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Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Resource Introduction Taak The Silvery Divine Effigy Maharashtra is one of the most historically renowned places in India which was used to describe a region which by consisted of aparanta, vidarbha, mulak, ashmak assaka and kuntal. Tribal communities of naga, munda and bhil Sunny Kolekar people inhabited this area, also known as dandakaranya in ancient times. Maharashtra is a place where we can ex- IDC, IIT Bombay perience affluent rituals, traditions, customs and lifestyle. In maharahstrian tradition devatas(gods and goddess- es) play an inevitable role. The tradition of worshiping makes maharashtrian culture unique and different from all other regions in India. As per the worshiping tradition of Maharashtra there are some dos and don’ts, there are some rules and regulations which has to be followed. Like any other part of India, Maharashtra is also having temple worshiping tradition but apart from temples every single household must be having a ‘pooja khar’ (sanc- tum sanctorum) where they worship their gods and goddesses. Sometimes there are 5, 7 or 9 devatas are wor- shiped at home. The unique and precise methodical worshiping makes the tradition more exclusive and interest- Source: ing. The most fathomless fact about maharashtrian tradition and culture is adaptability. The willingness to accept http://www.dsource.in/resource/taak/introduction people from outside maharashtra and consider them as one among them. Eventually without any external force those people also will adapt the worshiping culture. The deities are classified into few categories they are respec- tively’Ishta Devata’, ‘Kulaswami or Kulaswamini’, ‘Kaalbhairav or Kshetra Palaka’, ‘Gramdevata’ and ‘Yakshpurush’.
1. Introduction Ishta Devata is the category of gods and goddesses one who consider as their favorite. It can be any form or 2. Tools and Raw Materials name of god or goddesses, for example Lord Krishna, Lord Rama, Goddesses Saraswati etc. 3. Making Process Kulaswamini or Kulaswami stands for “family deity who is either a god or a goddess.” The word Kuladevata is 4. Products derived from two words: Kula means clan and Devata means deity. Thus, it can be said that Kuladevatas are 5. Contact Details deities which are worshiped by particular clans. The deity can be a male, female, animal or even an object, like a holy stone. Hindu families make a pilgrimage to the Kuladevata or Kuladevi temple to obtain the blessing of the deity every year or after an auspicious occasion such as a wedding. Kuladevatas are worshiped in several sects of Hinduism and Jainism. In the state of Maharashtra, the Kuladevatas are mainly manifestations of Shiva or Shakti. Khandoba is the most commonly and widely worshiped deity. Bhavani, Mahalakshmi, Renuka etc are considered as Kulaswaminis respectively.
Kalabhairav or Kshetrapalaka is the guardian of temples. Kalabhairava is the manifestation of Lord shiva and he is believed to be the controller of ghosts, evil souls and spirits. Linga Purana and Shiva Purana contain stories on him. Kalabhairava or Kshetrapalaka is worshiped by every single villager and considered him as ‘Gramadevata’, the guardian of village. D’source 3 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak According to the ritualistic norms and regulations of maharashtrian culture, there are some set of rules which Taak has to be followed by every household when they worship gods and goddesses at home. There are two types of The Silvery Divine Effigy murties(idols/ effigy) of deities. Ishtadevata murti and ‘Taak’ (metal embossed image of gods and goddesses). by Ishtadevata murti or the idols of Ishtadevata (favorite deity) can be in metal casting or any other forms but the Sunny Kolekar idols or impression of Kuladevata should not be in any other form except “taak”. “Taak” is pentagon shaped metal IDC, IIT Bombay embossed image of kuladevatas (family/clan deity). Khandoba, Biroba, Jyotiba, Ravlnadh, Veer, Baapdev etc, are the few names of male manifestations and Mahalakshmi, Renuka, Bhavani, Mariaai, Janaai, Kalkaai, Yamaai, Bolai, Jarimari, Saptamatrika etc, are the female manifestations of supreme power which are worshiped in the form of Kuladevata.
Taak is a pentagon shaped metal embossed effigy of gods and goddesses mostly done in silver and sometimes in Source: gold as well. The geometric shape or the Panchakon (five angles) signifies ‘The panchamahabhootas’. According to http://www.dsource.in/resource/taak/introduction Indian philosophy and Hindu mythology the pancha maha bhootas (the five great elements) are used to describe the five great elements that are said to be present in everything in the universe, including in the human body as well as the base of all cosmic creation. Silver and gold signifies the purity and divinity. The back side and sides of Taak is covered and finished with copper which signifies serenity and the interior filling is done by lac which 1. Introduction signifies nature and energy. 2. Tools and Raw Materials Jejuri is a city which lies to the southeast of the Pune city of Maharashtra. The town is known for being the venue 3. Making Process of one of the revered temples in the state, known as the Khandobachi Jejuri. The temple is dedicated to Khando- 4. Products ba, also known as Mhalsakant or Malhar Martand or Mylaralinga. Khandoba is regarded as the ‘God of Jejuri’ and is held in great reverence by the Dhangars, one of the oldest tribes in India. Jejuri is the best and unique place to 5. Contact Details witness the making of divine craft ‘Taak’.
Contact details of the artisan Mr.Ganesh Taak. Typographic name board of the store ‘Taak Saraf’. D’source 4 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/introduction Exterior view of the store. Artisan Mr.Ganesh Taak at his workspace.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Embossed impression of deities. Assorted embossed images of deities. D’source 5 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/introduction
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Beautiful old taaks depicts the old motifs and designs. D’source 6 Digital Learning Environment for Design - www.dsource.in Design Resource Tools and Raw Materials Taak The Silvery Divine Effigy There are only very minimum amount of tools used in the making of ‘Taak’. by Sunny Kolekar • Katri (scissors): This tool is used for cutting silver and copper sheets. IDC, IIT Bombay • Hathoda (hammer): This tool is used for hammering the silver sheet to make embossed design.
• Airan: This tool is composition of wooden base and iron block fixed on top it, this tool is used for keeping the die mold during the hammering process.
• Die Mold: This is a bronze block which has engraved impression of deity which has to be embossed. Source: http://www.dsource.in/resource/taak/ • Tin: Small pieces of tin are used during hammering process to create defined and sharp embossing. tools-and-raw-materials • Copper Sheet: It is used for covering the backside of Taak.
1. Introduction • Silver Sheet: It is used for creating the embossed impression of deity. 2. Tools and Raw Materials 3. Making Process • Lac: It is the scarlet resinous secretion of a number of species of lac insects. The lac dye is used for filling the wrong side. 4. Products 5. Contact Details
The roll of copper sheet. Piece of silver sheet. D’source 7 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/ Pieces of hammered tin. Tools which is used for making Taak. tools-and-raw-materials
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Airan, a tool which is used during the making process Assorted set of die molds. of Taak. D’source 8 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/ Die molds of different deities. Close up view of die mold of Grama Devi. tools-and-raw-materials
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Close up view of die mold of Veer. Close up view of die mold of saptamatas. D’source 9 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/ tools-and-raw-materials
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Lac a natural resin secreted by the lac insect which is used for filling the embossed silver sheet. D’source 10 Digital Learning Environment for Design - www.dsource.in Design Resource Making Process Taak The Silvery Divine Effigy The making of Taak is considered as pure and divine as its functionality. The basic materials like silver and copper by sheets are sourced from Mumbai. The making starts with cutting the silver and copper sheets according to the Sunny Kolekar required measurements. The impression of desired deity is created with the help of a predesigned die by placing IDC, IIT Bombay a piece of silver sheet on it and frequent and continues beating. While doing the beating process a small piece of tin is kept on the silver sheet and then it is hammered for achieving more defined embossed impression. Once the desired impression is obtained the embossed silver sheet is removed carefully from the die (engraved mold). Later on the sides are trimmed off to get desired shape.
Once the silver embossed image is ready it is taken for filling and framing. The purpose of filling process is to prevent the embossed image from getting dents and give tenacity as well as longevity. The filling process is done Source: by heating copper plate and arranges lac on the copper plate in a square format. Once the lac is fired well into http://www.dsource.in/resource/taak/making-process a particular consistency it is spread evenly with the help of metal rod. Then the embossed silver image is placed right in the center and firmly pressed, it helps the excess lac to come out. The excess amounts of lac are removed. Afterwards the whole composition is removed from the fire and set aside for cooling down. Once the composition is cooled the edged of the copper sheets are trimmed off into the similar shape of silver embossed sheet. After 1. Introduction wards the edges are folded twice and overlapped on to the embossed silver image. After overlapping is done the 2. Tools and Raw Materials edges are hammered carefully to provide grip. Once the copper overlapping is done the Taak is ready. 3. Making Process 4. Products 5. Contact Details
Artisan cutting the copper sheets according to the The illuminating sheen of copper sheets. desired size. D’source 11 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Aerial view of crafting space. Artisan cutting the silver sheet according to the desired size.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Die Mold of Khandoba (The most commonly Close view depicts the engraved detailing. worshiped Kuladevata). D’source 12 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Engraved detailing of die mold. Artisan chopping the tin into small pieces.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Artisan matching the size of silver sheet and die The beginning process of hammering. mold for intact placement. D’source 13 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Initial impression of deity after the first hammering. Frequent and firm hammering gives defined clarity to the embossed impression.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
The placement of die mold on the tool airan. Artisan giving frequent and continues beating for perfect embossing. D’source 14 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Sharp and defined impression of deity on silver sheet. The beating process.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Final stages of hammering. Final stages of hammering. D’source 15 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Perfectly hammered embossed image. Close view of embossed image.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Artisan carefully separating the embossed image Artisan carefully separating the embossed image from from the die mold. the die mold. D’source 16 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Embossed silver sheet kept aside after separating Dimensional view of embossed impression. from the die mold.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Artisan trimming the sides of silver sheet to obtain Artisan trimming the sides of silver sheet to obtain pentagon shape. pentagon shape. D’source 17 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Artisan trimming the sides of silver sheet to obtain The embossed image after trimming the sides. pentagon shape.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Front and back of Taak signifies the amalgamation Artisan tapping the copper plate to make even surface. of energies. D’source 18 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Lac a natural resin secreted by the lac insect which Firing the iron plate for heating the lac. is used for filling the embossed silver sheet.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Placing lac on copper sheet in a square format. Adjusting the copper plate. D’source 19 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Heating process of lac. Molten lac.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Evenly spreading the molten lac. Placing the embossed image on molten lac carefully. D’source 20 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Firmly pressing the embossed image into the The excess amount of lac is removing from the sides. molten lac.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Removing the lac particle carefully and completely. The view of Taak before attaining its fullest form. D’source 21 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Three layers of Taak. Artisan trimming the sides of copper sheet to give the same shape of silver embossed image.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Artisan trimming the sides of copper sheet. Folding the sides of copper sheet. D’source 22 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Folded edge of copper sheet. Overlapping the edges of silver sheet with finished copper sheet for framing the sides.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Firmly gripping the sides with the help of an iron rod. Folding the sides of copper for overlapping process. D’source 23 Digital Learning Environment for Design - www.dsource.in
Design Resource Taak The Silvery Divine Effigy by Sunny Kolekar IDC, IIT Bombay
Source: http://www.dsource.in/resource/taak/making-process Folding the sides of copper for overlapping process. Final hammering of edges to give grip.
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Contact Details
Taak, the illuminating divine effigy. Dimensional view of Taak which depicts the embossed effect. D’source 24 Digital Learning Environment for Design - www.dsource.in Design Resource Products Taak The Silvery Divine Effigy ‘Taak Saraf’ is a silver store exclusively devoted in making Taak in different sizes according to the customer need. by A customer will be able to find out assorted sized Taak of their kuldevatas. Mr. Ganesh Taak is the artist who craft Sunny Kolekar this divine silver shrines. At his store he also provides other different silver artifacts as well. Khandoba, Biroba, IDC, IIT Bombay Jyotiba, Ravlnadh, Veer, Baapdev, Mahalakshmi, Renuka, Bhavani, Mariaai, Janaai, Kalkaai, Yamaai, Bolai, Jarimari, Saptamatrika etc. are the manifestations of supreme power and all the Taak image of these gods and goddesses are available at the store of Mr. Ganesh Taak.
Source: http://www.dsource.in/resource/taak/products
1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products Window display of Taak. Taak of different deities displayed at store. 5. Contact Details
Taak of Khandoba and Bhavani. Taak of Veer and Bhairav. D’source 25 Digital Learning Environment for Design - www.dsource.in Design Resource Contact Details Taak The Silvery Divine Effigy This documentation was done by Sunny Kolekar at by IDC, IIT Bombay. Sunny Kolekar IDC, IIT Bombay You can get in touch with Sunny Kolekar at Email: sunnykolekar[at]gmail.com
Artist: Taak Saraf Ganesh Taak Mahadwar Marg, Shree kshetra Jejuri, Source: Tal. Purandar, Dist. http://www.dsource.in/resource/taak/contact-details Pune 412303
Mobile: 9822394915 Email: taksaraf[at]gmail.com 1. Introduction facebook.com/taksarafjejuri 2. Tools and Raw Materials google,com/+taksarafjejuri www.jejuri.net 3. Making Process tak-saraf.blogspot.in 4. Products 5. Contact Details You could write to the following address regarding suggestions and clarifications:
Helpdesk Details: Co-ordinator Project e-kalpa Industrial Design Centre IIT Bombay Powai Mumbai 4000 076 India
Phone: 091-22-2576 7820/ 7801/ 7802 Fax: 091-22-25767803 Email: dsource.in[at]gmail.com