DOCSLIB.ORG

Accelerating Indian Craft Businesses

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Accelerating Indian Craft Businesses Accelerating Indian Craft Businesses Leveraging Technology & Innovation for Craft Startups Accelerating Indian Craft Businesses Leveraging Technology & Innovation for Craft Startups Accelerating Indian Craft Businesses 3 Business Model Innovations 76 Article: Crafts Entrepreneurship: A BPM Approach 78 Arun Grover, Independent Consultant Table of Contents Article: Marketing is Key to Success! 82 Nidhi Basin, Dy CEO, Concern India About Article: Improvise and Adapt for Growth! 85 Mahavir Pratap, Chairman, TIE Global Startup Oasis 4 CIIE.CO 5 Article: Age of the Individual - Powered by Technology 86 The Craft Catapult 6 Sheela Lunkad, Founder, Direct Create Start-ups Messages Megastores 88 Indi Collage 92 Foreword from Nagarajam Prakasam, Advisor, The Craft Catapult 8 Perfit 3D 96 Message from Chintan Bakshi, CEO, Startup Oasis 9 Desi Hangover 100 Message from Dr. Pallavi Tak, AVP, Startup Oasis 10 Fabriclore 104 The Craft Catapult (TCC) 12 Fabricmonde 108 Dressfolk 112 Defining Craft 18 Empowering Inclusion through Technology: Diving Deeper into the Ecosystem 116 The Craft Value Chain 19 of Artisanal Communities Article: Why Humanity Matters! Crafts in India & Our Craft Footprint 20 118 Nand Kishore Chaudhary, Chairman, Jaipur Rugs Accelerating Design Innovation in the Craft 24 Article: Financing the Crafts 119 Article: Powering Design and Market Intervention 26 Sushant Bhatia, Nishanth Nandakumar & Emmanuel Murray, Caspian Impact Investing Dr. Toolika Gupta, Director, IICD (Partner TCC) Article: The Commercials Of Crafts 122 Article: The Story of an Innovation 29 Manish Saksena, AADYAM Jaideep Mehta, MD, Karigar Weaves Article: Celebrating the First Steps of Women in Craft Entrepreneurship 124 Start-ups Kashika Sud, IIM Ahmedabad Karomi - The Handloom Tree 30 Start-ups Mura Collective 34 Amounee 128 Aavaran 38 Greenwear 132 Mulberry One 136 42 Bringing Material Innovation in the Craft Abira 140 Article: Protecting the Innovation in Craft 44 Kalaghar 144 Monica Moisin, Founder, Cultural Intellectual Property Rights Initiative Zaina by CtoK 148 Article: Working Capital for the Crafts 47 Gangsutra 152 Irwan Malhotra, Cofounder, Givfunds Social Ventures Expanding the Craft: Roundtable Musings 157 Start-ups P-Tal 48 Mentors Corner KhaDigi 52 Exhilarating, exciting and a huge learning experience 161 Cotton Rack 56 Sarika Narayan, Independent Consultant Khanak Design Studio 60 The Post Covid Era for Craft: Why Range will be key and not Hyperspecialization 163 Iro Iro 64 Anmol Gupta, Co-Founder, White Mountain Collectives. Sutrakaar 68 Shefcoz 72 Crafting Out of COVID - Thoughts from Experts and Start-ups 165 Accelerating Indian Craft Businesses 5 CIIE.CO is a social impact endeavour Startup Oasis is India’s leading regional of IIMA established with the goal incubator, that works with a vision to accelerate development by to ‘Create Future Startup Capitals’ in creating scalable and innovative the country. Startup Oasis’ focus is entrepreneurial solutions accelerating on catalysing start-up ecosystems in development and crunching time Tier II & III cities, where a wave of required to reach the un(der)served. disruptive innovations still needs to CIIE.CO played a pioneering role in the be cradled. With its well-structured Indian entrepreneurial ecosystem – and validated interventions, Startup conceptualising and running multiple Oasis promotes innovative social, evangelising and early stage seeding women-led, craft and technology- initiatives in Healthcare for masses, based enterprises. A joint initiative Agritech, Fintech for inclusion, Clean by CIIE.CO and RIICO, Startup Oasis Tech, Civic Tech, Deep Tech where is recognised as Technology Business traditional capital does not flow in. Incubator (TBI) by the government and CIIE.CO has been entrusted with more is registered as a Section 8 Company. than INR 100 Crore by 15+ Corporate Startup Oasis has its focus on four CSR’s and multilateral agencies since verticals - Social Entrepreneurship, April 2014 to assist/reach out to 95+ Regional Tech-based Innovation, impact focussed entrepreneurial start- Women Entrepreneurship and Craft ups. Entrepreneurship. Photo Credit: Fabriclore Accelerating Indian Craft Businesses 7 Photo Credit: Aavaran The Craft Catapult is the Annual Accelerator Program by Startup Oasis where select craft start-ups that are leveraging technology and innovation to build profitable and scalable business models, are offered technology support, patent support, business advisory, market connections, visibility and network as well as access to funding. Accelerating Indian Craft Businesses 9 FOREWORD MESSAGE A Fresh ‘Theory of Change’ Recreating Craft Chintan Bakshi for Craft CEO, Startup Oasis Nagarajam Prakasam Advisor, The Craft Catapult India has a very rich tradition and knowledge Startup Oasis has been at the forefront of crafts covering unique techniques and of supporting technology enabled craft WE NEED CHANGE does), no discounts needed – an Audi is never materials like spinning and weaving of start-ups. Being based out of Rajasthan, Change is a problem everywhere. But we sold at a discount. No need to make craft viral textiles, natural dyeing, metallurgy, block we soon realized that many designers need that change. And change is possible. We on social media – Rolex is not viral, as it’s not printing, furniture making, wood and stone and entrepreneurs were trying to build need authenticity, target the right customer, meant for all. craft. Some of these traditions are living sustainable for-profit business models have the right product positioning and traditions which have been around for more around the rich crafts and heritage of the strong storytelling. Craft should be a luxury CRAFT OUR SUPER-POWER than a 1000 years. It was the rich heritage state. Rajasthan has had some success and aspirational, else artisan is paying that Craft has the super-power to make crafts of India that made India the largest stories like Jaipur Rugs, Anokhi, Kilol etc subsidy. Craft does not need a pity story of consumption sustainable, a sector that economy in the globe before pre-Industrial that have inspired other first-generation grant, social impact, assistance for the poor can lead in sustainable production and times. Seen as the backbone of Indian’s non- entrepreneurs to build other similar business artisan, rather narrative should be of pride consumption both. Tesla sold carbon credits to farm rural economy, handicrafts account for models around the rich crafts heritage of the for authentic craft. Fiat. Entrepreneurs in craft need more focus, 15-20 percent of the country’s manufacturing state. need to learn to say No, take hard decisions, workforce. OUR APPROACH build on their unique strength, discover their At Startup Oasis, we have seen startup Japan considers artisans as artists and core. They need to get to the right customers. In the last 30 years, companies like FabIndia, entrepreneurs innovating across the value they are then respected accordingly. India Entrepreneurs need to focus on innovation. Good Earth, One More have been able to chain of crafts, the major areas of innovation considers software engineers more valuable There is some innovation happening through use modern management methods and being: than craftspeople. India has the same concepts like upcycling and recycling. innovative supply chain models to bring a lot * Design Innovations, start-ups developing number of software engineers as artisans, Traditional yet contemporary is the key. of these crafts into the mainstream Indian and new products using a traditional craft. around eight million; where the average IT international consumer markets. The USP of * Material Innovations, start-ups using / engineer gets a monthly salary of over a lac, A startup needs innovation across products, these craft-based products have been their introducing new materials in traditional an artisan does not even get ten thousand a processes and platforms. The second unique aesthetics as well as their inherent crafts month. generation of artisans will remain in craft and sustainability. Companies like FabIndia have * Supply chain innovation, start-ups using assume new functions like marketing, design, been able to “mainstream” Indian crafts. technology to bring more efficiency and The craftsperson/entrepreneur needs to etc. We cannot wait for 70 years for artisans to transparency in the craft supply chain use technology to strengthen the supply get over the trap of migration and/or suffering. While the Internet and the other rapidly * Marketing innovations, start-ups using chain, traceability, Blockchain and other Nor can we wait for our entrepreneurs to learn evolving technologies like Artificial technology to develop new customer processes. Right platform for selling craft from their own mistakes. An intervention that Intelligence (AI), Machine Learning, acquisition channels or significantly that is innovative and effective. Give proof defines a new theory of change and catalyses BlockChain have disrupted traditional enhance the customer experience. of authenticity using technology. They craft businesses is needed. I believe The Craft industries creating new opportunities, must use their imagination and technology Catapult is a much needed intervention, and significant positive impact has been Craft Start-ups are the catalysts that can to create a strong story. ‘Make wrinkles (of we will make sure we go a long way. witnessed in the Crafts sector. Start-ups like bring new technologies and best business khadi) fashionable’,
Load more

Recommended publications
  • A Case Study of Batik in Java and Santiniketan
    Universiteit Leiden Journey of Textile Designs: A Case Study of Batik in Java and Santiniketan Master Thesis, Asian Studies (60 EC) 2015-16 Name of student: Deboshree Banerjee Student Number: s1684337 Date: 1st September 2016 Supervisors: Prof. dr. N.K. Wickramasinghe-Samarasinghe Prof. dr. P.R. Kanungo Table of Contents Table of Contents ....................................................................................................................... ii List of Figures and Tables......................................................................................................... iv Abstract ...................................................................................................................................... v Chapter 1: Introduction .............................................................................................................. 1 1.1. Textiles: A Medium of Cultural Studies ......................................................................... 1 1.2. Diffusion Theory ............................................................................................................. 3 1.3. Literature Review: Javanese and Santiniketan Batik ...................................................... 4 1.3.1. Javanese Batik .......................................................................................................... 5 1.3.2 Santiniketan Batik ..................................................................................................... 7 1.4. Proposed Hypothesis ......................................................................................................
    [Show full text]
  • Handicrafts-And-Khadi-Industry
    LOCATION OF INDUSTRIES-LoGENERAL STUDIES PAPER 1 HANDICRAFTS AND KHADI INDUSTRY The handloom, industry has been one of the oldest industries in India. Although the industry was ruined was ruined during the British colonial rule.it got tremendous boost after India attained independence, especially hen the Five-Year Plan started. The industry today provides employment to about 10 million people and contributes over 23 per cent of the total cloth production in the country . The handloom industry is widely distributed in the country, mostly concentrated in small towns and rural areas. Tamil Nadu, Odisha, Uttar Pradesh, Assam and Andhra Pradesh Account for over 50 per cent of the production capacity. Among other states Manipur, Maharashtra , West Bengal, Nagaland, Kerala, Rajasthan, Haryana, Jammu and Kashmir, Madhya Pradesh and Karnataka are important for handloom industry. Problems of Handloom and Khadi Industries The handloom and khadi industry faces a number of problems. These include the following: 1. The raw materials available for this industry are neither adequate nor of satisfactory quality. 2. The craftsmen employed in this industry belong to poor families and have no technical skills. 3. The technology used in these industries is old and obsolete. 4. The goods produced y these industries are no match to the modern fast changing fashions and designs. 5. These industries have to face competition from mill-made cloth. 6. These industries lack capital as few facilities exist for providing cheap credit. The Kutch embroidery of Gujarat or Zari-Zardozi and Chikankari of Uttar Pradesh, wooden toys of Karnataka or bamboo craft of Assam, puppets of Rajasthan or Sikki, Tikuli and Madhubani arts of Bihar are not only the traditional arts of the respective provinces but also form an important source of alternative income for the artisans.
    [Show full text]
  • (In)Visible Entrepreneurs
    (IN)VISIBLE ENTREPRENEURS Understanding the market landscape and enterprise readiness for women-led home-based businesses in Tamil Nadu and Rajasthan Image: Kamala Lakshminarayanan 2 | ABOUT THIS PUBLICATION This document is not a priced publication. Copyright @ 2020 Initiative for What Works to Advance Women and Girls in the Economy (IWWAGE), an initiative of LEAD at Krea University. Reproduction of this publication for educational or other non-commercial purpose is authorised, without prior written permission, provided the source is fully acknowledged. For further information, please write to communications@iwwage. org. This publication was possible with the generous support of the Bill & Melinda Gates Foundation. The findings and conclusions in this publication are those of the authors and do not necessarily represent the views of the Bill & Melinda Gates Foundation. ABOUT IWWAGE Initiative for What Works to Advance Women and Girls in the Economy (IWWAGE) aims to build on existing research and generate new evidence to inform and facilitate the agenda of women’s economic empowerment. IWWAGE is an initiative of LEAD, an action-oriented research centre of IFMR Society (a not for profit society registered under the Societies Act). IWWAGE is supported by the Bill & Melinda Gates Foundation. ABOUT LEAD LEAD (formerly IFMR LEAD), an action-oriented research centre of IFMR Society, leverages the power of research, innovation and co-creation to solve complex and pressing challenges in development. LEAD has strategic oversight and brand support from Krea University (sponsored by IFMR Society) to enable synergies between academia and the research centre. Since 2005, the centre has been at the forefront of development research and programming in India, and has managed a portfolio of over 200 projects in collaboration with over 300 academics, governments, NGOs and private sector organisations from across the globe.
    [Show full text]
  • The Relationship of Current Textiles to the Cultural Heritage of India
    AN ABSTRACT OF THE THESIS OF STEPHANIE ANN WEGNER for the Master of Science (Name) (Degree) in Clothing and Textiles presented on August 4, 1967 (Major) (Date) Title: THE RELATIONSHIP OF CURRENT TEXTILES TO THE CULTURAL HERITAGE OF INDIA Abstract approved: Redacted for privacy Clara W. Edaburn Textiles are one material aspect of Indian life influenced by the nationalistic movement. They fit into a larger attempt to create a united and singular image of the country. As the creator of a national image, the central government encourages belief in ancient philoso- phies which hold beauty as a creed. Village life is idealized. Direction of the textile industry reflects self -pride and typifies nationalism, as idealistic goals are set and realistic advice of foreigners is disregarded, India, in aiming for new heights, attempts to relate historical achievements to the present. Her interest in the past calls for continuity of its spirit, rather than imitation of its objects. How- ever, as village life has been quite static, ancient forms as well as attitudes from that level of society continue to exist, represented by , the textiles. This makes it easy for the nationalist to encourage relationships to cultural heritage through current goals and products. The dominant place of religion, the caste system, and the arts explain why textiles of India have developed and remained as a craft. The handloom weaver is protected by a cottage industry plan. The Indian says the acceptance of modern methods of dyeing and machine spinning are an example of the ancient tendency for assimilation of outside influences into the tradition.
    [Show full text]
  • Bareilly Dealers Of
    Dealers of Bareilly Sl.No TIN NO. UPTTNO FIRM - NAME FIRM-ADDRESS 1 09107300009 BE0001281 RAJ CROCKERY CENTER HOSPITAL ROAD BAREILLY 2 09107300014 BE0008385 SUPER PROVISION STORE PANJABI MARKET, BAREILLY. 3 09107300028 BE0006987 BHATIA AGEMCIES 89 CIVIL LINES, BAREILLY. 4 09107300033 BE0010659 VIJAY KIRANA STORE SUBHAS NAGAR BY 5 09107300047 BE0001030 MUKUT MURARI LAL WOOD VIKRATA CHOUPLA ROAD BY 6 09107300052 BE0008979 GARG BROTHERS TOWN HALL BAREILLY. 7 09107300066 BE0001244 RAJ BOOK DEPOT SUBHAS MKT BY 8 09107300071 BE0000318 MONICA MEDICAL STORE 179, CIVIL LINES, BAREILLY. 9 09107300085 BE0001762 RAM KUMAR SUBASH CHAND AONLA ,BAREILLY. 10 09107300090 BE0009124 GARU NANA FILLING STN KARGANA BAREILLY. 11 09107300099 BE0005657 KHANDUJA ENTERPRISES GANJ AONLA,BAREILLY. 12 09107300108 BE0004857 ADARSH RTRADING CO. CHOPUPLA ROAD BY 13 09107300113 BE0007245 SWETI ENTERPRISES CHOUPLA ROAD BY 14 09107300127 BE0011496 GREEN MEDICAL STORE GHER ANNU KHAN AONLA BAREILLY 15 09107300132 BE0002007 RAMESHER DAYAL SURENDRA BHAV AONLA BAREILLY 16 09107300146 BE0062544 INDIAN FARMERS FERTILISERS CORP AONLA, BAREILLY. LTD 17 09107300151 BE0007079 BHARAT MECH STORE BALIA AONLA, BAREILLY. 18 09107300165 BE0011395 SUCHETA PRAKASHAN MANDIR BAZAR GANJ AONLA BAREILLY 19 09107300170 BE0003628 KICHEN CENTER & RAPAIRS JILA PARISAD BY 20 09107300179 BE0006421 BAREILLY GUN SERVICE 179/10 CIVIL LINES,BAREILLY 21 09107300184 BE0004554 AHUJA GAS & FAMILY APPLIANCES 179 CIVIL LINES, BAREILLY. 22 09107300198 BE0002360 IJAAT KHA CONTRACTOR SIROLY AONLA BAREILLY. 23 09107300207 BE0003604 KRISHAN AUTAUR CONTRACTOR BAMANPURI BAREILLY. 24 09107300212 BE0009945 PUSTAK MANDIR SUBASH MKT BY 25 09107300226 BE0005758 NITIN FANCY JEWELERS CANAAT PLACE MKT BY 26 09107300231 BE0005520 DEHLI AUTO CENTER CAROLAAN CHOUPLA ROAD BY 27 09107300245 BE0003248 KHANN A PLYWOOD EMPORIUM CIVIL LINES, BAREILLY.
    [Show full text]
  • Kota Doria Saree
    Kota Doria Saree Back ground: Doria (stripe) fabrics in narrow width for turban used to be woven in Kota in earlier days. Some weaver were brought from Mysore to Kota by the great patron of craft MahaRaj Kishore Singh (1684-1695). These weavers introduced silk yarn in Doria weaving in Kota and surrounding areas about 250 year ago. Today this activity is practised by the weavers of Hadoti region (Bundi, Kota and Baran districts of Rajasthan). Kota is now famous for ‘Kota Doria saree’ or sometimes called as ‘Kota Masuria saree’. Since then, Kota doria has under gone a long journey from being used as a pagri or turban (headgear) to saree and now has multiple uses like Dress material, stole, curtain & other products. Material Used: Kota Doria Saree is produced by using cotton & mulberry raw silk yarns in the base fabric whereas Gold and Silver Zari (fine metal threads) yarns in extra warp and extra weft for designing. The cotton yarn provides strength and suppleness whereas fine raw silk makes the fabric transparent and delicate. Technique applied: Kota doria saree is woven on a traditional throw shuttle pit loom in such a fashion that it creates small square check pattern in the fabric, locally called as Khat by putting the cotton and silk yarns in different densities both in the warp and weft directions. In a good quality Kota doria saree, there are about 300 to 350 ‘Khat’ across the width of the fabric. Design is developed by jala/ jacquard system. Pure zari is used in border and buti woven on extra weft designing technique.
    [Show full text]
  • Treasure Troves of Indian Crafts
    Craft Traditions of India Past, Present and Future Textbook in Heritage Crafts for Class XII ISBN- 978-93-5007-139-7 First Edition February 2011 Magha 1932 ALL RIGHTS RESERVED No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, PD 5T VSN electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. This book is sold subject to the condition that it shall not, by way © National Council of Educational of trade, be lent, re-sold, hired out or otherwise disposed of Research and Training, 2011 without the publisher’s consent, in any form of binding or cover other than that in which it is published. The correct price of this publication is the price printed on this page, Any revised price indicated by a rubber stamp or by a sticker or by any other means is incorrect and should be unacceptable. OFFICES OF THE PUBLICATION DEPARTMENT, NCERT NCERT Campus Sri Aurobindo Marg New Delhi 110 016 Phone : 011-26562708 108, 100 Feet Road Hosdakere Halli Extension Banashankari III Stage Bangalore 560 085 Phone : 080-26725740 Navjivan Trust Building P.O.Navjivan Ahmedabad 380 014 Phone : 079-27541446 ??.?? CWC Campus Opp. Dhankal Bus Stop Panihati Kolkata 700 114 Phone : 033-25530454 CWC Complex Maligaon Guwahati 781 021 Phone : 0361-2674869 Publication Team Head, Publication : Neerja Shukla Department Chief Production : Shiv Kumar Officer Chief Editor : Shveta Uppal Chief Business : Gautam Ganguly Manager Printed on 80 GSM paper with NCERT watermark Editor : Vijayam Published at the Publication Department Sankaranarayanan by the Secretary, National Council of Educational Research and Training, Production Assistant : ? Sri Aurobindo Marg, New Delhi 110 016 and printed at ........................................
    [Show full text]
  • Living Traditions Tribal and Folk Paintings of India
    Figure 1.1 Madhubani painting, Bihar Source: CCRT Archives, New Delhi LIVING TRADITIONS Tribal and Folk Paintings of India RESO RAL UR U CE LT S U A C N D R O T R F A E I N R T I N N G E C lk aL—f z rd lzksr ,oa izf’k{k.k dsUn Centre for Cultural Resources and Training Ministry of Culture, Government of India New Delhi AL RESOUR UR CE LT S U A C N D R O T R F A E I N R T I N N G E C lk aL—f z rd lzksr ,oa izf’k{k.k dsUn Centre for Cultural Resources and Training Ministry of Culture, Government of India New Delhi Published 2017 by Director Centre for Cultural Resources and Training 15A, Sector 7, Dwarka, New Delhi 110075 INDIA Phone : +91 11 25309300 Fax : +91 11 25088637 Website : http://www.ccrtindia.gov.in Email : [email protected] © 2017 CENTRE FOR CULTURAL RESOURCES AND TRAINING Front Cover: Pithora Painting (detail) by Rathwas of Gujarat Artist unknown Design, processed and printed at Archana Advertising Pvt. Ltd. www.archanapress.com All Rights Reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Director, CCRT. Photo Credits Most of the photographs used in this publication are from CCRT Archives. We also thank National Museum, New Delhi; National Handicrafts & Handlooms Museum (Crafts Museum), New Delhi; North Zone Cultural Centre (NZCC), Patiala; South Central Zone Cultural Centre (SCZCC), Nagpur; Craft Revival Trust, New Delhi and Sanskriti Museum, New Delhi for lending valuable resources.
    [Show full text]
  • Art Libraries and Cultural Heritage: Select, Collect and Connect
    Date submitted: 01/05/2009 Weaving a knowledge tapestry of traditional crafts for modern fashion designers: An Indian experience Dr Sanjeev Kumar Deputy Director, NRC National Institute of Fashion Technology New Delhi, India. Nandini Dutta Head Resource Centre National Institute of Fashion Technology New Delhi, India Meeting: 201. Art Libraries WORLD LIBRARY AND INFORMATION CONGRESS: 75TH IFLA GENERAL CONFERENCE AND COUNCIL 23-27 August 2009, Milan, Italy http://www.ifla.org/annual-conference/ifla75/index.htm Abstract The fashion products of India are created through fusion of modern technologies and traditional craft skills. Crafts are not only bearer of Indian heritage but also the foundations of modern design innovations. This paper discusses the central role of the crafts as sources of inspiration for the Indian fashion designers. It highlights the role of the National Resource Centre (NRC) with its network of Resource Centres of the National Institute of Fashion Technology (NIFT) in collecting and preserving heritage resources through the applications of ICTs. The initiatives of NRC in developing a digital National Design Repository (NDR) with its constituents are discussed in details. The development of Shilpakala Jnana Kosha, a digital repository of tacit craft knowledge of artisans with applications of KM technologies has also been explained. The objectives of these initiatives of NIFT are to preserve the endangered traditional skills from extinction, infuse a process of revival and optimize utilization of traditional crafts in contemporary fashion design. Introduction The soul of Indian fashion design lies in its rich cultural heritage. Indian civilization with its immense diversity and a history spanning centuries has developed its own language of colour, structure and form expressed in innumerable rituals, objects, art forms and performances.
    [Show full text]
  • Crafts of India &Amp
    CORNELL UNIVERSITY LIBRARY ""'""'"" '"'"^ N 7301.C7T" .Qeylon ^''*iii3rliS iiin iii?r.!!!!'.$..S!!.,.'M?. ..* . 3 1924 022 942 985 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http ://www. arch i ve . o rg/detai Is/cu31 924022942985 Cbe MotlO ot art Serleg THE ARTS AND CRAFTS OF INDIA isf CEYLON UNIFORM FOLUMES THE ARTS &' CRAFTS OF ANCIENT EGYPT By Professor W. M. FLINDERS FETRIE THE ARTS .St. CRAFTS OF OLD JAPAN By STEWART DICK THE ARTS &» CRAFTS OF OUR TEUTONIC FOREFATHERS By Professor G. BALDWIN BROWN THE ARTS &> CRAFTS OF INDIA &> CEYLON BY ANANDA K. COOMARASWAMY D.SC. (LONDON), 7.L.S., F.G.S., M.R.A.S,, FELLOW OP UNIVERSITY COLLEGE, LONDON AUTHOR OP MEDI^eVAL SINHALESE ART; THE INDIAN craftsman; ESSAYS IN NATIONAL idealism; INDIAN DRAWINGS; ETC. ''\ CONTAINING TWO HUNDRED &• TWBNTY-FIVE ILLUSTRATIONS T. N. FOULIS LONDON &• EDINBURGH 1913 3 N 730/ C77 Published October.October, 1 91 PRINTED BY NBILL AND CO., LTD., EDINBURGH PREFACE The purpose of this book, like that of Professor Flinders Petrie in the same series, is to facilitate the understanding of the art it illustrates. It is intended for ordinary persons rather than for archaeological specialists, The pages are not burdened with refer- ences; but no statement has been made without care- ful consideration or specific authority. The value of a small book must depend on its suggestiveness ra- ther than on its completeness: but it must not be for- gotten that what is here said is but a mere summary of a vast Subject: each sentence could be expanded to a chapter, each chapter to a monograph.
    [Show full text]
  • Crafting Our Future
    For Earth Consciousness and Sustainable Living BANGALORE VOLUME 4, ISSUE - 1 JANUARY - MARCH 2013 Rs. 80/- Crafting our Future The Joy of Making Craft and Sustainability The Kitchen is a Temple Where the Hand has Ears Satish Kumar Vandana Shiva AmadouJanuary - MarchHampate 2013 Eternal Ba Bhoomi 1 Today, an argument, an attitude, faces crafts and artisans in India. This is the argument of economics, of sustainability, of marketability, which is the argument of financial survival... (But) those who believe that crafts are only about beauty and aesthetics are in error, just as those who believe in the other argument, the economic argument, and think that paying for itself is the sole justification, are wrong... The hard argument, the real argument, which overrides all others, is not exclusively about sentiment or reason – but about common sense. And that common sense tells that whatever we do in terms of economic planning and development in India, there will always be several hundred million people in this country, the figure being unverified, who cannot but live with and through the work of their hands. Now it is a great compensation of nature that these hundreds and millions of people have talent in their hand, which the assembly-liners and the free-marketers do not quite concede. And that talent is the unexplored reservoir which needs to be used for their good which means the greater good of the great number of the people of India. - Gopalkrishna Gandhi Quoted in the Craft Economics and Impact Study Report published by the Crafts Council of India, Chennai, April 2011.
    [Show full text]
  • 5.3-Gupta,M 2:Layout 1 4/9/07 10:58 Page 314
    5.3-Gupta,M 2:Layout 1 4/9/07 10:58 Page 314 Extreme fashion: Pushing the boundaries of design, technology and business 314 Fashion education – fast forward Mona Gupta Abstract The audience views some exquisitely created textiles from India and some basic questions are placed before them, followed by a case study of the Indian Kota Doria fabric. This prelude brings forth the grim reality of the textile and clothing industry today, in India and many other nations. The multiplicity of markets and insatiable consumer wants has already necessitated a faster pace and with the advent of machines, many of the hand skills have already subsided, thus severing these very basic links in this evolutionary supply chain of fashion. Where does this lead us? 1. The inevitable need for speed. 2. Spiralling prices and profits beyond an extreme, and yet the weaver perishes. 3. While the industry incomes are increasing the weaver and the workers survive in near, and even extreme, sweat shop conditions. 4. Classroom-educated fashionists still cannot replace the real creator, for even the most basic skills are often waived and paid as low sklled tasks. Hence, the apprehension that the extreme nature of the runaway fashion industry is leading to an ‘appar’theid’ of an extreme kind – in terms of income, education and social implications. So is it a case of human sensitivities, or there is a hardcore practical business strategy underlying this whole exercise for the fashion industry? We thus conducted a survey, which proves the latter. And with this backdrop, the paper moves on to elucidate our strategy for the future.
    [Show full text]