1 GOVERNMENT OF

GEOGRAPHICAL INDICATIONS JOURNAL NO.20

DECEMBER , 2007/ AGRAHAYANA - 10, 1929

2

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 fnlEcj 1 2007@&vxzgk;.k 10 1929 fnukafdr HkkSxksfyd min'kZu if=dk dk laLdj.k la[;k 20] uoEcj 20 2007 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 No.20 of the Geographical Indication Journal dated 1st December 2007 / Agrahayana - 10 Saka 1929 has been made available to the public from 20th November 2007.

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

18

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=

24

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

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25

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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.150/- (Rupees One Fifty Only). The cost of the Annual Subscription is Rs.900 (Rupees Nine 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 Hkmå ¢k£å ¢k^kvRTk bkgBZkk-60 l^kAùkbk ¢kZkn‘P (cbP Aù\kk) ^kbÇk YkgÇkk\kZk Xkk@P bk@Aùk@ä U†#FkYk BkOM bkgå 7 @kYkApùaOkUn@Ykä Tk£r lR\\kmä Xkk@P Tkv ¢k^kvRTk bkgå 60 Avù XkkCk-&¢" Avù ¢TPCkrP &CkgHkmViúk AùkMr~bk ¢ktVú Ykwbko@" Avù l\k. ¢k^kvRTk lRZkk cw Hkkv ^kCkr 16 Avù ¢TPCkrP ¢kPk cw ¢kw@ .Pçk@k ¤U-Skk@k (1) Skk@k 13 Ykk\kkx Avù XkkwCkkvl\kAù bkgAvùP (UgHkmAù@Ok ^k bkg@dkOk ¢lSklTkZkYk 1999 b^kmApùP l^kekklUP lAùZkk HkkPk cw‹

(Aù) ¢k^kvRAù Aùk TkkYk : l^kAùkbk ¢kZkn‘P (cbP Aù\kk) ^kbÇk YkgÇkk\kZkä Xkk@P bk@Aùk@

(Bk) UPk : l^kAùkbk ¢kZkn‘P (cbP Aù\kk) ^kbÇk YkgÇkk\kZkä Xkk@P bk@Aùk@ä U†#FkYk BkOM bkgå 7ä @kYkApùaOkUn@Ykä Tk£r lR\\km

(Ck) XkkwCkkvl\kAù bkgAvùP : CkgHkmViúk AùkMr~bk ¢kVú Ykwbko@

(Dk) ^kCkr :16

(E) Ykk\k : Pk#k Avù UÅkv

31 G.I. – APPLICATION NUMBER -60

App lica tion is ma de by De ve lopmen t Comm iss ione r (Hand icrafts ), M in is try of Tex tiles , Go ve rnment of I ndia, Wes t Blo ck No.7, R K Puram, New Delhi, India fo r regis tra tion in Pa rt A under Application No 60 in respect of GANJIFA CARDS OF MYSORE falling unde r Class 16 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

A. Name of the Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India,

B. A ddress : Deve lopmen t Commis sio ne r (Handicrafts), Minis try of Tex tiles , Go ve rnment o f India, West Block No.7, RK Puram, New Delhi.

C. Geographical Indication : GA NJIFA CA RDS OF MYSORE

D. Class : 16

E. Goods : Playing cards

32 (Aù) ¢k^kvRAù Aùk TkkYk : l^kAùkbk ¢kZkn‘P (cbP Aù\kk) ^kbÇk YkgÇkk\kZkä Xkk@P bk@Aùk@

(Bk) UPk : l^kAùkbk ¢kZkn‘P (cbP Aù\kk) ^kbÇk YkgÇkk\kZk U†#FkYkm BkOM bkgå 7ä ¢k@åAvùå Un@Ykä Tk£r lR\\km

(Ck) ^Zk†‘PÖ¤’UkRAùÖbkgCkLTkÖÉkklSkAùk@ bkgDkkx Aùm bkoFkm :

: ÉkkQkrTkk U@ ÉkRkTk lAùZkk Hkk.Ckk‹

(Dk) Ykk\k Aùk ÉkAùk@ : cbP Aù\kk

(E) l^klTkRvr#k :

CkgHkmViúk Ö (Ganjeepha) £Tk Bkv\kkx Avù WkOM\k CknFGv Ckkv\k ¢kw@ ¢bkYkFkPnaAùkvOk ¢kAùk@ Avù AùkCkHkim AùUMjv Zkk FkTRTk Avù #kmKkx Avù WkTkv ckvPv cy‹ Zkv @vBkklFkÇk ¢\kCk-¢\kCk WkOM\kkx Ykx lXkÆk-lXkÆk Wk‘bkkx Ykx ckvPv cy‹ Bkv\kPv bkYkZk Xkm @kP ¢kw@

lRTk Aùk XkvR \kldkP Aù@ lRZkk CkZkk‹

(Fk) XkkwCkkvl\kAù bkgAvùP Aùk TkkYk ¢kw@ l^k^k@Ok : Ykwbko@ (AùTkkrKAù) Avù CkgHkmViúk UÅkv‹ Zkc Aùk@mCk@m AùTkkrKAù @kHZk Avù l^k

(G) Ykk\k Aùk l^k^k@Ok :

(Ganjeepha) (Rv^kkx Aùk Bkv\k Ö CkwYk FkwM) ¢klR Rv^kkx Avù lWkYWk ^kk\kv UÅkv ¢kw@ bkkQk cbP Aùk@mCk@ Avù Rn\krXk CknFGv‹

33

A. Name of the Applicant : Development Commissioner (Handicrafts), Minis try of Tex tiles , Go ve rnment of India ,

B. Address : Development Commissioner (Handicrafts), Minis try of Tex tiles , Go ve rnment of India , Wes t Blo ck No.7, R K Puram, New Delhi.

C. List of association of persons/producers/organization/authority:

To be provided on request

D. Type of goods: Handicraft

E. Spe cifica tio n:

Ganjifa cards in different sizes, shapes are made. For the epic Ramayana story 28 to 1008 cards a re made, for Dsa va ta ra 120 cards made . The numbe r of cards for each theme varies from 16 to 900 cards. Motifs of animals, birds, nude figures, sword, leaves and zodiac signs etc.themes are drawn on the cards. T ra dio na lly the des ig n mo tifs we re se le cted from Agamas, Upa nis hads , Rama yana , Mahabharatha, Bhagavatgeetha, puranas, Jain, Buddhist Literature shakta, shaivya, vaishnava,Ganapathya, Advaitya, Dwaitya,etc. The details of design motifs could be seen with microscope.

F. Name o f the Geogra phica l I ndica tion a nd pa rticula rs:

Ganjifa Cards of Mysore (Karnataka) is practiced at Vidyaranyapuram, Gokulam, Ashoka road in Mysore; Srirangapattna in , Ulsoor, Srinagar, Hanumanthanagar, Vijayanagar, Jayanagar Bangalore areas of Karnataka state.

G. Description of the goods:

Ganjeefa / Ganjeepha (also god’s play / game or chadd) are the different names of a game played with cards which is of God’s images along with bunch of precious cra ft wo rk .

H. Geo graphica l a rea o f production a nd map: Enclose d in Page No 43

I. P roof o f o rig in : (His to rica l Re co rds )

Among various traditional crafts of Mysore, Ganjifa art is one of the prominent craft wh i ch h as made i ts nam e wo rl d wi de . Gan j m eans treasu ry, we a lth, m one y a nd stak ing while playing night have become the Ganjifa card play. The Kings, Prime Ministers, Noblemen played the cards for spe nding the ir time happily. Mughal rule rs encouraged this craft.Akbar invited about 1-50 artists from different parts of the country and helped them to settle and work for royal court. He was of the opinion that, artists see the God from nearest distance

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35 and they get inspiration from great religious works like Kuran, Babar Nama, kabune, Islam and Aina-E-Akabari treatises mention about Ganjifa art. Thus, the Ganjifa card playing had be come pa rt o f luxurious life during Mugha ls . The Gods pla y of Ganjifa cra ft had turned into Courts play and artists got encouragement. During Mughal rule, Ganjifa cards playing re ceived ne w dimensions. Political tricks, Kings, commandments, va zirs, gulam, rnee r, etc., were included. Even the motifs of army, sword, vehicles, birds, animals, Leaves, nude lady f ig u re s , e t c. , we re ad de d to t he Ga n ja m o ti fs . No t on l y ro und bu t a lso s qua re , o val , rectangle cards came into existence. Even for safe keeping of the cards well finished and painted boxes were introduced. Ganjifa were made using ivory, bone, mother of pearl, etc. Amee rkhusro a court singe r of" Allauddin Khilji imported the handmade pa pe r from Pe rsia and gave new life to miniature paintings including Ganjifa card painting. This enabled the common man to make use of the cards of noblemen. In the South Ahamednagar, Bijapur, Golkonda, Bidar, Gulbarga were ruled by Sultans who had also patronized the Ganjifa art. Thus Hindu and Islam judiciously combine d in the craft of Ganjifa . Adilshahi of Bijapur encouraged the art and the southern miniature painting style was developed by adding birds, flowers, leaves, fruits, etc., in the traditional painting of cards. Karnataka had typical style d Ganjifa cards which were famous due to patronage of Mysore rule rs e spe cially Mummadi Krishna raja Wode ya rthe 21 st King of Ya da va dynasty. He is remembered as Bhoja of who had encouraged literature, art, dance, sculpture, music, including Ganjifa art. During the rule of Ganjifa cards were in existence, due to continuous fighting with british Army, Tipu could not pay his attention to art of painting. After the take over of the Kingdom from Tipu, Mummadi Krishnaraja Wodeyar was installed as a rule r in 1799 . At the age of 16 yea rs he commen ced inde penden t rule as Kin g o f Mysore State but due to internal fighting of Divans and Bakshies, after the death of" eminent Diva n Sir Poornaiah, British took ove r the administra tion. The King de voted his full time for the development of arts, crafts, music, dance, etc., as a disciplined devotee of Goddess Chamundeshwari. He encouraged various crafts and during this period the Ganjifa art reached its high peak of reputation. He developed the Ganjifa as Gods play and wrote several books.He himself devised new plays like Chamundeshwari (320 cards), Panchapanda vas (210 cards), Jaga n Mohana (210 ca rds), nava ra thana Na veena rama (36 cards), Sadyajatha (72 cards), hastadigpala (1 60 cards), Devi dasavatara (1 80 cards), Sarvamangala (1 60 cards), and other plays by himself in consultation with artists. He had also honored excellent artists. This was the golden period for arts and crafts of Mysore. Sritatwanidhi famous literary work of Sri Mummadi Krishnaraja Wodeyar contains details of Ganjifa plays along with miniature paintings. The original book could be seen at Mysore Pa la ce and Orie ntal Resea rch Institute . The language is Sansk rit with Ka nnada script.

Indian Ganjifa marketed to France through Arab countries 300 years back and taken new shape of the present playing cards and returned to India affecting Father of modern cards, Due to British influence slowly the Ganjifa craft lost its traditional importance and the cra f t wa s comple te ly lan gu ished . At th is s tage Sh ri Rag hupa ti Bha tta took g rea te r in te res t to collect old paintings and with dedication and love he reproduced and brought new life to the age old craft. Because of his high caliber, minute strokes, -knowledge of religious books he could come up as ex cellent Maste r craftspe rson. For his ex celle nt workma nship, he was honored with Kamladevi Chattopadhyay Award instituted by Crafts Council of Karnataka in

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37 the year 1989 and National Award in the year 1993 by office of the Development Commissioner (Handicrafts). He had projected his skills at London and his articles were displa yed in the Victoria Albe r Muse um, London. He had trained numbe r of candida tes unde r the Office of the Development Commissioner (Handicrafts) programme. This craft reached again to its fame of traditional greatness. The excellent age old Ganjifa can be seen in the Jagan Mohan palace of Mysore, Folk art Museum , Gangotri, Mysore, special Ganjifa museum at Srirangapattna and Manjusha museum at Dharmastala. The elderly master craftsperson like Shri Ramnarasaiah has also took interest in the art and encouraging younger artists to learn this art. Maharaja of Mysore Sri Mummudi Krishnaraja Kantheeravendra Dashaka (created in 1771 Soumya Samvatsara Jestha Shuddha first day) with 636 cards Sa rva Sam rajya Pe thika Ga njee fa, Ba ju for 30 cast 18 cards with 540 C hak rava rthis – 64, Peacock – 7, swan – 7, parrot leaf-11, Chetika women’s leaf-7 and shoals to create Gan jee fa . This is the beg inn in g o f the book crea te d by Sri Mummud i Kris hna ra ja. Th is sho ws that to construct or to create Ganjeefa they were using Shlokas and explanation of the game. They were creating this art with background of shlokas and colour with measurement. Sri Mummadi Krishnaraja Odeyar had created 18 games beautifully. Fo llo win g a re the de ta ils o f 18 games.

1. Chamundeshwari 320 leaves bunch 2. Jaganmohan 360 leaves bunch 3. Mahisha Mardhana 216 leaves bunch 4. Naveena (Modern) Dashavatara 240 leaves bunch 5. Naveenarama 36 leaves bunch 6. Navagraha 216 leaves bunch 7. Sadyujata 72 leaves bunch 8. Sri Krishnaraja 72 leaves bunch 9. Panchapandava 216 leaves bunch 10. Devi Dashavatara 180 leaves bunch 11. Dikpala 160 leaves bunch 12. Manohara 160 leaves bunch 13. Sarva Mangala 160 leaves bunch 14. Navaratna 160 leaves bunch 15. Ramayana 96 leaves bunch 16. Dashavatara 120 leaves bunch 17. Sarvasamrajya 636 leaves bunch 18. Astaishwarya 320 leaves bunch

This belongs to Mysore Ganjeefa (drawing) art. The above game bundles/bunches were round and rectangular in shape made of paper cloth or sandal sheet. These drawings were made separate bundles and kept separately in different box or bag.

While playing also they have differentiated whether day or night. They have named it as Mysore Chedd, Mysore game leaf of God’s game. They were mentioning / pronouncing with more respect while playing Sarvasamrajya Pethika, Chamundeshwari or any Goddess cards/ leaves.

38 HkCkTk YkkvcTk Ykc\kä \kkvAù Aù\kk bkgCk|ck\kZkä Ìkm@gCkUÙOk Avù l^k#kvak CkgHkmViúk ¢HkkZkWkDk@ ¢kw@ SkYkrbQk\k Avù YkgHkoakk bkgCk|ck\kZk Ykx RvBk bkAùPv cy‹ ^kZkkv^kpá Ìkm @kYkTk@bkwZkk Hkwbkv ¢k\kk RHkvr Avù Aùk@mCk@ Tkv Xkm £bk Aù\kk Ykx ¢kAùakrOk ^kplÅk \km cw ¢kw@ Hk^kkTk Aùk@mCk@kx Aùkv Ékvl@P ^k ¤’bkklcP Aù@ @cv cy‹

Ykwbko@ Ykck@kHkk Ìkm YknYYknMm ApùaOk@kHk AùgLm@^kvTæ R#kAù (1771 bkkwYZk bkg^k’bk@ HZkví #kná ÉkQkYk) Aùkv 636 AùkMkv‰ Avù bkkQk WkTkkZkk bk^kr bkkYk|kHZk UvlKAùk CkgHkmViúk 30 AùkMr Avù bkkQk WkkHko 18 AùkMr Mk\kk lHkbkYkx FkÓù^kPmr 64ä YkZko@-7ä cgbk 7ä PkvÅkk UÅkk-11ä FkvlKAù bÇkm UÅkk-7 ¢kw@ #kkv\kkx Avù bkkQk CkgHkmViúk WkTkkZkk‹ Zkcm Ìkm YknYYklMj ApùaOk@kHk Aùm lAùPkWk Aùk ¢k@gXk cwä £bkYkx CkgHkmViúk WkTkkTkk Zkk lTksYkP Aù@Tkk WkPkPk cw‹ #\kkvAùkx çk@k Bkv\k Aùk bUìmAù@Ok lRZkk CkZkk cw‹ #\kkvAùkx ¢kw@ bkgbApùP Aùm ¤†‘PZkkx Aùm XkolYkAùk Avù bkkQk ¢kw@ @gCkkx Aùkv YkkUAù@ lYk\kkAù@ £bk Aù\kk Aùkv ^kv bkg^kpá Aù@ @cv Qkv‹ Ìkm YknYYklMj ApùaOk@kHk ¢kvMZkk@ Tkv bknTR@ êU Ykx ¢Lk@c Bkv\kkx Aùkv WkTkkZkk cw‹ ¢Lk@c Bkv\kkx Aùk l^k^k@Ok lTkYTkl\klBkP ÉkAùk@ cw : 1å FkkYknOMv#^k@m 320 UÅkkx Aùk CknFGk 2å HkCkTk YkkvcTk 360 UÅkkx Aùk CknFGk 3å Yklcak YkRrTk 216 UÅkkx Aùk CknFGk 4å Tk^kmTk R#kk^kPk@ 240 UÅkkx Aùk CknFGk 5å Tk^kmTk @kYk 36 UÅkkx Aùk CknFGk 6å Tk^kCk|c 216 UÅkkx Aùk CknFGk 7å bkR~ZknHkkP 72 UÅkkx Aùk CknFGk 8å ÌkmApùaOk@kHk 72 UÅkkx Aùk CknFGk 9å UgFkUkOM^k 216 UÅkkx Aùk CknFGk 10å Rv^km R#kk^kPk@ 180 UÅkkx Aùk CknFGk 11å lRAùUk\k 160 UÅkkx Aùk CknFGk 12å YkTkkvc@ 160 UÅkkx Aùk CknFGk 13å bk^kr YkgCk\k 160 UÅkkx Aùk CknFGk 14å Tk^k@’Tk 160 UÅkkx Aùk CknFGk 15å @kYkkZkOk 96 UÅkkx Aùk CknFGk 16å R#kk^kPk@ 120 UÅkkx Aùk CknFGk 17å bk^kr bkkYk|kHZk 636 UÅkkx Aùk CknFGk 18å ¢ìw#^kZkkr 320 UÅkkx Aùk CknFGk Zkv bkWk Ykwbko@ CkgHkmViúk (@vBkTk) Aù\kk Avù ¢kZkv‹ ¤U@kv‘P Bkv\k WkOM\k CknFGv Ckkv\k ^k ¢bkYkFkPnaAùkvOk Qkv‹ AùkCkHkim AùUMjv Avù Zkk FkTRTk Avù UgBkkx Avù WkTkv cy‹ £Tk lFkÇkkx Aùkv ¢\kCk-¢\kCk WkOM\kkx Ykx WkTkkAù@ l^klXkÆk Wk‘bkk Zkk Qkwl\kZkkx Ykx @BkPv Qkv‹

39 ea ch suit, but in half the suits the nume rical cards then rank in one orde r and the othe r half in the opposite order. The objective of the game is to win as many tricks as possible.

To a game in which the evocation of “your Rama did this” of “your Matsya lost and my Naraslim han won” was said to remit sins, Ganjifa today is a crafts in crisis. In the coming yea rs , unle ss the ca rds make a tra ns itio n from mu seum co lle ctio ns to the d ra wing rooms and cards tables, the art will become extinct.

40 Bkv\kPv bkYkZk @kP ¢kw@ lRTk Aùkv UcFkkTkTkv Avù l\k. ¤UkZk lAùZkk cw‹ ¤bkAùkv Ykwbko@ FkvÜä Rv^kkx Avù Bkv\k Avù Ykwbko@ Bkv\k UÆkk TkkYk lRZkk cw‹ ^kv ¤\\kvBk Aù@Pv Qkv lAù bk^kr bkkYk|kHZk UmlNjAùkä FkkYknOMv#^k@m Zkk lAùbkm Rv^km Avù AùkMrÖUÅkkx Avù bkkQk Bkv\kPv bkYkZk AùkVúm bkYYkkTk ¢kw@ ¢kR@ Avù bkkQk Bkv\kTkk cw‹

(Jk) ¤’UkRTk Aùm UálP :

AùkYk Ykx \kkZkv HkkTkv ^kk\km FkmHkikxä UP\km bkPc^kk\kv AùkCkHkim AùUMjkä ckQkm RkgPä PkMj UÇkä Ykk£Aùk UP\km U@Pä CkkxRä ^kHk|ä UvMj Aùk ^kHk|ä .v@lWkAùk ¢kw@ ¢kTkw‘AùkZk (ckQkm Vú\k) c@m ck\kP Ykx Fko@ lAùZkk HkkPk cw‹ £TkAvù ¢k\kk^kk £Yk\km Avù WkmHkä @gCkä Voú\kä Vú\k BklTkHk ¢kw@ UÅkv ¢klR Xkm AùkYk Ykx \kkZkv HkkPv cy‹

¤Rk : c\Rm bkv Um\kkUTkä c\Rm ¢kw@ FkoTkv Avù lYkÌkOk bkv \kk\k @gCkä \kk\k FkTRTk UÅkkx bkv c@k @gCkä Tkm\cv bkv Tkm\kk @gCkä AùkWkrTk HkYkk^kkx bkv Aùk\kk @gCkä YkplÅkAùk bkv bkVivúRmä lYkÙm bkv Ckc@k \kk\k‹

¤UAù@Okä Wkné#k l^klXkÆk bkk£Hkkx Avù lCk\kc@m Aùm UogG Avù Wkk\k bkv WkTkm Gkv@ Uv ^kk\kvä Uv£†TKgCk Avù l\k. AùkYk Ykx \kkZkv HkkPv cy‹ Bkn@R@m Wkkc@m êU @vBkk¢kvg Avù l\k. Uv†Tbk\k AùkYk Ykx \kkZkv HkkPv cyä UvU@ AùÙ@ä AyùFkm ¢klR Xkm £bk Aùk@mCk@m Ykx AùkYk Ykx \kkZkv HkkPv cy‹

¢k@gXk Ykx AùkCkHki Aùm bkkP U@Px .Aù bkkQk lFkUAùkZkv HkkPv cy lHkbkAvù l\k. £Yk\km Avù WkmHkkx Aùkv Fko@ Aù@ \kvUTk PwZkk@ lAùZkk HkkPk cw‹ £bkv CkkNjm ¢kSkk@ bkkYkCk|m Avù êU Ykx AùkYk Ykx \kkZkk HkkPk cw‹ SkoU Ykx £bkv bknBkkZkk HkkPk cw ¢kw@ l#kAùTk ¢klR Aùkv lTkAùk\kTkv Avù l\k. ¥U@ ^kHkTk @Bkk HkkPk cw‹ lVú@ ¤bkv ¢k^k#ZkAù bkk£Hk Avù YknPklWkAù AùkKk HkkPk cw‹ WkkMr@ ¢kw@ lFkÇkkx Aùk @vBkTk lAùZkk HkkPk cw PklAù ¤Tcx Uv£TK lAùZkk Hkk bkAvùä Wkkc@m @vBkk.f ¢kw@ ¢TZk TkVúmbk l^k^k@Ok @vlBkP lAùZkv HkkPv cy \kwÑù@ (\kkBk ¢kw@ ¢kTkw‘AùkZk lYklÌkP GÅkk) \kCkkZkv HkkPv cy PklAù ¤ÅkYk bkYkP\kmZk bkPc lYk\k bkAvù‹ (K) l^kl#kìPk : ¤TkAùm lFkÇkk’YkAù ¢kApùlPZkkx Avù ¢\kk^kkä CkgHkmViúk Avù UwAvùKkx Aùm Bkkbk l^k#kvakPk Zkc cw lAù ^kv bkWk ckQk Avù WkTkv ¢kw@ ckQk Avù Uv£TK lAùZkv CkZkv cy ¢kw@ WkvcP@mTk Aùk@mCk@kx Avù WkTkkZkv cy‹ £Tk Aùk@mCk@kx Aùkv lFkÇkAùk@ AùcPv cy‹ ¢P: Ék’ZkvAù UwAùK ¢UTkv Ykx l^kl#kaK cy‹ CkgHkmViúk Uk@YUl@Aù êU Ykx Ckkv\kkAùk@ cy 20 lYk\kmYkmK@ bkv 34 lYk\kmYkmK@ ¢kw@ £TkAùk ^Zkkbk 120 lYk\km YkmK@ cw‹

41 (L) lTk@mdkOk lTkAùkZk : 1å ÉkkRvl#kAù lTkRv#kAù (cvFk) RldkOkm ¢kgFk\k AùkZkkr\kZk (cbP Aù\kk) FkvÆkw 2å ¢SZkdkä Xkk@PmZk Aùk@mCk@m Ul@akR~ä FkvÆkw 3å cbPAùk@mCk@m Ckiw@ bk@Aùk@m bkgbQkkTk bkv .Aù ÉklPlTklSk 4å .Tkå¢k£åMmå bkv .Aù ÉklPlTklSk 5å Aù\kk ¢kw@ Aùk@mCk@m bkv bkYWk†TSkP .Aù Ckiw@ bk@Aùk@m bkRbZk (M) ¢TZk : CkgHkmViúk Aùk Bkv\k CkgHkmViúk Bkv\k Avù l^kbPpP lTkZkYkklR ÉkRv#k ÉkRv#k Ykx Ul@^ksPP cy U@ Zkv ckQk Aùm bkVúk£r ^kk\kv Bkv\kkx Avù lbk\klbk\kv Ykx ¢kPv cyä £Tk bkXkm Bkv\kkx Ykx lBk\kkMjm ckQk Ykx bkYkkTk TkYWk@ Avù AùkMkv‰ Avù bkkQk Bkv\k #knê Aù@Pv cy‹

Bkv\k Ykx ckQk Aùm bkVúk£r Xk@Uo@ cwä Ék’ZkvAù lK}Aù Ykx .Aù AùkMr ckvPk cw lHkbkv Ék’ZkvAù lBk\kkMjm lRBkkPk cw‹ CkgHkmViúk Bkv\k ckQk DkMjm Aùm ¤\Km lR#kk Ykx Fk\kPk cw‹ .Aù cm bkoK (ÉkAùk@) Avù AùkMr bkv ¢kU Bkv\k HkmP bkAùPv cy‹ ZklR .Aù cm bkoK (ÉkAùk@) Avù AùkMr Tkc{ ckvPv cy Pkv Robk@v bkoK (ÉkAùk@) Avù TkmFkv Avù Yko\Zk Avù AùkMr Avù bkkQk Bkv\k bkAùPv cy‹ FkoglAù CkgHkmViúk Ykx lBk\kkMjm Avù ckQk Ykx WkcnP bkk@v AùkMr ckvPv cyä Zkc ¢kYk P@mAùk cw‹ Bkv\k Avù #knê ckvTkv bkv Uc\kvä lBk\kkMjm HkmPTkv ^kk\kv ¢kw@ Tk HkmPTkv ^kk\kv Aùkv AùkMr Aùkv ¢\kCk ¢\kCk Aù@ \kvPk cw ¢kw@ Tk HkmTkv ^kk\kv AùkMkv‰ Aùkv Bkv\kPv bkYkZk ¢lSkAù SZkkTk Tkc{ RvPk cw‹

£bk WknlTkZkkRm Bkv\k bkv Aù£r XkvRk’YkAù †bQklPZkkf ¤’UÆk cn£r cy‹ CkgHkmViúk Bkv\k Aùm .Aùk’YkAù \kdkOk cwä lHkbkv ¢kLä Rbk Zkk Wkk@c bkoK (ÉkAùk@kx) Ykx Bkv\kk HkkPk cw‹ Ék’ZkvAù ÉkAùk@ Ykx Rkv R@Wkk@m AùkMkv‰ Aùm ÌkvOkm ¥fFkm ckvPm cwä \kvlAùTk bkoK Avù YkSZk Ykx AùkMkv‰ Aùm bkgBZkk Aùm ÌkvOkm Aùk ¢TknÓùYk ¢\kCk ckvPk cw HkWklAù Robk@v ¢kSkv XkkCk Ykx AùkMkv‰ Aùm bkgBZkk Aùm ÌkvOkm Aùk ¢TknÓùYk ¤bkAvù l^kU@mP ckvPk cw‹ Bkv\k Aùm ^kbPn†bQklP Zkc ckvPm cw Aù£r Zkn†‘PZkkx bkv c@ bkgXk^k Bkv\k Aùkv HkmP bkAvù‹

£bk Bkv\k Ykx bkkYkTkv ^kk\kv Aùk ¢kõkTk Aù@Pv cn. ¾¢kUAvù @kYk Tkv Zkc lAùZkkï ¾¢kUAùm Yk’bZk ck@ Ck£r Ykv@v Tk@zbkc HkmP CkZkvï AùcPv cn. UkUkx bkv GnKAùk@k UkPv cy‹ CkgHkmViúk Aùm Aù\kk ¢kHkAù\k CksR#k Ykx cw‹ AùYk bkv AùYk £bk Aù\kk Aùkv bkgCk|ck\kZkkxä Zkk WkwLAùkx Aùm YkvHkikx U@ WkFkk Avù @BkTkk cwä Tkc{ Pkv ¢kCkkYkm bkk\kkx Ykx Zkv ¢R~XknP Aù\kk bkYkkÈk ckv Hkk.Ckm‹

42 43 th-vkbZ-&vkosnu la[;k& 61

;g vthZ fodkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] if'pe Cykd la[;k 7] vkj ds iqje ubZ fnYyh us Hksth gS A uoyxaqM ds cqus gq, njh iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 60 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 16 ds varxZr vkus okys HkkSxksfyd eky min'kZu ¼iathd`r vkSj cpko ½ fof/k] 1999 ds Hkkx 13 ds miHkkx ¼1½ esa Lohdkj djus gsrq foKkiu ;gk¡ fn;k x;k gS A

vkosnd dk uke % fodkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] irk % fodkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] if'pe Cykd la[;k 7] vkj ds iqje] ubZ fnYyh

HkkSxksfyd min'kZu % uoyxqaM njh oxZ % 27 eky% dacy rFkk njh

44 G.I. – APPLICATION NUMBER -61

App lica tion is made b y De ve lopmen t Commis sio ne r (Han dicrafts), M in is try o f

Te x t ile s, Go ve rnm e n t o f Ind ia , W e s t B lo ck No .7 , R K Pu ram , Ne w D e l hi , In dia fo r registration in Part A unde r Application No 60 in respe ct of WOVEN DURRIES OF

NA VA LGUND falling under Class 16 is hereby advertised as accepted under sub- section (1) of section 13 of Geographical Indications of Goods (Registration and

Protection) Act, 1999.

A. Name of the Applicant : De ve lopmen t C ommiss ione r (Han dicrafts), Minis try o f Tex tiles, Go ve rnment of India.

B. A ddress : Development Commissioner (Handicrafts), Minis try of Tex tiles , Go ve rnment of India, West Block No.7, RK Puram, New Delhi.

C. Geographical Indication : Na valgund Durries

D. Class : 27

E. Goods : Rugs carpets and durries

45

¼d½vkosnd dk uke % dkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] dukZVd ihry ds lkeku

¼[k½irk % fodkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] if'pe Cykd la[;k 7] vkj ds iqje] ubZ fnYyh

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 % uoyxaqM esa rhu rjg ds njh gSa A fuEufyf[kr nksuksa rjg ds njh eqfLye laiznk; ds vkSjrksa ds }kjk lh/ks dj?ks cqus tkrs gSa A 1- uoyxaqM te[ku - vktdy 3 fofHkUu vkdkj 3’*5, 9’*5 ;k 6’*9 vkdkj ds te[ku cuk;k tkrk gS A te[ku dk iz;ksx dsoy tehu dks

46 A. Name of the A pplicant: De ve lopmen t Comm iss ione r (Hand icrafts ), Minis try of Tex tile s, Go ve rnment of India ,

B. A ddress : De ve lo pment Commis sio ne r (Hand icra fts ), Minis try of Tex tiles , Go ve rnment of India , Wes t Blo ck No.7, R K Puram, New Delhi.

C. List of association of persons/producers/organization/authority:

T o be pro vided on reques t

D. Type of goods:

Handicraft

E. Specification:

There are three types of durries in Navalgund. Following two types are woven on ve rtical looms by wome n of Muslim (Sheik h-sa yeed) community.

1. Na va lgund Jamkhan- At prese nt, Jamkha ns a re woven in 3 diffe rent sizes-3’*5’, 9’*6’ or 6’*9’. Jamkhan is used only as floor covering for especial occasions in the house like marriage functions. Previously people used to ge t Jamkhans woven of the size of their Ve randa hs or a ccording to required sizes.

2. Ja-Namaaz-Ja-Namaaz- is a prayer mat, which is used by only Muslim community. In Urdu Ja-namaaz means a place for worshipping God. The intended use sometimes determines both design and size as in the Ja- namaaz because a Muslim must carry it everywhere. Ja-namaaz is relatively small about 2’*4’ft.

47 2- tk-uekt-tk-uekt - ,d izkFkZuk njh gS A tks dsoy eqfLye leqnk; esa iz;qDr gksrk gS A mnwZ esa tak dk vFkZ Hkxoku dh izkFkZuk djus dk LFkku gS AbfPNr iz;ksx esa dHkh tuekt dk fMtkbu vkSj vkdkj fu/kkZfjr djrk gS A D;ksafd eqLkyeku dks gj txg bls ys tkuk iM+rk gS A tk uekt 2’*4’ QhV NksVk gksrk gS A 3- xqnkj - ;g rhljs rjg dk tehu ij fcNk;s tkus okyk njh gS A lkFk gh lkFk tek fd;s vukt dks

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

N½ Ekky dk fooj.k dacy] dkisZV vkSj njh uoyxaqM ds dykdkjska }kjk cquk tkrk gS A uoyxqaM esa rhu rjg ds lwrh ds njh uoyxqaM te[ku] tk-tekt-tk-uekt vkSj xqnnj gSa A

48 3. Gudda r-This is the third type of floo r co ve ring as we ll as a co ve ring fo r stored grains and is woven by different group of weavers in Navalgund, which ha s got no conne ction with Jamkha n wea ve rs.To make a gudda r 9” broad and 18’ long stripes are stitched together. This fabric is warp faced and patterns in stripes are made using different colours in the warp.

In Ja-namaaz except Mihraab it decorated with geometrical floral motifs but no an ima l o r bird figu re in it.T he sing le Ja -namaaz is a lwa ys wo ven on the loom in su ch a wa y tha t the len g th of Ja- namaaz be comes a wid th o f the wa rp, wh ich is gene rally 4 feet.That reduces the number of interlacements per pick in weaving.

There is another kind of Ja-namaaz, which is 4 feet broad and 15-20 feet in length. I n th is , the m ih rab is repea ted fo r numbe r o f times a cco rd in g to leng th of Ja - namaaz.

F. Name of the Geographical Indication and particulars:

Navalgund durries

G. Description of the goods:

Rugs, Carpets and durries woven by artisans of Navalgund. There are three types of durries in Navalgund. Navalgund Jamkhan, Ja-Namaaz-Ja-Namaaz, and Guddar.

H. Geographical area of production and map:

Enclosed in PageNo 55

I. Proof of origin: (Historical Records)

T he o rig in o n Nava lg und du rrie s can be tra ced ba ck to group of we a ve rs wh o o rig ina lly mig ra ted from Bijap u r to Na va lg und . These peo ple had been s ta yin g a nd working in ‘Jamkhan Galli’ of Bihapur. (Now there is nothing except Jamkhan Galli).

When Ali-Adil-Shah was ruling over the region (1558-1580 A.D.) a battle was fought be twee n Vija ynaga r dynasty and Ali-Adil-Sha h who was helpe d by Nizamshah of Ahmednagar, Kutubshah from Golconda, Baridshah from Bidar and Bira’s Imam Shah. Jamkhans weavers were among the people who left bijapur and migrated to o the r p la ces , wh i ch we re sa fe r.

These weavers came to Navalgund selling pearls. They settled down there an set up their looms and started durries weaving.

According to Muslims religion housewives are not supposed to mix with the community outside their house. To keep them busy in the house, this craft was

49

¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk % yxs uD'ks ds vuqlkj

¼>½ mRifk dk lcwr ¼,sfrgkfld½ % uoyxqaM njh dh mRifr dk irk chtkiqj ls uoyxqaM vk;s cqudjksa ds nyksa ls irk yxk;k tk ldrk gS A;s yksx chtkiqj ds te[kku xyh esa jgrs Fks rFkk dke djrs Fks A ¼vc ogka te[kku xyh ds flok dqN Hkh ugha gS A ½ tc bl {ks= essa vyh vkfny 'kkg dk jkT; Fkk ] rc fot;uxj jkT; rFkk vyh vkfny 'kkg ftldks vgenuxj ds futke] xksydqaM ds dqrqc'kkg ] fcnkj ds cjhn'kkg rFkk fcjk ds beke'kkg dh lgk;rk feyh] ds chp ,d ;q) gqvk A ;s cqudj uoyxqaM eksrh cspus vk;s Fks A os ;gha cl x;s vkSj viuk dj?kk yxkdj ;gha njh cquus yxs A eqLyekusak ds vuqlkj eqlyeku /keZ dh ifRu;ksa dks ?kj ds ckgj leqnk; ds yksxksa ls feyus dh eukgh Fkh A blfy, budks ?kj O;Lr j[kus ds fy, bl f'kYi dk izkjaHk fd;k x;k A ftlls dh os vius vkidks O;Lr j[k lds vkSj dqN iSls Hkh dek lds A uoyxqaM ds flok bl f'kYi dk iz;ksx vkSj dgha ugha fd;k tkrk gS A ;s cqudj viuh dq'kyrsa ds izfr cgqr gh ,dkf/kdkj dh Hkkouk gS blfy, os dHkh viuh bl dq'kyrk dks vius ifjokj okyksa ds flok fdlh vkSj dks ugha fl[kkrs A mudh csfV;ksa dks ;g dyk ugha fl[kkbZ tkrh D;ksafd mUgsa Mj gS fd os muds jkt dks viuh llqjky rd ys tk;saxh A ;g dyk vHkh Hkh izpfyr gS A vHkh Hkh njh cquus dh dyk dks cgqvksa dks fl[kk;k tkrk gS tc C;kg dj vius u;s ?kj vkrh gSa A

50 introduced, so they could weave and keep themselves occupied as well as earn a living.

This craft is not practiced anywhere else but in Navalgund. These weavers have been ve ry possessive about the ir sk ills (In Urdu) and ne ver imparted the ir sk ills to anyone othe r than the ir family membe rs. The ir daughte rs were ne ve r ta ught this sk ill because it was feared that they would take their secrets to their husband’s homes. The crafts is still existing. However durries weaving is still taught to the daughters- in-law whe n the y arrive in their ne w homes after marriage .

J. METHOD OF PRODUCTION:

Pre-weaving Process: For. Jamkhans weaving is divided into four parts:

1. Warp making 2. Drawing of the heald 3. Dyeing of the weft yarn 4. Plying of the weft yarn

Weaving Process:

Once the warp is placed on the loom with proper tension, the weaving begins. Two wea ve rs sit fa cing ea ch othe r ha ving warp in be twee n them . Wea ve r who sits along the wall operates the shed by moving ‘Kaman’ up and down, as well as weaves one half of the width of the durries. Weaving of the other half of the durries and beating of the weft using panja is done by the weaver who sits in front of the loom.

Whe n a sin gle co lou red weft is ru nn ing th roug h a nd th ro ugh the wid th , the weft is brought by one weaver till the centre and it is carried further by another weaver till reaches the selvedge.

When patterns are introduced in the weft, according to the number of different weft yarn in one pick line, number of butterflies of weft yarn are made (10s 6ply) and are laid in the warp, making them go in one direction then the shed is changed and all the butterflies are brought back in opposite direction, taking them through the new shed.

Finishing Process:

After the durries is taken out from the loom all the weft threads, which are hanging out of dhurrie, are cut off. The weavers do not have specific way of making tassels. Warp ends are knotted together to form tassels. They are 1 ½ or 2 inches long. If a user of a durries wants good edges for their durries they get the edges made from people who do edge making for guddars.

K. UNIQUENESS:

Durries are woven all ove r the country in infinite varieties. All these durries from different places in India are woven on a horizontal ground loom. However Navalgund a re wo ven on a p rim itive ve rtica l loom.

51

×k½ mRiknu fof/k cqukbZ ds igys dh izfdz;k te[ku dh cqukbZ esa bls rhu Hkkxksa esa ckaVk tk ldrk gS A 1- okiZ cukuk 2- ghYM dks [khapuk 3- osQV ;kuZ dks jaxuk 4- osQV ;kuZ dks pykuk cqukbZ dk dke ,d ckj tc okiZ dks mfpr [khapko ds lkFk gFkdj?ks esa cka/k fn;k tkrk gS] rks cqukbZ vjaHk dj nh tkrh gS A nks cqudj dj?ks dks chp esa j[kdj vkeus lkeus cSBrs gSa A ,d cqudj tks nhokj ls yxdj cSBrk gS og deku dks mij ls uhps [khaprs gq, 'ksM dks pykrk gS vkSj lkFk gh njh dh vk/kh pkSM+kbZ dks cqukrk gS A njh ds ckdh vk/ks Hkkx dh cqukbZ rFkk iats ls osQV dh fiVkbZ dj?ks ds lkeus cSBs cqudj ds }kjk dh tkrh gS A tc ,d gh jax dk osQV iwjh pksSM+kb esa pyrk gS rsk ,d cqudj }kjk osQV esa dsanz rd yk;k tkrk gS vkSj nwljs cqudj ds }kjk vkxs bls Nksj rd ys tk;k tkrk gS A tc osQV esa isVuZ Mkyk tkrk gS ,d ihd ykbu esa fofHkUu osQV ;kuZ la[;k ds vuqlkj osQV ;kuZ dh frryh cukbZ tkrh gS vSkj okiZ yxk;k tkrk gS A mudks ,d gh fn'kk esa Hkstk tkrk gS vkSj 'ksM dks cny fn;k tkrk gS vkSj lHkh frryh;kas mYVh fn'kk esa fQj ls okil yk;k tkrk gS ] mUgsa u;s 'ksM ls fudkyk tkrk gS A fQfuf'kax izfdz;k njh dks dj?ks ls fudkyus ds ckn lHkh osQV /kkxksa dks tks njh ls yVdrs gSa] mUgsa dkVk tkrk gS A cqudj ds ikl >Ccuh cukus dk dksbZ fof'k"V rjhdk ugha gS A okiZ ds Nksj ds

52

L. INSPECTION BODY:

1. Regional Director (H) Southern Region, O/o DC (Handicrafts), Chennai.

2. Chairperson, Crafts council of India, Chennai.

3. Representative from a Handicraft NGO.

4. Representative from NID

5. A non-official member associated with art & craft.

53

/kkxksa dks ,dlkFk tksM+dj >Ccuh cuk;k tkrk gS A ;s Ms<+ ;k nks bap yacs gskrs gSa A ;fn dk iz;ksx djus okyk njh ds Nksj esa dqN vPNk fMtkbu pkgrk gS rsk os xqnnj dh njh cukus okyksa ls viuh njh dk Nksj cuok ldrs gSa A

V½ vuks[kkiu

Ikwjs ns'k esa njh vla[; rjhds ls cukbZ tkrh gS A;s lHkh nfj;ka Hkkjr ds fofHkUu Hkkxksa esa gkWfjtkaVy xzkmaM dj?ks esa cukbZ tkrh gS A tcfd uoy xqaMk dks fizfefVo ofVZdy dj?ks esa cuk;k tkrk gS A

B½ tk¡p fudk;

1 {ks=h; funs'kd ¼,p½ nf{k.k {ks= ] 0/0 Mh lh ¼gLrf'kYi½] psUubZ 2 ps;j ijlu] Hkkjr dk gLr f'kYi dkmafly] psUubZ 3 gLrf'kYi ,uthvks dk izfrfuf/k 4 ,u vkbZ dk izfrfuf/k 5 dyk vkSj f'kYi ls tqM+s gq, xSj ljdkjh lnL;

54 55

th-vkbZ-&vkosnu la[;k& 62

;g vthZ fodkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] if'pe Cykd la[;k 7] vkj ds iqje ubZ fnYyh us Hksth gS A dukZVd ihry ds lkeku ds iath ds Hkkx ^v* esa vkSj ml iath ds vthZ vad 62 esa iathd`r djus ds fy, vthZ Hksth xbZ gS A oxZ 6 ds varxZr vkus okys fp=dkjh HkkSxksfyd eky min'kZu ¼iathd`r vkSj cpko ½ fof/k] 1999 ds Hkkx 13 ds miHkkx ¼1½ esa Lohdkj djus gsrq foKkiu ;gk¡ fn;k x;k gS A

vkosnd dk uke % fodkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] dukZVd ihry ds lkeku irk % fodkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] if'pe Cykd la[;k 7] vkj ds iqje] ubZ fnYyh

HkkSxksfyd min'kZu % dukZVd ihry ds lkeku oxZ % 6 eky% /kkfeZd ewfrZ] eafnj dh ?kaVh] crZu vkSj oxZ 6 ds varxZr vkus okys vU; /kkfeZd lkexzh

56

G.I. – APPLICATION NUMBER -62

Application number 62, made by Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No.7, RK Puram, New Delhi. India for registration in Part A in respect of Karnataka bronze ware 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.

A. Name of the Applicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India,

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

C. Geographical Indication : Karnataka bronze ware

D. Class : 6

E. Good : Religious idols,temple bells , vessals and othe r ritual ware falling in class 6.

57

¼d½vkosnd dk uke % fodkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] dukZVd ihry ds lkeku

¼[k½irk % fodkl deh'kuj ¼gLrf'kYi½] oL= ea=ky;] Hkkjr ljdkj] if'pe Cykd la[;k 7] vkj ds iqje] ubZ fnYyh

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 % ihry rkack rFkk fVu fefJr /kkrqvksa dk feJ.k gSa A ftlesa 11izfr'kr ls vf/kd fVu gksrk gS A mlds c

58 A. Name of the A pplicant : Development Commissioner (Handicrafts), Ministry of Textiles, Government of India,

B. A ddress : 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/authority:

To be provided on request.

D. Type of goods:

Handicraft

E. Specification:

Bronze is a m ix ture of coppe r a nd tin a lloys. Those conta ining more than 11% tin ha ve no enginee ring applications be cause of the ir increasing brittleness a nd hence, decreasing ductility. However, high-tin bronzes containing 20-30% tin, also known as B bronze or speculum or bell metal, have long been shaped and utilized as consumer, articles such as m irrors, k itchen wares, musical instruments, bell, and ornaments in many parts of the world, including India.

The craftsmen who make the images in Bronze are known as ‘Stapathies’. They should be well versed in ‘dhynanaslokas’, which gives the physical attributes to the de ity. T h is he lps Stapa th y de cide p ropo rtion s o f bod y o f the image . The trad itiona l crafts persons were an unbroken chain of evolution passing from teacher to the d is cip le and fa the r to son .

Materials used in lost wax process for casting idols, kitchen utensils, lamps and bells etc. are:

List of Materials:

Copper: Lamp black powder Tin: One bag sea sand Zinc: Clay Lead: Charred paddy husk Brass: Cow dung Lamp black powder Gunny bag jute fibers Ground nut oil Binding wire Resin from the tree Damara Orientalis Pure Bee wax

59 f'kYidkj tks ihry ds ewfrZ cukrk gS Amls LFkkiFkhl dgk tkrk gS A vkSj mUgsa /kk;uk'yksdk ds cgqr vPNh rjg tkudkj gksrs gSA tsk nsoh nsorkvksa HkkSfrd lEeku iznku djrk gS A ;g LFkkifr dks ewfrZ ds vkdkj dk fu.kZ; djus esa lgk;rk djrk gS A ikjaifjd f'kYidkjksa dh u VwVus okys psbu ds leku gS ] tks f'k{kd ls f'k"; dks rFkk firk ls iq= dks izkIr gS A ykLV ekse dh izfdz;k esa ewfrZ] jlksbZ lkeku] crh vkSj ?kaVh vkfn esa iz;qDr gksus okys lkeku lkekuska dh lwfp rkack ysai dkyk ikmMj fVu ,d csSx lewnz dk ckyw ysM feVVh czkl xkscj crh dkyk ikmMj xuh cSx twV oL= xzkmaM uV dk rsy cka/kus dk rkj Mekjk isM+ ls jsftu 'kq) e/kq dk ekse

¼p½ HkkSxksfyd min'kZu ds uke ¼vkSj fooj.k½ % dukZVd czksatos;j ;g f'kYi dukZVd ds caxywj ftys ds dksykj] fp= nqxZ rFkk ekaM;k esa cuk;k tkrk gS A

60 F. Name of the Geographical Indication and particulars:

Karnataka Bronzeware.

The craft is practiced in districts of Bangalore, Kolar, Chitradurga and Mandya of Karnataka.

G. Description of the goods:

Religious idols, temple bells and vessels, lamps and other ritual ware cast in Bronze.

H. Geographical area of production and map : Enclosed in page No-78

I. Proof of origin: (Historical Records)

The temple bells of Karnataka are celebrated for the depth and purity of their tone and also for their elegant architectonic forms. Since bell metal is considered to be the purest of all materials, it is not only used for ritual purposes, but also for utensils of everyday use. Unlike people of Europe and Middle-Eastern countries, Indians do not traditionally use glass and porcelain, with the result that all requirements of the household-glasses, cups, plates, serving dishes and containers used to be made of metal. The bell metal, which is an alloy of copper and tin, is non reactive to acids. It is a specialty of some areas. Normally, sour dishes such as those cooked with vinega r and lemon ju ice can no t be se rve d in vesse ls o f in fe rio r me tals like co ppe r and brass, unless these are silve r pla ted or tinned. Innume rable me ta l te chniques have been mastered in India. The lota, a small, rounded-bottomed vessel used for po u ring wa te r, is one o f the mos t exp ress ive fo rms we ha ve . T rad itio na l I nd ian meta l ware has worldwide reputation in overseas market because of its superior workmanship and modest price. Wide ranges of objects are made by craftsmen who have devoted their lifetime in mastering the manufacturing processes. Indian bronzes find place in the museum at Boston, New York, Paris, and London, Berlin etc. A pilot centre was started at the All India Handicrafts Board at Bangalore in 1958 to revive the traditional skills of cast bronzes in India. The icons of south India have won wide representation for their exquisite, elegance and high degree of artistic projection.

The craftsmen engaged in making bronze icons known as ‘Stapathies’ belongs to Vishwakarma community. These Stapathies are bound by faith, tradition and religion for making bronze icons. Bangalore, the capital city of Karnataka is the chief craft po cke t fo r Bron ze Ca s ting . Ba nga lo re in vite s lo t o f Na tiona l and In te rna tiona l tourists. In olden days Kings use to patronage this craft for palaces and temples. Bronze Casting had flourished in and around Mysore for this reason. Namely Shivarapatna in , Nagamangala in Mandya District, Challakere and Na yaka naha tti in Chitradugra District.

Craftspersons: The craftsmen who make the images in Bronze are known as ‘Stapathies’. They should be well versed in ‘dhynanaslokas’, which gives the physical attributes to the deity. This helps Stapathy decide proportions of body of the image. The traditional crafts persons were an unbroken chain of evolution passing from tea che r to the dis cip le an d fa the r to so n.

61

N½ Ekky dk fooj.k /kkfeZd ewfrZ] eafnj dh ?kaVh rFkk midj.k] fn;k vkSj /kkfeZd oLrq;sa ihry ls cukbZ tkrh gS A

¼t½ mRifr dk HkkSxksfyd {sk= vkSj uD'kk % ftyk chjHkwe ] if'pe caxky] Hkkjr dk uD'kk i`"V la[;k esa fn;k x;k gS A

¼>½ mRifk dk lcwr ¼,sfrgkfld½ %

dukZVd dh ?kaVh viuh vkokt dh xgjkbZ rFkk 'kq)rk rFkk lkFk gh vius [kqclwjr LFkkiR;rk ds fy, tkuk tkrk gS A ?kaVh ds /kkrw dks lHkh /kkrwvks ls 'kq) le>k tkrk gS blfy, bls dsoy /kkfeZd mnns'; ds fy, gh ugha] cfYd jkstejkZ dh dke ds fy, Hkh iz;ksx fd;k tkrk gS A ;wjksi rFkk e/; ,f'k;k ds yksxks dh rjg Hkkjr ds yksx ?kjsyw dkeksa esa iksjlsfyu ;k dkap dk iz;ksx ugha djrs ] ftlds QyLo:i ?kjsyw mi;skx dh lkjh phtsa di] Fkkyh ] ijkslusokys crZu rFkk vU; crZu /kkrw ds gh cus gksrs Fks A ?kaVh dk /kkrw rkack rFkk fVu ds fefJr /kkrw ls cuk gS og vEy ls izfrfdz;k ugha djrk A ;g dqN LFkkuska dh fof'k"Vrk gS A lk/kkj.kr [kVVh phtsa ftls fofuxj vkSj uhacw ds jl ls cuk gks] mls rkack vkSj czkl ds cus /kkrw esa ugha j[kk tkrk gS tc rd dh mlij LVhy ;k fVu dk vkoj.k u p

62 The bronzes of south in general have won a worldwide reputation for their intrinsic beauty, aesthetic content, and artistic merit, and of Karnataka in particular, for de co ra tio n of cos tumes . Of la te , due to the in f luen ce o f commerce , b ro nze images , which show an amalgamation of various schools of thought, are manufactured in Karnataka.

Bronze icons are made as per shilpa shastra:

• ‘Samabanga’- figure without any bends, • ‘Abanga ’-figu re with sligh t bend in wh ich the bod y res ts on o ne leg , • ‘Tribanga’-figure with more than one obvious bends, • ‘Atibanga’-figure greatly bent.

The Indian Bronze activity can be classified into three geographical regions.

1) Lands lying in north India between Vindya Hills and Narmada River. 2) Narmada river and Tungabhadra 3) Tungabhadra to Cape Comorin (southe rn tip)

The area lying under the third division is most famous of them, and here, both stone carving and bronze casting were patronized under different dynasties viz., Pallava, Chola, Pandya etc. The present Karnataka comes partly under the second and third divisions. In Karnataka Bronze casting flourished under Chalukyas, Rastrakutas, Hoysals and the Vijaya naga ra pe riod. The king Hoysala king Vishnuva rdhana afte r his conversion to Vaishnava faith, erected many magnificent temples with exquisite me tal icon s. In the ins crip tio ns of the ce leb ra ted Ra ja Ra ja Cho la and Ra je nd ra Cho la of chola dynasty, both of them conquerors of old Mysore State, there are references o f images cas t in ho llo w an d so lid. Du ring the pe rio d of Ho ysa la and Vija yana ga ra k ings , the cus tom of p rese n ting meta llic images to temp le seems to ha ve gained po pu la rity, and th is p ra ctice wa s la te r kep t u p by M yso re Ro yal line and is con tin uing till today. Thus, under royal patronage, the craft naturally developed and flourished we ll in the s ta te th roug h the cen tu ries.

J. METHOD OF PRODUCTION:

Preparation of Wax:

Pure bee wax is used for making wax models or patterns of the icon. As pure wax is too flexible, it is mixed with resins to make it slightly hard and melted with groundnut oil and little black powder from lamp to avoid transparency. Proportion of lamp black powder (1kg: 200 gms) pure bee’s wax/resin from the tree Damara O rienta lis/ground nut oil= 4/4/1. The powde red resin is m ixed with groundnut oil and the mix is s heated until a thick liquid forms. Nex t, bee’s wax is added to the thick liquid and stirred until it liquefies and gets well mixed (generally, 300 – 250 deg ree Ce ls iu s). Th is wax me lt is s trained th ro ugh a fine meta l s ie ve o r coa rse- wo ven clo th in to a con ta ine r of co ld wa te r, thus a llo wing it to so lidify. The wax mix is then used for wax model making.

63 bu /kkrwvksa cukus esa lefiZr dj fn;k A Hkkjrh; ihry us ckWlVu] U;w;kdZ] isfjl rFkk yaMu ] cfyZu ds E;wft;e esa LFkku izkIr fd;k gS A vf[ky Hkkjrh; gLr f'kYi cksMZ csaxywj us 1958 esa ihry ds ikjaifjd f'kYi dks iquZthfor djus ds fy, ,d ik;ysV dsanz dk vkjaHk fd;k A nf{k.k Hkkjr ds ewfrZ;ksa us fo'o esa vius vuks[ks] lqanjrk rFkk mPp dykdkjh ds dkj.k izfrfufr/kRo fd;k A ihry ds lkeku cukus okys dykdkj ftUgsa LFkkifFkl dgk tkrk gS] os fo'odekZ laiznk; ds gS A ;s LFkkifFkl fo'okl] ijaijk vkSj /kkfeZdrk ds dkj.k ihry ds ewfrZ ds cukus esa ,d nwljs tqM+s gq, gS A dukZVd dh jkt/kkuh csaxywj ihry dh

64 Wax model making:

Wax model making is a crucial step wherein the craftsman’s creativity decides the excellence of the model, and in turn, of the icon to be cost. The head, body, and limbs of an icon are made separately by hand, using the wax mix after making it malleable by warming it and later shaping it using spatula, knife, and scraper. The finished pa rts of the icon a re jo ined b y us ing a h ot iron too ls a s a so lde rin g iron to melt their joining surfaces. The model or pattern for the icon’s pedestal is made as an integral part of the icon if the icon is small, or individually if the icon is large. To strengthen the wax pattern as well as to facilities the flow of molten metal into va rious pa rts, a fe w wax cross strapping and a wax rod ending with a funne l shape (sprue and runne r) are also joine d to the pa tte rn at appropria te locations. The wax pattern or model of the icon, with a gating system for metal flow, is now ready.

Mold making:

Mold making by investing, and melting and draining of wax from the mold cavity. Mo ld mak ing in vo lves coa ting the wax pa tte rn with la ye rs of cla y, kn o wn as investment (three layers for small icons and more layers for larger icons). Recycled clay powder from the old mould is sieved and mixed with new red clay, or Mangalore tile is po wde red a nd red cla y used fo r po tte ry is mixed . Fo r mo re s tick y cla y: 10 % red clay, for less sticky clay: 15-20% red clay. Diffe rent clay is used for each laye r. The first coat, about 3 mm thick, is made when fine loam, or alluvial soil collected from the river bed is finely ground with charred paddy husk and mixed with cow dung, forming a thick mixture. Gunny bag jute fibres are mixed in clay for improving binding and workability. This first coat performs two important functions: Protection of the wax model and reproduction of the minute contours of the model. Thus, no portion of the wax model should be left uncovered ex cept the wax spruce top surface, which is the outlet for the melted wax while dewaxing and the inlet for molten metal during casting. Further, no air bubbles should be allowed on the surface of this first coat, since they can spoil the mold cavity surface finish, and, in turn, that of the icon. During the clay-coating application, the wax model is kept on a piece of paper or cloth on the floor or a table, depending upon the size of the model, to avoid its defo rma tion.

Melting and costing: Preparation of alloy and casting. Shilpasastras prescribe the composition of the alloy to be chosen for casting sacred icons. Pure copper or 24 K gold is not workable, is difficult to give finishing and has more shrinkage. Therefore an alloy is always used for sculpting. Archaeologists have excavated icons and idols proving that for the last 3,000 years, panchaloha (literally mean ing a n allo y o f five meta ls ) has been mos t wide ly used fo r making icons a nd idols. This five-metal combination of Cu, Au, Ag, Pb, and Zn was considered to be a highly auspicious composition and is still used for icons cast for worship. The im po rtan t sou rces o f info rma tion on mak ing pan cha loha a re re co rde d in a n cien t Sanskrit and regional literature, with artisans from South India perfecting the te chnology. O the r compositions of panchaloha cited include Au, Cu, Ag, Pb, Fe , and Sn as well as the combination of Sn, Cu, Fe, Pb, and brass. However, because of the ir high cost, gold and silve r are no longe r used in ge ne ral-purpose icons. An alloy made by mixing copper, brass, and lead in the ratio 29:2:1 is commonly utilized for general icon. Another alloy made by copper, brass, and silver in the ratio 20:5:1 is also used. In some cases, tin is added in an amount equal to the lead content. Lead is added to make the alloy more malleable so that chiselling and engraving of the

65 f=caxk ,d ls vf/kd vko';d eksM+ ds lkFk vfrcaxk cgqr vf/kd eqM+h vkd`fr

Hkkjrh; ihry fdz;k dks rhu HkkSxksfyd {sk=ksa esa foHkkftr fd;k tk ldrk gS A 1 mrj Hkkjr esa foa/; ioZr vkSj ueZnk unh ds chp dh Hkwfe 2 ueZnk unh vkSj rqaxHknzk unh 3 rqaxHknzk ls dsi deksfju ¼nf{k.k fVi½ rhljs Hkkx esa vkus okyk {ks= ckdh Hkkxksa es vf/kd izfl) gS A ;gka fofHkUu oa'kska tSls iYyo] pksyk] rFkk iakM; ds varxZr iRFkj ds uDdk'kh rFkk ihry dh

×k½ mRiknu fof/k 'kq) e/kqeD[kh dk ekse iz;ksx ekse dh ewfrZ rFkk ewfrZ ds isVuZ cukus esa fd;k tkrk gS A pwafd 'kqq) ekse cgqr gh yphyk gksrk gS A blfy, blesa jsftal feyk;k tkrk gS A ftlls mldks FkksM+k dBksj cuk;k tk lds vkSj bldsk eqaxQyh ds rsy rFkk FkksM+k lk

66 icon will be easy. The artisans believe that if the icon is made with copper alone, it will not have a lasting shine, whereas adding a little brass to copper results in a lasting shine and a lower melting point. It may be noted that brass is added as a mas te r allo y to in tro du ce zin c.

Copper-1100 degree Celsius Brass- 800 degree Celsius.... bronze in between these two me lting po in ts More Zn, tin-Less Temperature is needed for melting.

Less Zn, tin- More Temperature is needed for melting.

Fo r h ig h tempe ra tu re s cru cible is requ ire d. C ru cib le is made of fire cla y an d in p lumb ago; the latter are more costly but much lasting and economical. Pair of tongs well fitted in crucible is used to lift it. Brass also increases melting point of alloy and gives a pleasing colour to finished product. The artisan’s calculate the weight of the alloy req u ired to o ccup y the mo ld a t te n times the weigh t o f the wax mode l. Me lting is ca rrie d o u t in a coke/cha rcoa l-fired fu rna ce us in g e ithe r a commercia lly a va ilab le cla y g raph ite cru cib le o r a cru cib le made of clay by the a rtisans .

Approximate time for melting of alloy: 5Kg – 1.5 hours 50Kgs – 2.5 hours

Bo ric a cid s alt is u sed fo r pu rifying me tals . Whe n the a llo y is be in g melted , the hollow mold is heated to red hot to drive away air bubbles from the inside of the mold cavity as well as to prevent sudden cooling of the molten metal, which could lead to an uneven surface finish. Heating the mold also prevents the mold from exp lod ing be ca use of the h igh hea t of the liqu id me tal. If the mold isn ’t comple te ly baked, the metal will sputter and bubble when your pour it in, often shooting balls of still-molten metal flying spoiling the mould completely.

Fettling and finishing:

Mo ld ope ning; finis h ing , e ng ra ving , a nd po lis h ing ; a nd colo u ring .

The b reakin g o f the mo ld to remove the icon is o f g rea t sign if ican ce to the craftsman, since it is not merely an object but a transcendental entity. The fettling of the cas tin g o r b reak ing of the mo ld is in itia ted on ly when the mo ld has su fficien tly coo led . The mo ld po rtio n hold ing the icon head is alwa ys broke n firs t follo we d by remaining portions. The iron rods and wires used as reinforcements are separated and preserved for reuse. The clay sticking to the icon is scrapped and then the connecting rods used as support in complicated icons are removed by chiselling. The contours and details of the original wax pattern are recaptured by smoothing the uneven surfaces and they by chiselling. The details of dress and ornaments as well as other final touches are engraved into the icon. The icon surface is smoothed by rubbing it with fine grade emery paper, and then it is cleaned with tamarind and a soap-nut-water mix and scrubbed with a wire brush. Finally, the piece is brushed wi th po l ish in g sa nd and wa te r. B rass wi re b rush f in is h, l im e, tam a ri nd , wa te r wa sh we re ge ne ra lly ad op ted fo r fin ish in g in olden da ys . The we ll-finished icon is sh o wn in after the two individually cast parts have been riveted. The icon of the child Krishna on a banyan tree leaf (Aal elai krishna in Tamil) was made by Swamimalai artisans. Generally, they use 80% copper, 20% brass, and 5% lead for general purpose icons. Ho we ve r, fo r ico ns to be ins ta lle d in temples fo r wo rsh ip , pan chalo ha con ta in ing 50 %

67 dkyk ikmMj ds lkFk xyk;k tkrk gS Aftlls mlesa ekse ds isVuZ dks vPNk cukus ds fy, lkFk gh lkFk fi?kys gq, /kkrw dks fofHkUu Hkkxksa cgkus ds fy, dqN ekse LVªkfiax vkSj ekse vkSj FkksM+k dkyk ikmMj feyk;k tkrk gS A ftlls fd mlesa ikjnf'kZrk dks [kRe fd;k tk lds A dkyk ikmMj ¼1fdyksxzke 200 xzke½ 'kq+) e/kqeD[kh dk ekse jsftu nekjk gksfjlpaVy/eqaxQyh dk rsy =4/4/1 ikmMj jsftu dks eqaxQyh rsy ds lkFk feyk;k tkrk gS vkSj rc rds feyk;k tkrk gS tc rd dh nzO; u cu tk; vkSj vPNh rjg fey tk; A (lk/kkj.krk] 300-250 fMxzh lsfYl;l rkieku) ij xys gq, ekse dks eghu Nyuh /kkrw esa ;k eksVs cqus diM+s ls VaMs ikuh ds crZu esa Nkuk tkrk gS A ftlls fd og Bksl gks ldss A ekse dk feJ.k ekse ds vkd`fr cukus esa iz;qDr gskrk gS A

Ekske dh ewfrZ Ekske dh ewfrZ cukuk ,d dfBu dk;Z gS tks fd dykdkj dh fuekZ.k dq'kyrk gh vkd`fr dh [kqclwjfr dk fu.kZ; djrk gSA vkSj cnys esa vkd`fr dk ewY; flj] 'kjhj vkSj gkFk iSj vyx ls gkFk ls cuk;k tkrk gS A xeZ djds ?kkro/kZuh; cukkus ds fy, ekse dk iz;ksx fd;k tkrk gS A ckn esa LikV;wyk] lpkdw rFkk Ldszij ls bldks vkdkj fn;k tkrk gS A ewfrZ ds rS;kj vaxksa dks xeZ /kkrw ds vkStkjksa tSls lksYMfjax vk;ju ls tksM+k tkrk gS ;fn ewfrZ ds vk/kkj eksMy ewfrZ ds vkarfjd Hkkx ds :Ik esa rS;kj fd;k tkrk gS ewfrZ NksVh gks ;k cM+h gks A eksYM cukuk

68 Cu, 16% Au, 8% Ag, 10% brass, and 16% Pb is used. Traditionally in temples bronze idols were cleaned e ve ryda y during Abhishekam.

Method of Oxidation:

Oxidation of copper figures into different colour shades. Iron wire is heated to remo ve a ll ga lvan iza tion in it a nd the wire is wo u nd round the figu re to be ox id ized from top to bottom. Then this wired figure is dipped into diluted sulphuric acid for one hour. (Only 5 years or older sulphuric acid gives copper effect). Later small pieces of oxidizing salt is (yellow ammonium sulphide) diluted with water, and applied on the figure. This process blackens the figure immediately. They are sun dried and smeared with coconut oil to get glossy shine. Brass figure can be oxidized to get copper effect. Piece of pure copper is put in a solution of nitric acid, which d isso lves a nd tu rns to g ree n co lou r liqu id o f cop pe r su lp ha te. T his so lu tion is app lied on the brass figure and heated with blowlamp till acid on the top turns to ash. Then figure is cleaned with brush and coconut oil is applied.

Other Finishes: Ele ctro pla tin g, Anod iz ing , Ch rom ing e tc.

UNIQUENESS:

The bronze casting process in Karnataka is ritualistic and has been practiced as a traditional craft till now since the last 200 years without changing the process. Another interesting part to note is the divisions done for a particular sculpture prior to its making which is very specific to Karnataka and is based on the Shilpashastras.

Before taking up the making of wax model for masterpiece, the shloka given in the Shilpashastras is chanted and details are worked out as per the drawing and followed with the preparation of wax modelling. The artisan takes note of the proportion and measurements as laid down in Shilpashastras for icon making and makes a pattern rule . This was earlie r done with a narrow ribbon of coconut tree leaf cut to the icon leng th requ iremen t a nd fo lded a t diffe ren t leng th s in p ropo rtio n to the leng th o f various parts of the icon. Now, artisans just use the drawings from their ancestral da taba nk. The unit o f meas u remen t in icon mak ing is ta la , wh ich is the distan ce be twee n the ha irline a nd the e nd of the lower jaw.

The tala is divided into 12 equal parts called angulas (equivalent to the breadth of a finger). Each angula is divided into eight yava (the size of a barley grain) and so on until the smallest unit, a paramu (smaller than the end of a single hair). The cra ftsmen use traditiona l tools, most of which a re made by them .

Some examples of the proportion system:

Ganesha pa nchata la

Rama and Lakshmana ashthatala

The incarnations of Vishnu dashatala

Lord Shiva and his manifestations navatala

Arm length 2.5 times tala

69 esaxywj Vk;y dks ikmMj fd;k tkrk gS A vkSj crZu cukus esa iz;qDr gksus okyh yky feVVh mlesa feyk;k tkrk gS A fpidus okyh feVVh cukus ds fy, 10% yky feVVh] de fpidus okys ylyls feVVh ds fy, 20% yky feVVh Mkyk tkrk gS A izR;sd ys;j ds fy, vyx vyx feVVh dk iz;ksx fd;k tkrk gS A igyk dksV yxHkx 3 feeh- eksVk cuk;k tkrk gS A tc eghu ykse unh ds fdukjs ls ,df=r fd, x;s vyqcsby feVVh dks pkoy ds pwju ds lkFk feykdj ihlk tkrk gS vkSj xkscj ds lkFk feykdj xk<+k cuk;k tkrk gS ] tdM+us ;k cka/kus dh {kerk c

70

Thigh width ta la

Crown 1.5 times tala

The craftsmen could use his ingenuity only within the limits of these rules. This may have prevented any real originally artistic creations, but it did ensure aesthetic p rodu ction o f image s. T he figu re s o f de itie s a re ideals rathe r than cop ies of rea l human figures. The Nataraja is meant to depict joy and sense of victory experienced during cosm ic dance rather than the mere portrayal of a dancing figure. The image of Buddha rises above mere contemplation and seeks to depict perfect equilibrium and bliss.

K. INSPECTION BODY:

1. Regional Director (H) Southern Region, O/o DC (Handicrafts), Chennai. 2. Chairperson, Crafts council of India, Chennai. 3. Representative from a Handicraft NGO. 4. Representative from NID 5. A non-official member associated with art & craft.

71

A vkSj vkt Hkh iwtk fd, tkus okys ewfrZ;ksa esa bls iwtk tkrk gS Aiapyksgk cukus dh eq[; tkudkjh izkphu laLd`r vkSj {skf=; lkfgR; ls feyrh gS ] lkFk gh nf{k.k Hkkjr ds dykdkj bl rduhd dks vPNk cuk jgs gS A iapyksgk ds nwljs feJ.k esa Cu,AU,Ag,Pb vkSj Zn ds lkFk Sn, Cu, Fe, Pb rFkk brass tcfd lksus vkSj pkanh maph dher ds dkj.k lk/kkj.k mnns'; dh ewfrZ;ksa ds fy, budk iz;ksx ugha fd;k tk ldrk gS A ,d feJ.k tks rkack] ihry rFkk ysM ls 29:2:1 ds vuqikr ls cuk gksrk gS] dk Hkh iz;ksx fd;k tkrk gS A dHkh dHkh ysM ds vuqikr ds vuqlkj fVu dks tksM+k tkrk gS A feJ.k dks ?kkro/kZuh; cukus ds fy, ysM dks feyk;k tkrk gS A ftlls fd ewfrZ dks rjk'kus vkSj uDdk'kh djus esa vklkuh gksrh gS A dykdkjska dk ekuuk gS fd vxj ewfrZ flQZ rkack dk curk rks blesa ges'kk ped cjdjkj ugha jgrk] tcfd rkack esa FkksM+k lk ihry feykus ls mlesa ped cgqr fnuksa rd cjdjkj jgsxh lkFk gh fi?kyus dk rkieku Hkh de jgrk gS A tLrs dks Mkyus ihry dks Mkyus ds ckn ihry dks eq[; /kkrw ds :I es afeyk;k tkrk gS A rkack dk 1100 fMxzh lsfYl;l] ihry dk 800fMxzh lsfYl;l rkieku gS A dkalk dk esfYVax ikbaV bu nksuksa ds rkieku ds chp dk gksrk gS A vf/kd fVu] tLrk de rkieku ij fi?kyrs gSa A de tLrk] fVu vf/kd rkieku ij fi?kyrs gSa A mPp rkieku ds fy, /kkrw fi?kykus okyh ?kfj;k dh vko';drk gS A /kkrw fi?kykus okyh ?kfj;k tyus okyh feVh rFkk iyexksa ls cuk gksrk gS A mBkus ds fy, ,d tksM+h fpeVh dk iz;ksx fd;k tkrk gS tks dzwfloy ls yxk gksrk gS A ihry feJ.k ds fi?kyus rkieku dks c

72 dke dksd/pkjdksy ds pqYgs O;kikfjd rkSj ij miYC/k feVVh ds xzsQkbM /kfj;k ;k dykdkjkas }kjk fd;k tkrk gS A fefJr /kkrw fi?kyus dk le; 5 fdyks xzke – 1.5 ?kaVk 50 fdyksxzke – 2.5 ?kaVk Cksfjd vEy lkYV dk iz;ksx /kkrwvksa dks 'kq) djus ds fy, fd;k tkrk gS A tc vEy dks xyk;k tkrk gS A[kkyh eksYM dks yky gksus rd xeZ fd;k tkrk gS A ftlls fd eksYM ds [kkyh txgksa esa Hkjs gok ds cqycqys dks gVk;k tk ldrk gS A lkFk gh fi?kys gq, /kkrw dks BaMk gksus ls cpkus ds fy, fd;k tkrk gS A tsk vleku lrg dks fQfuf'kax nsrk gS AeksYM dks xeZ djuk eksYM dks QVus cpkrk gS A nzfor /kkrw ds mPp ds dkj.k ½ vxj eksYM vPNh rjg ls xje ugha gksxk rks /kkrw dks Mkyrs oDr mlesa cqycqys vk;saxs A vDlj fi?kys /kkrw ds cqycqys ewfrZ dks u"V dj ldrs gSa A

QsVfyax vkSj fQfuf'kax eksYM dks [kksyuk] fQfuf'kax] uDdk'kh vkSj pedkuk vkSj jaxuk eksYM dks rksM+dj ewfrZ fudkyuk dykdkj ds thou esa ,d egRoiw.kZ dk;Z gSa A pwafd ;g egt ,d lk/kkj.k oLrq ;k /kjksgj gS A ewfrZ dks fudkyuk ;k eksYM dks rksM+us dk dk;Z rc gh fd;k tkrk gS A tc eksYM iwjh rjg ls BaMk gks tk; A eksYM esa tgka ewfrZ dk flj gks mls gh igys rksM+k tkrk gS A mlds ckn gh nwljs Hkkxksa ds eksYM dks rksM+k tkrk gS A yksgs ds jkWM rFkk rkj ftls etcwrh iznku djus okys ds rkSj ij iz;ksx fd;k tkrk gS] dks vyx djds fQj ls iz;ksx djus ds fy, lqjf{kr j[kk tkrk gS A ewfrZ ls fpids gq, feVVhdks [kjkspdj fudkyk tkrk gS A mlds ckn tksM+us okys rkj dks] tks tVhy ewfrZ esa lgkjs ds fy, iz;qDr fd;s tkrs gSa] dks Nsuh ds }kjk fudkyk tkrk gS A

73 diM+ksa vkSj xgus ds lkFk gh lkFk var esa ewfrZ dks fu[kkjus rFkk lqanj cukus ds fy, rjk'k tkrk gS A ewfrZ ds lrg dks ,ejh isij ls jxM+dj fpduk cuk;k tkrk gS vkSj mlds ckn mls beyh rFkk lkcwu lqikjh ds ikuh ls lkQ fd;k tkrk gS A var esa mls pedkus okys ckyw rFkk ikuh ls cz'k fd;k tkrk gS A ihry dk rkj cz'k] uhacw] beyh ikuh ls /kskus dk dke iqjkus fnuksa fd;k tkrk Fkk A vPNh rjg ls rS;kj ewfrZ nksukas vyx :i dkLV Hkkxksa dh

A ikjaifjd rkSj ij eafnjska esa dklsa dh ewfrZ;ksa dk jkst vfHk"ksd ds nkSjku /kks;k tkrk gS A

vkWDlhdj.k dh fof/k rkacs dh ewfrZ ds vkDlhdj.k ds }kjk fofHkUu jax ds jksMl esa jax tkrk gS A xsyoubtslu dks gVkus ds fy, yksgs rkj dks xeZ fd;k tkrk gS A ftls mij ls uhps rd vkDlhd`r djuk gks rkj dks iwjs vkd`fr esa yisVk tkrk gS A mlds ckn bl rkj ls fyiVs gq, vkd`fr dks MkY;wV lYQ;wfjd vEy esa 1?kaVs ds fy, Mqck;k tkrk gS A dsoy 5 o"kZ ;k mlds vf/kd le; ds fy, lYQ;wfjd vEy rkack dk izHkko nsrk gS A ckn esa vkDlhd`r djus okys ued djus okys ued ds VqdM+s ¼ihyk veksfu;e lYQkbM½ dks ikuh esa ?kksyk tkrk gS A vkSj vkd`fr ij yxk;k tkrk gS A ;g izfdz;k vkd`fr dks rqjar dkyk dj nsrh gS A fQj mUgsa /kwi esa lq[kk;k tkrk gS A vkSj ukfj;y ds rsy ls jxM+k tkrk gS ftlls fd ped vk lds A ihry dh vkd`fr dks vkDlhd`r djus ls rkack dk izHkko yk;k tk ldrk gS A 'kq) rkacs ds VqdM+s dks ukbfVªd vEy ds ?kksy esa Mkyk tkrk gS A tks ?kqydj gjs jax ds nzfor dkWij lYQsV esa ifjofrZr gkssrk gS] bl ?kksy dks ftls ihry ij yxk;k x;k gS vkSj Qwadus okys crh esa xeZ fd;k tkrk gS A tc rd dh og

74 jk[k ds jax dk u gks tk; A mlds ckn vkd`fr dks cz'k ls lkQ fd;k tkrk gS A vkSj ukfj;y dk rsy yxk;k tkrk gS A vU; fQfuf'kax ,ysdVªksIysfVax] ,uskMkbftax] dzksfeax vkfn

V½ vuks[kkiu

dukZVd esa ihry dh

75 tka?k dh yackbZ ryS eqdqV 1-5 xq.k ryS ryS 12 lkeku Hkkxksa esa foHkDr gS ftls vaxqyk ¼vaxqyh dh pkSM+kbZ ds leku½ dgrs gSa A izR;sd vaxqyk 8 ;kok esa ¼ckjyh vukt ds vkdkj½ esa foHkDr gksrk gS A lcls NksVh bZdkbZ ijkeq ¼,d cky ds Nksj ls Hkh iryk gskrk gS A½ dykdkj ikjaifjd vkStkjska dk iz;ksx djrk gS ] tks blds }kjk gh cuk gksrk gS A x.ks'k iaprkyk jke vkSj y{e.k v"VryS fo".kq dk vorkj nlryS Hkxoku f'ko vkSj mudh vfHkO;fDr uoryS gkFk dh yackbZ 2-5 xq.k ryS tka?k dh yackbZ ryS eqdqV 1-5 xq.k ryS

dykdkj fu;e ds lhek esa viuh dkS'ky dk iz;ksx dj ldrs gSa A ;g 'kk;n dykdkj dh ekSfyd dykd`fr dks jksdrk gS A ij ;g vkd`fr dks /kkfeZd egRo dks n'kkZrk gS A lk/kkj.k ekuo ds udy ls nsoh nsorkvksa ds vkd`fr vkn'kZiw.kZ gkssrs gSa A [kq'kh dks tkfgj djus ds fy, uVjkt dks fpf=r fd;k tkrk gS A u`R; djus okys vkd`fr dks fpf=r djus ds ctk; uVjkt ds dkWlfed u`R; dss nkSjku thr ds vglkl dks vuqHko djkrk gS A cq) dh fopkjkRed ewfrZ mlh :Ik esa fpf=r djuk vko';d gS A

76 B½ tk¡p fudk;

1 {ks=h; funs'kd ¼,p½ nf{k.k {ks= ] 0/0 Mh lh ¼gLrf'kYi½] psUubZ 2 ps;j ijlu] Hkkjr dk gLr f'kYi dkmafly] psUubZ 3 gLrf'kYi ,uthvks dk izfrfuf/k 4 ,u vkbZ dk izfrfuf/k 5 dyk vkSj f'kYi ls tqM+s gq, xSj ljdkjh lnL;

77 78 79

80

81

82

83

84

85

fdghgfdgfdgg

86

87