

Black (Kasim): Black dye is the most common natural dye used in Kalamkari hand Block printing.

Raw Material: iron pieces, jaggery, cowdung, gum Arabic crystals, water

101 2- MkbZ dh rS;kjh /fizaV dk isLV

2-1 dPpk eky : dkys jax ds fy, xqM+ vkSj yksgs dk VqdM+k uhys jax ds fy, bafMxks ds irs (uhye )] ihys jax ds fy, ekbjksckyke Qwy (gYnh)] yky jax ds ekMj ikS/kk ([kje)] ihys jax ds fy, vukj ds fNyds (eksjMaV) vywe : ;g yky rFkk xqykch jax ds pedkus ds lkFk mldks pVd Hkh cukrk gS A ekbjksckyke diM+s ds dkys cSd xzkmaM ij ;g jax svo'kks"k.k dks cuk;s j[krk gS A

2-2 jax cukuk :

dyedkjh dh izfdz;k esa dsoy izkd`frd jax dk iz;ksx fd;k tkrk gS A ;g LFkkuh; rkSj ij rS;kj fd;k tkrk gS vkSj tc vko';drk iM+rh gS A bldk iz;ksx fd;k gS A dqN dks rS;kj djus esa cgqr le; yxrk gS ] dqN dks rS;kj djus esa dqN le; yxrk gS A tks MkbZ ds LVQ ij fuHkZj djrk gS A izkd`frd MkbZ dks cpk;s j[kus ds fy, cgqr /;ku dh vko';drk gS D;ksafd ;s tYnh lM+ tkrs] eNyhiVue esa iz;qDr MkbZ rFkk rS;kjh fof/k dk fp=.k uhps fd;k x;k gS A

dkyk (dklhe)

dyedkjh ds gLr CykWd fizaV esa iz;qDr gksus okyk dkyk jax cgqr izpfyr izkd`frd jax gS A dPpk eky : yksgs ds VqdM+s] xqM+] xkscj] xe vjsfcd fdzLVy] ikuh

102 Process: First of all iron pieces are heated with cow dung pieces and then scrubbed with bricks for the complete removal of rust. Then 5kgs of these iron pieces are mixed with 2.5 kgs of jaggery and 25 litres of water. The above prepared mixture is kept in closed earthen pots and left for three weeks. stirring is done once in a week. After the fermentation process is over 5 litres of this fermented black solution is mixed with 2.5 kgs of gum Arabic crystals. The solution is then left for 1 to 2 days. It is then stirred, filtered and is ready for use.

Indigo Blue (Neelam) – Used for second colour printing

Raw Materials: Indigo blue dye cakes, Containers, Caustic soda, Hydrosulphate Process: The process of manufacture of Indigo Blue dye is as follows:

Proper cleaning of the dye tank is carried out for removal of any previous color present on the sides of the tank as it may affect the shade of the color being prepared. Water is filled in the tank to 2/3rd of its capacity. 6 Kgs of crushed Atta / Annetto seeds (“Tandipa ginjalu”) are added to the water filled tank. In a separate container water is boiled, the quantity of water depends on the intensity of color required. This is cooled overnight and added to the first tank. A paste of 700 grams indigo blue dye cakes and water is added to the tank. The contents are stirred and kept for a day. Lime is added next and stirred and the color is ready for use.

Yellow (Pasupu / Haldi)

Raw Material: Myrobalam flowers / Pomegranate rind, water, alum Process: The process of making yellow dye using the above listed recipes is as follows:

103 izfdz;k : lcls igys lkjs yksgs ds VqdM+s dks xkscj ds VqdM+s ds lkFk tyk;k tkrk gS vkSj mlds ckn baZV ls jxM+k tkrk gS A ftlls tax fudy tk; A mlds ckn 5 fdyks yksgs ds VqdM+s dks 2-5 fdyks xqM+ ls rFkk 25 yhVj ikuh esa feyk;k tkrk gS A bl rS;kj eky dks can feVVh ds crZu esa j[kdj rhu lIrkg ds fy, NksM+k tkrk gS A LVfjax lIrkg esa ,d ckj fd;k tkrk gS A QjeaVs'ku dh izfdz;k gksus ij 5 yhVj QjeVsaM dkys ?kksy esa 2-5 fdyks xe vjsfcd fdzLVy feyk;k tkrk gS A mlds ckn ?kksy dks 1 ls 2 fnu ds fy, NksM+ fn;k tkrk gS A mlds ckn bldks fgykdj Nkudj fQj iz;ksx ds fy, rS;kj fd;k tkrk gS A bafMxkas uhyk (uhye ) : bldk iz;ksx nwljs jax ds fizaV ds fy, fd;k tkrk gS A dPpk eky : bafMxks uhyk jaxusokyk dsd] crZu] dkWfLVd lksMk gkbMªkslYQsV izfdz;k : bafMxks uhy cukus dh izfdz;k bl izdkj gS A

jaxus ds fy, j[ks Vsd dks igys vPNh rjg /kks;k tkrk gS A ftlls igys ls yxk jax fudy tk; tks u;s jax ds 'ksM ij izHkko Mky ldrk gS A ikuh dks Vsd esa nks frgkbZ Hkj fn;k tkrk gS A 6 fdyks filk vkVk /vusVks chp rafMi faxatkyw dks ikuh ls Hkjs Vsd esa feyk fn;k tkrk gS A nwljs crZu esa ikuh mckyk tkrk gS A ikuh dh ek=k jax dh xgjkbZ ij fuHkZj djrh gS A bldks jkr Hkj BaMk fd;k tkrk gS A igys VSad esa Mky fn;k tkrk gS A 700 xzke bafMxksa uhyk MkbZ dk dsd vkSj ikuh VSad esa Mkyk tkrk gS A bldks fgykdj ,d fnu ds fy, NksM+k fn;k tkrk gS A uhacw Mkydj vPNh rjg fgyk;k tkrk gS A jax rS;kj gS A ihyk (ilqiq/gYnh ) dPpk eky ekbjskckyke Qwy /vukj dk fNydk] ikuh] vye

104 100 grams of myrobalam flowers are boiled in 1 litre of water till they become soft. The decoction is then cooled and filtered. About 10 grams of alum power is added to it and then stirred and the color is ready for use.

Red (Karam) Raw Material: Alum, Gum, Water, Manjistha or Maddar / Saval kodi /Jajaku/ Alizarin

Process: A gum solution is prepared by mixing the babul tree gum in water and filtered so that it is rendered clear. A decoction of alum is prepared by boiling alum in water. The gum solution and the alum decoction are then mixed, which forms the karam and is used for priting the red portions of design. They acquire firm red colour after boiling in a solution of Maddar along with Alizarin

Other Colors Various colours are also used in Kalamkari hand block printing e.g. pink, chocolate brown, green etc. Certain combinations used for these dyes are: • Chocolate color is made by mixing red and black in the ratio of 3:1 • Pink is made by increasing the water content in the red color • Green by printing yellow on blue, etc.

3) KALAMKARI PRINTING

3.1 Tools and Equipment:

Earthen Pots: It is hollow with round opening, made up of baked mud used for dye preparation. The earthen pots find extensive usage for holding the aqueous solution of the dyestuff, for mixing of various ingredients in the solution etc.

105 izfdz;k : bafMxks uhy cukus dh izfdz;k bl izdkj gS A

100 xzke ekbjksckye Qwy dks 1yh- ikuh rc rd mckyk tkrk gS A tc rd dh og eqyk;e u gks tk; A mlds ckn mls BaMk djds Nku fy;k tkrk gS A yxHkx 10 xzke vye ikmMj feyk;k tkrk gS vkSj vPNh rjg feyk;k gS vkSj jax iz;ksx ds fy, rS;kj gS A yky (dje) dPpk eky : vywe] xe] ikuh] eaftLrk ;k eMj/loy dksMh@ttkdq@ vyhtkfju izfdz;k : xe dks ?kksy ccwy ds isM+ ds xe dks ikuh esa feykdj ] Nkudj rS;kj fd;k tkrk gS A ftlls fd ;g lkQ jgs A vywe dk vdZ vywe dks ikuh esa mckydj rS;kj fd;k tkrk gS A xe dk ?kksy rFkk vywe dk vdZ dks feyk;k tkrk gS A ftlls dje curk gS A ftls yky jax ds Hkkx ij fizaV djus ds fy, iz;ksx fd;k tkrk gS A vU; jax :

dyedkjh CykWd fizfVax ds fy, cgqr ls vU; jaxksa dk Hkh iz;ksx fd;k tkrk gS A tSls xqykc] pkWdysV czkmu] gjk vkfn A vktdy ds fnuksa esa iz;qDr gksus okys dqN phtsa bl izdkj gSsa A pkWdysV jax] yky vkSj dkys jax dks 3 1 vuqikr esa feykdj curk gS A xqykch jax yky jax esa ikuh dh ek=k c

106 Plastic buckets/drums: Hollow with round or oval opening of plastic used for dye preparation.

Copper vessels: These are used as containers in which boiling process takes place.

Brush: It is used to clean the blocks by rubbing off the dust particles and also remove previously existing unwanted residual color on the block.

Color tray: It provides an area for the prepared dye color for immediate application on the fabric.

S queeze: It is used to spread the color paste evenly on ‘totti’.

Printing table: to provide base and to enable the worker with comfortable posture while printing.

Pen: It is used for painting of color on cloth (the traditional yellow color hand painting) and for giving touch ups where the print color is irregular or have been missed.

Hammer: It provides adequate pressure on the designed blocks for printing. The printing block is hammered down after each impression with this round edged hammer.

3.2 Process of Kalamkari Block Printing: a) Grey Cloth Cutting: Batches of 100 meters or above are purchased from textile mills in bulk. The grey cloth purchased is then cut into pieces of length varying from 10 -15 meters as per the working unit capacity and customer demand/ end use. Since the fabric undergoes washing and boiling treatment at various stages, an excess of 10% for shrinkage is taken into consideration.

107 3- dyedkjh dh NikbZ :

3-1 midj.k : feVVh ds crZu % ;g xksy eqag ds lkFk [kks[kyk crZu gS tks ids gq, feVVh ls curk gS A ;g jax cukus ds fy, iz;qDr gksrk gS A feVVh ds crZu ?kksy dks j[kus] jax okys leku j[kus vkSj ?kksy esa fofHkUu phtska dks feykus ds fy, cgqr mi;qDr gS A

IykfLVd ckYVh /Mªe : xksy ;k vaMkdkj eqag ds lkFk [kks[kyk crZu Mkb cukus ds fy, iz;qDr gksrk gS A

Rkakcs dk crZu : blesa ikuh mckyk tkrk gS A cz'k : bldk iz;ksx CykWd ls /kwy dks fudkyus ds fy, fd;k tkrk gS vkSj lkFk gh igys ls gh ekStwn vuko';d jaxksa ds vo'ks"k dks fudkyrk gS A jax dk Vªs : rS;kj MkbZ dks esa j[kk tkrk gS A ftlls oL= rqjar NikbZ dh tk lds A

Ldoht : bldk iz;ksx jax ds isLV dks leku :i ls ^VksVh* ij QSykus ds fy, fd;k tkrk gS A fizaV fd, tkus okyk Vscy : NikbZ ds nkSjkuk vk/kkj nsus ds fy, rFkk dkjhxj dks fizafVax dh lqfo/kk ds fy, Vscy dk iz;ksx fd;k tkrk gS A isu % bldk iz;ksx diM+s(ikjaifjd ihyk jax dk gkFk dh NikbZ) ij jax dh NikbZ ds fy, rFkk tgka fizaV dk jax vPNh rjg ls ugha cSBk ;k NwV x;k] fd;k tkrk gS A

108 b) Bleaching Cora Cloth: bleaching process is carried out using buffalo dung solution without using bleaching powder and facilitated by sunshine. It takes 4-5 days for getting the cloth white. c) Application of Myrobalam: the white cloth is soaked in myrobalam juice in suach a way that it is equally distributed all over the cloth. It is then dried in sunlight. Myrobalam acts as a mordant for block printing. d) Block Printing: It is the actual printing of designs/ motifs on the fabric by the use of wooden blocks and is done manually. The dyestuff/mordant of the desired color is applied to the fabric using blocks (outline, background and filling). e) Washing: After block printing the clothes are kept for 2-3 days to ensure drying of the colors after which the printed fabric is washed in the flowing water in a pond with fresh water to remove the excess gum. f) Boiling: The fabric after washing and drying is boiled in a mixture of water, jajji leaves, root barks, dry flowers etc. for two hours over furnace. Rice husk, commonly known as chaff is used as a fuel in the furnace. The dye material used in boiling depends on the color or shade required, as for example, pomegranate rind and madder are added to the boiling solution for yellow and red colors respectively. g) Starch Application: After the completion of the sixth stage, the cloth is dipped in the starch solution which is prepared by mixing boiled rice water with milk. The starched cloth is then dried up to stiffen it for application of next color. It also avoids spreading of second color paint. h) Painting: After starch application, the printing is done for secondary colors like yellow, brown, pink, green, blue, etc. and also to resist few dyed portions by wax before treating in

109 gFkkSM+k % bldk iz;ksx Nikb ds nkSjku fMtkbu CykWd ij vko';d ncko Mkyus ds fy, fd;k tkrk gS A fizfVax CykWd dks xksy gFkkSM+s ds }kjk izR;sd NikbZ ds ckn ihVk tkrk gS A

3-2 dyedkjh CykWd fizafVax dh izfdz;k d- xzs diM+s dh dVkbZ % 100 eh- ;k mlls vf/kd diM+s dh Fkku diM+s ds fey ls Fkksd esa [kjhn fy;k tkrk gS A xzs diM+s dks dkjhxjska dh {kerk] ekax ;k vafre iz;ksx ds vuqlkj 10 ls 15 eh- dh yackbZ esa dkV fn;k tkrk gS A pafd oL= /kqykbZ vkSj mckyus dh izfdz;k dh fofHkUu voLFkvksa ls xqtjrk gS blfy, 10 izfr'kr dk flyoVksaa ds fy, Hkh NksM+ fn;k tkrk gS A [k- dksjk diM+s dh Cyhfpax % Cyhfpax dh izfdz;k fcuk Cyhfpax ikmMj dk iz;ksx fd;s ]xkscj ds iz;ksx ls dh tkrh gS vkSj /kwi esa j[k fn;k tkrk gS A diM+s dks lQsn gksus 4 ls 5 fnu yxrk gS A x- ekbjksckye dks yxkuk % lQsn diM+s dks ekbjskckyke jl esa bl rjg lks[kdj j[kk tkrk gS fd diM+s ij og iwjh rjg QSys A mlds ckn mldks /kwi esa lq[kk;k tkrk gS A CykWd fizfVax ds fy, ekbjksckyke ekWjMsV dh rjg dke djrk gS A ?k- CykWd fizafVax % ;g diM+s ds fMtkbu ij ydM+h ds CykWd ds }kjk lgh fizfVax gS vkSj ;g euq"; }kjk fd;k tkrk gS A (vkmV ykbu] cSdxzkmaM vkSj HkjkbZ ) CykWd ds }kjk bfPNr jax ml ij yxkdj diM+s fn;k tkrk gS A M+- /kqykbZ % CykWd fizfVax ds ckn diM+ks esa idM+us ds fy, diM+ksa dks 2 ls 3 fnu ds fy, j[k fn;k tkrk gS A mlds ckn Nis diM+s dks rkykc ds cgrs lkQ ikuh esa /kks;k tkrk gS ftlls dh xe lkQ gks tk; A p- mckyuk % /kksus rFkk lq[kkus ds ckn diM+ksa dks tth ds irs] tM+s ds fNyds] lw[ks Qwy feys ikuh esa nks ?kaVs ds fy, mckyk tkrk gS A pkoy cqjkns ftls 'kkQ dgk tkrk gS dks

110 second colour. But these days the use of kalam is limited to mend the defects caused by broken blocks. i) Alum Treatment: Before the treatment of alum, all the colors on the fabric are temporary. Alum acts as a mordant which helps to fix these color on the fabric i.e. all the colors get “pucca” on alum water treatment. The final printed cloth is then dried up in sunlight.

j) Washing with soap: This is last and final process. After the completion of all the processes the cloth will be placed in soap water and thoroughly washed and thus all the dust will be removed. The cloth is then dried up in the sun and the fabric thus obtained is folded, pressed and is ready for sale.

Press: The cotton fabric gets crushed after passing through the various processes of printing, washing and other treatments. Press is used for the crisp finish where the fabric is placed between the lower static bed and the movable upper bed.

Single Needle Lock Stitch Machine: At few bigger units, garments and home furnishing products are made. SNLS machines are used to stitch these end products

(K) Uniqueness:

The Kalamkari hand-block printing practiced in Machilipatnam, Andhra Pradesh is unique and has its own distinct style, not found in the other types of Kalamkari work.

1. Hand Block Printing using traditional preparations of raw material , tools and implements 2. Traditional methods, which entail the processes such as Bleaching, washing and boiling, each of which involves meticulous and precise work. 3. Special skills in visualization of design

111 pqYgs esa tyk;k tkrk gS A mcyrs ikuh esa iz;qDr gksus okys jax dk lkeku jax rFkk 'ksM dh vko';drk ij fuHkZj djrk gS A mnkgj.k ds fy, vukj dk fNydk rFkk eMsj mcyrs ikuh esa ihys rFkk yky jax ds fy, Mkyk tkrk gS A N- LVkpZ dks yxkuk % NVs voLFkk ds iwjs gksus ij diM+s dsk LVkpZ ds ?kksy esa Mkyk tkrk gS A ftls mcys pkoy esa nw/k feykdj fd;k tkrk gS A LVkpZ yxs diM+s dks dM+d gksus ds fy, lq[kk fn;k tkrk gS A ;g nwljs jax dks QSyus ls Hkh cpkrk gS A t- jaxkbZ % LVkpZ yxkus ds ckn] nwljs jax tSls ihyk] dRFkk] fiad] gjk] uhyk vkfn dh NikbZ dh tkrh gS vkSj lkFk gh nwljs jax dh NikbZ ls igys ekse ds }kjk dqN jaxs gq, Hkkx dks cpk;k tkrk gS A ij vktdy VwVs CykWd dkj.k NikbZ esa vk;s deh dks dye ds }kjk Bhd fd;k tkuk de gksrk tk jgk gS A >- vye yxkuk % vye dks yxkus ls igys diM+S ds lkjs jaxs dPps gh jgrs gSa A vye eksjMsaV dh rjg dke djrk gS A vkSj diM+s ij jax yxs jgus esa enn djrk gS A vye ikuh Mkyus ds ckn lkjs jax iDds gks tkrs gSa A mlds ckn rS;kj diM+s dks /kwi esa lq[kk fn;k tkrk gS A ´- lkcwu ls /kksuk % ;g vafre izfdz;k gS A lHkh izfdz;k [kRe gksus ij diM+s dks lkcwu ds ikuh esa Mky dj vPNh rjg ls lkQ fd;k tkrk gS A ftlls dh lkjk /kwy fudy tk; A mlds ckn izkIr dims dks /kwi esa lq[kk;k tkrk gS vkSj eksM+dj bLrjh djds cktkj esa cspus ds fy, rS;kj fd;k tkrk gS A bLrjh djuk % lwrh diM+s fizfVax] /kqykbZ vkSj nwljh izfdz;ksa ds ckn mles flYoVs vk tkrh gSa A dM+d diM+k izkIr djus ds fy, diM+s dks fupys fLFkj fcLrj rFkk gVk;s tkus okys fcLrj ds chp nck;k tkrk gS A ,d lwbZ dk flykbZ e'khu % blesa cMs+ ek=k ds diM+s vkSj ?kjsyw diM+s rS;kj fd;s tkrs gSa A ,l ,u ,y lh e'khu dk iz;ksx bl rS;kj eky dsk flyus ds fy, fd;k tkrk gS A

112 4. Use of natural fibres and vegetable dyes extracted from barks, flowers, leaves, seeds, fruits and roots 5. Perfect harmony and distribution of colours used in the designs 6. Major Adoption of the colours Black, Red, Blue, Yellow and Green and other colours out of combinations of the same. 7. Intricate and delicate overall Persian twine motifs 8. Liberal application of stylized flora and fauna motifs with zig-zag outlines and pointed edges leading to thick and thin areas in design. 9. Traditional process of hand block printing, resist painting and dyeing at few areas 10. Skillful adoption of mastery of techniques by the craftsmen as a result of churning age old processes which lend tremendous scope for their individual expression. 11. Peculiar richness in the water of Machilipatnam which is said to account for the brilliance of colours.

(L) Inspection body:

Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members.

113 ( V ) vuks[kkiu

dyedkjh gkFk CykWd fizaV dk vH;kl eNyhiVue esa fd;k tkrk gS A vka/kz izns'k vuks[kk gS vkSj bldk viuk gh LVkby gS vkSj fdlh vU; rjg ds dye dk;Z esa ugha ik;k tkrk gS A gLr CykWd fizafVax ikjaifjd dPps eky] midj.k dk iz;ksx djds ] ikjaifjd rjhds ls dh tkrh gS A ftlesa fCyfpax] /kqykbZ vkSj mckyus dh izfdz;kvsa vkrh vkSj ftlesa dfBu rFkk lgh dk;Z dq'kyrk dh vko';drk gS Abls cukus ds fy, fo'ks"k dq'kyrk dh vko';drk gS ftlls dh izkd`frd Qkbcj rFkk lfCt;akas ds jax tks rus ds fNyds] Qwy ] irh ] cht ] Qy vkSj tM+ fudyrs gSa ] dk iz;ksx djds vPNk ls fMtkbu cuk lds A

jaxks dks vPNk rky esay vkSj fMtkbu es jaxks dk lgh forj.k vko';d gS Aewy jaxksa tSls dkyk] yky] uhyk] ihyk vkSj gjk rFkk bu jaxksa ds esy ls cus jaxksa dk iz;ksx Hkh lgh gksuk pkfg, Ackjhd vkSj tVhy Qkjlh Vokbu vkd`fr ] Qwy vkSj ifr;ksa dh vkd`fr ft+d ts+d vmVykbu ds lkFk vkSj uqdhyk dksuk tks eksVs txg ls irys {ks= dh vksj tkrk gS A gLr CykWd fizafVx dh ikjaifjd izfdz;k ] fp=dkjh vkSj f'kYidkj dh dq'ky rduhd ds }kjk dqN {sk= esa dh xbZ jaxkbZ tks cgqr vo/kh dh izfdz;k dk urhtk gS A tks O;fDrxr vfHkO;fDr dks cgqr vf/kd c<+kok nsrk gS vkSj eNyh iVue dk ikuh vyx Js"Brk tks jax ds jaxks [kqclwjrh ij pkj pkan yxkrk gS A

(B) tkap fudk;

vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsS A

114 115 116 th vkbZ vkosnu la 110

nh lsUVj QkWj bUuksos”ku ,aM VªkaLQj vkWQ rdukWyth (lhvkbZ VhVh) 48@2 U;ku eq/kxe] jke.kiqFkqj] ukxjdksby 2 dU;kdqekjh ftyk] rfeyukMq }kjk bFkkseksyh yEck ukfj;y dh jftLVj ds Hkkx oxZ 31 esa vkusokys ukfj;y ls lalcaf/krvkosnu la[;k110 ds varxZr fd;k x;k vkosnu HkkSxksfyd eky min”kZu (iathdj.k o laj{k.k) vf/kfu;e 1999 dh /kkjk 13 dh mi /kkjk (13 ds varxZRk Lohd`r vuqlkj ,rn~okjk foKkfir fd;k tkrk gSA

vkosnd % v/;{k lsUVj QkWj bUuksos”ku ,aM VªkaLQj vkWQ VsdukWykWth (lhvkbZVhVh) (dU;kdqekjh ftyk] rfeyukMq ds ukfj;y mRikndksa dk izfrfuf/k)

izfrfuf/k Jh ih- lat; xkaW/kh vf/koDrk 6 ykW psEcj mPp U;k;ky;] psUubZ 600104

irk % v/;{k] lsUVj QkWj bUuksos”ku ,aM VªkaLQj vkWQ rdukWyth (lhvkbZ VhVh) 48@2 U;ku eq/kxe] jke.kiqFkqj] ukxjdksby 2 dU;kdqekjh ftyk] rfeyukMq

HkkSxksfyd min”kZu % bFkkseksyh yEck ukfj;y oxZ % 31 eky %ukfj;y

117 G.I. – APPLICATION NUMBER 110

Application is made by The Centre for Innovation and Transfer of Technology CITT) 48/2 Gnana Muthagam, Ramanputhoor, Nagercoil- 2 Kanyakumari dist, Tamil Nadu. for registration in Part A of the register of Eathomozhy Tall Coconut under Application No 110 in respect of Coconut falling in Class 31 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Chairman, Centre for Innovation and Transfer of Technology (CITT) (Representing Coconut Growers of Kanyakumari Dt, Tamil Nadu)

Represented by Mr. P. SANJAI GANDHI Advocate 6, Law Chamber High Court of Madras Chennai - 600104

Address : Chairman, Centre for Innovation and Transfer of Technology , 48/2 Gnana Muthagam, Ramanputhoor, Nagercoil - 2 Kanyakumari dist, Tamil Nadu.

Geographical Indication : Eathomozhy Tall Coconut

Class : 31

Goods : Coconut

118

d- vkosnd % v/;{k lsUVj QkWj bUuksos”ku ,aM VªkaLQj vkWQ VsdukWykWth (lhvkbZVhVh) (dU;kdqekjh ftyk] rfeyukMq ds ukfj;y mRikndksa dk izfrfuf/k)

[k- irk % lsUVj QkWj bUuksos”ku ,aM VªkaLQj vkWQ rdukWyth (lhvkbZVhVh) 48@2 U;ku eq/kxe] jke.kiqFkqj] ukxjdksby 2 dU;kdqekjh ftyk] rfeyukMq x- O;fDr@ mRiknd @ laxBu @ izkf/kdkj la?k dh lwph % ekaWxs tkusij fn;k tk;sxkA

?k- eky ds izdkj % d`f’k

M- fofunsZ”k

;g if”pe leqnz rV yEck dk izkd`frd p;u gS tks vkerkSj ls dsjy vkSj rfeyukMq esa ik;k tkrk gSA bl ns”kh; izdkj esa dbZ O;qRik| y{k.k gS tks rfeyukMq ds dU;kdqekjh ftyk ds fofHkUu jktLo CykWd tSls vxLFkhLojue] jkteaxye] gFkkseksyh vkSj dksyYykpy esa QSyk gqvk gSA bls vke uke gFkkseksyh yEck ukfj;y dgk tkrk gSA ;g dfYVoj viuh iw.kZ tUe&fo’k;d laHkkO; flQZ dU;kdqekjh ftyk esa iznf”kZr ugha djrk] cfYd rfeyukMq ds fofHkUu txgksa ij djrk gS tgkaW lky Hkj vadqj forfjr gksrk gSA bl izdkj ds ukfj;y dh mRiknu djusokys fdlkuksa dh ijEijkxr Kku vkSj foKrk blds mPp iSnkoj vkSj laj{k.k esa enn djrk gSA

;g vius iDdk ruk] cMs eqdqV] iw.kZr;k cMs vkdkj ds dM+k Qy] pkSM+k ckg~; dop esa cf<+;k js”kk] xwnk vkSj mPp ukfj;y dh fxjh rFkk rsy varoZLrq ds fy, tkuk tkrk gSA bl isM+ dh maWpkbZ 30 ehVj rd gksrh gS vkSj 80 ls 100 o’kZ ls T;knk ftank jgrk gSA eqdqV esa 30&40 iRrs gksrs gS] ftlesa 13&15 cMs iq’ixqPN vkSj iqat gksrs gSa vkSj fodkl ds fofHkUu Lrj ij dM+k Qy gksrs gSa tks iw.kZn`”; fo’k;d gksrk gSA dM+k Qy xksy ;k vk;rkdkj gksrk gS vkSj jax esa xgjk ;k gyDk gjk gksrk gSA ;g 11&12 eghuksa esa ifjiDo gks tkrk gSA dM+k Qy esa xwnk dk eksVkik 1-25&1-50 ls eh gksrh gSA bl fof”k’V izdkj dh

119 (A) Name of the applicant : Chairman, Centre for Innovation and Transfer of Technology (CITT)

(Representing the Coconut Growers of Kanyakumari Dt, Tamil Nadu)

Address : Chairman, Centre for Innovation and Transfer of Technology, 48/2 Gnana Muthagam, Ramanputhoor, Nagercoil - 2 Kanyakumari dist, Tamil Nadu.

Authority

(D) Type of goods : Agricultural

(E) Specification :

This is a natural selection from the West Coast Tall normally found in Kerala and Tamil Nadu. This indigenous type with many derirable traits is found spread in the different revenue blocks like Agastheeswaranm, Rajakamangalam, Eathomozhy and Collachel in Kanyakumari district of Tamil Nadu. It is known by the common name Eathomozhy Tall Coconut. This cultivar exhibits its full genetic potential not only in K.K.district, but also in different parts of Tamil Nadu where the seedlings have been distributed for years. The traditional knowledge and wisdom of the farmers cultivating this Coconut type helps for the high yield and its preservation. It is known for its sturdy stem, large crown, fairly big sized nuts, with good fibre in the thick shell, kernel and high copra and oil contents. The tree grows to a height of 30 metre and lives for a period over 80 to 100 years. The crown with 36 – 40 leaves, bearing 13 – 15 large inflorescences and bunches, and having nuts in various stages of development, provides a panoramic view.

120

d`f’k dk yxHkx 80 izfr”kr {ks= esa o’kkZ ls flapkbZ dh tkrh gS tks bFkkseksyh ds vklikl mxk;k tkrk gSA fof”k’Vrk vkSJ fLFkjrk rFkk fofHkUu y{k.k] dMk Qy mRiknu vkSj xq.krk uhps rkfydk esa fn;k x;k gS %

Øe la fof”k’Vrk eki 1- ,d lky ds vadqj esa iRrksa dh la[;k 9-10 2- rhu lky ds r:.k isM+ dh yEckbZ 3-70&3-70 3- rhu lky ds r#.k isM dh maWpkbZ 75&80ls eh 4- izkS<+ isM+ ds eqdqV esa iRrksa dh la[;k 32&36 5- izkS<+ isM+ ds }kjk izfr o’kZ mRikfnr iRrksa dh la[;k 14&16 6- iw.kZ iRrksa esa NksVh iRrksa dh la[;k 210&225 7- iw.kZ iRrksa dh yEckbZ 4-8&5-2 eh 8- iw.kZ iRrksa dh MaBy dh yEckbZ 1-2&1-4 eh 9- eghuksa esa iwoZ iq’i dky 74&80 10- izfr o’kZ mRikfnr iqat dh la[;k 11&13 11- izfr o’kZ L=h Qwy dh la[;k 300&330 12- lsfV~Vax izfr”kr 20&21 13- izfr o’kZ dM+k Qy dh la[;k 56&65 14- xw

p- HkkSxksfyd min”kZu dk uke % (vkSj fooj.k)

bFkkseksyh yEck ukfj;y

izk;}hih Hkkjr dk nf{k.kh Hkkx dU;kdqekjh ftyk ds lhek ij if”pe esa dsjy vkSj iwoZ esa rfeyukMq jkT;; dk mitkm {ks= fr#usyosyh nksuksa gSA tgkaW bl Qly dks ,sfrgkfld iqjk.k vkSj O;kikfjd eq[;rk ekuh tkrh gSA dU;kdqekjh ftyk ds rVh; iV~Vh vkSj varnsZ”k {ks= tks jktLo CykWd

121 The nuts are round or oblong and dark or light green in colour. They mature in 11-12 months. The kernel in nuts measures 1.25 – 1.50 cm in thickness. This particular type is cultivated as a rainfed crop almost in 80% of the area where it is found growing in and around Eathomozhy.

The characteristics and stability and varietal characters, nut production and quality are given in the Table below:

S .No. CHARACT ERS MEAS UREMENTS i. No. of leaves in 1 – year old seedlings 9.10 ii. Height of 3 – year old juvenile palm 3.70 – 3.70 iii. Girth of 3 – year old juvenile palm 75 – 80 cm iv. No. of leaves on the crown of an adult pam 32 – 36 v No. of leaves produced per year by an ad 14 – 16 farm vi. No. of leaflets in a full leaf 210 – 225 vii. Length of full leaf 4.8 – 5.2 m viii. Length of petiole of full leaf 1.2 – 1.4 m ix. Pre-flowering period in months 74 – 80 x. No. of bunches produced per year 11 – 13 xi. No. of female flowers per year 300 – 330 xii. Setting % 20 – 21 xiii. No. of nuts per year 55 – 65 xiv. Thickness of Kernel 1.25 – 1.50 cm xv. Weight of kernel per nut 330 – 350 g xvi. Weight of copra per nut 165 – 175 g xvii. Oil content on dry wt basis in copra 65 – 72%

122 rsxiV~Vhue] dksykpy] jktkdeaxye] vyaFkkdjb] gFkkseksyh vkSj iqFkkye ls “kq: gksrh gS esa bl izdklj ds fof”k’V gS ftlesa varKkZr ds fy, T;knk volj vkSj lcls vuqdwy :ikRed vkSj vU;yZ{k.kksa dks cuk, j[krk gSA

?k- eky dk fodkl

ukfj;y dfYVoj bFkkseksyh yEck esa fxjh vkSj rsy varoZLrq esa mpplaHkkO; gS vkSj ;g xq.ku ds fy, igpkuk tkrk gS vkSj fdlkuksa dks fn;k tkrk gS rkfd mRiknu esa o`f) gks] mRiknu xq.krk es lq/kkj gks vkSj rkfd bl {ks= ds ukfj;y mRikndksa ds izfr vkSlr vk; esa o`f) gks ldsA

t- mRiknu dk HkkSxksfyd {ks= vkSj ekufp=- i`’B la[;k 133esa fn;k x;k gSA

izk;}hih Hkkjr dk nf{k.kh Hkkx dU;kdqekjh ftyk ds lhek ij dsjy jkT; ftls nsoksa dh Lo;a Hkwfe dgk tkrk gS vkSj rfeyukMq jkT; ds fr#usyosyh ftyk esa gS] tgkaW bl Qly dks ,sfrgkfld iqjkru vkSj O;kikfjd eq[;rk ekuh tkrh gSA mRrjh v{ka”k’ 8-03 vkSj 8-35 ds chp iwohZ ns”kkarj 77-05 vkSj 77-36 ds chpA

rkieku % (fMxzh “krkaf”kd )(

vf/kdre 38-7 fMxzh ls U;wure 18-1 fMxzh ls o’kkZ

lkekU; % 1443 eh eh tkM+s dh _rq 50-30 eh eh xszh’e _rq 317-70 eheh nf{k.k if”pe ekulwu % 551-70 eh eh mRrj iwohZ ekulwu 523-30 eh eh o’kkZ fnuksa dh la[;k 86 dqy tksrkbZ {ks= 10]6559

123 (F) Name of the Geographical Indication: (and particulars)

EATHOMOZHY TALL COCONUT

In the southern most part of the peninsular India Kanyakumari district is bordered both by Kerala state on the West and the fertile region district of Tirunelveli of Tamil Nadu State in the East, where this crop is claimed as a heritage of historical and commercial importance.A long strip of Coastal and Inland areas are in Kanyakumari district, starting with Thengapattinam, Colachel, Rajakkamangalam, Alathankarai, eathomozhy and Puthalam revenue blocks bear this special type with more opportunity to inbreed and maintain the most desirable morphological and other traits.

(G) Description of goods:

The Coconut cultivar Eathomozhy Tall has high potential for copra and oil contents, and is identified for multiplication and supply to farmers to increase the production, improve quality of the products and thus raising the per capita income of the coconut growers in the area.

(H) Geographical area of Production and Map as shown in page no 133.

In Kanyakumari district, the southern most part of the Peninsular India is bordered both by Kerala state supposed to be the Gods Own Land and the of Tirunelveli District of Tamil Naud state, where this crop is claimed as a heritage of archeological and commercial importance.North Latitude between 8.03 and 8.35East Longitude between 77.05 and 77.36

124

Hkwfe izdkj efV~V;kyh ] rVh; ,yqfo;y] xgjk yky ykse] ysVjkbV Hkwfe ih ,p (ewY;) 4-5 ls 8-0 Js.kh rd [kkjk feV~Vh ugha rst+ko feV~Vh esyiqje ds fNUuk”k vkSj Fkqdy; CykWd

>- izknqHkkZo dk izek.k ((,sfrgkfld vfHkys[k)

dqd (1901) us Li’V fd;k fd ukfj;y ds ikl iwohZ vkSj if”peh xksyk)Z esa vfLrRo dk yEck bfrgkl gSA nf{k.k Hkkjrj ds rVh; {ks= esa ukfj;y dk 2000 ls 3000 lky dk vfHkys[ku bfrgkl gSA

th vkbZ {ks= ds izkphu lkfgR; vkSj lkaLd`frd dk;ZØe ;g; lkQ n”kkZrk gS fd vfrizkphu le; ls ;g Qly bl {ks= ds iV~Vh ls varfufgZr gSA “kq:vkr ds fy,] rVh; {ks= ds LFkkuh; feV~Vh vkSj d`f’k tyok;q okrkoj.kks if”peh rVh; yEckl vkSj iwohZrVh; yEck fdLe ds ukfj;y vPNh rjg vuqdwfyr gSa bl fo”ks’k bykdk ds orkoj.k ls bFkkeksyh yEck ukfj;y dfYVoj vPNh rjg vuqdwfyr gks x;k gSA bl izdkj ds nqyZHk ukfj;y dfYVoj dks laj{k.k vksSj cpkus ds fy, dbZ laxBu gSA bl fdLe dh fo”ks’k :ikRed y{k.k bldh mRre tUe&fo’k; ds dkj.k gS ftls laj{k.k vkSj cpko dh vko”;drk gSA

bl bykdk esa MkW gsujh yqbl us v/;{k vkSj fofHkUu ukfj;y mRiknd la?k dks izf”k{k.k fn;k gSA mUgksaus bl izdkj dh fof”k’Vrk dks le>k vkSj ukfj;y dfYVoj dh laj{k.k vkSj c

¥- mRiknu dk rjhdk

bl ftys esa lEiw.kZ :i ls ukfj;y Qly dh d`f’k 22586 gsDVsvj {ks= esa dh tkrh gS] ysfdu fu/kkZfjr {ks= esa fof”k’V dfYVojo dk {ks= yxHkx 6000 ,dM+ gSA fu/kkZfjr {ks= dk fo”ks’k ukfj;y dfYVoj dk iks’kd Lrj rkfydk 3 esa fn;k x;k gSA bl {ks= esa ukfj;y Qly T;knrj tSo vk/kkfjr gSA tSo [kk+| ds fy, fdlku lusgei] XyhjhfLfM;k] obxb vkSj vU; taxy gjk [kk| iRrksa dk mi;ksx fd;k tkrk gSA blds vykok lw{eiks’kd vkSj lw{etho ls

125 Temperature: (Degree Centigrade)

Maximum .. 38.7° c Minimum .. 18.1° c Rainfall Normal .. 1443 mm Winter .. 50.30 mm Summer .. 317.70 mm South West Monsoon .. 551.70 mm North East Monsoon .. 523.30 mm No. of rainy days .. 86 Total cultivated area .. 10,6559 Soil type .. Sandy, coastal alluvial, deep red loam, Laterite Soil pH (values) .. Ranges between 4.5 to 8.0 Saline Soil .. Nil Acid Soil .. Pockets in Melpuram, and Thuckalai blocks.

(I) Proof of origin: (Historical records)

Cook (1901) pointed out that coconut has a long history of existence in the eastern and western hemispheres. Coconut has a recorded history of 2000 to 3000 years in the coastal areas of South India.

Ancient religous literature and cultural programmes in the GI area clearly indicate that this crop is inherent to this strip of land from time immemorial. To begin with, West Coast Tall and East Coast Tall varieties of coconut adapted well to the local soil and agro- climatic conditions in the coastal areas. The Eathomozhy Tall Coconut cultivar has adapted well to conditions in this Special tract.

Now there are many organizations seriously interested in protecting and preserving this rare type of Coconut cultivar. The Special morphological traits found in this variety due to its superior of genetic make up needs to be protected and preserved.

126 ;qDr feV~Vh ryNV dks Mkyus ds fy, fu;fer rkSj ls ikl ds rkykc ls xzh’e _rq eghuksa esa LFkkukarj.k fd;k tkrk gSA

bFkkseksyh yEckls ekr` isM+ dks fo”ks’k bykds ls p;u fd;k tkrk gS ftldh izklafxdrk vknr gksrh gS] eqdqV esa 30&36 iRrs gksrs gS] ruk ftlesa vkarfjdj txg ds lkFk iRrs dk fu”kku gksrk gS LiMhDl fu;fer [kqyrk gS vkSj lkekU; fn[kus okys eknk Qwyksa ds lkFk] jksx lsl eqDr gksrs gSaA dfYVoj dk cht dM+k Qy dks vadqfjr djus ds fy, yxHkx 105 ls 120 fnu yxrs gSaA vadqfjr izPNu “kfDr 90&92 izfr”kr gSA ulZjh esa fNMdko ;k izokfgr flapkbZ viukbZ tkrh gSA 9&12 eghus ds vadqj dks mBkdj jksikbZ dh tkrh gSA izfr isM+ ds fy, vko”;d (fd xzke) iks’kd

fodkl dk dky ,u ih2vks3 ds2vks jksikbZ ds ckn ,d eghuk 0-15 0-10 0-20 izFke o’kZ dh lekfIr 0-30 0-50 0-50 f}rh; o’kZ dh lekfIr 0-65 0-75 0-95 r`rh; o’kZ dh lekfIr 1-05 1-00 1-00 prqFkZ o’kZ dh lekfIr vkSj mlds ckn 1-30 1-50 2-00

gj lky gj isM ds fy, 5&10 fd xzke uhe [kyh vkSj 20&30 fd xzkek dk lkaWxu dwM+k [kkn yxk;k tkrkg SA ukfj;y dfYVoj ;k vU; fdLe dks ulZjh Lrjls Qly ifjiDo Lrj rd dhM+k] dqVdh vkSj uhekVksM fV~M~Mh vkSj dqdjeqRrk ;k okbjl chekjh dk geykgks ldrk gS A Vh ,u , ;w dk lh ih lh vkj vkbZ }kjk fodflrfd;kx;k iSdst vkWQ baVxjsVM+ eSustesaV vkWQisLV ,aMnhlhl dks viuk;k tkrk gSA jklk;fud dhVuk”kd inkFkZ dks mi;ksx ugha fd;k tkrk D;ksafd og mRikn esa vo”ks’k NksM+rk gS vkSj izkd`frd nq”euksa vkSj e/kqeD[kh vkSj vU; ijkx.k dks [kRe dj nsrk gSA th vkbZ {ks= esa O;kikfjd e/kqeD[khokfVdk vkek gS vkSj e/kqeD[kh ijkxe dM+k Qy ds mRikn dks c<+krk gS] blds vykok fdlkuksa dks vfrfjDr vk; feyrk gSA mRiknu ds tSo rjhdk ij mRiknu tksj nsrs gSaA baVxjsVM U;wfVª;aV eSustesaV (vkbZ ,u ,l) dh /kkj.kk ij de jklk;fud [kkn dk mi;ksx fd;k tkrk gSA izkd`frd rkSj ls bFkkseksyh yEck ukfj;y lcls Hk;kokg bfjvksfQM dqVdh fVM~Mh ls izfrjks/kd gSA

127 Dr. Henry Louis has trained the Presidents and members of the different Coconut Growers Associations in this tract. They have understood the speciality of this type and are interested in the conservation & promotion of this Coconut Cultivar.

(J) Methods of Production:

Coconut crop in this district as a whole is cultivated over an area of 22586 ha, but in the earmarked area for the specific cultivar the area runs to about 6,000 acres. The nutrient status of the lands ear-marked under this special coconut cultivar is given in Table 3 Coconut crop in this area is mostly organics based. Farmers apply Sunnhemp, Glyricidia, Vagai, and other forest green manure leaves as organic manure. In addition soil sediments containing micronutrients, and other micro organisms are regularly transported from the nearby by ponds in summer months to be applied.

M other palms from this special tract with Eathomozhy Tall are selected which have regular bearing habit, 30 – 36 leaves on the crown, leaf scars on the trunk with narrow inner spaces, spadix opening op regularly and with normal looking female flowers, and free from diseases. Seed nuts of the cultivar take about 105 – 120 days to germinate. Germination potenatily is 90 – 92%. In the Nursery sprinkler or flow irrigation is adopted. Seedlings of 9 – 12 months age are lifted for planting.

NUTRIENT REQUIREMENT (kg) PER TREE:

Period of growth N P2 O5 K2O One month after planting 0.15 0.10 0.20 End of first year 0.30 0.50 0.50 End of second year 0.65 0.75 0.75 End of third year 1.05 1.00 1.00 End of fourth year and beyond 1.30 1.50 2.00

Every year 5-10 kg of neem oilcake and 20 – 30 kg of farmyard manure of compost are applied per tree.

128 ukfj;y vadqj dk forj.k

ljdkjh ukfj;y ulZjh] iqFkkye] dU;kdqekjh ftyk bFkkeksyh yEck ukfj;y dk xq.krk vadqj dk mRiknu fd;k tkrk gSA tks 1-95 gsDVsvj {ks= esa gS ftldk y{; izfr o’kZ 30000 vadqj gSA

Hkkjr ds vU; Hkkx rFkk nwljs ,f”k;kbZ ns”kksa esa Hkh bFkkseksyhyEck ukfj;y dh Hkkjh ekaWx gS] tgkaW ;g LFkkuh; fdLe vkSj nksxyk dh rqyuk esa vPNk dk;Z fd;k gS] D;ksafd ;g rxM+k dfYVoj gSA xSj ljdkjh laLFkkuksa ds vkosnd vkSj ukfj;y ds fdllku vadqj dk mRiknu oSKkfud vk/kkj ij djrs gS] tc vlyh vko”;drk dh t:jr iM+rh gSA

v/;{k vkSj ukfj;y mRiknd la?k ds lnL;ksa dks MkW gsujh yqbl us d`f’k ds lq/kjs gq, rduhd dk izf”k{k.k fn;k gS ftlesa ekr` isM+vkSj dM+k Qy p;u] ulZjh rduhdh][ varj.k vkSj ew[; Hkwfe ij jksikbZ rduhd] ty@ iks’kkd@ ?kklk&Qwl@ chekjh izca/ku] O;kikfjd dk;Z ds fy, funku y{k.k vkSj izdkj ds ukfj;y mRikn vkfn “kkfey gSA

[kM+k ikuh esa osfV~Vax izfØ;k ds le; mRikfnr rarq ls dksbZ i;kZoj.k iznw’k.k ugha gksrk@ lEiw.kZ {ks= esa d`’kdukfj;y ds mRiknu esa NksVs vkSJ y?kq m|ksxksa esa cky etnwjh dkmi;ksx ugha fd;k tkrk A

V- vuU;rk

HkkSxksfyd {ks= rVh; tyok;q tSlk izk:fid gS tgkaW yxHkx lkyk Hkj o’kkZ gksrh gSA vf/kdre rkieku ges”kk de gksrk gS vkSj fof”krkiwoZd vf/kdre vkSj U;wure rkieku ds chp dk varj dkQh de gSA lkis{k vk)Zrk ges”kk mPp gksrh gSA Hkwfe iks’kd ls Hkjiwj gS vkSJ ih ,p rVLFk ds djhc gSA ;g fdLe cgqr fof”k’V gS vkSj ;g HkkSxksfyd {ks= ds tufud laHkkO; ds vuqlkj dk;Z djrk gSA

129 Insect, mite and nematode pests and fungus and virus diseases can attack the coconut cultivar as any other variety from the nursery stage to crop maturity stage. Package of integrated management of pests and diseases developed by the TNAU of CPCRI are adopted. Chemical pesticides are avoided as they will leave residues in the produce and destroy the natural enemies and honey bees and other pollinators. Commercial apiaries are common in the GI areas and bee pollination enhances the nut production, besides giving additional income to the farmers. Emphasis is given by the producers on organic method of production. Under the concept of integrated nutrient management (INM ),minimum use of chemical fertilisers is adopted.The Eathomozhy Tall Coconut is naturally resistant to the most dreaded eriophyid mite pest. DIS TRIBUT ION OF COCONUT S EED LINGS :

The Government coconut Nursery, Puthalam, Kanyakumari Dt. produces quality seedlings of Eathomozhy Tall coconut variety in an area of 1.95 ha with a target of 30,000 seedlings every year. There is a great demand for the seedlings of Eathomozhy Tall coconut from other parts of India and the other Asian countries, where it may perform better compared to the local varieties and hybrids, as it is a hardy cultivar. The applicants the NGOs and the coconut farmers produce seedlings with a scientific basis, when the real need arises.

The President and members of the Coconut Growers Associations have been trained by Dr. Henry Louis on improved methods of cultivation including mother tree and nut selection, nursery technology, spacing and planting method in the main field, water/ nutrient/ weed/ pest/ disease management, diagnostic characters for commercial purposes and coconut products from the variety, etc.

There was no environmental pollution in the production of fibre by the wetting process in the back waters. The farmers do not employ the child labours in the tiny and Small Scale Industries run to process the products of this coconut in the entire area.

130

B- fujh{k.k fudk;

fuEufyf[kr laxBuksa ls izfrfuf/k gksxk

phQ dksdksuV MsoysiesaV vkWfQlj (lh lh Mh vks)] dksdksuV MsoysiesaV cksMZ] Hkkjr ljdkj] dksPph ,xzhdYpj vkWfQlj (dksdksuV) xouZesaV dksdksusV uoZjh] iqFkkye dU;kdqekjh ftyk] izksQlj ,aM gsM] gkfVZdypjy fjlpZ LVs”ku] Vh ,u , ;w] isphijb] dU;kdqekjh ftyk] ,xzhdYpjy MsoysiesaV ls ,d ,u th vksA

131 K) Uniqueness: The geographical area is typical of coastal climate with rainfall almost throughout the year. The maximum temperature is always lower, and characteristically the differences between maximum and minimum temperatures are quite narrow. The relative humidity is always quite high. The soil is rich in nutrients and mostly near neutral in PH. This variety is very unique and it performs as per its genetic potential in this geographical area.

L) Inpection body:

Will comprise of nominees from the following organizations: i. Chief Coconut Development Officer (CCDO), Coconut Development Board, GOI, Kochi ii. Agricultural Officer (Coconut) Government Coconut Nursery, Puthalam Kanyakumari Dt. iii. Professor and Head, Horticultural Research station, TNAU, Pechiparai, Kanyakumari Dt. iv. One NGO in Agricultural Development.

132 133 th-vkbZ-&vkosnu la[;k & 57

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A dsjy esa ihry ds }kjk ukfj;y ds [kksy ij dh xbZ d'khnkdkjh dk f'kYi ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 57 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 20 ds varxZr vkus okys d

HkkSxksfyd min'kZu % dsjy esa ihry ds }kjk ukfj;y ds [kksy ij dh xbZ d'khnkdkjh oxZ % 20

134 G.I. – APPLICATION NUMBER 57

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Brass Broidered Coconut Shell Crafts of Kerala under Application No 57 in respect of Articles made of coconut shells falling under Class 20 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Geographical Indication : Brass Broidered Coconut Shell Crafts of Kerala

Class : 20

Goods : Articles made of coconut shell falling under class 20

135 eky% oxZ 20 ds varxZr vkus okyk ukfj;y ds [kksy ls cuk lkeku d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%

¼?k½ ekyksa dk oxZ % gLrf'kYi ¼M+½ fufnZfûdj.k %

bl f'kYi ds fy, dPpk eky ukfj;y dk [kksy ftls dsjy esa mRIkUu gksus okys ukfj;y ls izkIr fd;k tkrk gS pawfd bles etcwrh] dM+diu rFkk [kqjps tkus ij lgus gh {kerk gS blfy, ;g vf/kd fnuksa rd dke vkus okyh oLrq ds :Ik esa dke vkrk gS A jklk;fud feJ.k ysfuu dh ek=k vf/kd vkSj lsY;wykst dh ek=k de gksus ij Hkh [kksy

136 (A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(D) Type of goods : Handicraft

(E) Specification

The raw material for this craft is the Coconut shell, obtained from the coconut trees (Cocos Nucifera L.) abundantly cultivated in Kerala. Since it has good durability characteristics, high toughness and abrasion resistant properties, it is suitable for long standing use. The shell is similar to hard woods in chemical composition though lignin content is higher and cellulose content is lower. Coconut shell has a high hardness and micro porosity which increases its durability and absorption and retention capacity.

(F) Name of the Geographical Indication

Brass Broidered Coconut Shell Crafts of Kerala

(G) Description of goods:

Brass broidered coconut shell products like Malabar hookahs, bowls, cups, small boxes, flower vases, snuff boxes, sugar basins, nut bowls, spoons, lotus, puttu maker, key chains, agarbathi stands, clock, different types of cups, buttons, beads, necklace, flowers, lockets, hair clips, soap box etc. Some of these items are produced with brass decoration work through lost wax process.Colour combination of coconut shell with brass gives an excellent appeal.

The craft practiced is with the shell of Coconut (Cocos Nucifera L.) which is organic in nature.

137 dM+s ydM+h ds leku gksrk gS A ukfj;y ds [kksy esa vf/kd dM+diu rFkk ekbdkzs iksjksflfV gksrh gS tks blds etcwrh] vo'kks"k.k rFkk /kkj.k {kerk dks c

¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ % dsjy esa ihry ds }kjk ukfj;y ds [kksy ij dh xbZ d'khnkdkjh

N½ Ekky dk fooj.k ihry vkSj ukfj;y dk [kksy dk ekykckj gqDdk] ckVh] di] NksVs cDls] xqynLrs] cDlk] phuh dk cslhu ] cknke dk ckVh] pEep] dey] iqVVw cukus dk crZu] pkch dk NYyk] vxjcÙh dk LVsaM] ?kM+h] fofHkUu izdkj ds di] cVu] eksrh] gkj ] Qwy] ykWdsV] ckyksa ds fDyi] lkcwu dk ckWDl vkfn izfl) gS A buesa dqN oLrq dks ihry ds ltkoV ds lkFk NqVs gq, ekse dh izfdz;k ls mRIkUu fd;k tkrk gS A ukfj;y ds [kksy ds lkFk ihry dk lek;kstu cgqr lqanj yxrk gS A ;g f'kYi ukfj;y ds [kksy ls rS;kj fd;k tkrk gS tks izkd`frd rkSj ij dkcZfud gS A

¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 144%

¼>½ mRifr dk lcwr ¼,sfrgkfld½ % ukfj;y dsjy ds yksxksa ds fy, rskQk gS A ukfj;y dk [kksy dks ,d ,sls oLrq ds rkSj ij igpkuk x;k gS tsk ?kjksa eas] gksVy esa rFkk laLFkkvksa esa crZuksa rFkk vU; lkekuska ds :Ik esa iz;qDr gksrk gS A ewy rkSj ij ukfj;y dk [kksy di ds rkSj ij iz;qDr gksrk FkkA /khjs /khjs blds 'kks"k.k dh laHkkouk c

138 (H) Geographical area of production and maps as shown in the page no 144.

(I) Proof of origin / Brief History (Historical Records)

Coconut is a gift to the people of kerala. The coconut shell has been identified as one such wonder material that should invariably find its place in all the homes, hotels and institutions as a utility item that people will use in the form of cutlery, crockery or stationary.Originally coconut shell must have been used as a cup. Slowly greater possibilities of exploiting it must have opened up. However there is not much of recorded history of its use in the past except a mention of coconut shell braided hookahs having been crafted in Kerala to the amusement of Arabs.Sculptures and other utilities carved out of coconut shell are indeed incredible artistic feats. And they’ve a shelf life of over 100 years as coconut shell is a resilient organic material, resistant to damage by termites and other insects. Coconut is a biodegradable material, has the potential to replace synthetic materials and is less expensive than other raw materials. This makes the products developed from coconut shell very affordable to the different sections of people apart from being popular with the tourists and visitors to the state.

Extract from Everyman’s Encyclopedia Vol.6. pp. 319- 1978 edition is furnished.

(J)Method of Production:

The craftsmen of kerala have created art and craft from the coconut shell which adorn the showcase of homes across the world as collectors delight.The tools mainly used are grinder, different files, hacksaw, mattor, akamthondi; hand driller sand paper etc. Their main uses are as follows.

Grinder: A grinder which is developed is used to remove the outer layer of the coconut shell which is of coir content .When the outer layer is removed the shell surface will be dark brown in colour.

Files: Files are also used for the smoothening of the surfaces. fixing some portions together.

Akamthondi: A tool for cleaning the inner surface of the shell. (Akamthondi is a Malayalam word means something which cleans inner surface, in the case of coconut, the inner portion is concave)

Mattor: A tool for making a perfect edging of the coconut shell.

Drill: To make small holes especially in the case of processing a button.

Paste: Vajram ( natural paste) is widely used for fixing some portions together.

139 vfo'oluh; dykd`fr;ksa dh 100 lkyksa dh ftanxh gS A ukfj;y dk [kksy yphyk dkcZfud rRo gS A nhed rFkk nwljs dhM+s edksM+kssa ls vius vkidks lqjf{kr j[kus dh {kerk mlesa gS A Aukfj;y izkd`frd rkSj ij fo?kfVr gksus okyh pht gS vkSj blesa flaFksfVd leku dk LFkku ysus dh {kerk gS vkSj vU; dPps ekyksa dh vis{kk cgqr lLrk gS Abl ftlls ukfj;y ds [kksy ls cuus okys lkeku fofHkUu oxZ ds yksxksa jkT;ksa esa vkus okys i;ZVdksa rFkk vkusokyksa ds fy, lLrs gksrs gSa A ,ofjesu ds 'kCndks"k okY;we 6-ih ih 319 -1979 laLdj.k esa fn;k x;k gS] ls fudkyk x;k gS A

×k½ mRiknu fof/k Dsjy ds f'kYidkjksa us ukfj;y ds [kksy ls dyk vkSj f'kYi rS;kj fd;k gS A laxzgdkjska dh bPNk ds vuqlkj iwjh nqfu;k ds ?kjksa dh 'kksHkk c

140 Process of making metal based coconut shell hookahs:

The shell of required size is selected, its outer surface rubbed by a steel tool while the inner part is smoothened with a chisel. A circular base and a handle separately made with shell are attached to the cup by fixing screws. First boot polish is applied and then a final coating of French polish is given for high class finishing. It also involves the casting of whole bell-metal article. Bees wax and charcoal are mixed and melted, filtered through a piece of cloth and deposited in cold water, heated again and pressed on a small square piece of lead with a variety of designs. This is then pressed against wooden model of article under preparation. When this model has been completely covered by wax, it is removed and the wax mould given three coatings of a mixture of clay and chalk powder. Some times paddy tusk is also added and it is then dried in the sun. After it gets heated the wax comes out through the opening provided for the purpose. The mould is then placed over a crucible in which copper and zinc are melted, and the positions of the two are interchanged so that the liquid fills the cavity left by the melting of the wax. When the metal cools, the mould is removed and the surface smoothened. Then the coconut shell is fixed inside the frame with gum and a paste prepared by boiling sealing wax in water, is rubbed over the coconut shell to give it sheen.

(K)Uniqueness:

The coconut shell products crafted by artisans of Kerala are so unique that they can easily substitute daily utility products made of synthetics. Another unique feature of coconut shell products is its eco friendly and of bio degradable nature. The globally popular Malabar Hukka, among other brass broidered coconut shell crafts of Kerala, has many significant specialties in its raw materials and method of production. The major specialities of Malabar Hukka are: 1- It is purely handmade. 2- Used in pharmaceutical industry –in the process of manufacturing Ayurvedic medicines hookas are used as one among the instruments to extract the medicinal vapour to mix with the medicine. 3- When other hookas are made by glass and brass, the Malabar Hukkas are made by eco-friendly coconut shells distinguished by taste when inhale tobacco through other hookas.

(L) Inspection body

1-Regional Director (H) SR, Office of DC( Handicrafts, Chennai 2- Chairperson, Crafts Council of India, Chennai 3-A representative from handicrafts NGO 4-A representative from NID 5-A non –official Member associated with art and craft

141 fMy % bldk iz;ksx NksVs Nsn cukus ds fy, fd;k tkrk gS] fo'ks"kdj cVu cukus dh izfdz;k esaA isLV % fotje ¼izkd`frd isLV½ dk iz;ksx dqN Hkkx dks tksM+us ds fy, fd;k tkrk gS A /kkrw dk cuk ukfj;y ds [kksy dk gqDdk cukus dh izfdz;k vko';d vkdkj dk [kksy pquk tkrk gS A ckgjh Hkkx dks Lvhy ds vkStkj ls fpduk fd;k tkrk gS A tcfd Hkhrjh Hkkx dks fply ls fpduk cuk;k tkrk gS A xksykdkj csl vkSj gsaMy tks vyx ls [kksy ls cuk;k tkrk gS ] dks Ldzw ls ;k xe ls tksM+k tkrk gS A igys twrs dk ikfy'k yxk;k tkrk gS vkSj ckn esa Qzsap ikfy'k yxk;k tkrk gS vkSj ckn esa Qzsap ikfy'k yxk;k tkrk gS A ftlls vPNk fQfuf'kax vk lds A blesa csy /kkrw ds oLrq dk Hkh iz;ksx fd;k tkrk gS A e/kq vkSj pkjdksy dks feykdj] xykdj] ,d diM+s ls Nkudj BaMs ikuh esa tek;k tkrk gS vkSj xeZ djds NskVs oxZ esa ysM ds VqdM+s esa fofHkUu rjg ds fMtkbu ds lkFk nck;k tkrk gS A tc og ekWMy iwjh rjg ekse ls

142 ( V ) vuks[kkiu

dsjy ds dykdkjksa }kjk cuk;s x;s ukfj;y ds [kksy dk mRikn bruk vuks[kk gS fd flaFskfVd }kjk cuk;s mRiknksa txg vlkuh ls ys ldrk gS A ukfj;y ds [kksy dk nwljk vuks[kk xq.k gS izd`fr mRikn gS vkSj izkd`frd rkSj u"V gks ldrk gS A fo'o Lrj ij fo[;kr ekykckj gqDdk nwljs dsjy ds ihry czkbMMZ ukfj;y ds [kksy dk f'kYi ds dPps eky vkSj mRiknu ds fof/k esa cgqr lh [kkfl;r gS A ekykckj gqDdk ds eq[; [kkfl;rksa esa 1- ;g iwjh rjg gkFk ls cuk gqvk gS 2- QkeZLkwfVdy mn;ksx esa bldk iz;ksx – vk;qZosSfnd nokb;ksa dks cukus esa gqDdk dk iz;ksx nokb;ksa ds ok"Ik dks fudkyus okys midj.k ds :i esa nok ds lkFk feykus ds fy, gksrk gS 3- Tkgka nwljs gqDdk dks dkap vkSj ihry ls cuk;k tkrk gS ogha eykckj gqDdk izkd`frd pht ukfj;y ds [kksy ls curk gS tks gqDdk iku djus ij bls vU; rackdwvksa ls vyx fn[kkrk gS A

(B) tkap fudk;

1- {sk=h; funs'kd ¼,p½,l vkj] Mh lh dk dk;kZy;¼gLrf'kYi½] psUubZ 2- v/;{k] Hkkjr ds f'kYi dkmafly] psUubZ 3- ,u th vks gLrf'kYi ds izfrfuf/k 4- ,u vkb Mh ds izfrfuf/k 5- ,d dyk vkSj f'kYi ls tqM+k lnL;

143 144 th-vkbZ-&vkosnu la[;k &66

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A t;iqj dk Cyw ikWVjh ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 66 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 21 ds varxZr vkus okys d

HkkSxksfyd min'kZu % t;iqj dk Cyw ikWVjh oxZ % 21 eky% feêh dk dke

145 G.I. – APPLICATION NUMBER 66

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Blue Pottery of Jaipur under Application No 66 in respect of pottery falling under Class 21 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Geographical Indication : Blue Pottery of Jaipur

Class : 21

Goods : Pottery

146 d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%

¼?k½ ekyksa dk oxZ % gLrf'kYi

¼M+½ fufnZfûdj.k % t;iqj dk Cyw ikWVjh vius uhys jax dh vf/kdrk ds dkj.k tkuk tkrk gS A dksckYV vkWDlkbM ls izkIr fd;k x;k uhyk jax cgqr gh vkd"kZd gksrk gS vkSj ;g bu lkekuksa dsk vka[kksa dks vkdf"kZr djus eq[; 'ksM gS A ihys] gjs vkSj vU; jax lQsn vkSj uhys ds ikjaifjd jax isysV dks c<+krk gS A uhys ikWVjh ds lkeku gYds gksrs gSaA lrg pedrh gS ij mruh ugha gksrh A iwjs mRikn dks ltkoV dh vkd`fr ls

147 (A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(D) Type of goods : Handicraft

(E) Specification:

Blue pottery of Jaipur can be easily recognized predominance of blue color on them. The brilliance of blue created from cobalt oxide is striking and is the key shade to create the visual appeal of these items. The use of yellow, green and other colors enhance the traditional color palette of white and blue. The blue pottery products are quite light weight. The surface shines but the shine is less glossy. The entire item/ product is covered with decorative motifs and filled entirely with colors. The traditional motifs like tessellating type of jaali, all over motifs and the stylized floral designs reflect their Persian origins. The adherence to hand painting has lent a high level of delicacy to this art and has contributed to the designs looking fresh and full of life

(F) Name of the Geographical Indication

Blue Pottery of Jaipur

(G) Description of goods:

M ost of the items comprise of domestic kitchenware such as cups, plates, flower vases, tea pots, urns, tea coasters, napkin holders, bread holder. Also small items such as table top accessories, door knobs, pen stands, paper weights, tiles, incense stick stands, candle stands, bathroom fittings, flower pots in many shapes and sizes, lamp base, boxes, trays etc. The artisans have started making even buttons and costume jewellery.

148 ¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ % t;iqj dk Cyw ikWVjh N½ Ekky dk fooj.k vf/kdrj phtsa ?kjsyw esa di] IysV] Qqynkuh] pk; dk ikWV] pk; dk dksLVj] usifdu j[kus okyk] czsM j[kusokyk vkfn gS A dqN NksVh phtska tSls Vscy ds Åij j[kus okyh tSlas Vscy ds Åij j[kus okyh phtsa] eqfB;k] dye nkuh] dkxt ij j[ks tkus okyk Hkkj] VkbYl] vxjcÙh dk LVsaM] eksecÙh dk LVsaM] ckFk:i ds fQfVax] cgqr ls vkdkjska vkSj :iksa esa xeys] cÙh dk vk/kkj] cDlk] Vsª vkfnA dykdkjska us cVu vkSj oL= ds xgus Hkh cukuk izkjaHk dj fn;k A

¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 160% Cyw ikWVjh t;iqj ftys ds cgqr ls xkoksa esa cuk;k tkrk gS A t;iqj 'kgj 27-55 mÙj v{kka'k rFkk 75-52 iwoZ ij fLFkr gS A

¼>½ mRifr dk lcwr ¼,sfrgkfld½ % Ekku flag gh og gS ftlus igys bl uhys vkSj lQsn dyk dks t;iqj jkT; esa eqxyksa ds }kjk vQxkfuLRkku ls yk;s A ;g vLFkkbZ gksxk A Egkjktk lkobZ jke flag ¼1835&1880½ ds dksf'k'k ls dyk Ldwy dh LFkkiuk 1866 esa t;iqj esa gqbZ vkSj dyk ds iquZfuZek.k dh ;kstuk cuk;h xbZ A ;g dk;Z muds egkjktk lkobZ ek/kksa flax nks us viuh irax mM+krs le; 2 HkkbZ;ska dks [kkst fudkyk ftudks Vjdksbl uhys ikWVjh dk tud ekuk tkrk gS A egkjk ds irax ekLVj ,d dqEgkj gSa ftudk uke pqjkef.k Fkk ] ls gkj x;s Fks A ftUgksaus muds irax dh Mksj ij uhys gjs ikWVjh ds dkap ds pqjs dks yxk;k Fkk A egkjktk tc us mls ns[kk rks os brus izHkkfor gq, fd mUgksaus ml dqEgkj dsk vkdj t;iqj esa clus dks dgk vkSj ml dyk Ldwy vkSj

149 (H) Geographical area of production and maps as shown in the page no 160.

Blue pottery is practiced in many villages in the Jaipur district. City of Jaipur lies at a Latitude of 27.55 N and a Longitude of 75.52 E.

(I) Proof of origin / Brief History (Historical Records)

Man Singh I was the first to bring the art of blue and white to Jaipur subsequent to his interactions with the Mughals and through his campaigns in Afghanistan. This was possibly temporary. With the initiative of Maharaja Sawai Ram Singh (1835-1880), the School of Art was established in 1866 at Jaipur and a great revival and rejuvenation of arts was planned. This work was continued by his successor Maharaja Sawai Madho Singh II. There is a story/legend which tells of how Maharaja Sawai Man Singh II of Jaipur while flying his kite discovered 2 brothers who were to father the turquoise blue pottery of Jaipur. M aharaja’s kite master was defeated by a potter called Churamani, who had coated his kite string with glass dust of his blue green pottery. The Maharaja asked to see the pottery which impressed him so much that he asked the potter to come and settle in Jaipur and to head the pottery section of the proposed School of Arts and Industries

In 1957, when the School that had started in 1866 was suddenly closed by the Government of India, it took a Maharani- Gayatri Devi of Jaipur- to inject a third dose of life

(J) Method of Production:

Raw Material

Dough (Quartsz powder), Saaji (soda bicarbonate), Multan mitti (Fuller’s earth), Kaatira gond (natural resin), Safed laanch (glass), Glaze –Sindoor (red lead), Suhaga (Borax powder), Crushed glass

Raw Materials for Colouring

White – Powdered white glass and Quartz powder

Light blue-Cobalt oxide Blue-Copper Oxide

Green-Chrome O xide

Dark brown-Manganese

150 mn;ksx dk v/;{k cuu dsk dgk A 1866 esa 'kq: fd;k x;k Ldwy 1957 es Hkkjrh; ljdkj }kjk can dj fn;k x;k A t;iqj dh egkjkuh xk;=h nsoh dsk rhljk Mksl dk lwbZ nsus ds fy, bls ljdkj dks ns fn;k x;k A

×k½ mRiknu fof/k dPpk eky xqaFkk vkVk ¼DokVt dk ikmMj½] lkth¼lksMk ckbdkcksZusV½] eqyrkuh feêh] dfVjk xkaM ¼izkd`frd jsftu½] lQsn ykap ¼Xykl½] Xyst& flanwj¼yky ysM½] lqgkxk¼cksjsDl ikmMj½] pwj fd;k gqvk dkap jaxkbZ ds dPpk eky lQsn ikmMj lQsn dkap vkSj Dokt ikmMj gYdk uhyk & dksckYV vkWDlkbM uhyk & dkWij vkWDlkbM gjk & dzkse vkWDlkbM xgjk dRFkk & esuxsful Izkfdz;k t;iqj ds uhys ikWVjh cukus ds fy, ewy :Ik ls 11 voLFkk,a gSa A 1-feêh dks xwaFkuk dokMl dh v'kqf);ka fudkyus ds fy, mls Nkuk tkrk gS A ,d ckj lkQ gks tkus ij vPNh rjg ls lkQ djds pDdh esa ihlk tkrk gS A xu dks ikuh esa jkr Hkj ds fy, lks[kdj j[kk tkrk gS A vkSj mlds ckn /kwi esa lq[kk fn;k tkrk gS A bu lHkh phtksa dks vPNh rjg ls feykdj] xwaFkdj vkVk cuk fy;k tkrk gS A 30 fdyks ikuh esa ,d eu ikmMj feyk;k tkrk gS A rS;kj xwaFks feêh esa cgqr ikuh ugha gksuk pkfg, A ;g vk/kk

151 PROCESS

The production of the blue pottery of Jaipur in Rajasthan involves basically eleven steps to name:

1-Preparation of dough

Quartzs is sieved to remove impurities. Once fully dry it is cleaned and ground in the chakki. The gun is soaked in water over night and then dried in the sun. Bentonite and fullers earth is broken into smaller pieces and ground in a chakki. All these materials are mixed together and kneaded into dough. The ratio maintained is 30 kg of water added to 1 man of the powder. The dough prepared is not very wet, but it is semi dry (like churma). This is allowed to stay for 12 hours to mature, so that the gum in it swells up and binds the dough well.

2-Glaze making

A vitreous glaze is prepared to coat the body of the product and to give it a shine after firing. For the preparation of frit, red lead is available in powder form and vorax is also available ground.

The ingredients (glass powder, red lead/ sindoor and borax/suhaga) in powder form are mixed together and then pit inside a graphite crucible which is then placed in small kiln. The mixture melts and pours out through a narrow opening at the end, into cold water. The molten frit solidifies and shatters on falling in water. This is removed from water and allowed to dry . It is then powdered in hand mill.

Powdered frit is mixed with a glutunous paste nade of naiad boiled in water . Enough water is added to give the paste the desired consistency.

3-Bharan nikaalna (Fabrication of the wares)

The method of production is mould based and the use of wheel is quite peripheral to this technique. Each product has a mould / pharna made out if plaster of paris. The mould is single or in two parts. The dough prepared in the stage 1 is taken to use.

A small ball of the dough is taken and rolled flat like a chapatti. The thickness maintained is the thickness desired for the product. An even thickness is obtained by flattening the dough with a smooth piece is ready; it is laid on the mouth /opening of the mould. The mould is briskly moved in circulation movement, within the cup of palms of both the hands. With this movement, the flat layer of dough slowly sinks and slips into the mould and begins to take its shape.

152 lw[kk vFkkZr pwjs dh rjg gksuk pkfg, A bldks 12?kaVs ds fy, NksM+ fn;k tkrk gS ftlls bldk xe Qwy tk; vkSj vkVs dks vPNh rjg ls tksM+rk gSA 2- Xyst cukuk mRikn ds 'kjhj ij Mkyus ds fy, Xyst rS;kj fd;k tkrk gS A tsk rius ds ckn mRikn dks ped iznku djrk gS A fQzV rS;kj djus ds fy, yky ysM dk ikmMj vkSj oksjsDl dks feyk;k tkrk gS

ikmMj ds :Ik esa lkexzh ¼Xykl dk ikmMj] yky ysM ;k flanwj vkSj cksjsDl ;k lqgkxk ½ dks feykdj Hkêh esa Mky fn;k tkrk gS A ;g feJ.k fi?kyrk gS vkSj irys jkLrs ls fudyrk gS vkSj BaMs ikuh esa tkrk gS A fi?kyk fQzV Bksl gksdj ikuh esa fxjrs gh QSy tkrk gS A bl ikuh ls fudkydj lw[kus ds fy, NksM+ fn;k tkrk gS A gkFk ds fey esa mls ikmMj dj fn;k tkrk gSA ikmMj fQzV dks XywVksul isLV tks usbM dk cuk gksrk gS] ds lkFk feykdj ikuh esa mckyk tkrk gS Aikuh Mkydj isLV dks vko';d xkM+k dj fy;k tkrk gS A

3- Hkkju fudkyuk mRIkknu dh fof/k eksYM ij fuHkZj djrh gS vkSj bl rduhd ds fy, pDds dk iz;ksx vko';d gS A izR;sd eksYM IykLVj vkWQ isfjl dk cuk gkssrk gS A eksYM ,d ;k nks Hkkxk sa esa gksrk gS A igys voLFkk esa rS;kj xqaFks feêh dk iz;ksx ;gka fd;k tkrk gS A feêh dk NksVk yksbZ ysdj mls pikrh dh rjg csy fy;k tkrk gS A mRikn ds vk/kkj ij mldh eksVkbZ gksuh pkfg, A eksVkbZ xaqFks feêh dsk piVk djds izkIr fd;k tkrk gS A bls eksYM ds eqag ij j[kk tkrk gS A nksuksa gkFkksa ds chp eksYM izfrxeu djrk gS Abl xfr ds lkFk xaqFkk feêh rSjdj eksYM esa pyk tkrk gS vkSj viuk vkdkj ysus yxrk gS A tc xaqFkk feêh ry esa pyk tkrk gS rsk eksYM dk vkdkj ysus yxrk gS ] dqN Hkhaxs jk[k blesa

153 Once the dough has reached the bottom and taken the shape of the mould, some moist ash is added over it. The excess of the dough layer hanging around the top of the mould is then snipped off with a triangular iron piece called lone ki paati. This dough within the mould is then allowed to dry in shade for another 12 hours. After this the mould is inverted on a clay slab. The mould has a tiny hole at the base .This hole allows the excess air to move out once the dough is filled in and also allows the dried item to slip off evenly. The potter blows through this hole and the product slips out of the mould. This is the extraction of the bharan.

4-Pendi lagana (addition of the base)

Once the item is dry, it is turned on the wheel and a smooth rounded base is added to it, to give a finish to the shape. Even to a suahi , the garden (neck) is added on to wheel.

5-Rezmaal ka kaam (finishing)

The surface of the product is still coarse and needs to be smoothened. For thes ,first 36 number sand paper /rezmaal are used to rub and smoothen the surface. A small amount of the wet dough is taken and then rubbed smoothly on the surfaces. This allows the small depressions and uneven areas to be filled. Again sandpaper id rubbed and used ti smoothen the surfaces of the product.

6-Engobe/Astaar lagana (application of white base color)

The white color is prepared by mixing 7 kg of quartz powder and 3 kg of white glass. This mixture is diluted with water and some Maida (refined wheat flour) and is heated. A glutinous binder is thus ready, of dropping consistency. The slip has to be of right consistency. If it is too thin, the body shows and if it is too thick, the article cracks during drying. The products are then dippd and swirled into this solution, taking care that the entire product gets coated evenly with the solution of white colour. This astaar gives a smooth white non absorbent surface on which painting can be done. After this coating, the products are dried for 1 day in the direct sun. A final smoothening of the surface is done by again using a sandpaper to finish the surface.

7-Rangaai (painting design)

After the surface of the product is made smooth with sandpaper, the stage of decorating it with designs begins. The potter uses fine brushes to paint the outlines of the entire design. Copper oxide (neela), which yields a dark blue colour on firing and look black prior to it, is used for the outline painting.

The color is prepared by dissolving gum in water and mixing color stains in it. The solution should not get too thin or too sticky. The painting is done with brushes. The finer brushes are made of hair from the tail of a squirrel.

154 feyk fn;k tkrk gS A vfrfjDr xqaFkh feêh tks eksYM ds Åij Vaxh jgrh gS mls frdks.kh yksgs ds VqdM+s ls Nhydj fudky fy;k tkrk gS A eksYM ds xqaFks feêh dks 12 ?kaVs dsfy, Nko esa lw[kus dsfy, j[k fn;k tkrk gS A blds ckn eksYM dks feêh ds Lysc esa Mkyk tkrk gS A eksYM es uhps ,d NksVk Nsn gksrk gS A ,d ckj feêh Hkj tkus ij ;g Nsn vfrfjDr ok;w dks cgkj fudkyrk gS vkSj lw[ks phtksa dks Hkh ckgj fudyus nsrk gS AdqEgkj ml Nsn ls Qwadrk gS rsk eksYM ls mRIkkn ckgj fudy vkrk gS A ;g Hkkj.k dk fu"dk'ku gS A

4- isanh yxkuk mRIkkn lw[k tkus ij] bls pDds ij j[kk tkrk gS vkSj fpdus xksy vk/kkj dks uhps yxk;k tkrk gS ftlls bldks vafre vkdkj feyrk gS A lqvkgh esa Hkh pDds esa xnZu yxk;k tkrk gS A

5-jsteky dk dke mRIkkn dk lrg vHkh Hkh [kqjnqjk gksrk gS bls fpduk djus dh vko';drk gskrh gS A blds 36 ua- ds ,ejh dk iz;ksxdj mls fpduk cuk;k tkrk gS A lHkh NksVs vuqikr ds xhys xqaFks feêh dks ysdj mlds lrg dks vPNh rjg fpduk fd;k tkrk gS A ;g NksVs mHkkjksa rFkk vleku lrgksa dks Hkj nsrk gS A fQj ckyw ds isij dk iz;ksx dj f?klk tkrk gS vkSj lrg dks fpduk cuk;k tkrk gS A

6-vLrj yxkuk 7fdyks DokMt ikmMj rFkk 3fdyks lQsn Xykl dks feykdj lQsn jax cuk;k tkrk gS A bl feJ.k dsk ikuh vkSj eSnk ls ?kksyk tkrk gS vkSj xeZ fd;k tkrk gS A vkSj XywfVul ckbaMj rS;kj gks tkrk gS A vkSj blesa Mkyus ;ksX; xk<+kiu gksrk gS A ;fn ;g cgqr

155 8-Bharana/bhatti ko jamana (loading of articles in the kiln)

Once the potter has enough products, he begins the process of firing. If his products are less, he at times shares the kiln with another potter. The kiln furniture consists of plates (takhti) made of terracotta and props (sipahi) made of terracotta. The articles are laid on the plates supported by props. The plates are coated with a coat of astaar so that the glaze does not stick to the plates. The plates are kept about 3 to 4 inches away from the inner wall of the kiln, for free and easy circulation of heat. The loading of products in the kiln takes about 5 hours.

9-Pakana (Firing)

The batti/kiln is a up-draught kiln. It is hemispherical and has a round opening on top. The hemisphere has 4 small opening on the 4 sides, meant to allow the potter to view and check the firing process. The kiln is usually located outside the house premises of an individual potter and is often shared by a few potters. The potters still use traditional style of wood fire kiln which has high fuel consumption. The lower part of the kiln has two slots on either side, for the feeding of wood, to maintain the fire. /traditionally babool wood has been used for the fire. The wood has a tendency to retain the heat for much longer, as compared to other wood.

(K) Uniqueness:

• The pottery is completely hand painted. • The quartz composition of the ceramic is well suited to the hot and dry climate of the area. • By wetting the edges, even the dry pieces can be joined. • Very little post firing shrinkage. • Requires only one firing for baking and glazing unlike clay pottery where two firings are required. • Since it does not crack much and is impervious, it is found very suitable and hygienic for daily use.

There is no red clay used in the base as is the case in those that are practiced in some other areas.

(L) Inspection body

Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members.

156 iryk gksxk rks 'kjhj esa fn[ksxk vkSj ;fn xk<+k gqvk rks lq[kkus ds nkSjku blesa njkjs iM+ ldrk gS A mRikn dks ?kksy esa Mqckdj ?kqek;k tkrk gS vkSj bl ckr dk /;ku j[kk tkrk gS fd lQsn jax iwjs dsk vPNh rjg ls jax ns A ;g vLrj ,d ,slk fpduk u vo'kksf"kr djus okyk lrg nsrk gS ftlij jaxkbZ dh tk ldrh gS A bl dksfVax ds ckn 1fnu ds fy, /kwi esa bls lq[kk;k tkrk gS A lsaM isij ds nkSj fQj ls bls fpduk cuk;k tkrk gS A 7- jaxkbZ lsaM isij ls fpduk djus ds ckn mRIkkn dks fMtkbu ls ltk;k tkrk gS A dqEgkj iwjs fMtkbu ds vkmVykbu dsk cukus ds fy, ckjhd cz'k dk bLrseky djrk gsS A dkcZuMkb vkWDlkbM tsk rikus ij xgjk uhys jax dk gks tkrk gS vkSj mlds igys dkyk fn[krk gS vkSj bldk iz;ksx vkmVykbu dks jaxus dsfy, fd;k tkrk gS A ikuh esa xkasn vkSj jax feykdj jax rS;kj fd;k tkrk gS A ?kksy u gh T;knk iryk gksrk gS vkSj u gh T;knk fpifpik gksrk gS A jaxkbZ cz'k ls fd;k tkrk gS A irys cz'k fxygjh ds iwaN ds cky ls rS;kj fd;k tkrk gS A

8- Hkêh dks tekuk Tkc dqEgkj ds ikl dkQh mRikn vk tkrs gS rsk rikus dh izfdz;k izkjaHk djrk gS A ;fn mlds ikl de mRikn gksrs gS rsk og Hkêh nwljs dqEgkj ds lkFk ckaVrk gS A Hkêh QuhZpj r[rh vkSj flikgh VsjkdksVk dk cuk gksrk gS A Vsd ds lgkjs oLrqvksa dks r[r ij j[kk tkrk gSA r[r dks vLrj ds dksV ,d dksV yxk fn;k tkrk gS ftlls fd Xyst r[r ls u lVs A r[r dks Hkêh dh nhokj ls 3 ls 4 bap dh nwjh ij j[kk tkrk gS A ftlls xehZ vklkuh ls vanj ?kwe lds A Hkêh esa leku dsk j[kus esa 5 ?kaVs yxrs gSa A

157

9- idkuk¼riuk½ Hkêh ds Åij fudyus okyh gok dks lq[kkdj fudkyrh gSA ;g xksykdkj gksrh gS vkSj ftlds Åij xksy [kqyk Hkkx gksrk gS A bl xskykdkj esa pkjksa rjQ pkj jkLrs gksrs gS A ftlls fd dqEgkj rikus dh izfdz;k dks ns[k lds vkSj tkap dj lds AdqEgkj vHkh Hkh ikjaifjd rjhds dh ydM+h ds Hkêh dk gh bLrseky djrk gS Aftlesa vf/kd vkx fudyrk gS A Hkêh ds fupys Hkkx esa nksuksa rjQ [kqys Hkkx gksrs gSa tgka ls ydM+h Mkyh tkrh gS] ftlls fd vkap dks cuk;s j[k lds A ikjaifjd rkSj ij ccwy ds ydM+h dk iz;ksx vkx ds fy, fd;k tkrk gS A ;g ydM+h esa vU; ydfM+;ksa dh vis{kk vf/kd le; rd rki dks cuk;s j[kus dh {kerk gksrh gS A

( V ) vuks[kkiu

;g feêh dk cÙZu iwjh rjg gkFk }kjk jaxk tkrk gS A fljsfed dk DokMt daiksfltu bl {ks= ds :[ks rFkk xeZ ekSle ds fy, mi;qDr gS A fdukjska dks xhyk djds leku vkSj lw[ks VqdM+ksa dks tksM+k tkrk gS A xeZ djus esa ;s cgqr de fldqM+rsa gSa idkus rFkk pedkus ds fy, ,d gh vkx dh vko';drk gS ] blesa feêh cÙZu dh rjg nks ckj rikus dh vko';drk ugha iM+rh A pafd blesa vf/kd njkjs ugha iM+rh vkSj vHksn;] ;g jkstejkZ ds mi;ksx ds fy, mi;qDr vkSj LoLF;dj gS A

158 vU; {ks=ksa dh rjg blds ry esa yky feêh dk iz;ksx fd;k tkrk gS A (B) tkap fudk; vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsS A

159 160 th-vkbZ-&vkosnu la[;k &67

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A eksysyk feVVh dk dke ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 98 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 6 ds varxZr vkus okys d

HkkSxksfyd min'kZu % eksysyk feVVh dk dke oxZ % 21 eky% feVVh dh ewfrZ

161 G.I. – APPLICATION NUMBER 67

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Molela Clay Work under Application No 67 in respect of pottery falling under Class 21 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Geographical Indication : Molela Clay Work

Class : 21

Goods : Clay idols

162 d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%

¼?k½ ekyksa dk oxZ % gLrf'kYi

¼M+½ fufnZfûdj.k % nsoh&nsorkvksa dh /kkrw dh ewfrZ;ksa dks iwjh rjg ls jax fd;k tkrk gS ;k ts: dks fudys rkj ls rFkk xksy fcanw ls ltk;k tkrk gS A bldks dqN midj.k tSls ydhj okys d.kZ ls] NksVs xksy fcanw] fc[kjs ydhj vkSj Nsnksa esa Hkh A

¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ %

eksysyk feVVh dk dke

163 (A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(D) Type of goods : Handicraft

(E) Specification

The plaque images of gods and goddesses colored entirely or in Geru are decorated with raised coiled and round dots. These are further ornamented with impressions made by certain tools, in form of linear diagonals, small round dots, radiating lines and even holes.

(F) Name of the Geographical Indication

Molela Clay Work

(G) Description of goods:

The Molela craftsmen make votive plaques with images of male and female deities in anthropomorphic forms. Ancestors represented in the forms of snakes and local heroes from folk legends are produced for worship. An interesting form of the Gujar tribe’s popular God Deonarain, is created on a horse holding a bhala (spear) and a kamal (lotus). Another popular male deity is Bahiron whose icon is made up of 2 images- kala bhairon and gora bhairon, the dark and the fair.The serpent God, Nagdev or Takhaji has been worshipped in India since ancient times. The Molela potter also makes figures relating to the Tantra cult, a cult which tried to unify the male- female polarities but which denigrated to magic and mysticism. The M olela potter also makes folk heroes and heroines of Rajasthan’s oral traditions such as the goddess sisters Lalbai and Phulbai, the spear holding brothers Bhunji and Mahenduji and Ratna Rabari.

164 N½ Ekky dk fooj.k Ekskysyk ds f'kYidkj ekuo ds :i esa nsoh nsorkvksa dh /kkrw dh ewfrZ;ka cukrs gSa A iwoZtksa dks lkai ds :i izLrqr fd;k tkrk gS vkSj yksd dFkkvksa ds LFkkuh; uk;d dks Hkh iwtk ds fy, izLrqr fd;k tkrk gS A xqtj vkfnoklh dk lcls vPNk :Ik iz[;kr Hkxoku fn;ksukjk;.k dks ?kksM+s ij [kM+s rFkk gkFk esa Hkky vkSj dey fy;s gq, fn[kk;k gS Anwljk iz[;kr nsork gS cfgj.k ftldh ewfrZ 2:i esa cuk;h tkrh gS ,d dkyk HkSj.k vkSj nwljk xksjk HkSj.k vFkkZr dkyk vkSj xksjk A lkaikas dk nsork ukx nsork dks iqjkus tekus ls gh iwtk tk jgk gS A dqEgkj ,sls ewfrZ Hkh cukrs gSa tks ra= fjokt ls tqM+s gksrs gSa vkSj tsk igys uj vkSj ukjh dks ,d nwljs tksM+rs Fks ysfdu tknw Vksus mldks de dj fn;k A eksysyk ds dqEgkj jktLFkku ds ijaijk yksd dFkk ds uk;d vkSj ukf;dk tSls nsoh cgus ykyckbZ vkSj QwyckbZ rFkk cjNh /kkj.k fd;s HkkbZ Hkaqth] egsanqth vkSj jruk jkcjh dh ewfrZ cuk;h A

¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 177% uD'ks esa mldk v{kkaf'k; rFkk ns'kkarjh; fLFkfr 24-42m vkSj 77-28 iwoZ esa gS A eksysyk xkao jktLFkku ds jktLean ftys esa gS A eksysyk ,d NksVk xkao gS tks mn;iqj ls 45 fdykseh nwj vkSj cul unh ds utnhd gS A

¼>½ mRifr dk lcwr ¼,sfrgkfld½ % dqEgkjska dk fo'okl gS fd muds iwoZt vcw ls uknks ¼ikyh ftys esa½ vkSj fQj eksysyk xkao vk;s A vkt Hkh eq[; /kkfeZd voljksa ij os dqy nsoh] vk'kkiqjk nsoh ds eafnj] tks ikyh ftys ds uknksy esa eq[; eafnj gS A 11ls 12 ihf<+;ka eksysyk esa fLFkr gS A yxrk gS fd eksysyk vkus ls igys dqEgkj ifjokj feVVh ds ?kjsyw lkeku tSls ikuh dk ?kM+k] cÙh] eD[ku ds cÙZu rFkk ngh dk cÙZu vkfn cukrs Fks A ij eksysyk esa cl tkus ds ckn bu dqEgkjsak dh fdLer esa u;k eksM+ vk;k A ,d jkr va/ks dqEgkj dsk lius esa

165 (H) Geographical area of production and maps as shown in the page no 177.

Latutudinal and longitudinal location on the map is 24.42 N and 77.28 E. Molela Village is in the Rajasmand District of Rajasthan. Molela is a small town 45 km north of Udaipur, close to the Banas River.

(I) Proof of origin / Brief History (Historical Records)

The potters believe that their ancestors have come from Abu to Nadol (in Pali district) and then finally to the village of M olela. Even today, on important religious occasions, they go to worship their kul Devi, Ashapura Devi, whose maintemple is in Nadol in Pali district .Since the past 11-12 generations, the potters have settled in Molela. It seems that prior to coming to Molela, the potter families were primarily making the usual earthenware domestic utensils like water pots, lamps, containers for clarified butter, containers to keep curd etc. but after settling in Molela, the destiny of these potters, took a turn. One night a blind potter had a dream in which Lord Dharamraj / Deonarayan revealed him in the form of a shadow and instructed that the potter should make an image of his. When the potter replied that since he could not see it was impossible for him to do so, Lord Deonarayan blessed him with sight. When the potter asked how he would sell his wares, he was told that the buyers would come to him, so he need not worry on that count. From then onwards, the potters of Molela have been making votive (presented to God as a sign of thanks) plaques of local Gods and Goddesses like Deonarayan, Dharamraj (is caretaker of justice and keeps an account of the `karma’ of a person. He is an accomplice of Yamraj, the God of dead), Kala Bhairon (black and ferocious) and Gora Bhairon (white and compassionate), Sheshavatar (incarnation of Vishnu – in form of a snake), Chamunda, Kalika, Awanmata, Durga, Ganesh.

(J) Method of Production:

Raw materials

Clay (Mitti), Donkey dung, Colors, Geru, Jela / lacquer, Silver paper.

Tools: Only 3 very basic tools are used in this decorative clay work. But the potters derived creative use of some of them.

1) Pindi - a round stone piece with a knob on top to hold it. This tool is used to hammer the mud flat. 2) Paata - is a rectangular piece of wood, used to flatten the plaque laid horizontal. 3) Bhaaladi - It is a small flat chisel like instrument made of metal and used to crop the extra clay. The tip of the tool is used to mark small depressions in the plaque image. The edge of the broad front is used to achieve diagonal linear impressions on the plaque

166 Hkxoku /keZjkt fn[ks tsk ijNkbZ ds :i fn[ks vkSj funsZ'k fn;k fd;k fd dqEgkj mudh ewfrZ cuk;h A dqEgkj us dgk fd pwafd og ns[k ugha ldrk blfy, ,slk djuk mlds fy, vlaHko gS vkSj blfy, mls vka[kksa dh jkS'kuh fey xbZ A tc dqEgkj us iwNk og budks dSls cspsxk rks mUgksaus dgk fd xzkgd muds ikl vk;saxs blfy, mls fpark djus dh dksbZ vko';drk ugha A mlh le; ls eksysyk ds dqEgkjska us LFkkuh; nsoh nsorkvksa dh ewfrZ¼/kU;kokn ds :Ik esa½ tSls fn;ksukjk;.k /keZjkt ¼tks Qslys djrs gS vkSj O;fDr ds deZ dk ys[kktks[kk j[krs gS vkSj os ;ejke e`R;q ds Hkxoku ds lkFkh Hkh gSa ½] dky HkSjo¼dkys vkSj Hk;adj½ vkSj xksjs HkSjo ¼xksjs vkSj d:.kk'khy½] 'ks'kkorkj¼fo".kq ds vorkj&lkai ds :Ik esa½] pkeqMk] dkfydk ] vouekrk] nxkZ] x.ks'k vkfn cukrs Fks A

×k½ mRiknu fof/k dPpk eky feVVh] xngs dk ey] jax] xs#] tsyk] pkanh dk ijr midj.k feVVh dke esa ltkus ds fy, dsoy 3 ewy midj.kksa dk iz;ksx gksrk gS Aysfdu dqEgkj mlesa dqN dk iz;ksx u;s pht cukus ds fy, Hkh djrk gS A 1- fiaMh & Åij xkaB ds lkFk ,d xksy iRFkj ds VqdM+s Abldk iz;ksx feVVh dks piVk djus ds fy, fd;k tkrk gS A 2- ikVk & ;g ydM+h dk vk;rkdkj VqdM+k gS ]ftldk iz;ksx yksgs dks lqykdj piVk djus ds fy, fd;k tkrk gS 3- HkkyMh & ;g /kkrw dk ,d NksVk piVk Nsuh ds vkdkj midj.k gS ftldk iz;ksx vfrfjDr feVVh dks fudkyus ds fy, fd;k tkrk gS A bl midj.k dk uksd izfrdk NksVs vkd`fr cukus ds fy, fd;k tkrk gS A cM+s Hkkx ds /kkj dk iz;ksx izfrek esa ydhj ds vkdkj dk o.kZ izkIr djus ds fy, fd;k tkrk gS A

167 The Process:

1-Gaara gundana (Preparing the clay)

The clay is procured from localponds. The mud is sieved well with a wire mesh and the fine mud is then beaten in to smaller pieces. To this a fourth part of donkey dung is added. The donkey dung is beaten into finer pieces with a large wooden beater, by the women of the house. The above mentioned mixture is msde wet and prepared into a dough, wedging with feet. The kneaded clay is kept covered in polythene and lasts for 2- 3 days. The impure clay, contains plenty oof sand, is ideal for throwing the supporting- pots kiln furniture used in the construction of the kiln, and fires to a light pink colour.

2-Thala banana (Creation of the base of plaque)

A ball of clay is taken and flattened onto the ground with the help of the round stone tool, pindi and water. Once the desired thickness is achieved, the surface is further smoothened with the help of the wooden tool paata and water. After the surface is smooth and even, the plaque is given the final shape and the extra clay is trimmed with the help of the netal tool called bhaladi. This forms the base thaala, on which the figures will be fixed later. The size of base of plaque/thaal varies from 18” to 30” height.

3-Doli banana (giving a border to the plaque)

At this stage, the base of the plaque is given aborder with rolled clay, thereby defining the area that the deity’s imsge will occupy .2-3” thick clay coils are rolled with hand and water applied for smoothness. These are called doli. Lengths are then placed at the entire boundary of the plaque.

4- Dhad banana a (creating the deity’s body)

Another flat slab is then prepared, much thinner as compared to the thala. This serves as the source for the creation of small parts of the body that the deity is made of .The clay bits are roughly chipped into shape with a bhaldi, an iron tool.Then the part is taken and applied to the plaque, right in the center. The clay piece is then worked on, with the hands, one over and the other under the clay, both woeking simultaneously to give the clay piece the appropriate relief and also to smoothen it.

5-Muh, pair banana (face and legs created)

Finally the face, crown and the other background itens like trees etc. arre placed on the plaque. Wet fingers are used to finally even out the entire surface-safai karma.

168 izfd;k 1- Xkkjk xqanuk ¼feVVh cukuk½ LFkkuh; rkykc ls feVVh izkIr fd;k tkrk gS A feVVh dks ok;j ds Nyuh ls Nku dj ckjhd feVVh dks NksVs VqdM+s esa ckaVk tkrk gS Ablesa xngs dk lw[kk xkscj feyk;k tkrk gS AvkSjrksa ds }kjk xngs dk lw[kk xkscj dks ydM+h ls ekjdj NksVs VqdM+ksa esa ckaVk tkrk gS A mijksDr feJ.k dsk ikuh ls xhyk fd;k tkrk gS vkSj iSj ls nck dj xqaFkk tkrk gS AxqaFks gq, feVVh dks ikWfyFkhu ls Vd fn;k tkrk gS vkSj 2 ls 3 fnu ds fy, NksM+ fn;k tkrk gS A v'kq) feVVh izpwj ek=k esa ckyw gksrk gS ftldk iz;ksx feVVh ds VwVs cÙZu j[kdj bZaV dh HkVBh rS;kj djus ds fy, fd;k tkrk gS vkSj gYds xqykch jax dk vkx tykus esa A 2- Fkkyk cukuk ¼yskgs ds reds dk vk/kkj cukuk½ Xksky xqaFks feVVh dks ysdj tehu xksy iRFkj ds midj.k] fiaMh vkSj ikuh feykdj ihVk tkrk gS A ,d ckj vko';d eksVkbZ izkIr djus ij mls vkSj fpduk djus ds fy, ydM+h ds midj.k ikVk dk vkSj ikuh dk bLrseky fd;k tkrk gS A lrg fpdus vkSj leku gksus ij /kkrw ds reds dks vafre vkdkj fn;k tkrk gS A vkSj vfrfjDr feVVh dks usry ds midj.k ftls HkkyMh dgk tkrk gS] ls [kqjp dj fudky fy;k tkrk gS A Fkkys ds vk/kkj dk :i rS;kj gksrk gS ] ftlij vkd`fr dks ckn esa yxk;k tk;sxk A /kkrw ds reds dk vkdkj 18” ls 30” dh mapkbZ rd gksrh gS A 3- Mksyh cukuk ¼yksgs ds reds dk ckMZj cukuk½ bl voLFkk esa xqaFks gq, feVVh ls yskgs ds reds dks ckMZj fn;k tkrk gS vkSj mlds tgka nsork ds vkd`fr j[kuk ml {ks= dks fu/kkZfjr fd;k tkrk gS A 2 ls 3 bap eksVs feVVh ds VqdM+s dks gkFk ls xksy cukdj ikuh fNM+dj fpduk cuk;k tkrk gS Abudks Mksyh dgk tkrk gS A mlds ckn mls yksgs ds reds iwjs Hkkx esa yxk;k tkrk gS A

169 6-Decoration

The deity is now decorated with the help of the back of the bhaladi tool, edge of this tool and many small dyes which are made separately using a variety of techniques: finger rolled (some coiled, cut and incised to shape, stamped with a large variety of dies, thrown and even thin slabs pressed into prefired firns.

7-Sukhana (drying)

Once the decoration work is done, the plaque is allowed to be on the ground and is raised only when it is dry.The direct sun exposure is to allow the presence of ant moisture to vanish, thus reducing the possibility of cracking of the plaque during firing. The drying can take between four and fourteen days depending on the weather.

7-Preparing kiln furniture

The kiln furniture consisth of pots called gher, which are thrown on wneeel nd then beaten, with a wooden beater called thaapi, into a longer shape with conical base. An anvil is used as a lubricant during the beating processl The use of ash transforms the colour of gher into a light pink. The pointed bottoms are pushed into the sandy guound, and then the next series has them horizsontalon the adjoining two verticakl pots. These serve as supports for the plaques and keep them stable.

8-Setting up the open kiln

This stage consists of the baking of the clay figure. Traditionally the potters have been using the open kiln and often they tend to share the kiln and the cost, reflecting a community spirit. The kiln can be set up once a month or once in 2 months or 3 months, depending on the time of the year and the market demand.

Stacking and firing takes almost a full day to complete. Before stacking, the following preparations are made: repairing of the damaged pieces, the chopping up of the fire- wood, transport of a large number of the pots used for building the kiln as well as carrying the dried finished items from the roof to the sight of the kiln at the back of the house.

9-Firing

The awada, firing, is done n an open place and takes about 4 hours. Babool wood is used for firing. Small fires are lit in the openings from all sides, adding fire-wood to regulate the build up of the flames. These are further fine tuned by throwing wood shavings into the openings. The wood is added slowly, being cutious not to raise the temperature too much. Three to four people, two at a time, feed the fire every 10 to 15 minutes. Temperature reaches to 900 degree centigrade. The crafsman knows that the right temperature has been reached by the height of the flames. After four hours, once the men

170 4- /kkn cukuk ¼nsork dk 'kjhj cukuk½ ,d vkSj piVk Lysc rS;kj fd;k tkrk gS Fkkyk ls cgqr iryk A bldk iz;ksx nsork ds NksVs vaxska dks cukus dsfy, fd;k tkrk gS AfeVVh ds VqdMksa dks ,d yksgs ds midj.k HkkyM+h ls NksVk vkdkj fn;k tkrk gS Amlds ml Hkkx dks fudkydj yksgs ds reds esa Bhd e/; esa yxk;k tkrk gS A vc ml feVVh ds VqdM+s ij dke fd;k tkrk gS A,d ds ckn ,d nksusk le; dke djgS ftlls dh feêh VqdM+s dks Bhd fMtkbu fn;k tkrkgS vkSj fpduk cu;k gss 5-Eakqg] iSj cukuk var esa eqag] eqdqV vkSj vU; cSdxzmaM dh phtsa tSls isM+ vkfn dks yksgs ds reds esa cuk;k tkrk gS xhys gkFk dks iz;ksx iwjs lrg dks fpduk cukus&lkQ deZ ds fy, fd;k tkrk gS A 6-ltkoV vc nsork dks HkkyMh midj.k ihNs ds /kkj ls ltk;k tkrk gS A vkSj cgqr ls jax ftudks vyx vyx fofHkUu rduhdksa ls cuk;k x;k Fkk A maxyh dks ?kqekdj ¼dqN dks ?kqek;k] dkV dj vkdkj esa yk;k tkrk gS cgqr rjg ds jaxks dks yxk;k tkrk gS A igys ls gh xeZ fd;s gq, mls Mky fn;k tkrk gS A 7-lq[kkuk ltkoV ds ckn dks tehu ij lw[kus ds fy, j[k fn;k tkrk gS A mls /kwi esa lq[kk;k tkrk gS fd mldh ueh pyh tk; vkSj ftlls rikus ds nkSjku iM+us okys njkj ls jksdk tk lds A 14 ls 15 fnuksa esa lw[k ldrk gS A tks ekSle ij fuHkZj djrk gS A 8-bZaV dh HkVVh dk QuhZpj rS;kj djuk HkVVh ds QuhZpj esa cÙZu gksrs gSa ftUgsa ?ksj dgk tkrk gS ftudks pDds ij Qsaddj ydM+h dk ihVusokyk rkih ls yacs dks.k ds vkdkj esa ihVk tkrk gS A fuckbZ dk iz;ksx ihVus dh izfdz;k ds nkSjku fd;k tkrk gS A jk[k dk iz;ksx ?ksj ds jax dks gYdk xqykch

171 have checked the results of firing and are satisfied with it, any pieces of burning wood are retrieved and quenched with water to be used again.

10-Thanda panda/ (cooling of the kiln)

The kiln takes about 5-6 hours to cool down after which the plaques can be removed.

11-Repair

During the firing some of he icons crack often in tne centre at the back. These are filled with a combination of ground firred clay, water and glue. The glue is mixed with water and prt on the narrower openings of the cracks, and in the large cracks, the ground fired clay is used to fill the gaps. Finally the surface of the whole area is painted over with a liquis made eith the pre-firred powdered-clay mixed in water.

12-Colouring

Colours sre applied to the baked figures only when a customer decices to buy a plaque. Before painting the icons they are covered by awhete paint mixed in a gum and left in the sun to dry.The traditional colour palette includes sindoor,m vermillion , yellow, lamp black, green, sky blue, and white. They are mixed with gum from the babul or keekar trees. These are applied with a brush made out of animal hair, usually that of a donkey’s tail. The coloured icons are finall glazed with varnish (jalal) , a mixture of plant gum and either clarified butter or linseed oil. Lastly parts of some of the icons are covered with silver paper, beaten thin and attached on the still wet varnish. The item is left in the sun fou up to ady for the cold glaze to harden.

(K) Uniqueness:

Entire plaque is created without the use of the potters wheel- totally hand done job. Light weight when compared to other terracotta 3 dimensional items made in other places, reason being that flat slabs of clay are hand molded to give raised forms and the area underneath remains hollow). The dimension given to images, through the raised work gives a life like impression which is unique. The very combination of a flat base with raised image on it, is again unique to this craft.

It is the only village that caters to the supply of plaques of Gods and Goddesses, in that tribal area.

172 dj nsrk gS A uqdhys uhps Hkkx dks ckyw okys Hkkx esa Hkst fn;k tkrk gS mlds nwljs fyVkdj nks lh/ks [kM+s cÙZu ds lkFk lgkjk nsdj j[kk tkrk gS A ;g yskgs ds reds dks lgkjk nsrk gS vkSj mldsk lh/kk j[krk gS A 9-[kqyh HkVVh rS;kj djuk bl voLFkk esa feVVh dh vkd`fr dks xeZ fd;k tkrk gS A ikjaifjd rkSj ij dqEgkj [kqys HkVVh dk gh bLrseky djrk gS ftlls fd mldh dher dk ckaVk tk lds vkSj leqnk; ds viuRo dks Hkh izfrfoafcr djrk gS A HkVVh dks ,d eghus esa ;k 2 eghus esa ;k 3eghus esa rS;kj fd;k tkrk gS tks lky rFkk cktkj dh ekax ij fuHkZj djrk gS A kdj fQj ls bLrseky djus ds fy, j[k fn;k tkrk gS A

173 (L) Inspection body

Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members.

174 5- BaMk iM+uk HkVVh dks BaMk gksus esa 5 ls 6 ?kaVs yxrs gSa ftlds ckn yksgs ds reds dsk fudkyk tk ldrk gS A 6- Bhd djuk rikbZ ds nkSjku dHkh dHkh dqN izfrek ds ihNs ds e/; esa njkjs iM+ tkrh gSa A ftudks feêh] ikuh vkSj Xyw ds feJ.k ls Hkj fn;k tkrk gS AXyw dks ikuh ds lkFk feykdj irys njkjkas esa Mky fn;k tkrk gS AvkSj cM+h njkjksa esa tys gq, feêh dk iz;ksx fd;k tkrk gS A var esa ml iwjs {ks= ds lrg dks fyDohl tks fizQMZ ikmMj & feêh vkSj ikuh ds feJ.k ls cuk gksrk gS] ls jax fn;k tkrk gS A 7- jaxuk ris gq, vkd`fr ij rc gh jax yxk;k tkrk gS tc xzkgd mls [kjhnus ds fy, rS;kj gks A jaxus ls igys ewfrZ dks vosV jax tks xe esa feyk gksrk gS] ls jaxdj /kwi esa NksM+ fn;k tkrk gS A ikjaifjd jaxks esa flanwj] oesZfyu] ihyk] dkyk] gjk] vklekuh uhyk vkSj lQsn vkfn gS A ftUgsa ccwy ;k dhdj ds isM+ ds xksan ls feyk;k tkrk gS A ftUgsa tkuojksa ds cky ftls xngsa ds iwaN ls fudkyk tkrk gS] ds cz'k ls jaxk tkrk gS Ajaxs gq, ewfrZ;ksa dks var es okfuZ'k] isM+ ds xksan rFkk lkQ eD[ku ;k fyaflM rsy ds feJ.k ls pedk;k tkrk gS A var es dqN ewfrZ;ksa ij pkanh dk ijr ftls ihV dj iryk fd;k tkrk gS] dks xhys okfuZ'k ij fpidk fn;k tkrk gS A ewfrZ lwjt dh jks'kuh dM+k gksus ds fy, NksM+ fn;ktkrk gS A

( V ) vuks[kkiu

Ikwjk Iysd fcuk dqEgkj ds pDds iz;ksx ds fd;k tkrk gS A iwjh rjg ls gkFk }kjk fd;k tkrk gS A nwljs LFkkuska eas cuus okys vU; phtksa tSls VsjkdksVk ds eqdkcys ;g cgqr gh

175 gYdk gksrk gS Aftldk dkj.k gS fd feVVh ds piVs Lysc dsk gkFk eksYM djds mHkkjk tkrk gS ftlls mlds uhps dk Hkkx [kks[kyk jgrk gS A ?ksjk bldks vkdkj nsrk gS ] tcfd mHkjk gqvk Hkkx thfor :i iznku djrk gS A tks vusk[kk gSA piVk vk/kkj vkSj mHkjh vkd`fr Hkh vius vki esa vuks[kh gS A ;gh ,d ,slk xkao gS tks nsoh vkSj nsorkvksa dh ewfrZ vkfnoklh {ks=ks Hkstrk gS A

(B) tkap fudk; vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsS A

176 177 th-vkbZ-&vkosnu la[;k & 68

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A jktLFkku dh dBiqryh ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 68 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 28 ds varxZr vkus okys d

vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

HkkSxksfyd min'kZu % jktLFkku dh dBiqryh oxZ % 28 eky% dBiqryh

178 G.I. – APPLICATION NUMBER 68

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Kathputlis of Rajasthan under Application No 68 in respect of puppets falling under Class 28 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Geographical Indication : Kathputlis of Rajasthan

Class : 28

Goods : Puppets

179 d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%

¼?k½ ekyksa dk oxZ % gLrf'kYi

¼M+½ fufnZfûdj.k % uj vkSj ukjh dh dBiqryh jktLFkku ds jktiqj ckjhd fp=dkjh dh rjg yxrh gS A ckyksa dh ltkoV] vka[kksa dk vkdkj] nk

180 (A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(D) Type of goods : Handicraft

(E) Specification

The male and female puppets bear a strong resemblance to the Rajput miniature paintings of Rajasthan. The style of head dress, the shape of the eye, the beard and moustache style are used to suggest the character of the puppet. The male figures are generally divided into 2 categories: Hindu Rajas and Mughal Nawabs. E.g. a beard parted in the center would connote a Hindu character, whereas a full beard suggests a Muslim character. Then there are women characters, notably dancers. And then there are many animals like horse, camel, elephant, crocodile and snake. The anatomy of the puppets is reduced to a basic minimum but their dynamics matter.

(F) Name of the Geographical Indication

Kathputlis of Rajasthan

(G) Description of goods:

Marionettes or string puppets in Rajasthan is known as: kathputli (Kath- wood, putli- doll, figure). The kathputli tradition of Rajasthan is an ancient art and its Practitioners have entertained, made social commentary, and passed down important information for countless generations. The traditional set of puppets for the Amar Singh Rathore play used to be of 52 characters. But now the puppeteers use only a few characters whose identity they have modified to suit the current needs of the public. E.g. Munnajaan was renamed anarkali and even this was later changed to Helen. So the puppeteers are sharp in sensing the taste and sensibility of the crowd and adapt the show accordingly. Nowadays, the puppeteers make small cheap non- functional puppets, varying from 2” to 2 ft length, and sell them to domestic and foreign tourists, and earn their major part of income form this.

181 mlds cgqr ls tkuoj tSls ?kksM+k] ÅaV] gkFk] exjep vkSj lkai vkfn A dBiqryh dk vkdkj cgqr NksVk gksus ij mldk

¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ % jktLFkku dh dBiqryh

N½ Ekky dk fooj.k /kkxs yxs xqfM+;ksa dsk jktLFkkuh esa dBiqryh ¼dB&ydM+h] iqryh&xqfM+;k½ dgk tkrk gS A dBiqryh dh ijaijk jktLFkku dh iqjkuh dyk gS vkSj blds vH;kl drkZ us euksjatu blls euksjatu fd;k] lkekftd ckrksa dh vkSj eq[;k lwpuk dks vufxur ihf<;ksa rd Hkstk A vej flag jkBkSj ds ukVd ds fy, 52 ikjaifjd dBiqryh fdjnkj gksrs Fks A ij vktdy dBiqryh dk iz;ksx djus okys dsoy mu dBiqryh dk iz;ksx djus okys dsoy mu dBiqrfy;ska dk iz;ksx tks vkt ds yksxksa dh ekax gks A mnkgj.k ds fy, eqUutku dks vukjdyh uke fn;k x;k ckn esa tks gsyu ds :Ik esa cny x;k A vr dBiqryh cukus okys HkhM+ #fp rFkk bPNk ds vuqlkj ukVd rS;kj djrsa gSa A vktdy dBiqryh cukus okys NksVs lLrs vkSj 2” ls 2 QhV yackbZ ds dBiqryh cukrs gS rFkk fons'kh i;ZVdksa dks csp nsrs gSa vkSj eq[; dekbZ blls djrs gSa A

¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 189% jktLFkku ds ukxiqj ftys esa tks 27-00 m- v{kka'k rFkk 73-40iw ns'kkarj esa fLFkr gS A

182 (H) Geographical area of production and maps as shown in the page no 189.

Nagaur district of Rajasthan which lies at a latitude of 27.00 N and a longitude of 73.40E.

(I) Proof of origin / Brief History (Historical Records)

The communities of Puppet makers are originally form the Nagaur district. Nagaur district is spread over an area of 17,718 sq. km. (5.18 per cent of the state).Marionettes or string puppets in Rajasthan are known as: kathputli (Kath- wood, putli- doll, figure). The kathputli tradition of Rajasthan is an ancient art and its practitioners have entertained, made social commentary, and passed down important information for countless generations.

The vast majority of the puppeteers are members of a caste of hereditary bards and genealogists known as Bhats, but this community is also closely associated with another group of professional performers called Nats. The title nat literally means performer, and the word is derived from the term natya, or performance. Thus nat refers to a person who performs some type of theater display or natak. These occupational categories, however, are rarely clear-cut, and a great amount of overlap exists between these professions. “Thus though some castes attend exclusively to genealogy, there are others who combine the functions of the genealogist and the musician,” acrobat, or puppeteer.

There are some stories related to the origin of this craft. Onestory says the Putle Bhats were born outt of the mouth of Lord Brahma and therefore the entertainment of people is their profession. According to another legend, the Bhats always speak the truth, as they are the messengers of the goddess. Another story related to the origin of the craft of puppet making goes back to the times of the legendary king Vikramaditya. Due ti the righteousness of the King, the Gods had given him a throne, decorated with 32 magical figures that had the power to come alive and advise the King . One day King decided that he should share this gift with the entire humanity so he commanded the Bhats, known to be excellent performers, to make copies of these figures, travel throughout the land spreding their wisdom to masses. They are the most migrant of all the performing communities in India.

183 ¼>½ mRifr dk lcwr ¼,sfrgkfld½ % dBiqryh cukus dk leqnk; jksfyd rkSj ukxiqj ftyk cukrs gSa A ukxiqj ftyk 17]718 oxZ fdyksehVj ¼jkT; dk 5-18 izfr'kr gSa½ ds {ks= esa QSyk gqvk gS A /kkxs yxs xqfM+;ksa dsk jktLFkkuh esa dBiqryh ¼dB&ydM+h] iqryh&xqfM+;k½ dgk tkrk gS A dBiqryh dh ijaijk jktLFkku dh iqjkuh dyk gS vkSj blds vH;kl drkZ us euksjatu blls euksjatu fd;k] lkekftd ckrksa dh vkSj eq[;k lwpuk dks vufxur ihf<;ksa rd Hkstk A dBiqryh cukus okyksa dk vf/kDrj la[;k ikjaifjd ckMZl dh tkfr ds lnL; gSa A rFkk blds oa'kkoyh dks HkV dgk tkrk gS A ysfdu ;g leqnk; ,d nwljs is'ksojska ls fudV rkSj ij tqM+sa gq, gSa ftUgsa uV dgk tkrk gS A uV dk vFkZ vfHku; djus okys vkSj 'kCn ukV; ls fudyk gS ftldk vFkZ gS ukV; ;k vfHku; djuk A vr uV os gSa tks dqN rjg ukVd esa vfHku; djrs gSa A bu is'kska dks vyx Js.kh esa ugha j[kk tk ldrk A ;s ,d nwljs ls cgqr vf/kd ek=k esa tqM+S gq, gSa A dqN dqN tkfr viuh oa'kkoyh ds is'kksa esa gh tkrs gS A dqN vU; tkfr;ka Hkh gS tks oa'kkoyh ds dke ds lkFk lkFk xkus ctkus] uV rFkk dViqryh dks dke Hkh djrs gSa A

dyk dh mRifr ds ckjs esa dqN dgkfu;ka gSa ,d dgkuh ds vuqlkj iqrys HkVV dk tUe Hkxoku czã ds eqag ls gqvk gS blfy, yksxska dk euksjatu djuk mudk is'kk gS A,d nwljs dFkk ds vuqlkj HkVV ges'kk lp cksyrs gSa A tSls dh os Hkxoku ds nwr gks A dBiqryh cukus dh dyk dh mRifr ds ckjs esa ,d vkSj dgkuh fodzekfnR; ds le; ls yh xbZ gS A jktk dh lPpkbZ ds dkj.k Hkxoku us mudsk flgkalu fn;k Fkk tsk 32 tknwbZ ewfrZ;ksa ls ltk Fkk A ftuesa ftank gksus dh 'kfDr Fkh vkSj jktk dks lykg Hkh nsrh Fkh A ,d fnu jktk us lkspk fd bl rksQs dks iwjh ekuo tkfr ds lkFk ckaVuk pkfg, vkSj HkVV dks vkns'k fn;k ftUgsa cgqr vPNk vfHku; drkZ ds :Ik esa tkuk tkrk gS A ,d fnu jktk us fu.kZ; fd;k fd os iwjh ekuo tkfr ds lkFk og rksQk ckVsaxs vkSj mUgksaus HkVksa dks vkns'k

184 (J) Method of Production:

Puppet making is systematically done in seven different steps namely

1-Measuring wood for the face of the puppet

Wood plank os measured with the hand and a length pf 1bet (palm size) and 3 angul (fingers) is selected to be cut. While some puppets ave rather long necks attached to their heads.

2-Dol Lena, which is shaping with the axe

When chorasi is used to give two diagonal shavings to the wood to imjpart abasic shape of the face by giving the slope of the node , the process is called ‘dol dena’ After this the shoulder is marked onto the wood. The top of the head is shaoped to suggest the head gear of the puppet.

3-Nak banana (making the nose)

The nose is chiseled with the use of Ustara and Cheni.

4-Ghisai or smoothening

Once the carving work is done, the puppet head is rubed with emery papery, to make the surface smooth and even.

5-Rangai is the painting of these puppets.

The puppets have elongated stylized eyes and the faces arre generally painted a lighter shade of yellow with a touch o orange in it. Earlier natural colors made of minerals were used. They used to be powdered, mixed and ground well in gum and then applied. These colors were rich in tone but not very shiny in appearance. E.g. white clay and a bit of turmeric added to it was used to create the color for the face. Soot collected at the base of a groken earthen pot was used for black.

6-Padding with cotton (to make the body)

The wooden end of the neck of the carved head is covered with cotton. The hands are first created in cloth and then stuffed in with cotton. Now the body of the puppet is ready to be clothed.

7- Clothing

Other than the head, the rest of the body is made of cloth. The wife of the puppeteer then decorates it with sequins and beads etc. to make the puppet look attractive. There are no leg controls in Rajasthan puppetry

185 fn;k fd tks vPNs vfHku; drkZ ds :Ik esa tkus tkrs gSa dks ewfrZ;ksa dh udy cukus dks dgk x;k vkSj Hkwfe ij ;k=k djds cqf) dk izpkj turk esa djus dks dgk A Hkkjr ds vfHku; leqnk; vf/kDrj ,sls izoklh gh gSa A ×k½ mRiknu fof/k dBiqryh cukus dh fdz;k flyflysokj rkSj ij 6 fofHkUu voLFkkvska esa dh tkrh gS A 1- dBiqryh ds eqag ds fy, ydM+h dks ukiuk ydM+h dks gkFk ls ukik tkrk gS vkSj ,d gFksyh rFkk rhu vaxqyh yackbZ esa dkVus ds fy, pquk tkrk gS A tcfd dqN dBiqrfy;ksa esa dqN yacs xnZu flj ls tqM+sa gksrs gSa A 2- MkWy nsuk ftlesa vkStkj ls vkdkj esa yk;k tkrk gS A ydM+h dks nsk dks.kh; vkdkj nsus ds fy, [kksjklh dk iz;ksx fd;k tkrk gS A ftlls dh eqag dk ewy vkdkj cuk;k tkrk gS A bl izfdz;k dks Msy Msuk dgk tkrk gS A mlds ckn ydM+h esa da/ks cuk;s tkrs gaS Aflj dk Åijh fgLlk bl rjg cuk;k tkrk gS fd dBiqryh dk gsM fx;j yxs A 3-Ukkd cukuk Ukkd dks mLrjk vkSj Nsuh ls rjk'kk tkrk gS A 4-f?klkbZ rjk'kus dh izfdz;k gksus ds ckn flj dks ,ejh isij ls jxM+k tkrk gS A ftlls lrg fcydqy fpduk vkSj leku gks tk; A 5-dBiqryh dks jaxus dh izfdz;k gS jaxkbZ dBiqryh dh yach lqanj vka[ksa gksrh gS vkSj psgjk ihys jax esa gYds ukjaxh jax ds 'ksM ds lkFk jaxk tkrk gS A igys izkd`frd jax tks [kfut inkFkZ ls cuk gksrk gS dk iz;ksx fd;k tkrk Fkk A mUgsa vPNh rjg ls ihldj yxk;k tkrk gS A mudk Vksu cgqr gh vPNk gksrk gS] ij os pednkj ugha gksrs A mnkgj.k ds fy, lQsn feVVh vkSj dqN gYnh dks feyk;k tkrk Fkk A bldk iz;ksx psgjs ds fy, fd;k tkrk Fkk A feVVh ds crZu ds uhps ,d= gq, dkfy[k dk iz;ksx dkys jax ds fy, fd;k tkrk Fkk A

186 (K)Uniqueness:

Rajasthani string puppets are perhaps the only example of their kind in the world where a control or cross is not used for manipulation. In other words, all the strings are attached to the puppeteers’ fingers directly, which demand a great deal of virtuosity.These puppets are operated with strings. The strings vary from 2 to 8, the larger the puppets, the more the movement and agility of the character. E.g. the Bengali jadugar is manipulated with 8 strings, such that at times the puppets holds it’s heads with it’s legs, turned upside down, or pulls it’s extended head back into position, making the audience laugh. The hands have no joints unlike the other string puppets of India

(L) Inspection body

Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members.

187 6-:bZ Hkjuk ¼'kjhj cukus ds fy,½ flj esa xys dh ydM+h dh Nksj dks lwrh ls

jktLFkku dh Mksjh dBiqryh 'kk;n nqfu;k dk ,dykSrk mnkgj.k gS ftlesa gLrf'kYi ds fy, fu;a=.k dk iz;ksx ugha fd;k tkrk A nwljs 'kCnksa esa lkjs Mksj dBiqryh cukus okys ds maxfy;ksa ls tqM+s gksrs gSa Aftlds fy, cgqr gquj dh vko';drk iM+rh gS A bu dBiqrfy;ksa dks lh/ks gkFk ls fu;a=.k fd;k tkrk gS A ;s /kkxs 2 ls 8 gksrs gSa tks dBiqryh ds cM+s vkdkj vf/kd pky gjdr vkSj fdjnkj dh QqrhZ ij fuHkZj djrk gS A mnkgj.k ds fy, caxkyh tknwxj dks 8 Mksj Mkyk tkrk gS A dBiqryhs ds flj dsk blds flj ls idM+k tkrk gS ] mldks mYVk yVdk;k tkrk gS ;k mlds c<+s gq, flj dks ihNs [khapk tkrk gS tks n'kZdksa dks galkrk gS A gkFkksa esa Hkkjr ds vU; Mksjh okyh dBiqrfy;ksa dh rjg dksbZ Mksjh ugha gksrh A (B) tkap fudk; vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsS A

188 189 th-vkbZ-&vkosnu la[;k &97

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A bankSj ds peM+s ds f[kykSus ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 97 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 6 ds varxZr vkus okys d

HkkSxksfyd min'kZu % bankSj ds peM+s ds f[kykSus oxZ % 21 eky% f[kykSus

190 G.I. – APPLICATION NUMBER 97

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Leather Toys of Indore under Application No 97 in respect of Toys falling under Class 28 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India

Geographical Indication : Leather Toys of Indore

Class : 28

Goods : Toys

191 d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr

¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%

¼?k½ ekyksa dk oxZ % gLrf'kYi

¼M+½ fufnZfûdj.k %

Ykskg vkSj lw[ks ?kkl ds eksYM dks tkuoj dk lqanj vkdkj nsdj HksM+ vkSj cdjh dk peM+k p

¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ %

bankSj ds peM+s ds f[kykSus

192

(A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi

(D) Type of goods : Handicraft

(E) Specification

Sheep and Goat leather used as finishing coverings on iron and dry hay moulds giving interesting shape of animals. This is done in different sizes and different animals are depicted at present giving them natural look, texture and finish. In width 4”, 6”, 12”, 14”, 18”, 24”, and 36” are the common sizes.

(F) Name of the Geographical Indication

Leather Toys of Indore

(G) Description of goods:

The animal figures created bear a very natural textural quality as seen originally on the animals. The colors are also kept natural as far as possible. The sheen of the animal skin is also maintained on to the toy animals to keep their natural look intact. The animals are done in varied sizes ranging from 4’’- 36’’ . These are the common sizes that are maintained to give uniformity for export market. Some exceptional work is also done for rare collection where in large size that is the actual original size of the animal are also worked out using the same structural pattern and method. This gives an illusion of the original when seen from a distance. The craft which began as a person’s artistic venture has now taken a huge shape, and many in Indore are today engaged in creating animal shapes for export market.

193 N½ Ekky dk fooj.k Tkkuojksa dh vkd`fr tSls Hkkyw dks izkd`frd cukoV xq.koÙk ,dne vlyh tkuoj ds rjg gksrs gSa Ajaxks dks tgka rd gks lds izkd`frd jaxks dh rjg j[kuk pkfg, Atkuojska ds f[kykSus esa Hkh vlyh tkuoj peM+s dh ped dks dk;e j[kk tkrk gS A tkuojksa dks fofHkUu vkdkjska 4 ls 36 rd esa cuk;k tkrk gS A ;g gh izpfyr vkdkj gS tks fu;kZr cktkj esa ,d:irk cuk;s j[krk gS A nqyZc phtksa dks dqN vyx rjg ds dke Hkh fd, tkrs gS AlkFk gh dqN cM+s vkdkj ds tkuojksa tks vlyh tkuoj ds vkdkj ds gksrs gS vkSj os mlh cukoV isVuZ vkSj rjhds ds cus gksrs gS A bls nwj ls ns[kus ij vlyh tkuoj dk Hkze gksrk gS A ;g f'kYi tks O;fDr ds lkgfld dykd`fr ds :Ik esa vkjaHk gqvk] mlus vkt cgqr :i ys fy;k vkSj bankSj ds cgqr ls yksx vkt tkuojksa vkd`fr dks fu;kZr djus ds fy, cukus esa yxs gS A

¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 203% bankSj 22-44° m v{kka'k rFkk 75-5° iw ns'kkarj ds chp fLFkr gS A

¼>½ mRifr dk lcwr ¼,sfrgkfld½ % peM+s ds f[kykSus dk mRIkknu bankSj esa 1952 esa 'kq: gqvk A tc Jh vCnqy xQj [kku tsk Hkj dj cuk;s tkus Qj ds lkFk izkd`frd peM+s ds f[kykSus nsokl esa cukrs FksA ;g bankSj ls 35 fdykseh- nwj Fkk Arcknys ds ckn os ifjokj lfgr bankSj vkdj cl x;sA dqN 10&12 O;fDr vkSj Nkrhdj ckck Hkh muds lkFk vk;s tks bl f'kYi dk dke djrs Fks A ,sls rks ;g f'kYi 1952 esa gh bankSj vk;k] ysfdu Jh xQwj [kku vkSj muds firk 30 lky ls Qj peM+s ds f[kykSus cukus esa yxs Fks A Jh xQj [kku ds firk eksrh [kku iBku VsjkdksVk ds dykdj Fks A ftUgksaus ewfrZ;ksa rFkk f[kykSuksa dks etcwrh iznku djus ds fy, isij&es'k dk bLrseky fd;k A ,d iqjkuk VqdM+k dykdkj dh dq'kyrk rFkk ckjhd ykbu dh xw.koÙk dks n'kkZrk gS A mudh dq'kyrk us VsjkdksVk ds dk;Z ds ewY; dks Hkh c

194 (H) Geographical area of production and maps as shown in the page no 203.

Indore lies in between 22.44o N Latitude and 75.5o E Longitude.

(I) Proof of origin / Brief History (Historical Records) The production of leather toys in Indore started somewhere around 1952, when one shree Abdul Gaffar Khan who was largely involved in the production of stuffed fur toy animals with natural leather at dewas about 35 km. from Indore shifter to Indore with his amily as he was transferred to Indore by gis employer, Some 10-12 people who were also involved in the craft shifted along witn one chhatikar baba.

Though the craft came to Indore only in 1952, shree gaffoor khan and his hather were involved in making the fur leather yoys at dewas for 30 years .Ahree gaffer khans father Moti Khan Pathan was aterracotta artist who introduced papier-mache to add strength to his idols and toys. An old piece shows the skill level developed as an artist, ahowing very fine line quality. His entrepreneurship also added value to the existing terracotta work and a “bear and Maddari” was designed with human hair stuck on the papier- mache structure, which became very popular and caught interest of customers at the local melas at Dewas.This gave idea to develop further fur leather toys of mainly animals and birds of about 10’width .This uniqueness of the craft was widely appreciated at exhibitions in Dewas held by the government and at local melas.

When A.G.Khan shifted to Indore he brought with him the craft of Fur leather toys and the skill. He himself got attached to known artist Vishmu chinchalkar and learned the fine art of painting, understanding anatomy and other finer lines of expression. Fur leather toys were ten produced by a handful of people and exported through government organizations for almost 15-20 years .A major drawback of these leather toys was that they wee created out of inadequately rtanned leather which attracted insects and resultant infection. Around 1980 export of these toys stopped completely. One Mr. Morgan from America then suggested to go ahead with plain leather toys and also gave few plastic samples of horses to follow the pattern, which are still with A.G. Khans son.

The leather craft of indore since then has grown into an industry gineng sustenance to some 10000 craft persons in the region.

(J) Method of Production:

Raw material used for the making of leather toys are-

195 yxkdj isij es'k ds cukoV ij fMtkbu fd;k A tks cgqr gh izfl) gqvk vkSj ftlus nsokl esa LFkkuh; esyksa esa yksxks dks vkdf"kZr fd;k A blus 10’pkSM+kbZ ds Qj peM+s ds f[kykSuksa fo'ks"kdj tkuojska vkSj if{k;ksa ds f[kykSus cukus dh izsj.kk nh A f'kYi dk ;g vuks[ksiu nsokl esa ljdkj vkSj LFkkuh; esyksa dh izn'kZuh esa iz'kalk feyh A tc ,- th- [kku bankSj vk;s rsk os vius lkFk Qj peM+S ds f[kykSus vkSj dq'kyrk Hkh yk;s A os Lo;a dykdkj fo".kq fpapkydj ls tqM+ x;s ] vkSj fp=dkjh lh[kk vkSj 'kjhj 'kkL= vkSj Hkko dh ckjhfd;ksa dks lh[kk A dqN gh yksaxksa }kjk rS;kj fd; x;s Qj ds peM+s ds f[kykSUks ljdkj }kjk 15 ls 20 lky dsfy, fu;kZr fd;k x;k A bl peM+s ds f[kykSuksa dk lcls cM+h [kkeh ;g gS fd ;s Bhd ls us >qylk;s tkus ls dhM+s edksM+ksa dks vkdf"kZr djrs gSa ftlls jksx dk lapkj gks ldrk gS A 1980 ds nkSjku bu f[kykSuska dk fu;kZr fcydqy gh #d x;k Fkk A vesfjdk ds ,d Jheku eksjxu us lq>ko fn;k fd lkns peM+s ds f[kykSus cuk;s vkSj dqN IykfLVd ds cus dqN ?kksM+s ds uewus Hkh fn;s A tks vHkh ,-th- [kku ds csVs ds ikl vkt Hkh gS A mlds ckn bankSj ds peM+s dk f'kYi cgqr c<+dj ,d mn;ksx cu x;k vkSj bl {ks= esa 10000f'kYidkj ls vf/kd gks x;s A

×k½ mRiknu fof/k 1-peM+s ds f[kykSus cukus ds fy, iz;qDr gksus okys dPps eky 2-NksVs f[kykSuks ds fy, xsyosukbtM rkj 3-96 bap ds cM+s vkd`fr ds fy, 6feeh] 8feeh] 10feeh] 12feeh] 16feeh ds yksgs ds jkWM dk iz;ksx fd;k tkrk gS A 4-ydM+h] Hkwlk ¼?kkl½ 5-nkar vkSj iats ds fy, IykfLVd ds eksYM dk iz;ksx fd;k tkrk gS A yacs gkFkh ds nkar ds fy, 6-oL= dk iz;ksx fd;k tkrk gS tsk ,d vyx ny rS;kj djrk gS A 7-dkxt dk xqnk

196 Galvanized wire for small toys. Iron rods of 6mm, 8mm, 10mm, 12mm, 16mm, are used for bigger structure of 96” (8 ft.) Wood wool, rice crop waste (hay) Plastic moulds are used for general teeth and paws. And for long elephant teeth fiber is used, a separate group makes these. Paper pulp.

Tamarind powder (chiyaa ka atta) Goat and sheep skin leather (tanned) Finishing tools. (Blade etc.) Dye powder for painting. Fabric colors. Lacquer polish and shoe polish. Small spray gun and brush.

Raw material for packing-

Polythene bags. Silica gel. Carton boxes. Air bubble roll. Wooden box. Paper cuttings. Corrugated roll for sides.

Process----

1. Basic linear wire structure is made wherein two to three wires are twisted together for strength and pliability and given the desired shape. 2. Wood wool/rice hay is then covered on this structure, giving the structure dimension, shape and volume as required. 3. Then the paw of the animal is fixed in their place using the tamarind gum and waste cloth strips are wound around the legs and tail for added strength. 4. This is then covered by paper pulp paste (which is prepared by mixing paper pulp powder and tamarind powder with water using mixer machines, earlier this was done by hand and is immediately ready to use) this paste is usable up to one day only. Every day new paste is made. 5. This is then worked on with finishing tools like blade etc and given the desired texture of the skin according to the original animal skin.

197 8-gYnh dk ikmMj ¼fN;k dk vkVk½ 9-cdjh vkSj HksM+ dk peM+k ¼>qylk gqvk½ 10-fQfuf'kax midj.k¼CysM½ 11-isbfVax ds fy, jax dk ikmMj] Qsfczd jax 12-ysDoj ikfy'k vkSj twrs dk ikWfy'k 13-NksVk fNM+dus dk xu vkSj cz'k iSfdax ds fy, dPpk eky 1- ikWfyFkhu cSx 2- flfydk tsy 3- dkVwZu cDl 4- ok;q ds ccy dk jksy 5- dVs gq, isij 6- fdukjs ds fy, ygjnkj jksy izfdz;k 1- ewy ydhj rkj dk cukoV rS;kj dj fy;k tkrk gS tgka etcwrh rFkk yphykiu ds fy, 2 ls 3 rkj dks eksM+ dj ,d lkFk tksM+ fn;k tkrk gS vkSj vko';d vkdkj ns fn;k tkrk gS A 2- ydM+h Åu vkSj Hkwls ls ml cukoV dks

198 6. This is then dried in the sun completely taking 3-4 days. During monsoon a heated room is used. Bigger animal may take more no. Of days. If left undried slightly fungus develops later – so precaution is required. 7. Tanned leather of goat & sheep of thickness 1 mm is bought from the market and soaked in water 10 minutes and then beaten by “moongri”, 10 minutes to make it pliable. This when wet is pasted on the pulp-applied structure of the animal, using chiyaa gum. 8. After the leather dries on the figure it is rubbed using plastic or a soft stone to make the leather fall in places and get closer to the texture already done on the paper pulp. 9. Wooden pen (kalam) is used to give wrinkles to the animal figure over the leather. 10. The joins of the leather pieces are then finished / cut using blades and then stuck to the figure. 11. Hollow is made using wooden or needle (suja) for eyes, nose etc. 12. Separately made ears are then fixed in the hollow thus made; now glass is used for eyes, which painted at the back as required color. Earlier black meena was used for the same purpose. 13. The figure is now ready to be painted. Color is dissolved in water. For small and many pieces dip dyeing is done in a tub. Then a deeper shade is used for giving shades or dimension to the figure using spray gun, earlier to achieve the same and better effect hand painting was the specialty. Wherein the shade was achieved by minutes strokes of the brush – and then according to the animal fig the details of the skin pattern are also painted on. 14. The figure is now ready for finishing ---- polish is now applied by spray gun. 15. The figure is then packed and ready to be sold. Up to 24” toys are packed in cartage boxes above that are packed in bubble pack first and then in the cartage box.

(K) Uniqueness:

The leather toys appear realistic and most of them in animated sequence, in that each toy represent a different motion e.g. there are different types of horses in different motions like a running horse, a jumping horse, a grazing horse, a neighing horse, a galloping horse, a standing horse. So there is a range to pick from. Similarly there is a sitting elephant, elephant blowing his trumpet, etc.The texture of the skin of the animal is given using pointed tools on the paper pulp when it is still wet and applied on the hay mould by hand keeping in mind the texture of the animal skin in question.

199 iz;ksx esa yk;k tkrk Fkk½ls qyls gq, peM+s cktkj ls ykdj mUgsa 10 feuV ds fy, ikuh esa lks[kdj j[kk tkrk gS vkSj mlds ckn mls yphyk cukus ds fy, 10 feuV eaqxjh ls ihVk tkrk gS A mlds ckn bldks iYi yxs tkuoj dh vkd`fr esa fN;k xe ls fpidk;k tkrk gS A 8- vkd`fr ij peM+s lw[k tkus ij IykfLVd ;k dksey iRFkj ls f?klk tkrk gS ftlls peM+k Bhd txg ij lV tk; vkSj og vkd`fr ds vkSj fudV gks tk; A 9- tkuoj dh vkd`fr ds Åij pqjhZ cuk;h tkrh gS A 10- peM+s ds VqdM+ksa dks lVkus dk dke iwjk gks tkrk gS ACysM ls dkVdj mls vkd`fr ls tksM+ fn;k tkrk gS A 11- ydM+h rFkk lwbZ dk iz;ksx dj vka[k vkSj ukd ds fy, Nsn cuk;k tkrk gS A 12- vyx ls cus dkuksa dks mlds fy, cus [kks[kys txgksa ij tksM+ fn;k tkrk gS Avka[k ds fy, dkap dk iz;ksx fd;k tkrk gS Aftldks vko';d jax esa jax fn;k tkrk gS A igys dkys ehuk dk iz;ksx bl dk;Z ds fy, fd;k tkrk Fkk A 13- vc ;g vkd`fr jaxus ds fy, rS;kj gS A jax dks ikuh esa ?kksy fy;k tkrk gS A NksVs rFkk vf/kd VqdM+ksa ds fy, Vc esa jax dks ?kksyk tkrk gS A xgjs 'ksM dk iz;ksx 'ksM nsus ds fy, vkd`fr ij Lizs xu ds }kjk fNM+dk tkrk gS A igys bl dks gkFk ls jaxk tkrk Fkk ftlls vPNk izHkko vkrk Fkk A tks bldh [kkfl;r Fkh A cz'k ds }kjk cgqr ckjhd LVªksd fn;s

~~200 Working like an artist this gives it a very realistic look. Later when it is dyed and given deeper shades by hand painting the texture is further enhanced.~~

~~(L) Inspection body~~

~~Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members.~~

201 tkrs gS A tkuoj ds cukoV vkSj vkd`fr ds vuqlkj mlds vU; Hkkxksa vkSj mlds peM+s dks jaxk tkrk gS A 14- vc ;g vkd`fr fQfuf'kax dsfy, rS;kj gS A Lisz xu ds }kjk ikWfy'k yxk;k tkrk gS A 15- mlds ckn csps tkus okys vkd`fr dks iSd fd;k tkrk gS A24 bap rd ds f[kykSus dks dkVsZt cDls esa iSd fd;k tkrk gS igys mls ccy cDls esa iSd fd;k tkrk gS vkSj ckn esa dkVsZt ckDl esa iSd fd;k tkrk gS A

( V ) vuks[kkiu peM+ ds f[kykSu fcydqy vlyh yxrs gSa vkSj cgqr ,fuesVM yxrs gSa ] izR;ssd f[kykSuk fofHkUu xfr;ksa dks n'kkZrk gS A mnkgj.k ds fy, fofHkUu rjg ds xfr ds ?kksM+s tSls nkSM+us okyk ?kksM+k] dwnus okyk ?kksM+k ] pjus okyk ?kksM+k] fgufgukus okyk ?kksM+k] ljiV pyus okyk ?kksM+k vkSj [kM+k ?kksM+k vkfn gSa A vr% muds cgqr ls QkeZ gS A mlh rjg cSBk gqvk gkFkh] lwaM+ dks mBkrk gqvk gkFkh vkfn A tkuoj ds peM+s ds cukoV dks uqdhys midj.k ls isij ds iYi ij tc og xhyk gksrk gS ]fn;k tkrk gS A tkuoj dh cukoV dks /;ku esa j[kdj ?kkl ds eksYM ij yxk;k tkrk gS A dykdkj dh rjg dke djus ls ;g vlyh tkuoj ds leku yxrk gS A ckn esa ;g tc lw[k tkrk gS vkSj gkFk ls jax dj xgjk 'ksM ns fn;k tkrk gS rsk mldh cukoV dh lqanjrk vkSj c<+ tkrh gS A

~~(B) tkap fudk; vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsS A~~

~~202 203 th-vkbZ-&vkosnu la[;k &98~~

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A e/; izns'k dk ck?k fizaV ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 98 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 6 ds varxZr vkus okys d

~~HkkSxksfyd min'kZu % e/; izns'k dk ck?k fizaV oxZ % 24 eky% oL= vkSj oL= eky~~

~~204 G.I. – APPLICATION NUMBER 98~~

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Bagh Prints of Madhya Pradesh under Application No 98 in respect of Textile and Textile goods falling under Class 24 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

~~Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Geographical Indication : Bagh Prints of Madhya Pradesh~~

~~Class : 24~~

~~Goods : Textile and Textile goods~~

~~205 d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%~~

~~¼?k½ ekyksa dk oxZ % gLrf'kYi~~

~~¼M+½ fufnZfûdj.k %~~

Ckk?k ds gkFk ls cus CykWd fizaV oL= cgqr gh iz[;kr gS AT;fefR;d isVuZ ,d nwljs ij bl rjg j[ks tkrs gSa fd isVuZ iqu%:fDr dk iwjk izHkko oL= dks ,d :Ik nsrk gS ]ds lkFk fMtkbu cgqr gh vkn'kZ Lo:Ik gskrs gSa Abls lQsn lrg ij flQZ dkys vkSj yky jax ls izkd`frd jaxks¼lCth dk jax½ dks iz;ksx djds fd;k tkrk gS Aij vktdy vU; izkd`frd jax ¼lCth ds jax½ tSls ljlska] [kk[kh jaxks dk iz;ksx Hkh izpfyr gS A

~~206 (A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi.~~

~~(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi.~~

~~(C) List of association of persons / Producers / organization / : To be provided on request Authority~~

~~(D) Type of goods : Handicraft~~

~~(E) Specification~~

The hand block printed fabrics from Bagh are popularly known as Bagh prints. The designs are very typical with geometrical patterns inter placed such that the total effect of the repeating patterns give a very harmonious appearance and appeal to the fabric. It’s done totally in black and red on white surface using natural colors (vegetable colors).Now use of other natural colors (vegetable color) like mustard, khaki is also in vogue.

~~(F) Name of the Geographical Indication~~

~~Bagh Prints of Madhya Pradesh~~

~~(G) Description of goods:~~

Bagh prints are known for their fine quality printing and bright vegetables colors and may be recognized by their geometric repetitive patterns in different variations and colors that are mainly red and black block printed predominantly on white base. Khaki and mustard vegetables colors are used for dyeing the fabric after printing.

The block designs that have managed to survive with time are nearly 200 years old and are still being used; some of them are 100 to 50 years old and on printing still find a market for themselves. New additions are done every six months as per market demand and feel. At the same time care is taken to see that this new design is a new variation of the old one.

~~207~~

~~¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ % e/; izns'k dk ck?k fizaV~~

N½ Ekky dk fooj.k Ckk?k fizaV vius vPNs xq.k ds fizaV vkSj pVdhys lCth ds jax ds ck?k fizaV ds fy, tkuk tkrk gSA vius fofHkUu vkdkjska ds T;fefR;d iqujko`fr isVuZ rFkk jax tks eq[; :i ls lQsn lrg ij yky vkSj dkys jax dk gksrs gS ] ds fy, tkuk tkrk gS A [kk[kh vkSj ljlksa] lCth ds jax dk iz;ksx fizafVax ds ckn jaxus ds fy, fd;k tkrk gS A Cykd fMtkbu tks 200 lky ls pyk vk jgk gS vkSj vkt bldk iz;ksx fd;k tk jgk gS A dqN 100 ls 50 lky iqjkus gSa vkSj fizafVax vkt Hkh vius fy, cktkj izkIr dj jgk gS A cktkj dh ekax ds vuqlkj gj 6 eghus esa u;s phtsa tksM+s tkrs gSa AlkFk gh bl Hkkx dk Hkh /;ku j[kk tkrk gS fd u;k fMtkbu iqjkus dks u;k :i gS A dqN iqjkus CykWd vkSj muds uke tks vkt Hkh iz;ksx esa gSa % uanuk ykgsfj;k vVgk uanuk dh fejkNs uanuk dk cwVk vcksVdk cwVk [ksMs dk cks/k banksjh cks/k banksjh vn;k

~~208 Some old blocks and their names that are being still used are as follows:~~

Nandana Laheriya Attha nandana ki mirache Nandana ka butta Aabotcha butta Khede ka bodh Indori bodh Indori saaj Indori addya Ahmedabadi saaj Makhi Palliwali zanjira Zanjiri Jodhpuri Jawareya Molya border Molya bodh Khirala kaire Mungphali Chaukada Nareyal Teekoni Thuddi

~~Different types of products that are printed are as follows:~~

• Cotton bedcovers in two different sizes for single bed and double bed respectively. • Saris are printed in different materials like cotton, silk and chiffon. • Cushion covers mainly in cotton, in different sizes. • Table covers of different sizes and shapes in cotton material. • Duppattas and stoles in cotton and silk material. • Recently, durries printing has also been worked on. • Salwar suit material and yardage dress material.

~~(H) Geographical area of production and maps as shown in the page no 222.~~

~~Bagh village in dhar district of Madhya pradesh is situated at the border of malwa and nimar regions, on the bank of river baghini. Dhar is situated in the southwest of Madhya pradesh.~~

209 vgenkcknh lkt e[kh iYyhokyh t+aftjk t+athjh tks/kiqjh tokjs;k eksY;k ckMZj eksY;k cks/k f[kjkyk f[kjs eqaxQyh pkSdMjk ukjs;y frdksuh rqMMh fofHkUu izdkj ds mRikn ftudks fizaV fd;k tkrk gS os bl izdkj gSa % flaxy iyax rFkk Mcy iyax ds fy, nks fofHkUu lwrh ds fcLrj gS A fofHkUu rjg ds diM+ksa tSLks lwrh] js'eh vkSj f'kQku esa lkM+h dk fizaV fd;k tkrk gS fofHkUu vkdkj ds dq'ku doj eq[; :Ik ls lwrh ds gksrs gSa A fofHkUu vkdkj vkSj vkd`fr ds lwrh ds Vscy doj nqiVVk vkSj egar iknjh dk

~~210 (I) Proof of origin / Brief History (Historical Records)~~

Hand block prints from Bagh are approximately one thousand years old a traditional craft, carried from one generation to the next, within the family. Exact date of the origin cannot be pin pointed. Some claim the craft to have migrated from jawad in Mansor district of MP or Rajasthan at some point of time. But the characteristic difference in the design pattern and the usage of vegetable dyes with its extreme brightness, which can only be seen in bagh, proves beyond doubt that the prints belong to this place.

The Baghini River that flows nearby probably is responsible for the settlement around. The vegetable dyeing that requires flowing water for washing does extremely well due to this river. The chemical composition of this river water has proved to be good for the vegetable dyes used for printing at bagh.This gives luminous tones to the vegetable colors used for printing at bagh, and enhances the red tone and the black tone, making them very different from the other places in MP and Rajasthan. The two hundred year old blocks seen here have a repetitive geometric pattern of fine quality that proves a distinctive characteristic, different from the other bold block prints of bhairavgarh at MP.

Whether printers from some other place settled here generations ago, due to the favorable water conditions, is not known, But it can be assumed that settling around the river for vegetable dyeing and printing was a must.

There is little written record on this craft and its people but the fact that revival of this craft was taken up during the Moscow festival wherein the old blocks were redesigned and revived to be printed and presented at the festival, does talk of the authenticity of the tradition kept. The publication”vishwakarma” mentions this craft. The book “1001 saris of India “Madhya pradesh, by Rita kapoor and Amba sanyal mentions the Bagh print saris as traditionally vegetable dyed and unique in appearance.

~~(J) Method of Production: Raw materials:~~

• Cotton mulmul---- for Saris, Duppattas and Salwar Suits………100x120s count and 92x80 picks. • Cotton Cambric of 45” width from local market at bagh ---- for dress material…40x40s count and 92x80 picks. Yardage fabric in cotton ----for bedcovers/bed sheets…20x20s count.

211 ¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 222% Ckk?k xzke e/; izns'k ds /kkj ftys ds ckf?kuh unh ds fdukjs ekyok vkSj fuekj {ks= ds lhek ij fLFkr gS A /kkj e/; izns'k ds nf{k.k if'pe esa fLFkr gS A

¼>½ mRifr dk lcwr ¼,sfrgkfld½ % Ckk?k dk gkFk dk CykWd fizaV yxHkx ,d gtkj lky iqjkuk ikjaifjd f'kYi] ifjokj ds vanj ,d ihf< ls nwljs rd pyk vk jgk gS A mRIkfÙ dk lgh fnu dk rsk Kkr ugha gSaA dqN yksxksa dk nkok gS fd ;g f'kYi e/;izns'k ealksj ftyk ds tokn ls ;k jktLFkku ls ;gka vk;k gS A ysfdu fMtkbu isVuZ ds xq.k dk varj rFkk cgqr vf/kd peds ds lkFk lCth ds MkbZ dk iz;ksx dsoy ck?k es gh ns[kk tk ldrk gS ;g lkfcr djrk gS fd ;g fizaV bl LFkku ls gh gS A Ckkf?kuh unh tks vkl&ikl cgrh gS ogh ;gka blds clus ds fy, ftEesnkj gS A lCth dk MkbZ dks /kksus ds fy, cgrs ikuh dh vko';drk iM+rh gS unh ds dkj.k vPNh rjg ls fd;k tk ldrk gS Aunh dk jklk;fud inkFkZ ck?k fizaV esa iz;qDr gksus okys lCth ds MkbZ ds fy, cgqr gh mi;ksxh gS A;g ck?k fizaV ds fy, iz;qDr gksus okys lCth ds jax dks yqfeul Vksu iznku djrk gS vkSj yky jax rFkk dkyk jax ds ped dks c

212 • Maheshwari suit material, kosa silk, bamboo chicks and cotton durries are worked on only on order. • Chiffon, crepe, georgette tissue and mulberry silk are worked on occasionally. • Wooden blocks carved are brought from pethapur, Gandhinagar (Ahmedabad), and jaipur.the designs are given by the craftsmen/printer at Bagh. Though attempts have been made to train a person locally to make these blocks, even today they are able to make only the bold ones.

~~The process of printing and the ingredients used:~~

The fabric is cut as per required and soaked in water for 12 hours (overnight). It is then thrashed on stone 10-12 times to remove starch from the fabric.Then washed in plain river water and dried on river banks, further treatment of fabric is done by a paste prepared as follows: Cenchura (raw salt) is soaked in a vessel and aarandi ka tel (castor oil) from dhana that is crude oil is then poured on to the raw salt with pressure to break the oil particles, sometimes soda is added for the same purpose to this goat’s dung is grounded and added (bakari ki mengani) in this paste the fabric is dipped and when covered fully it is twisted and tied together in a potla and left on the mud ground to dry.( this process helps to soften the fiber and soak in the paste, as the heat of the oil, goat’s dung and mud together creates heat fumes) here the fabric is left for 12-24 hours. it is then dried again in hot sun, creating more heat and thus softening the fabric further. The fabric is then again soaked in the left over water of the paste while moving it with hand into the air and into the waste water, this process is repeated three times and then washed in plain river water. After that comes the khara peela stage, wherein harad paste is prepared in water and gradually the fabric is soaked/dipped and then dried in the sun.

~~Now the fabric is ready to be printed.~~

~~For red color printing paste--- 80-100gms. Fitkari (alum) is added to 1 liter of water and 20kg.alum 200liter water is taken.~~

~~For black color printing paste--- Hira kasish or iron sulphate or iron filings are filled in earthen pot where jaggery and water are added to the pot and left aside for 15-20 days.~~

213 bl f'kYi vkSj blds ds yksxksa dk fyf[kr fjdkZM cgqr de gS ysfdu lPpkbZ ;g gS fd ekWldks mRlo ds nkSjku bl f'kYi dk iqu:)kj gqvk Aiqjkus CykWd dks fQj ls fMtkbu cuk;k vkSj mls fizaV djus ds fy, iquZthfor fd;k vkSj ml mRlo esa izLrqr fd;k vkSj bl rjg bldh ikjaifjd izekf.kdrk cuk;s j[kk A fo'odeZk us bl f'kYi dk ftdz fd;k A jhrk diwj vkSj vack lku;ky }kjk fyf[kr “1001 Hkkjr e/; izns'k dh lkfM+;k” esa ikjaifjd lCth ds jax ls jaxh ck?k fizaV vkSj blds vuks[ks :Ik dk ftdz feyrk gS A

×k½ mRiknu fof/k dPpk eky Ñ lwrh ewyewy & lkM+h ] nqiVV vkSj lyokj lwV ds fy, ------100X120s vkSj 92x80 fiDLk Ñ 45 bap dk lwrh dk dksacfjd ck?k ds LFkkuh; cktkj ls & Msªl ds fy, --- 40x40s vkSj 92x80 Ñ lwrh dk ;kjMSt oL= ------fcLrj rFkk pknj ds fy, ------20x20s Ñ egs'ojh lwV dk diM+k] dkslk flYd] ckal ds fpd vkSj lwrh dk njh vkMZj fn;s ij gh fd;k tkrk gS Ñf'kQkWu] dszi] tktZtsV fV'kq vkSj eycjh js'ke [kkl voljska ij dke fd;k tkrk gS A ÑisFk iqj ls rjk'k dj yk;s x;s x;ydM+h CykWd] xka/khuxj¼vgenkckn½ vkSj t;iqj] f'kYidkj }kjk fn;s x;s fMtkbu ck?k dk gS A ÑLFkkuh; rkSj ij yksxksa dsk bl rjg ds CykWd cukus dsfy, izf'kf{kr djus dk iz;kl fd;k] ysfdu vkt os dsoy cM+s CykWd gh cuk ldrs gSa A

214 Next preparation of the color tray (palya) --- A wooden tray (earlier mud tray was used) with cement base is used for color tray. A bamboo mesh (kartali) is placed on the tray.A Mandan (small earthen pot) is placed under the tray for easy shifting of the balance of tray; the pot is placed with small stones for weight. A Chhombal / bhangarh (pot stand made of grass) is placed under the pot.A woolen mesh/blanket loosely woven is placed on the bamboo mesh. This arrangement in the tray is used for printing bold blocks. For fine block printing, a fine cloth of voile cotton is placed on the woolen blanket in the tray (pudath). The fabric is then printed; the prepared paste as per required color is placed in the tray. The designed wooden block is placed in the tray; this helps to transfer the printing paste on to the block’s raised portions. An impression of this is taken on the fabric with utmost care and precision, one block after the other and the complete fabric thus is printed. Padath khilana -- this means after printing the fabric is tied into a bundle and kept aside for 8 to 15 days depending on the weather (during winters it takes longer) Bicchaliya is the next process where the fabric is then washed in running water holding it with both opposite ends and pulling at it alternately.The fabric is then again thrashed on a stone, twisted, squeezed and dried on stones at the riverbank. This helps in quick drying and dust-free fabric. Bhatti chadhana – here the fabric is boiled in large copper vessel, which is fixed to the ground with fire underneath. Water is filled and heated until Luke warm. Flowers of Dhavdi are crushed and mixed in the water, alizarin is then added and slowly the heat is increased. The printed fabric is then immersed in this water and steered. At the same time the fabric is also unfolded in the water several times. This process is carried out for 3 to 4 hours. Then it is boiled for 30 minutes to 1 hour and removed. Next it is washed in running water and then for removing the extra color and other waste ingredients it was earlier spread on the riverbank and water was splashed on it (pani ke chhinte). This was done for two to three days. Now a day the fabric is chemically bleached washed and is ready. For dying after printing ---

Mustard color – Pomegranate skins are boiled in water for 10 to 12 hours and strained. The fabric is then dipped in this hot solution. It is then removed and spread on stones for drying; this process is repeated for 3 times for final results.

~~Next the fabric is dipped in alum solution and removed immediately, washed in plain water and dried. This is done to fix the color and improve brightness.~~

215 fizafVax dh izfdz;k vkSj mldh lkexzh % oL= dks vko';drk ds vuqlkj dkV dj 12 ?kaVs ¼jkr Hkj½ ikuh esa lks[kdj j[kk tkrk gS A bldks fQj iRFkj ij 10 ls 12 ckj iVdk tkrk gS A ftlls fd mlesa dk ekM+ fudy tk; mlds ckn unh ds ikuh esa /kksdj unh ds fdukjs lq[kk;k tkrk gS A vkxs fn;s x;s isLV ls vkxs dk bykt fd;k tkrk gS A lspwjk ¼dPpk ued½ dks ,d cÙZu esa Mqcks fn;k tkrk gS A /kkuk ls vjaMjh dk rsy dks ftls dzwM vk;y Hkh dgrs gSa AdPps ued esa ncko ds lkFk Mkyk tkrk gS ftlls fd rsy ds d.k VwV tk; A dHkh dHkh lksMk Hkh Mkyk tkrk gS A dHkh dHkh blh mnns'; ds fy, cdjh dk xkscj dks pwj djds isLV esa feyk;k tkrk gS A tgka oL= dks Mwckdj j[kk x;k Fkk A tc ;g iwjh rjg ls

~~216 Indigo color---~~

~~An earthen pot is placed in a pit; a mixture of indigo leaves, lime and Sajji is then filled in the pot and left aside for 3 days.Paste thus formed is strained and used for dying.~~

In present times, the indigo paste is prepared differently, Indigo powder / cake / granules are dissolved in water; caustic and hydro are added, to prepare the paste. The process of dying is same as of mustard.Indigo dyed fabric needs to be dried in shade otherwise the brightness of blue color changes.

~~Khaki color ---~~

~~Leaves of Dhavdi are soaked in water and boiled for 10 to 12 hours and strained. The paste thus prepared is used for dying. The dying process is same as the Mustard.~~

~~(K) Uniqueness:~~

The process of pre-printing, printing and post printing at Bagh as mentioned above in details, itself is unique and imparts quality of color and print to the fabric. The appearance of the fabric being mainly in black & white and red & white gives it a bold look – still maintains harmony due to the fine designs used in blocks for printing.

~~(L) Inspection body~~

~~Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members.~~

~~217 80 ls 100 xzke fQVdjh ¼,ye½ 1yhVj ikuh rFkk 20 fdyksxzk- ,Y;qe 200 yh- ikuh ds fy, fy;k tkrk gS A dkys jax ds fizafVax ds fy,~~

ghjk df'k'k ;k vk;ju lYQsV ;k vk;ju fQfyaxl dks xqM+ vkSj ikuh Hkjs ?kM+s esa Hkjk tkrk gS vkSj 15 ls 20 fnuksa ds fy, NksM+ fn;k tkrk gS A jaxhu Vªs cukus dh rS;kjh ¼ikY;k½ flesaV ds vk/kkj ds lkFk ydM+h dk Vªs ¼igys feêh ds Vªs dk iz;ksx fd;k tkrk Fkk½ ds lkFk ydM+h ds Vªs dk iz;ksx fd;k tkrk gS A,d ckal dk es'k ¼djrkyh½ Vªs ij j[kk tkrk gS A Vªs ds uhps ,d eaMu ¼NksVk feêh dk cÙZu½ j[kk tkrk gS ftlls Vªs dks vklkuh ls fudkyk tk lds A feêh ds cÙZu esa NksVs dadM+ j[ks tkrs gSa ftlls mlesa Hkkj vk lds A ,d Nkscky ;k Hkaxj ¼?kkl dk cuk feêh dk LVsaM½ dks cÙZu ds uhps j[kk tkrk gS A Vªs dh lkjh rS;kjh cksYM CykWd dh fizafVax ds fy, gS A eghu CykWd fizfVax ds fy, okW;y lwrh ds eghu diM+s dks Vªs ds Åuh pknj ij j[kk tkrk gS A oL= mlds ckn fizaV fd;k tkrk gS A rS;kj isLV dks jaxksa dh vko'drk ds vuqlkj V ªs ij j[kk tkrk gS AfMtkbu fd, gq, ydM+h ds CykWd dks Vªs ij j[kk tkrk gS A ;g fizfVax isLV dks CykWd ds c

218 fcNkfy;k vxyh izfdz;k gS tgka oL= dks cgrs ikuh esa nksuksa foijhr Nksjksa dks idM+dj /kks;k tkrk gS A ,d ckn ,d Nksj dks [khapk tkrk gS A oL= dks fQj ls iRFkj ij ekjk tkrk gS] fQj ejksM+dj] fupksM+dj unh fdukjs iRFkj ij lq[kk;k tkrk gS A ftlls oL= dsk tYnh lw[kus esa enn feyrh gS A oL= Hkh fcuk /kwy ds gksrk gS A

Hkêh p<+kuk & bl oL= dks cM+s rkacs ds cÙZu esa mckyk tkrk gS A ftls tehu ds vanj Hkêh cuk dj ml ij j[kdj xeZ fd;k tkrk gS A ikuh Hkj dj gYdk xeZ gksus rd j[kk tkrk gS A /kkoM+h ds Qwyksa dks elydj ikuh esa feyk;k tkrk gS A ,fytfju Mkydj vkap dks c<+k;k tkrk gS A fizaV fd, oL= dks ikuh esa Mqckdj fgyk;k tkrk gS A mlh oL= dk ikuh dbZ [kksyk tkrk gS A ;g izfdz;k 4 ?kaVs ds fy, dh tkrh gSA fQj mldks 30 feuV ls 1 ?kaVs dsfy, mckydj gVk fy;k tkrk gS A

fQj mldks cgrs ikuh esa /kks;k tkrk gS vkSj vfrfjDr jax rFkk vU; O;FkZ lkexzh dks fudkyus ds fy, unh ds fdukjs fcNkdj ikuh ds NhaVs Mkys tkrs gSa A ;g nks ls rhu fnuksa ds fy, fd;k tkrk gS A vktdy oL= dks jklk;fud rkSj ij Cyhpdj rS;kj dj fy;k tkrk gS A fizafVax ds ckn jaxkbZ ljlksa dk jax & vukj ds fNydksa dks ikuh esa 10 ls 12 ?akVs rd mckydj Nku fy;k tkrk gS A fQj oL= dks xeZ ?kksy es Mqck fn;k tkrk gS A fQj bldks fudkydj iRFkj ij lw[kus ds fy, fcNk fn;k tkrk gS A ;g izfdz;k vafre ifj.kke ds fy, 3 ckj dh tkrh gS A

~~219 mlds ckn oL= dks ,ywe ds ?kksy esa Mqckdj rqjar fudky fy;k tkrk gS A lkQ ikuh esa /kksdj lq[kk;k tkrk gS A jax dks iDdk cukus rFkk ped c~~

~~( V ) vuks[kkiu~~

ck?k esa dh tkus okyh fizafVax ds igys] fizafVax ds nkSjku vkSj fizafVax ds ckn dh izfdz;k tSls fd Åij foLrkj ls izLrqr fd;k x;k gS A vius vki esa vuks[kh gS vkSj mPpdksfV dk jax vkSj fizaV oL= ij ykrh gS A oL= dk fo'ks"k dj dkyk vkSj lQsn rFkk yky vkSj lQsn bldh [kqclwjrh dks vkSj c

~~220 (B) tkap fudk; vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsS A~~

~~221 222 th-vkbZ-&vkosnu la[;k & 100~~

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A 'ka[ksMk QuhZpj ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 100 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 20 ds varxZr vkus okys d

~~HkkSxksfyd min'kZu % 'ka[ksMk QuhZpj oxZ % 20 eky% QuhZpj~~

~~223 G.I. – APPLICATION NUMBER 100~~

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Sankheda Furniture under Application No 100 in respect of Furniture falling under Class 20 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

~~Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Geographical Indication : S ankheda Furniture~~

~~Class : 20~~

~~Goods : Furniture~~

~~224 d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%~~

~~¼?k½ ekyksa dk oxZ % gLrf'kYi~~

~~¼M+½ fufnZfûdj.k %~~

'ka[ksMk dsanz; xqtjkr esa oMksnjk ,d xkao gS ] tgka bl vuks[ks rjg dk QuhZpj cuk;k tkrk gS A vkStkj ds }kjk ydM+h dks xksy cuk;k tkrk gS A bldks Qwy rFkk vClVªsDV fMtkbu esa pVdhys jaxksa tSls lqugjs] pkanh] e:u] gjk] ojeyhu vkSj dRFkk jax NM+h dks jaxksa ds Mkb] ikmMj] ftad] ysd vkSj jsftu ds jaxhu feJ.k esa Mqckdj cuk;k tkrk gS A ydmj dke xqtjkr ds ltkoV ds QuhZpj cukus okys [kjknh leqnk; dh dyk gS A QuhZpj dh oLrq dks vko';d vkdkj esa ydM+h ds ykBs esa Mkydj fn;k tkrk gS blfy,

~~225 (A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi~~

~~(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi~~

~~(C) List of association of persons / Producers / organization / : To be provided on request Authority~~

~~(D) Type of goods : Handicraft~~

~~(E) Specification:~~

Sankheda is a village in central Gujarat near Vadodara where this unique type of furniture is crafted. Wood is rounded with tools and painted with floral and abstract designs in bright shades of gold, silver, maroon, green, vermilion, and brown by using sticks dipped in a colored mixture of dyes, powdered zinc, lac and resin. Lacquer work is an art of Kharadi community, found in Gujarat, making decorative furniture. The furniture articles are made into the required shapes by turning wood on the lathe, thereafter they are colored by pressing sticks of color to the revolving surface, according to the design and effect sought to be produced. The design painted with tin, attains extreme richness under the transparent layer of lacquer. This furniture is made of 100% seasoned teakwood.

~~(F) Name of the Geographical Indication~~

~~Sankheda Furniture~~

~~(G) Description of goods:~~

~~Product:~~

~~Following are the products made by the craftsmen of Sankheda:~~

~~Lacquered cupboards, swings, cradles with stand of various sizes, height, designs and shapes, cots with shade, poles for tying mosquito nets, or with side railing, wooden seats,~~

226 budks ?kweus okys ds lrg ij jaxhu NM+h dks nckdj jaxk tkrk gS A fMtkbu ds vuqlkj mfpr izHkko feyrk gS A fVu ls jaxs tkus ij mlesa ysDoj ds ikjn'khZ lrg ds varxZr mlesa cgqr lqanjrk vkrh gSA ;g 100 izfr'kr Vhd dh ydM+h ls curh gS A

~~¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ % 'ka[ksM+k QuhZpj~~

N½ Ekky dk fooj.k mRikn fuEufyf[kr eky 'ka[ksMk f'kYidkjska }kjk cuk;k tkrk gS A ysDoMZ decksMZ] >wyk] fofHkUu vkdkj ÅapkbZ] fMtkbu rFkk vkdkj ikyuk 'ksM ds lkFk ikyuk] ePNjnkuh cka/kus ds Nsn] fdukjs jsfyax ds lkFk] ydM+h dk cSBd] xqynLr] ysai'ksM dk LvsaM] csyu vkSj MkafM;k] niZ.k dk cDlk ] pwM+hnkuh ] QksVks Qzse] Vscy] dqlhZ] NksVk Lvwy] dsfcuV] insZ] vjekjh] Mªsflax Vscy vkfn A os dqN vkSj oLrq,a tSls vxjcrh LVsaM] fVd fVd] esdk LvsaM] okdj] ckjhd jaxs tkj] cÙh] >wej] Hkkejk>s] pdkjnh] f[kykSuks dk lsV ¼jlskbZ ds lkeku vkSj xkM+h½ tkuoj] xqfM+;k vkfn A 'ka[ksMk QuhZpj dk vyx :Ik QuhZpj ds cukus esa ftlesa dq'ky gkFk dk dke rFkk dyk ds dke dh vko';drk iM+rh gS ] tks mldh {kerk rFkk etcwrh dks lqfuf'pr djrk gS A QuhZpj cukus ds fy, vkStkjds }kjk ydM+h dh ?kqeko nkj izfdz;k dh vko';drk iM+rh gS Amldks 'kso djds vkSj fpduk djds xksy vkdkj esa cuk;k tkrk gS Aizkbej dks yxkus ls og :[kk gks tkrk gS A mlds ckn mldks Qwy rFkk vClVªDV fMtkbu esa jaxk tkrk gS A ;s isbafVax HkkSxksfyd vkdkj ls ikjaifjd vkd`fr vkSj ysDoj ls [kRe gksrs gSa A

227 flower vases, lamp shade stands, velan or dandia, mirror box, bangle stand, photo frames, tables, chairs, low stools, cabinets, screens, almirahs, dressing tables, etc. They are also producing items like agarbatti stand, tik-tik, manka stand, walker, airplane, finely painted jar, lamps, jhhummar, tops (bhamardo), chakardi, toy set (miniatures of kitchen items and vehicles), animals, dolls, etc.

The distinct feature of Sankheda Furniture lies in the making of furniture which involves skilled handwork and artwork that ensures formidable strength and high durability. The making of this furniture involves rotary action of wood with tools and shaved and smoothened to make them round in a shape. An extra coating of primer makes them dry and is decorated with the paintings of floral and abstract designs. These paintings generally vary from geographical shapes to traditional motifs finished with lacquer.

~~(H) Geographical area of production and maps as shown in the page no 235.~~

~~Sankheda, is Vadodara (Baroda) district of Gujarat state. The place lies to the north east of Gujarat between 21.25’ North Latitude and 76.70’ East Longitude.~~

~~(I) Proof of origin / Brief History (Historical Records)~~

The history of the craft at Sankheda is not definitely known. But according to a local legend, the Suthars, who migrated to Sankheda from the old citadel of hampaner, as a result of its conquest by Muslims, started lac turnery along with carpentry. This art thus came into existence at this center probably before 500 years. In the former days, the lac- turned articles were not transparent, which is a later improvement in the technique. Two Kharades, viz., Late Premjibhao Pancholoi and Mohanlal Pancholi, the grandfathers of Kanchanlal Jetharam and Amrutlal M ohanlal, learned the transparent; acquer work in Sankheda, according to the knowledge of leading artisans, respectively. It is said that both Premjibhai and Mohanlal used to visit Vadidara for buying raw materials and for obtaining orders, that during one such visit they saw a M uslim artisan applying tin paints upon an egg and applying lac over it for giving a gloss to the design. He used to present his art ware to kings and thus earned prizes, which were his only source of likelihood. Thus, it aroused a keen interest and curiosity amongst them. They began to watch secretly the artisan and requested him to teach the art. The Muslim artisan who was not teaching his art to anybody, including his son, agreed to their request and taught the art. Both the Kharadi artisans practiced this art in secret, without disclosing it to anyone. According to another legend about the origin of the present technique of the craft, about 150 years ago, lchharam Pragji, a Kharadi of Vadodara, had attended upon a saont during his sickness. Pleased by his devotional hospitality, the sage blessed him in return by teaching him the secret art of polishing with lac. Then the ruler of Vadodara state in past patronized the craftsmanship of these artisans by exporting the lacquer ware prepared by them to European countries and offering them land and other temptations on form of presents.

~~228 ¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 235%~~

~~'ka[ksMk xqtjkr jkT; ds c~~

¼>½ mRifr dk lcwr ¼,sfrgkfld½ % 'ka[ksMk dyk dk bfrgkl Bhd rjg ls Kkr ugha gS ij LFkkuh; dFkkvksa ds vuqlkj lqrkj tks 'ka[ksMk ls gEisuj ds flVkMsy rd vk;s vkSj cl x;s Aeqlyekuksa ds thr ds dkj.k mUgksus ydM+h ds dke ds lkFk [kkjhnkxkjh dk dke Hkh izkjaHk fd;k A blfy, ;g dyk 500 lky igys bl dsanz esa iuik A igys [kkjhnxkjh oLrq,a ikjn'khZ ugha gksrh Fkh ftls ckn esa bl rduhd esa cny fn;k x;k A nks [kjkns LoxhZ; Jh izse th Hkko ] iapksyh vkSj eksguyky ds nknk us ikjn'khZ vDoj dk;Z dks 'ka[ksMk esa lh[kk A dgk tkrk gS fd izse th yky rFkk eksguyky nksuksa gh dPpk eky [kjhnus rFkk u;k vkMZj ikus ds fy, okMksnjk tkrs Fks A ,sls ,d nkSjs ds nkSjku mUgksaus ns[kk fd ,d eqfLye dykdkj vaMs ds Åij fVu dk jax yxkdj vkSj ysd yxkdj fMtkbu esa ped yk jgk gS og dyk dh oLrqvksa dks jktk dks HksaV dj buke ikrk Fkk] tks muds jskth dk ,d ek= lk/ku Fkk Aftlus muesa cgqr vf/kd jksth dk ,d ek= lk/ku Fkk A ftlus muesa cgqr vf/kd #fp rFkk mRlqdrk tkx:d dh A mUgksaus xqIr :Ik ls dykdkjksa ij utj j[kuk izkjaHk fd;k vkSj dyk dks fl[kkus ds fy, vuqjks/k Hkh fd;k A eqfLye dykdkj fdlh dks dyk ugha fl[kkrs Fks] ;gka rd fd vius cPpksa dks Hkh os muds vuqjks/k ij fl[kkus dks rS;kj ugha gq, A nksuksa [kjknh dykdkjksa us xqIr:Ik ls bl dyk dk vH;kl fd;k fdlh dks fcuk crk;s A ,d vU; O;fDr ds vuqlkj dyk dh orZeku rduhd yxHkx 150 lky igys bPNkjke izkxth oMksnjk esa ,d [kjknh us chekjh ds nkSjku ,d lkvksaV dh ns[kjs[k dh Fkh A mudh lsok ls izlUu gksdj ml lk/kw us bUgsa ysd ls pedkus dh xqIr dyk dks budks fl[kk fn;k A

229 The Sankheda artisans are very proud of their centuries old legendary know-how. Legend has it that about hundred and fifty years ago, the carpenters in Sankheda lived in penury. One day, a baba (holy man) came from nearby Pawagarh in the Araavali hills, seeking alms from the villagers. The already distraught carpenters pleaded with the holy man to show them the way out of their plight. The baba realized that besides carpentry they did not known anything else. He decided to teach them how to improve upon their existing skills by adding a new dimension to their craft. Thus, was born the unique art of Sankheda, which uses paint and lacquer on wood to fashion exquisite pieces of furniture as well as other ornate objects.

The earliest historical record of Sankheda furniture can be found in the 17th century accounts of French writer George Rocques and British civil servant James Forbes. In those days teak used to be brought from Valsad and treated with indigenous colors.

~~It is said these furniture could be found in the White House, the Buckingham Palace and the Kremlin.~~

~~(J) Method of Production:~~

The process of making lac-finished turn wood furniture involves three basic processes – getting required shapes of wooden sections by turning them, the painting of the wood and polishing lac. The turning machines are handmade and are called pedhi.

Firstly, the wooden logs are shaved and partially tuned and kept ready for turning to the final product. Pieces have to be selected as per their size keeping the design in mind. Since this activity is unorganized in nature a lot of defects are accommodated in the raw material. The cracks in the wood are filled with putty manually, and then finished on the lathe. It is then given a coat of wood primer and readied for final painting. Earlier water- soluble powdered paint was used, and they have now switched to enamel paint and even metallic paints are used catering to customer demands. Skills were passed down efficiently from generation to generation.

For the lustrous golden patterns, which are characteristic of Sankheda furniture, golden powder is mixed with thinner. To highlight the designs the piece is taken back to the lathe and polished with pressure using Akik stone. Lacquer is then applied using heat generated from burning coal. Since lacquer leaves a yellow tint behind, for the new bright colors such as pearl, ivory white etc melamine is now sprayed on instead. Holes are then made for fitting torque and groove joints. They are then assembled. The joints stuck with glue and screwed. Units for export are packed in stacked semi dismantled condition. The screws and other fittings are sent along.

Corresponding joints are given paired number stickers. For shipments to Baroda they are wrapped in paper. For destinations within the country they are further packed in gunny cloth. For international destinations it is first packed in plastic sheets, then packed with

~~230 mlds c~~

~~231 Corrugated paper and finally enclosed in wooden crates including extra pieces of fittings and assembly instructions. (K)Uniqueness:~~

The art of lac turnery practiced at Sankheda has a peculiarity of its own. This art of tinfoil application underneath the lacquer coating, which produced ruby appearance, and transparency of lac remained a guarded secret and only a few families were engaged in it in the past. Sankheda craft stands out alone simply for its stunning hand painted designs of a wide range and the effect is that of rich, gilded, embossed and inlaid work all combined in one piece, an effect available exclusively from Sankheda. Due to the technique and the materals used, the combination of brown and orange being the most common. The process of making the turned sections and then the polish is a very lengthy process and requires a lot of skill. Sankheda is the only town where this craft is being pacticed.Teak wood is preferred to make the furniture due to its strength. Tin is used for painting designs on the wood and then when heated and lined with lac it changes color. Kevada leaf and groundnut oil is used for polishing the lac on the wood.

~~The furniture made by this process lasts for more than fifty years; the finish remains the same after so many years.~~

~~(L) Inspection body~~

~~Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members.~~

~~232 vktdy bukey jax dk iz;ksx fd;k tkus yxk gS vkSj xzkgd dh ekax ij /kkrw ds jaxksa dk iz;ksx fd;k tkus yxk A ,d ih~~

'ka[ksMk esa cuk;s tkus okys ysd [kjknh dh viuh gh [kkfl;r gS A fVu QkW;y yxkus dh dyk ysDo;j dksfVax uhps gS tks ns[kus jch yxrk vkSj ysd dh ikjnf'kZrk dks xqIr j[kk x;k gS vkSj cgqr de ifjokj blls tqMsa gSaA la[ksMk f'kYi vf/kd ek=k eas vius [kqclwjr gkFk ls fd, gq, fp=dkjh vkSj fMtkbu ds fy, tkuk tkrk gS Amldk izHkko bru mPp] pedhyk] mHkjk gqvk vkSj tM+kbZ dke lHkh dsoy 'ka[ksMk esa gh feyrs gSa A iz;qDr rduhd rFkk lkexzh ds dkj.k dRFkk vkSj ukjaxh dk dkafcus'ku bldsk izpfyr cukrk gS A?kqek gqvk Hkkx cukus dh izfdz;k vkSj ikWfy'k djus dh izfdz;k cgqr gh yach gS

233 vkSj blesa cgqr dq'kyrk gh vko';drk iM+rh gS A 'ka[ksMk ,dek= 'kgj gS tgka ;g f'kYi dk dk;Z fd;k tkrk gS Aetcwrh ds dkj.k Vhd ydM+h ds iz;skx ij tksj fn;k tkrk gS A fVu dk iz;ksx ydM+h ij fMtkbu dks jaxus vkSj tc mls xeZ fd;k tkrk gS vkSj jax cnyrk gS rsk yk[k ls ydhjs [khapu ds fy, fd;k tkrk gS A dsoM+k dk iÙk vkSj ewaxQyh ds rsy dk iz;ksx ydM+h ij yk[k dks ikWfy'k djus ds fy, fd;k tkrk gS A bl izfdz;k ls cus QuhZpj 50 lky rd pyrk gS vkSj bldk fQfuf'kax Hkh lkykas rd jgrk gS A

~~(B) tkap fudk; vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsS A~~

~~234 235 th-vkbZ-&vkosnu la[;k &101~~

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A dascs dk lqysekuh ux ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 98 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 6 ds varxZr vkus okys d

~~HkkSxksfyd min'kZu % dascs dk lqysekuh ux oxZ % 24 eky% v/kZ dherh iRFkj~~

~~236~~

~~G.I. – APPLICATION NUMBER - 101~~

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, Government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Agates of Cambay under Application No 101 in respect of Semi precious stones falling under Class 14 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

~~Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Geographical Indication : Agates of Cambay~~

~~Class : 14~~

~~Goods : Semi precious stones~~

~~237 d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%~~

~~¼?k½ ekyksa dk oxZ % gLrf'kYi~~

¼M+½ fufnZfûdj.k % lwysekuh v/kZ dherh ux gS ftlls jaxks dk cgqr lk o.kZdze ns[kus dks feyrk gS vkSj cgqrlh ltus vkSj ltkus dh phtsa ns[kus dks feyrh gSA laxzgdsk dk euilan dherh iRFkj gS ;g ,d rjg dk ekbdzksfdzLVykbu DokMt gS tsk dsyflMksuh ds lkeU; Js.kh esa vkrk gS A vkSj ;g ekuk tkrk gS fd os i`Foh esa Tokykeq[kh rFkk pje tyok;q dh fLFkfr ds nkSjku curs gSa A

~~238 (A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi~~

~~(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram~~

~~New Delhi~~

~~(C) List of association of persons / Producers / organization / : To be provided on request Authority~~

~~(D) Type of goods : Handicraft~~

~~(E) Specification:~~

Agates are semi precious stones which display a wide spectrum of colours and fancy images. One of the most interesting gems of collectors delight, agate is a type of microcrystalline quartz falling under the general category chalcedony. They are believed to have been formed under earth’s cavities out of volcanic action and extreme climatic conditions.

(a) Agate/Akik – Occurrence and diagnostic features Agate is a variety of chalcedony, which is the general term applied to fibrous cryptocrystalline quartz varieties. It is a mineral generally of secondary origin, forming in cavities and veins by deposition from meteoric groundwater containing gelatinous silica from the weathering of silicate minerals. It can also form by deposition from late hydrothermal solutions at or near the earth's surface under conditions of low temperature and low pressure. Agate is commonly associated with siliceous volcanic, occurring as vein or vesicle filling. It occurs as a petrifying agent in fossil wood and bone. Agate is frequently found lining or filling rock cavities and fissures, sometimes forming geodes.

Agate is characterized by its occurrence, hardness, fracture,specific gravity, refractive index and luster. Agates as well as Chalcedony are a variety of cryptocrystalline quartz gemstones composed of layers of quartz, sometimes of different colors. Agate usually occurs as rounded nodules or veins. The layers of quartz are often concentric. The composition of agate varies greatly, but silica is always predominant, usually with alumina and oxide of iron. The colors and "scenes" in agate are endless. While agate is usually an inexpensive stone, some varieties or special stones with very unusual scenes or markings can be quite expensive.

~~Crystal system: Hexagonal-R; 32 (trigonal-trapezohedral)~~

~~239 d½ vxsV ;k vfdd & izkIrh vkSj cukoV~~

;g ,d [kfut gS tks f}rh; mRifÙ] ekSle ds izHkko ls flfydsV [kfut esa cnyko vkus mRiUu gksrk gS A vkSj ;g ikuh esa ?kqydj tehu ds vanj iRFk esa tkdj vxsV cuk tkrs gS A fuEu rkieku vkSj fuEu ncko ds dkj.k i`Foh ds lrg ij gkbMªksFkjey ds ?kksy ds teko ls Hkh curs gS A vxsV flfylsl Tokykeq[kh ds nkSjku iRFkjska ds f'kjk esa curs gSa A thok'e] ydM+h vkSj gMMh esa iRFkj cukus ,d ,stsaV ds :Ik esa dke djrk gS A pêku ds [kks[kys txgksa rFkk njkjksa esa ik;k tkrk gS dHkh &dHkh ft;ksMl Hkh cukrk gS A mRiknu] dM+kiu] VwVus dh {kerk] fof'k"V Hkkj fjQjsfDVo baMsDl vkfn vxsV ds xq.k gS A vxsV vkSj dsyflMkseh dzsiVksdzLVsykb DokVl vkfn dherh iRFkj gS tsk DokMl ds ijr vkSj dHkh&dHkh fofHkUu jaxksa ds gksrs gSa A vxsV lk/kkj.kr% xksy xkaB ds :i eas ik;s tkrs gSa A DokMt ds ijr ges'kk ldsafnzd gksrs gS A vxsV dh cukoV vyx vyx txgksa ij vyx vyx gksrh gS A ysfdu flfydk ges'kk vf/kd ek=k esa ik;k tkrk gS A ,Y;qfeuk rFkk vk;ju vkWDlkbM de ek=k esa gksrs gSa A vxsV eas jax vkSj fp= varghu gksrs gSa A lk/kkj.kr% vxsV ds iRFkj lLrs gksrs gSa A ij dqN fo'ks"k iRFkj ftlesa vnHkqr n`'; gksrk gS] os egaxsa Hkh gks ldrs gSa A fdzfLVy fllVse % "kBdks.kh; & vkj% 32 ¼Vªkbxksuy & VªsfitksgsMªy½

[k½ lqyseku ux dk jklk;fud cukoV oxZ % VsVksflfydsV fdzlfVy % gsDlktksuy &vkj% 32 ¼Vªkxksuy&VªsistksgsMªy½ fdzlVy gsfcV % ekbdzks Qkbczl cukoV ds lkFk ckWVjhvksMy ekl ges'kk lrg esa gksrk gS tksfuax % vanj ds phtksa esa jaxksa dk esy vkSj lrg lkekU; gksrk gS A visf{kr xq:Ro % 2-57&2-64 orZu dk vuqdzef.kdk % 1-53& 1-55 ck;jfQztsal % detksj] 0-005 ls 0-009 dM+kiu % 6-5 ls 7 jax % v'kqf);ksa ls jaxuk vkSj fQj ls fdlh Hkh jax ls jaxuk] xguksa esa iz;qDr gksus okys jax d`f=e rjhds ls cuk;k tkrk gS A ped % dkap dk gYdk ped ikjnf'kZrk % v)Zikjn'kZd] ikjn'kZd vkSj vikjn'kZd

~~240 (b) Agate Chemical composition: SiO2~~

~~Class: tectosilicate~~

Crystal system: Hexagonal-R; 32 (trigonal-trapezohedral) Crystal habit : usually as banded or layered botryoidal masses with micro-fibrous structure Zoning : color banding and layers of inclusions are common

~~Specific gravity: 2.57-2.64~~

~~Index of refraction: 1.53-1.55~~

~~Birefringence: weak, 0.005 to 0.009~~

~~Hardness: 6.5 to 7~~

~~Color: frequently colored by impurities and then may be any color, most agate used for ornamental purposes is colored by artificial means.~~

~~Luster: dull vitreous to greasy~~

~~Transparency: translucent, can be transparent or opaque~~

~~Cleavage: Cryptocrystalline quartz shows no cleavage, although parting may occur along layers and splintery fracture can develop parallel to micro-fibrous orientation.~~

~~(c) Agate/Akik – Occurrence and Sources~~

Akik or agate is the general term applied to different varieties or Carnelians, and includes various forms of Chalcedonic silica found either underground in mines, in beds of rivers or on hill slopes. Different varieties of agates are known by different names differing in color and luster. Agate word is derived from ‘Achates’, a river in Sicily on the banks of which it is said to have been found now known as agate or Dirillo, well known in early times for its agates. The word again a derivative of the Arabic word Akik, a name for agate which means riverbed.

~~(F) Name of the Geographical Indication~~

~~AGAT ES OF CAMBAY~~

241 VwVuk % fdziVksfdzlVyhu iRFkj eas VwVus dh laHkkouk ugha gksrh A mlesa foHkktu iwjs lrg esa gksrk gS vkSj pwj pwj Hkh gksrk gS A x½ vfdd ;k vxsV & izkfIr vkSj lzksr vfdd ;k vxsV 'kCn fofHkUu izdkj ds dkjusfy;u dks fn;k tkrk gS vkSj ftlesa fofHkUu rjg dk dsylsMksfud flfydk [kkuksa esa ] unh ds fdukjs vkSj ioZrksa ds

~~¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ %~~

dkacs dk vxsVl N½ Ekky dk fooj.k vxsV eudk bldk eq[; mRIkkn gS ftldk e/; iwoZ rFkk vfQzdk ds rV ds cktkj esa cgqr ekax gS AvxsV mRiknksa esa Qwynkuh] ,'k Vªs] pwM+h] eksVkZj vkSj usdysl] isij osbV] cVu] jkslkfjl ysai'ksM] dku dh ckyh] vaxqBh] pwM+h] pkoh dk Nyyk] cÙZu] cktw can vkSj isaMsaV vkfn A

~~¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 253]254% dkacs xqtjkr ds vkuan ftys esa gS A~~

~~242 (G) Description of goods:~~

Agate beads are the chief products, which command a good market in the countries of Middle East and African coast. Other agate products are flower vases, ash trays, bangle, mortar and pestle necklaces, paper weights, buttons, rosaries, lamp shades, earrings, rings, bracelets, key chains, bowls, cufflinks, pendants etc.

~~(H) Geographical area of production and maps as shown in the page no 253 &254.~~

~~Cambay is in Anand district of Gujarat.~~

~~(I) Proof of origin / Brief History (Historical Records)~~

Cambay came into the picture towards the end of 15th century and the start of 16th century. Akik industry assumed importance during the rule of sultans of Gujarat when it reached the zenith of prosperity. The main market of agate being outside India, it was not only essential for the finished products to be brought to a convenient marketing center on sea but also for the development of the industry to be located near some port to facilitate the export. It was equally necessary for the raw material required to be close to the place of manufacture. Cambay was a flourishing and chief center of trade and commerce. This prosperity of the town naturally gave impetus to the growth of many industries including Akik and other precious and semi precious stones.

The fate of Akik industry seemed to have been linked with the rise and fall of different places that grew into importance as seaports or centers of maritime trade at different periods of history. In Gujarat various places came into prominence as centers of trade and commerce at one time or another according to their importance as seaports. At one time it was Bharuch, at another time it was Vallabhi and still another time it was Surat or Cambay/Khambhat. Finally it was at Khambhat that Akik industry reached the pinnacle or prosperity and survived till present times despite depression and competition to which it was later subjected.

In the beginning of 17th century many Akik craftsmen of Cambay were staying at Goa where they had their own locality and shops. Forty years later an Abyssinian merchant by the name of Baba Ghor started Akik factory at Limodra near Rajpipla where the raw material was available in plenty. For the export of finished products to the African coast he had to resort to a seaport, which was Cambay. Here the Abyssinian merchant seemed to have started a lucrative business in agates under the supervision of his brother Baba Abbas. They later shifted all their business to Cambay. Export in Akik got boost up when Cambay became a principal port of embankment by Hajj pilgrims to M ecca. The pilgrims carried with them their agate beads, which were highly valued as articles of sanctity.

243 ¼>½ mRifr dk lcwr ¼,sfrgkfld½ % 15 oha lnh rFkk 16 oha lnh ds var esa dkacs uD'ks esa vk;k Avfdd mn;ksx dks xqtjkr esa lqYrku ds 'kklu dky ds nkSjku izeq[krk feyh] tc og laiUurk dh dksfV ij Fkk AvxsV dk eq[; cktkj Hkkjr ds ckgj gS ] ;g u dsoy rS;kj eky dh leqnz ds Åij lqfo/kktud cktkj ds dsanz ds fy, vko';d Fkk ysfdu lkFk gh bl mn;skx dk fodkl fdlh canjxkg ij gks ftlls fu;kZr dh lqfo/kk gks A lkFk gh dPps eky dh mIyC/kh blds cuus okys LFkku ij gksuk vko';d gS A dkacs okf.kT; vkSj O;kikj dk eq[; rFkk Qwyus okyk dsanz gS A'kgj dh bl laiUurk us cgqr ls mn;ksxks dks cw>uk iM+k A 17 oha lnh vkjaHk ds nkSjku cgqr ls vfdd f'kYidkj xksok esa jgrs Fksa] tgka mudk viuh nwdku vkSj eqgYyk Fkk A 40 lky ds ckn ckck ?kksj uked vfcflfu;u O;kikjh fueksnjk tks jktihiyk tgka izpwj ek=k esa dPpk eky feyrk gS ] ds utnhd gS AvfQzdk ds rV ij rS;kj eky ds fu;kZr ds fy, canjxkj dh vko';drk Fkh tks dkacs Fkk A ;g vcsf'k;u O;kijh us vxsV esa NksVk lk O;kikj mlds HkkbZ ckck vCckl dh v/;d{krk esa izkjaHk fd;k A ckn esa mUgskus lkjk O;kikj dkacs esa yk fn;k A tc dkacs gkth ds rhFkZ ;k=h dks esDdk ys tkusokyk eq[; canjxkg cuk rks vfdd dk fu;kZr

244 During the 18th century agate trade was referred to as one of the most important of the Cambay industries. Some of the articles made at Cambay stones for signets and rings were said to be worth double their weight in gold. Bowls, spoons, handles of swords, daggers, knifes etc. were of great value. Agate industry reached the pinnacle of prosperity during the 16th century and continued its importance till 18th century. During the 19th century the agate trade fluctuated but did not really decline. But with the passage of time and change in consumer habits and competition from other countries the industry suffered a setback. Moreover, the Cambay port got silted, which made it impossible for the larger vessel to reach the harbor and as a result it lost all its former glory. During the 20th century due to decline of Cambay as an important center of trade, industry and export, diversion of trade channels with the opening of rail route from Bombay to Ahmedabad , and increase in competition from cheap synthetic stones agate industry declined.

~~(J) Method of Production:~~

The main sources of raw material are the mines located on the slope of the hill known as Ratanpore Hill or Baba Ghori Hill. At the mine mouth, the stones are chipped and classified into three grades, good “tukdi”, medium “ gar” and low “khadya”. Truck or rail from Jagadia to Cambay carries them. The Akik dealers, who are also the “karkhanedars”, purchase that from the mining contactors or from the cooperative society of which they are the members. They then store them in go-downs in gunny bags.

~~(a) Sun heating~~

The stones and pebbles have high moisture content. Before firing they are left in the open in the sun on corrugated iron sheets for a period of 1 ½ to 2 months. This is done because if the stones are directly baked they will crack.

(b) Firing Two methods are followed for firing: Bhasal: The stones are placed in a trench two feet deep and heated with heat ash and goat or cow dung cake. Heating is done for 3 days. Handa: The stones are placed in cracked and holed earthenware pots. They are heated with goat or cow dung cakes [Heating is done for 12 hours]. Rajpipla Carnelian needs this treatment. The rest are worked upon directly without any heating. Heating brings out the real color of the agate. The temperature at which this change takes place is in between 300 degree centigrade to 400 degree centigrade. With too low a temperature, the stone becomes salmon colored (pinkish orange) and in case the heat is excessive, the color is lost entirely. After baking among brown stones, the light tint brightens into white and the darker tint depends into chestnut, while maize yellow takes a rosy tint, orange turns into red as iron oxide spreads evenly. Stones which in their raw form appears cloudy brown or yellow now distinctly marked by clear bands of white and red.

245 vius vki c< x;k A rhFkZ ;k=h vius lkFk vfdd ekud vius lkFk ys tkrs Fks] ftudk mruk gh egRo Fkk] ftruk ifo= oLrqvksa dk gksrk Fkk A 18 oha lnh ds nkSjku vxsV O;kikj dks dkacs ds mn;ksxksa esa cgqr gh izeq[k mn;ksx Fkk A dkacs ds iRFkjksa ls cus dqN vaxqBh vkSj fjax dk ewY; mlh Hkkj ds lksus ls xgus ls vf/kd gks x;k Fkk A ckVh] pEep] ryokj dk gsafMy] Nqjk] pkdw vkfn dk egRo cgqr vf/kd Fkk A 16oha lnh esa vxsV mn;ksx viuh laiUurk dh dskfV ij Fkk vkSj 18oha lnh rd tkjh jgk A yfdu 19 oha lnh ds nkSjku vxsV O;kikj FkksM+k yM+[kM+k;k t:j Fkk ysfdu mldk iru ugha gqvk A ysfdu le; rFkk xzkgdska ds vknrksa dk cnyko vkSj vU; ns'kksa ds lkFk gksM+ ds dkj.k bl mn;ksx eanh vk;h A lkFk gh dkacs canjxkg dk ekxZ vo:) gks tkus ls cM+s cÙuska dks canjxkgksa es ys tkuk vlaHko gks x;k vkSj ifj.kkeLo:i mlus viuk iqjkuh laiUurk [ksk nh A 20oha lnh ds nkSjku dkacs eq[; O;kikj dasnz] mn;ksx vkSj fu;kZrd :i ls iru gksuk] eqacbZ vkSj vgenkckn ds chp ubZ jsy :V ds [kqyus ls O;kikj psuyksa ds cnyus ls vkSj lLrs flaFksfVd iRFkjksa ds lkFk gksM+ ls vxsV mn;ksx dk iru gks x;k A ×k½ mRiknu fof/k dPps eky dk eq[; lzksr jruiqjk ioZr rFkk ckck ?kksjh fgy ds

~~246 (c) Cutting and shaping the stone~~

Stones which are baked properly cut in the required shape on iron spike known as “sink” with “shingadi”, a buffalo horn headed hammer. The iron spike is 2-3 feet in length and is fixed at an angle of 60 degree in the ground. Against the edge of the spike is kept the part of stone to be chiseled into the required shape. The workers squatting on the pieces of gunny bags strike the stone with the hammer very deftly and carefully. The striking is called “tappa”. This removes the outer shell and preliminary shaping is done. To protect the fingers from injury the workers wrap them in cotton bandages called “anguthia”.

~~(d) Roughing and smoothening the surface~~

The stones after they are chiseled into desired shapes flat, round, triangular, quadrangular, hexagonal etc. are handed over to “ghasiya” for smoothening of the surface by grinding on emery wheel. This work is done by two methods:

~~(i) By machine~~

In this method, the “emery” or carborandum wheel working with the electric motor of ½ H.P. is rotated in circle. The wheel is about 12” inch diameter and 1 ½ “thick. If the articles are rough and thick, the wheel is given greater momentum and less if thin. The distance between the electric motor and emery wheel is about 10-15 feet. The wheel is fixed to a wooden plank 6' to 8' in length at a height of about 3” to 4”. This wooden frame is known as “charak”. Two or three workers can operate at a time. The workers keep one small earthen vessel filled with water by their side and articles are dipped in water before they are put on the emery wheel. If water is not used, the wheel moves more rapidly giving better “wadh” or cut in greater output. But it releases tiny particles of dust, which while breathing, goes inside the lungs and causes T.B. as the “ghasiyas” are given wages on piece rate basis, they do not dip the stones in water and thereby get greater output of seven or eight pieces per minute. But by doing this they render themselves liable to this fatal disease, which is, reported to claim three to five deaths every year.

(ii) By hand In this method the entire process is done by hand. Emery stone or corundum or carborandum from which the emery wheel is made, is known as “Kurund” in Hindi and “samado” in Gujarati. The stone grayish black in color is consumed in large quantities by the cutters and polishers of stone, both precious and semi- precious. Formally the lapidaries at Cambay used to purchase this stone, powder it and prepare the polishing disc, by adding it to seed Lac in required proportion. But in course of time, the price of emery stone went so high, that it was cheaper to utilize ready-made emery wheels instead. Polishing discs made from emery are comparatively cheaper than the one made from the stone, which they formerly used to purchase from the market.

247 d½ /kwi esa xeZ djuk iRFkj vkSj fpdus dadM+ esa vf/kd ueh gksrh gS A xeZ djus ls igys mUgsa ukyhnkj yksgs ds pnnj ij Ms<+ ls nks eghusk ds fy, /kwi esa [kqyk NksM+ fn;k tkrk gS A ,slk blfy, fd;k tkrk gS D;ksafd vxj iRFkjska lh/ks vkx esa ri;k tk; rks muesa njkjs iM+ ldrh gSa A [k½ rikuk Rkikus dh nks fof/k;ka gSa % Hkkly % iRFkjksa dks nks QhV [kqns [kkbZ esa j[kk tkrk gS vkSj xeZ jk[k vkSj xk; ;k cdjh xks;Bs ds lkFk xeZ fd;k tkrk gS A 3fnu ds fy, xeZ fd;k tkrk gS A gkaMk % iRFkjksa dks VwVs gq, rFkk Nsn okys feVVh ds cÙZu esa j[kk tkrk gS] xeZ jk[k vkSj xk; ;k cdjh xks;Bs ds lkFk xeZ fd;k tkrk gS ¼12 ?kaVs rd ds fy, xeZ fd;k tkrk gS A½ jktihiyk dkjusfy;u ds fy, bl izdkj ds izfdz;k dh vko';drk gS A ckdh dks fcuk xeZ fd;s lh/ks dke fd;k tkrk gS Arikus ls vxsV dk vlyh jax mHkj dj vkrk gS A 300 ls 400 fMxzh lsaVhxzsM ds chp ;g ifjorZu gksrk gS A cgqr de rkieku ij ;g iRFkj xqykch ukjaxh jax dk gks tkrk gS vkSj vR;f/kd rkieku ij ;g viuk jax [kks nsrk gS AdRFks jax ds iRFkjksa ds chp rikus ds ckn gYdk pedhyk jax lQsn vkSj xgjk jax v[kjksV ij fuHkZj djrk gS ] tcfd ihyk jax xqykch jax esa] ukjaxh jax vk;ju vkWDlkbM ds Qsyrs gh yky gks tkrk gS AiRFkj vius ewy :i dRFks jax dk ;k ihys jax dk Fkk og lQsn vkSj yky jax ds csaM ds :i esa utj vkrk gS A x½ iRFkj dks dkVuk vkSj vkdkj esa ykuk vPNh rjg ris gq, iRFkj dks yksgs ds uqfdys NM+] ftls f'ka?kMh ds lkFk flad dgk tkrk gS] ij j[kdj HkSal ds lhax ls cus gFkkSM+s ls vko';d vkdkj esa dkVk tkrk gS Ayksgs dk uqdhyk NM+ 2 ls 3 QhV dk gksrk gS vkSj bls tehu ij 60 fMxzh ds dks.k ij yxk;k tkrk Fkk A yksgs ds NM+ ds Nksj ij j[kdj vko';d vkdkj esa iRFkj dks Nhyk tkrk gS A

~~248 In addition to the emery discs, copper or wooden plates were also used- the former for polishing very hard stones, while the later for softer ones.~~

~~(e) Polishing~~

The articles, which are roughed and smoothened on emery wheel, are polished to give them shine and luster. The people involved in this activity are polishers known as “Opiya” derived from the word “op” which means shine or luster. Various methods of hand polishing were used in the past:

~~ “Saran” or lapidary's wheel~~

~~ “Pattimar “or polishing against a wooden board~~

~~ Leather bag~~

~~All these processes have been replaced by mechanical methods.~~

Mechanical methods The latest innovation is that the leather bag containing beads, emery dust, leather pieces and fine carnelian powder is placed in a barrel of crude oil or tar. The barrel is supported with axle on both ends or with an iron rod in between, with a pulley at one end. There is a pulley also on the electric motor of ¼ or ½ H.P. connected with a leather belt about 20 feet in length. The barrels are 3 to 4 in number. Three of them are made of tin and one of copper. The finished articles are rotated in these drums in turn and finally transferred to the copper drum. The barrel is rotated mechanically and within two or three days, the beads get polished. There is no physical labor involved in this method. What is required is general supervision and examination of the glaze obtained.

~~(K) Uniqueness:~~

The articles to be produced from agate are determined by and shaped according to the size, color, and natural formation of raw stones. The color and design found in one article wouldn’t exactly be the same as that in any other article and in that lays its uniqueness. According to ancient beliefs agates possess medicinal properties and are thought to cure Insomnia. People possessing this stone were believed to have gathered strength and courage.

~~(L) Inspection body~~

~~Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members.~~

249 cksjh ij ikyrh ekjdj cSBdj deZpkjh iRFkj dks gFkkSM+s ls cM+h dq'kyrk ls vkSj lko/kkuh ls ekjrk gS Abl rjg ekjus dks VIik gS A ;g mlds ckgjh [kksy dks gVk nsrk gS vkSj izkFkfed vkdkj rS;kj gksrk gS A maxyh dks pksV yxus ls cpkus ds fy, mlesa deZpkjh lwrh dk csaMst yxk ysrk gS ftls vaxqfFk;k dgrs gSa A

?k½ lrg dks fpduk cukuk iRFkj dks piVs] xksy] f=dks.kh] pkSdksj] "kBdks.kh; vkfn bfPNr vkdkj esa Nhy ysus ds ckn ?kkfl;k dks ns fn;k tkrk gS] tsk lrg dks ,ejh ds pDds ij Nhy dj fpduk cukrk gS A ;g dk;Z fof/k ls fd;k tkrk gS A 1½ e'khu ds }kjk bl fof/k esa ,ejh ;k dkcksZjsaMe pDdk ½ H.P ds fon;qr eksVj ls ?kwerk gS ApDdk 12” o`rkdkj vkSj 1½ eksVk gksrk gS A ;g oLrq [qkjnqjk vkSj dM+k gksrk gS rsk pDds dks vf/kd osx fn;k tkrk gS vkSj iryk gksus ij de osx fn;k tkrk gS A fon;qr eksVj vkSj ,ejh pDds ds chp dh nwjh 10 ls 15 QhV gksrh gS A pDds dks 6’ ls 8’ dh yackbZ vkSj 3” ls 4” mapkbZ ds ydM+h ds Iysad ij j[kk tkrk gS A bl ydM+h ds Qzse dks pj[k dgk tkrk gS A ,d le; esa nks ls rhu deZpkjh dke dj ldrs gSa AdeZpkjh vius ikl ,d NksVk feVVh dk ?kM+k j[krk gS A iRFkj dks ,ejh ds pDds ij j[kus ls igys mls ikuh esa Mqck;k tkrk gS A vxj ikuh dk iz;ksx ugha fd;k tkrk gS rsk pDdk cgqr rsth ls ?kwerk gS vkSj iRFkj dks vPNk vkdkj nsrk gS Aysfdu blls NksVs d.k fudyrs gSa tks 'okl ysrs le; QsQM+s pyk tkrk gS vkSj Vh ch gks tkrk gS A ?kfl;k dks ,d ,d VqdM+s ds fy, osru fn;k tkrk gS A tc os iRFkj dks ikuh esa ugha Mqckrs rsk mudks 7 ls 8 VqdM+s izfr

250 feuV ds fy, fn;k tkrk gS A ysfdu ,slk djus ls mUgsa dbZ chekfj;ka gks ldrh gSa Aftldh otg izfr o"kZ 3 ls 4 ekSrs gksrh gSa A 2½ gkFk nkSjk bl fof/k esa iwjh izfdz;k gkFk ls dh tkrh gS A ,ejh iRFkj ;k dks#Me ;k dkjcksjsaMe ftlls ,ejh pDdk cuk gS dks fganh esa dq:an vkSj xqtjkrh esa leknks dgk tkrk gS A gYds dkys jax dks dkVusokys vkSj pedkus okys Hkkjh ek=k esa xzg.k djrs gSa A og cgqr ewY;oku gS A dkacs ds tkSgjh iRFkj dsk [kjhnrs gSa ] ikmMj djrs gSa vkSj bldks lhM ysd esa vko';d vuqikr esa pedkus okys fMLd esa feydkj cuk;k tkrk gS Aysfdu ckn ,ejh isij dk nke c<+ tkus ls rS;kj ,ejh pDdh dk iz;ksx djuk lLrk iM+rk gS A ,ejh ls cus ikfyf'kax fMLd iRFkj ls cus fMLd dh vis{kk cgqr vf/kd lLrk feyrk gS ftUgsa cktkj ls [kjhnrs gSa A blds vfrfjDr ,ejh fMLd] rkack ;k ydM+h ds IysV dk Hkh iz;ksx fd;k tkrk gS A vkxs okyk dM+s iRFkj dks ikfy'k djus ds fy, rFkk nwljk okyk dksey okys ds fy, fd;k tkrk gS A M+½ pedkuk ftu iRFkj dks ,ejh pDds ij j[kdj [kqjnqjs vkSj fpdus dj fy;k tkrk gS mudks pedkus ds fy, ikWfy'k fd;k tkrk gS A tks O;fDr bl dk;Z ls tqM+s ikWfy'kj dks vkfi;k dgk tkrk gS] tks vkWi 'kCn ls fudyk gS A ftldk vFkZ gS ped A igys gkFk ls pedkus ds cgqr ls rjhds Fks A lkju ;k tkSgjh dk pDdk iVVhekj ;k ydM+h cksMZ ij j[kdj ikWfy'k djuk peM+s dk cSx e'khuh fof/k gky ds ubZ i)fr ds vuqlkj peMs+ ds cSx ftlesa ekud] ,ejh ds /kwy] peM+s ds VqdM+s vkSj ckjhd dkjusfy;u ikmMj dks ihik esa dzM rsy ;k rkj ds lkFk j[kk tkrk gS A ihik

251 dks nksuksa Nksj esa /kqjh ds lkFk ;k yksgs dsk NM+ ds lgkus [khapus okys ds lkFk j[kk tkrk gS A ½/¼ H.P fon;qr ds eksVj esa ,d [khapus okyk 20 QhV yacs ,d peM+s ds csYV ls tqM+k gskrk gS Aihik 3 ls 4 gksrs gSa A muesa ls rhu fVu dk vkSj ,d rkacs dk cuk gksrk gS ArS;kj eky dks rhus Mªe esa ?kqek;k tkrk gS vkSj var esa rkacs ds Mªe esa A ihik vius vki ?kwerk gS vkSj nks ls rhu fnuksa esa ekud ped tkrs gSa A bl rjhds esa ekuo ds dke dksbZ vko';drk ugha iM+rh A blesa fujh{k.k vkSj izkIr ped dh ijh{k.k dh vko';drk iM+rh gS A ( V ) vuks[kkiu

vxsV ls mRiUu gksus okys eky dks iRFkj ds vkdkj] jax vkSj izkd`frd :i ds vuqlkj fu/kkZfjr fd;k tkrk gS A,d iRFkj dk jax vkSj fMtkbu nwljs iRFkj ds jax vkSj fMtkbu ls ugha feyrs A blh esa vuks[kkiu gS A ikSjkf.kd fo'okl ds vuqlkj vxsV esa vkS"kf/kd rRo gS vkSj tks uhan dh chekjh dk bykt gS ,slk ekuk tkrk gS A vkSj ,slk Hkh ekuuk gS ftuds ikl ;g iRFkj gksrk gS muds ikl rkdr vkSj lkgl gksrk gS A (B) tkap fudk; vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsSA

~~252 253 254 th-vkbZ-&vkosnu la[;k &102~~

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A MkfV;k vkSj frdkexj dk csy /kkrw os;j ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 102 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 6 ds varxZr vkus okys d

~~HkkSxksfyd min'kZu % MkfV;k vkSj frdkexj dk csy /kkrw os;j oxZ % 6 eky% csy /kkrw os;j~~

~~255~~

~~G.I. – APPLICATION NUMBER 102~~

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Bell Metal ware of Datia and Tikamgarh under Application No 102 in respect of Metal goods falling under Class 6 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

~~Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Geographical Indication : Bell Metal ware of Datia and Tikamgarh~~

~~Class : 6~~

~~Goods : Bell Metal ware~~

~~256 d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%~~

~~¼?k½ ekyksa dk oxZ % gLrf'kYi~~

~~¼M+½ fufnZfûdj.k %~~

/kkrw dk ltkoV dk lkeku ftudk vkdkj 4” ls 4” gS A tkuojksa foÓs"kdj gkFkh vkSj nsoh nsorkvksa dh vkd`fr] ?kj dh vkoÓ;drk dh phtas lHkh vfÓ"V vkSj :[k yxrs gS A csy /kkrw ,slk gS ftls fofHkUu vkdkj /kkrwvksa ds foÓs"kdj ftad] dkWij] ,Y;wfefu;e] ihry vkSj pkanh dks

~~257 (A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi~~

~~(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram~~

~~New Delhi~~

~~(C) List of association of persons / Producers / organization / : To be provided on request Authority~~

~~(D) Type of goods : Handicraft~~

~~(E) Specification~~

Decorative metalware which vary in sizes 4” to 4’.Animal figures mainly elephant and deities, utility items for house hold purpose, all with a crude and rustic finish. Bell metal is a term used for different types of metal put together mainly zinc, copper, aluminum, brass, and silver for casting. The figures appear plain, solid with embellishment at various places for ornaments, clothing, decorations on seating etc.

~~(F) Name of the Geographical Indication~~

~~Bell Metal ware of Datia and Tikamgarh~~

~~(G) Description of goods:~~

Datia: The main product of Datia casting was anklets worn by women over years. This was later reduced in number, as they were heavy. This was then converted into utility item by adding a plate underneath and converting them into ashtrays and later into boxes to keep nick – knacks. The main feature of Datia is the Jali work done on the walls of the product. This feature is not seen in any other place in M. P. The products have since diversified into various products like lampshades, mirror frames, ashtrays, temples, side stools and utility boxes. Ashtrays and boxes with jaliwork walls are identified as Datia bellmatel products.

Tikamgarh: Bellmatel products of Tikamgarh are plain and solid in appearance with decorations of fine work at certain places, to enhance them. The products have a rustic appeal. These products do not have any resemblance to Jaliwork at Datia.

~~258 ¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ % MkfV;k vkSj frdkexj dk csy /kkrw os;j~~

N½ Ekky dk fooj.k MkfV;k : MkfV;k dks eq[;k mRikn ik;y gS tsk fL=;ksa }kjk o"kksaZ ls iguk tkrk gS A Ckkn esa budh la[;k de dj nh xbZ D;ksafd os Hkkjh Fks A ;g ckn esa vko';d lkexzh tSssls ,lVªs cuk;k x;k vkSj NqV iqV phtsa j[kus okyh cDl ds :i esa cny fn;k x;k A MfV;k dk eq[; cukoV mRikn ds nhokjksa ij fd;k x;k tkyh dke gS Ablfy, mRIkkn fofHkUu mRIkknksa esa ckaVk tk ldrk gS] ysaiÓsM] niZ.k] ,sÓVª] eafnj] fdukjs dk Lvwy vkSj mi;ksxh cDls vkfn A nhokjksa ij tkyh dke ds lkFk ,ÓVªs vkSj cDls dks MkfV;k csy /kkrw dk mRikn dgk tkrk gS A frde xj : frdje dk csy /kkrw dk mRikn ns[kus esa dqN txgksa ij ckjhd dke ds lkFk fpduk vkSj Bksl yxrk gS AmRIkkn ns[kus esa vfÓü yxrk gS A mRIkkn dk izdkj fuEufyf[kr gS : 1- Tkkuojksa ds f[kykSus ?kksM+s pkj pDds ds lkFk¼xkfM+;k xqYyk½] pDds ds lkFk dHkh dHkh leku j[kus ds LFkku ds lkFk gkFkh ] ftlls fd [ksyrs le; vklkuh ls ?kwe lds A [kM+[kM+ vkokt djus okyk f[kykSuk vkSj fipdkjh Hkh cuk;s tkrs gSa A 2- Eakfnjksa rFkk iwtk ?kjksa ds fy, nsoh nsorkvksa fd NksVh ewfrZ 3- jlksbZ ds lkekuksa esa fofHkUu vkdkj ds ukius okys tkj] ijsklus okys pEep] [kkus ds fy, NskVs Lvwy 4- ekuo rFkk tkuojksa dh vkd`fr ds ltkoV ds lkeku

259 The product range is as follows: 1. Animal toys – Horses with 4 wheels (Gadiaghulla), elephants with wheels sometimes with a carrier also, the wheels made it easy to slide while playing. Rattle toys and ‘Pichkari’ are also made. 2. Small statues of deities for the puja room or temples. 3. Kitchen items like measuring jars of different measures, serving spoons, small stool to eat on. 4. Decorative items related to human and animal figures are also made.

~~(H) Geographical area of production and maps as shown in the page no 272 &273.~~

~~Both Datia as well as Tikamgarh come under Bundelkhand region.Datia is situated in north of Madhya Pradesh. Tikamgarh is situated in the north of Madhya Pradesh.~~

~~(I) Proof of origin / Brief History (Historical Records):~~

Datia and Tikamgarh Bell Metal ware Craft tradition that evolved through functional needs of a community, show a fair knowledge of functional and aesthetic understanding. Bell metal casting is an excellent example. Similarly Datia and Tikamgarh practice the same craft and show similarity and differences. Datia: the craft here was traditionally practiced by the soni’s (jewelers) and the main product cast was anklets in silver, (paijanaas) for the women folk worn traditionally around datia. Some years back due to economical reasons this got converted into being done in brass (zinc and copper alloy). Traditionally approx. 50 families practiced the craft and anklets were the only piece of jewelry made by this process and the people who made it were called dhariyas. Tikamgarh: The craft here is traditionally practiced for as long as people can remember as according to the oldest person here he has always seen these things being used here largely and since casting is practiced today as one of the major source of income it is almost certain that casting was done traditionally in Tikamgarh. The cultural customs of the region speak of toys being given to the children on the first “sankranti” a religious festival, after marriage by the groom’s family to the bride’s family to keep in touch with the family as the bride is to stay back in her father’s place for a year or three years after marriage. These toys were of brass/bell metal for the more prosperous and others used wooden toys, the basic form of the horses and elephant is still the same. Similarly, in another custom called “matakiya” brides brother comes to take her home after marriage and brings with him a pot of sweets (ladoos) brass pot was used by the economically well of in society and others used a earthen pot. In this way the craft was interlaced intricately into the daily life of the people in this region ever since one remembers. The womenfolk here wore anklets of bell metal and silver as daily wear, some women of a labor class still wear them, they are heavy and give a very graceful walk to the wearer and are done in different designs and named accordingly – todere, pejana, lacche, gajra.

~~260~~

~~¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 272]273% MkfV;k vkSj frdexj nksuksa gh cqansy [kaM {sk= esa vkrk gS A MkfV;k e/;iznsÓ ds mÙj fLFkr gS Afrdexj Hkh e/; izns'k ds mÙj esa fLFkr gS A~~

¼>½ mRifr dk lcwr ¼,sfrgkfld½ % MkfV;k vkSj frdexj csy /kkrw fÓYi dh ijaijk lewnk; dh dkedkth vko';drk ds fy, ] ijaifjd vkSj ?kjsyw le> ds nÓkZus ds fy, iuih A mlh rjg MkfV;k vkSj frdexj ,d gh fÓYi dk dke djrk vkSj muesa lekurk vkSj varj nÓkZrk gS A MkfV;k ;g fÓYi ikjaifjd rkSj ij tkSgfj;ksa }kjk fd;k tkrk gSA

~~261~~

An article in the India Magazine (1985) by Aruna Ghosh on “The lost wax process” speaks of how this type of casting tradition continues to exist in Tikamgarh and Jagdalpur in Madhya Pradesh along with other states such as West Bengal, Bihar and Orrisa.

The stories of the cultural religious customs that were followed in and around Tikamgarh do fall in line with the traditionally used old products found at some houses locally. This does speak in itself of their existence and the practice of the craft Even today one can see women in the fields wearing the traditional anklets. (J) Method of Production: Raw material at Datia Brass is brought from the market and mostly old brass waste products are used for remolding.Raw material at Tikamgarh: Zinc, copper, aluminum, brass and silver – a mixer of all this is used for casting.The most common use is waste old products of these metal in form of old utensils and ornaments that are sold at a lower price and therefore are available cheaper to the craftsmen for re-casting. These are crushed and used as raw material for casting.

The casting process and other ingredients used at Datia: 1. Mud mould is made using a locally available yellow mud called Bhatri (this craft is also known as Bhatrikala) mixed with 1/4 th portion of cow dung. The desired basic shape is given to this mould and the surface is softened using brick, the mud that falls off is then made into a paste and applied on the mould.

~~2. Wax solution is prepared using Ral (tree gum), 40% bee wax, and 20% cooking oil (Mustard / Soyabeen), this mixture is boiled and strained using a fine cloth. The wax is now ready to use.~~

~~3. Design mould – Finely engraved simple border designs on brass, aluminum and soft stone are permanently fixed on a wooden plank. These are 1 cm wide and 9 – 10 inches in length.~~

4. Luke warm wax solution thus prepared is applied on the design mould and rolled on using a roller (Belan). This transfers the design onto the wax from the design mould. The extra wax on both the sides of the border is cut and the outline of the border design is etched out using a fine needle.

~~5. These ready wax borders are pasted onto the mud mould in different combinations.~~

~~6. On this finely strained yellow mud paste is applied and this is then covered with the mud used for making initial mud moulds.~~

7. One or two plain wax connections are is attached so that the metal flows in, this is covered with red mud and sand is applied. A mouth is made where the connecting wax pipe surfaces. The mould is ready.

~~262 mlh rjg ,d fjokt ftls eVkbdk dgk tkrk gS] ds vuqlkj nqYgu dk HkkbZ Óknh ds ckn mlds ?kj vkrk gS vkSj vius lkFk feBkbZ dk cÙZUk ykrk gS A vkfFkZd rkSj ij laiUu yksx ihry ds cÙZu esa ykrs gSa A~~

bl rjg ;g fÓYi bl {sk= ds yksxksa dh jkstejkZ dh ftanxh dk vko';d vax cu x;k A ;gka dh efgyk,a pkanh vkSj csy /kkrw ds iktssc igurh gS] etnwj oxZ ds dqN efgyk,a vHkh Hkh bls igurh gSa A;s cgqr Hkkjh gksrh gS vkSj iguus okys dsk lqanj pky vkrh gS A vkSj fofHkUu fMtkbuska esa cuk;k tkrk gS vkSj ftldk uke VksMjs] istkuk] ykNs] xtjk bafM;k if=dk¼1985½ esa v:u ?kks"k dk n yWkLV osDl izfdz;k ij ,d ys[k esa fy[kk gS fd fdl izdkj e/;izns'k ds frdje vkSj txnky ds lkFk lkFk vU; jkT;ksa if'pe caxky] fcgkj vkSj mfM+lk esa

×k½ mRiknu fof/k MkfV;k esa dPpk eky ihry dks cktkj ls yk;k tkrk gS fo'ks"kdj iqjkus ihry ds O;FkZ phtaksa dk iz;ksx bldks cukus ds fy, fd;k tkrk gS A frdjexj dk dPpk eky ftad] rkack] ,Y;qfefu;e] ihry vkSj pkanh vkfn lHkh dk feJ.k dk iz;ksx gh

~~263 8. A small mud bowl called Ghariya is filled with metal pieces and attached to the mouth of the mould using mud.~~

9. Baking process – To prepare the furnace, 4 feet deep pit is dug and filled with 1 ft of cow dung cakes placed first vertically and then horizontally. On this a layer of coal is placed. This is then burned. On this the ready moulds are placed vertically with ghariyas downwards for more heat. Cow dunks cakes are then placed on the top and covered completely. After 2 hours metal melts and the mould turns red.

10. The wax melts and creates a hollow within the mud mould; the mould is then removed from the furnace and turned up-side-down using an iron holder. Then the metal transverse from the ghariyas to the hollow in the mould through the connecting channels.

~~11. When become cold the mould is broken and the metal casted product is ready.~~

12. For finishing, the product is filed and a mixture of nitric acid and sulphuric acid is applied on the product to clean. And then boiled tamarind water is applied for further cleaning and then washed in plain water.

~~13. For embellishment sometimes-artificial precious stones are added on the product. The product is finally ready.~~

~~Special feature~~

The outline of the wax design boarders was finally cut out before being placed in various combinations together in the mud mould. This cutting out of the design outline of each boarder finally creates a jali like pattern and this is a unique feature of Datia bell metal craft.

Casting process in Tikamgarh 1. Preparation of mud --- yellow mud is grinded fine and strained. And cow dunk and water is added. (In 1kg mud 250g cow dunk) and the mixture is kneaded. This is used to make the basic shape s of mould as required. And the moulds are made smooth by using sandpaper or brick.

2. Preparation of wax --- a mixture of 1kg rar (dried tree gum), 300g of bee wax and 300g of cooking oil is kneaded into dough. The wax is now ready. It is beaten into a flat slab using a wooden hammer (thapiya).

3. This is further thinned into a 2mm thin sheet, which is then applied onto the mud mould. When completely covered and smoothened then other details of the figure like ornaments, eyes, nose, ears, fabric design and other detailed decorations etc are added by hand using wax wire. 4. Covering the mould --- the fine mud used to make mould is further strained by cloth, made into a paste and is applied into a wax covered mould. After this almost dries

~~264 fn;k tkrk gS vkSj blfy, ;g lLrs nkeksa esa f'kYidkjksa dks iqu%~~

265 Slightly coarser mud is applied on it. At this stage wax pipes/ connections are attached to create passage for metal. A mixture of fine mud (chikani miti) and sand is then applied as 3rd coat on the mould. On this a small diya shape is made to make the mouth of the mould where in metal maybe poured later. The mould is now ready to be backed.

5. Preparation of metal container --- the waste metal product is brought from the market at Rs 135 – 140 per kg. This is broken into pieces and filled in ghariyas (small mud bowls). And a backed piece of mud is used as lead. This is then completely covered with a mixture of fine mud and sand to seal. The container is now ready to be backed.

6. The furnace is same as in Datia the only difference is here the metal container and the mud moulds are backed separately in the same furnace placing the metal containers below the mud moulds for more heat. The backing process takes 1 to 2 hours depending on the numbers of moulds.

7. When backed the moulds and the metal containers are removed from the furnace. The mouth of the metal container is broken and this is lifted by metal holders (sadrasi) and metal is poured into the mouth of the moulds. The wax in the mould melts and the metal replaces it. The mould is cooled and then broken and the metal product is ready for finishing.

~~8. Finishing --- a grinder machine with wire brush is used to clean the metal product of mud and other impurity. For finer finish amri is applied onto the machine and is used on the product.~~

9. Coloring to give antic look to the product --- a paste of soda acid and silver adding water is prepared. This solution is poured onto the product and then immediately the product is heated well on a stove. This gives the product an antic look as the silver when combined with metal turns dark (blackish brown). To clear the blackish brown shades form some places it is then rubbed by hand using a pinch of soda acid. This clears the darkish color and the original metal color stands out, if wire brush in machine is used then there is no need to add acid for the same purposes.

~~The product is now ready for marketing.~~

~~(K) Uniqueness:~~

The Datia product shows jali works, which is different, and resembles stone jali works seen on historical monuments. This feature of jali itself it difficult to achieve and requires fine works. The Tikamgarh products are different. As they are solid and plain more figurative work is seen with ornamentation done only at required places. One does not see any jali work here. This feature of designing/ornamentation is also achieved by applying wax on earlier caved out designs on soft stone (Gora pather) called ukhanas.

~~266 7- ,d ;k nks lkns ekse ds tksM+ dks yxk fn;k tkrk gS ftlls fd /kkrw vanj cgs] ;g yky feVVh ls~~

~~267 This engraved design on wax is then placed on the wax model as required. The use of ukhanas is a special feature of this region.~~

~~(L) Inspection body~~

~~Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members~~

268 fo'ks"k cukoV ekse ds fMtkbu ckMZj dks feVVh ds eksYM esa fofHkUu feJ.kska ds lkFk Mkyus igys dkV dj fudky fn;k tkrk gS AfMtkbu ds dkVdj fudkys x;k ckMZj dk vkmVykbu tkyh ds leku isVuZ cukrk gS vkSj MkfV;k csy /kkrw ds f'kYi dk vuks[kk cukoV gS A frdexj dh

269 fn;k ds vkdkj eksYM ds fy, eqag cukus ds fy, fd;k tkrk gS tgka /kkrw dks Mkyk tkrk gS A vc ;g eksYM rik;s tkus ds fy, rS;kj gS A 5-/kkrw dk cÙZu cukus dh rS;kjh & vuko';d /kkrw dh phtska dks cktkj ls 135 : ls 140 : esa [kjhnk tkrk gS A bldks VqdM+ksa esa rksM+dj ?kfj;ksa¼NksVs feVVh ds cÙZu½ esa Hkjk tkrk gS A feVVh ds ris VdM+s dks ysM ds rksSj ij iz;ksx fd;k tkrk gS A bldks fQj fpduh feVVh vkSj ckyw ds feJ.k ls iwjh rjg

270 ,afVd :i nsrk gS tc pkanh /kkrw ds lkFk feyrk gS rsk xgjk dRFkk jax dk gks tkrk gS A dqN txgksa ls xgjs dkys dRFks jax dks lkQ djus dsfy, pqVdh Hkj lksMk vEy ys dj gkFk ls lkQ fd;k tkrk gS A ;g dkys jax dks lkQ djrk gS vkSj ewy /kkrw dk jax mHkj dj vkrk gS vxj ok;j cz'k dk iz;ksx fd;k tkrk gS rks mlh dke ds fy, vEy dk iz;ksx djus dh dksbZ vko';drk ugha gS A vc ;g mRikn cktkj ds fy, rS;kj gS A

~~( V ) vuks[kkiu~~

MkfV;k mRikn esa tkyh dk dke fn[krk gS] tks vyx gS vkSj tks ,sfrgkfld Lekjdska ij cus iRFkj ds tkyh dke ds leku gS A tkyh dh ;g cukoV ykuk cgqr dfBu gS vkSj blds fy, cgqr vPNs dk;Z dh vko';drk gS A frdexj mRikn fcydqy vyx gS A pafd ;s Bksl vkSj fpdus gSa blfy, dsoy t:jh LFkkuska ij xguksa ltkoV ds lkFk vkd`fr;ka gh vf/kd ns[kh tk ldrh gS A ;gka dksbZ Hkh tkyh dk dk;Z ugha ns[kk tk ldrk A xguska dh cukoV Hkh igys ls dksey iRFkjksa ¼xksjk iRFkj½ ij rjk'ks x;s fMtkbu ds Åij ekse yxkus ls izkIr gq, gSa Abl ekse ij rjk'ks x;s fMtkbu dks ekse ds ekWMy ij vko';drk ds vuqlkj j[kk tkrk gS A m[kkuk bl :i esa iz;ksx bl {ks= fo'ks"k xq.k gS A

~~(B) tkap fudk; vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsS A~~

~~271 272 273 th-vkbZ-&vkosnu la[;k & 103~~

;g vthZ fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7 vkj- ds- iqje] ubZ fnYyh Hkkjr us Hksth gS A dN d<+kbZ ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 103 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 26 ds varxZr vkus okys d

~~HkkSxksfyd min'kZu % dN d<+kbZ oxZ % 26 eky% d~~

~~274 G.I. – APPLICATION NUMBER 103~~

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of Kutch Em broidery under Application No. 103 in respect of Embroidery falling under Class 26 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

~~Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India West Block No. 7, RK Puram, New Delhi, India~~

~~Geographical Indication : Kutch Em broidery~~

~~Class : 26~~

~~Goods : Embroidery~~

~~275 d½ vkosnd dk uke % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~[k½ irk % fodkl deh'uj¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] osLV CykWd la[;-7] vkj- ds- iqje] ubZ fnYyh] Hkkjr~~

~~¼x½ O;fä /mRiknd/ laxBu / ekaxs tkus ij fn;s tk;sxk izkf/kdkj la?k dh lwfp%~~

~~¼?k½ ekyksa dk oxZ % gLrf'kYi ¼M+½ fufnZfûdj.k %~~

~~dN d~~

~~276 (A) Name of the applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi~~

~~(B) Address : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram New Delhi~~

~~(C) List of association of persons / Producers / organization / : To be provided on request Authority~~

~~(D) Type of goods : Handicraft~~

~~(E) Specification:~~

Kutch embroidery is an evolving expression of the craft and textile traditions of the Rabaris, a nomadic tribe in Gujarat. This folk embroidery is done using cotton or silk thread on cotton cloth. Certain styles use silk and a satin-like material too. Square chain, double buttonhole, pattern darning, running stitch, satin and straight stitches are used to create intricate patterns. With the liberal use of multi-shaped glass pieces, the garments literally glitter. And, every bold stitch and glass piece used is reflective of the rituals and folklore of the Rabaris.

~~(F) Name of the Geographical Indication~~

~~Kutch Embroidery~~

~~(G) Description of goods:~~

Kutch embroidery is unique in the sense that a net is woven on a cloth using thread. The net is then filled in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes.

~~277~~

~~¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ % dN d<+kbZ~~

N½ Ekky dk fooj.k diM+s ij /kkxs ds }kjk tky cuk;s tkus ij dN d<+kbZ vuks[kk yxus yxrk gS A ml tky dks ckn esa ckjhd baVjyksfdax flykbZ ls Hkjk tkrk gS A lk/kkj.kr% ;s isVuZ T;fefrd fMtkbu esa cuk;s tkrs gS A mRikn cSx¼dksFkfjl vkSj FkSyh½ vkSj fofHkUu vkdkj dks nhokj esa Vkaxh tkus okyh phtasa] pdyk]laf[k;k ftudks tksM+ks esa cuk;k tkrk gS vkSj nhokj ds nksuks rjQ Vakxk tkrk gS vkSj VkjiqfM;k] ftudks tksM+ks eas cuk;k tkrk vkSj Hkhrjh nhokj esa yVdk;k tkrk gS] jtkb;ksa ds fy, doj¼/kjfu;k½] pksyh ¼Cykmt½] xnns ¼/ka/kkfnl½] jtkbZ ¼njfdl½] ,tkj¼tka?k rd ds yacs isSaV] tks xzsfl;k tkV ds }kjk iguk tkrk gS½] rfd;k] jtkbZ dk doj¼vksdkj½ vkSj [kkn; inkFkksZa ds tek djds j[kus ds fy, crZu] [katqfj] [kkl ekSdksa ds fy, pksyh¼xqt½ js'e vkSj e'k: oL= dk cuk gksrk gS] pksiM] dsfM;k/tsdsV] Nfu;k pksyh] ?kk?kjk] ikMks¼,d rjg dk LdVZ½] /kjok] ifNrikfrl¼dejs ds Nr ds Bhd uhps Vkaxs tkus okyh cuh udk'kh dh d

~~278 Products:~~

Bags (kothries and thellis) and different types of wall hangings; chaklas, sankyias, which are made in pairs and hung on either side of doorways, torans, which are hung above doorways, and tarpudios, which are commonly made in pairs and hung over niches in interior walls, embroidered covers for quilts (dharnia), Odhanis, blouse (kapdah), traditional sadlo, churi (blouse), quilted mattresses (dhundahdees), quilts (derkees), Ejar (the mid thigh length pants, worn only by the Gracia Jats), pillows, quilt covers (Ochars) and covers for food storage vessels, khanjuris, Blouses for special occasions (gudge) are made of silk or mashru fabric, chopads, kediya/ jackets, , chania choli, ghagharas, pado (types of skirt), dharavo, Pachhitpatis (embroidered frieze), Bhitiya is the wall hanging, Abhala (mirror inset embroidery), mojadis (embroidered shoes), pichhwais (temple hangings).

~~(H) Geographical area of production and maps as shown in the page no 291.~~

This traditional craft is practiced in the nine talukas of kachchh district namely Bhuj, Anjar, Nakhatrana, Lakhpat, Mandvi, Mundra, Bhachau, Rapar and Abdasa. The district Kachchh situates between 22’ 44’ 8’ and 24’ 41’ 30’ north latitude and 68’ 7’ 23’ and 71’ 46’ 45’ east longitude.

~~(I) Proof of origin / Brief History (Historical Records)~~

Of all the crafts of Kachchh, embroidery is the best known. Many books and research studies have been written on this subject as the variety, the quality, and the imaginative use of design and color is a fascinating topic. These books generally all agree that Kachchh, together with the Saurashtra area to the south, is the finest and most abundant source of folk embroidery in the world.

The best embroideries in Gujarat come from Kachchh, which was once a part of the trade route between Central Asia and the Far East. Given Gujarat’s coastline and numerous harbors, it exposed the land to the outside world. Some of the best and oldest textiles were created in Gujarat and they were in great demand in other parts of Asia. Old Kachchhis still recount romantic tales of caravans laden with silk, pearls, carpets, etc. traversing the Rann to reach the port cities. Influences and impact of the outside world had its effect on embroidery as well. As in all desert and semi desert regions, life here is varied, there is little to celebrate but for the women of Kachchh who weave a magical world of color and celebrate everyday life. Elements and traces of Baluch or Sindhi embroidery merging with those of the Kachchh are well established. Marco Polo, writing about Gujarat, says “They also work here beautiful mats in red and blue leather, exquisitely inlaid with figures of bird and beasts and skillfully embroidered with gold and silver wire. They are marvelously beautiful things; they are used by the Saracens to sleep upon.”

279 ¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk la- 291% ;g ikjaifjd f'kYi dN ftys ds ukS cq>] vatj] u[krjkuk] y[kir] ekaMoh] eqanjk] HkkNo] jkij vkSj vcnlk rkywdk esa fd;k tkrk gS A dN ftyk 22’ 44’ 8’ vkSj 24’ 41’ 30’ m v{kka'k 68’7’ 23’vkSj 71’46’45’ iwohZ ns'kkarj ds chp fLFkr gS A

~~¼>½ mRifr dk lcwr ¼,sfrgkfld½ % dN ds lkjs f'kYiksa esa dN d~~

280 Embroidery, in Gujarat, is akin to ritual decoration and can be found everywhere. Toran is the most common embroidered doorway decoration with hanging fl aps, which is supposed to ventilate good luck. Pachhitpatis (embroidered frieze) are hanged from the corners as a welcome symbol to the visitors. Chaklas(embroidered square pieces) are used as furniture covers while Bhitiya is the impressive wall hanging. Abhala (mirror inset embroidery) has now become a part of the ethnic chic fashion world, where small mirror discs are fi xed with closely worked silken thread. Usually the motifs are inspired by daily life; ancient belief and rituals but they vary from place to place and are passed down over the centuries from mother to daughter. Each community in Kachchh has its own distinctive style of needlework. Finishing pieces of embroidery could take several weeks, or if very large or intricate, it might take several months.

Communities use embroidery to embellish cloth used for many purposes. With the exception of Mochi bharat, all the Kachchhi embroidery was traditionally made for use by the family. The most important social reason for making embroidered crafts was for the dowry which a daughter would carry to her husband’s home, but embroidery is also linked to other events. Communities practicing embroideries include Ahir pastoralists and former nomads, Mahajan merchants, Kanbi farmers, Kathi rulers and Sodha Rajput warriors, Rabaris, Mochi and Marwada Meghwals leather workers, Harijans and a variety of M uslim groups, particularly the Mutava. The differing adornment traditions of these communities are unified by regional styles and by motifs that bridge cultures – peacocks, parrots, temples, fl owers, camels and elephants.Inspired by legend and everyday life, motifs have deep significance for their contemporary makers and users.

~~(J) Method of Production:~~

Kutch work is unique in the sense that a net is woven on a cloth using thread. The net is then filled in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. This embroidery follows its own traditional design logic and juxtaposition of colours and motifs. In Kutch embroidery, only when you learn the basic square stitch, can you master traditional patterns with your innovation. The colourful tribal motifs lend vibrancy and modern designing a contemporary feel to the fabric. Mirrors, beads, sequins as well as tie and dye and appliqué are part of the vibrant embroidery, executed using the basic embroidery colours of red, black, green, yellow, white and orange.

~~Raw materials:~~

1-Needles 2-Cobbler’s awl or ari 3- Treads of various counts and qualities 4-Scissors 5- Fabrics such as cotton, mashru, silk, woolen, etc.6-Tracing paper 7-Fugitive colors for tracing 8-Wooden frames to hold the fabric in place while embroidering 9-Abhalo/ mirrors, butons, sequins etc.

~~281 d~~

282 The embroider commences by using a wooden block, made of teak and with a paste of soot or soluble black color the design was put on the cloth by using the wooden block from the printer or from the local markets. Sometimes a white paste made of fullers earth and gum Arabic was used to print the design and outline rather than a black outline although latterly, blocks have been abandoned and now a days, use of clear thin sheet of plastic, which has been pierced with pinholes, is kept over area of the fabric and using fugitive colors an imprint of the desired pattern is transferred onto the fabric. The artisans then start to embroider the printed fabric by using needle and threads. The fabrics could be silk, cotton, mashru, etc. The threads used were traditionally cotton and sometimes floss silk, but now all sorts or threads are in use for embroidery. The mirrors used for sheesha work / mirror work or abhala are procured from local market.

~~Embroidery Stitches and Techniques~~

The needle s brought to the upside of the fabric. For doing the stitch proper, it is inserted into the fabric, and brought back to the surface in one movement. Then the thread is pulled through. The same method is used for plain hand sewing. It is strongly recommend using a thimble for this. It is best to put the thimble on the middle finger. Once the needle is inserted into the fabric, the hooded middle finger is used to push it through, the thumb and index finger grabs it at the front as soon as possible and pull at the same time. This can speed up working when the embroiderer is used to it.

This method can be done using an embroidery frame or freehand, but in many cases the use of an embroidery frame or hoop will make the work easier. But it needs to be a frame that allows for adjustment of fabric tension, because the fabric mustn’t be too strongly stretched in order to aloe inserting the needle without pulling the fabric too much.

Embroidery uses various techniques, stitches and combinations of stitches. Each embroidery stitch has a special name to help identify it, and although they are mostly simple to execute, when you put them together the results can be extremely complex.

~~1-Mochi Bharat 2- Shisha /Abhala /Mirror Work 3-Heer Bahrat 4- Suf 5- Kharek 6- Paako are major techniques used. The following are the major stitches used in this embroidery.~~

1-Backstitch 2-Backstitch 3-Crossed Backstitch 4-Chain Stitch 5- Cross Stitch 6- Blanket/Buttonhole Stitch 7- Running Stutch 8- Holbein Stitch 9- Overcast Stitch 10- Stem Stitch 11- Couching Stitch 12- Bokhara Couching Stitch 13- Leaf Stitch 14- Feather stitch 15- Coral Stitch 16- Split Stitch 17- Laid Stitch 18- Straight Stitch 19-Romanian Stitch 20- Brick Stitch 21- Star Filling Stitch 22-Trellis Stitch 23- Herringbone Stitch 24- Satin Stitch 25- Fishbone Stitch 26- Cretan Stitch 27- Mirror Work.

~~283 ×k½ mRiknu fof/k d~~

~~284 (K)Uniqueness:~~

Of all the crafts of Kachchh, embroidery is the best known. Toran is the most common embroidered doorway decoration with hanging flaps, which is supposed to ventilate good luck. Pachhitpatis (embroidered frieze) are hanged from the corners as a welcome symbol to the visitors. Chaklas (embroidered square pieces) are used as furniture covers while Bhitiya is the impressive wall hanging. Abhala (mirror inset embroidery) has now become a part of the ethnic chic fashion world, where small mirror discs are fixed with closely worked silken thread. Usually the motifs are inspired by daily life; ancient belief and rituals but they vary from place to place and are passed down over the centuries from mother to daughter. Each community in Kachchh has its own distinctive style of needlework. Finishing pieces of embroidery could take several weeks, or if very large or intricate, it might take several months. The differing adornment traditions of the various communities of Kachchh are unified by regional styles and by motifs that bridge cultures – peacocks, parrots, temples, flowers, camels and elephants.

Inspired by legend and everyday life, motifs have deep significance for their contemporary makers and users. Each individual community expresses its own identity through a sense of aesthetics – color, layout, and motif preferences – that evolved out of specific aspects of their history, including migration patterns, and contact with surrounding peoples. Within a community, members immediately recognize clothing details of a woman’s skirt, blouse, head cloth and jewelry, as extolling her skills, identifying her marital status and child-bearing status, her specific position within the community. A woman announces her ethnic membership by the color choice of her dress, the design layout of the embroidery, jewelry details and her manner of comportment. Embroidery style is an entity which functions as a medium of expression. Each style comprises a specific combination of stitch, motif, pattern and color, and is governed by a set of unwritten rules. Within these parameters, an individual may improvise. Words used to identify a motif often apply to the stitch – motif unit. Motifs of a given embroidery style often must be places in specific relation to each other.

Color schemes, a critical element of style, are similarly prescribed. Artisans have strong feelings about which colors are correct and how they should be combined. The Kachchh embroidery is unique in so many ways. The use of stitch, motif, pattern and color with reference to a style are so mutually understood that an artisan can leave a piece on which she is working and another community member can pick it up and continue in the same pattern. Instructions need not be articulated. Virtuosity is recognized as testing the limits of the conventions of embroidery style. A common sensibility is evident in Kachchh embroideries, in that these are in fact a group of styles whose particular combinations of stitches, motifs, patterns and colors are indigenously recognized as both distinct and emblematic of community. Different embroidery styles practiced by particular ethnic communities are indicative of affiliation, and can be called ethnic embroidery styles.

~~285 d~~

~~286 (L) Inspection body~~

~~Steps are being taken by the applicants to set up a suitable, independent and effective inspection body involving external members.~~

~~287 ( V ) vuks[kkiu~~

~~dN ds lkjs f'kYiksa esa dN d~~

~~288 pht ds :Ik esa iz;qDr gksrk gS A vHkkyk ¼dkap j[kdj dh tkus okyh d~~

289 LVkby esa flykbZ dh fof'k"Brk] vkd`fr] isVuZ vkSj jax gksrk gS vkSj ;g fcuk fy[ks fu;eksa ds }kjk lapkfyr gksrk gS Ablh ekinaM ds varxZr ,d O;fDr viuk vyx uohurk ykrk gS Avkd`fr dks igpkuus ds fy, iz;qDr dk vDlj flykbZ eas yxk;k tkrk gS &vkd`fr bZdkbZ A flykbZ esa vkd`fr;ksa dks ,d nwljs fof'k"V laca/k esa j[kk tkrk gS A jax dk izLrqr djuk] 'kSyh tVhy rRo dks leku :i n'kkZ;k x;k gS A dykdkjsk dk ekuuk gS fd fdl jax dk iz;ksx fd;k tkuk pkfg, vkSj dSls tksM+k tkuk pkfg, A dN dk tkrk gS fd ,d dykdkj ,d VqdM+s dks ftl ij og dke dj jgh gS] NksM+ ldrk gS vkSj nwljs leqnk; dk lnL; ml ij dke dj ldrk gS A bl dyk fo'ks"kKrk dks d

~~(B) tkap fudk;~~

~~vkosndksa ds }kjk ckgjh lnL; dsk ysdj vuqdwy] Lora= vkSj izHkko'kkyh tkap fudk; cukus ds fy, vko';d dne mBk;sa x;sa gsS A~~

~~290 291 292~~

~~293~~

~~294~~

~~295~~

~~296~~

~~297~~

~~298~~

~~fdghgfdgfdgg~~

~~299~~

~~300~~