1 GOVERNMENT OF INDIA

GEOGRAPHICAL INDICATIONS JOURNAL NO.24

AUGUST- 1 , 2008/ SRAVANA - 10, SAKA 1930

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 vxLr 1 2008@&Jko.k 10 'kd 1930 fnukafdr HkkSxksfyd min'kZu if=dk dk laLdj.k la[;k 24] tuojh 21] 2008 ls turk dks miyC/k djk;k tkrk gSA

OFFICIAL NOTICES

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

1. As per the requirement of Rule 41(1), it is informed that the issue No.24 of the Geographical Indication Journal dated 1st August 2008 / Sravana- 10 Saka 1930 has been made available to the public from 21st January 2008.

3 HkkSxksfyd min'kZu vkosnu fooj.k%

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

1 nkftZfyax ¼oMZ½ 30 Pkk;

2 nkftZfyax ¼yksxks½ 30 Pkk;

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

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

Q'kZ dks vkoj.k djus dh oLrq

5 Lksye oL= 24 oL= rFkk oL= eky

6 i;Uuwj ifo=k fjax 14 xguk

7 pansjh lkMh 24 lkfM+;ka

8 lksykiqj 24 pknj

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

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

rsjh rkSfy;k

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

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

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

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

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

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

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

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

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

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

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

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

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

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

9 25 dkaxMk pk; 30 pk;

26 dks;EcÙkwj osV 7 osV xzSaMj xzSaMj

27 Qqydkjh 26 Qqydkjh d<+kbZ

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

29 eSlwj lSaMyoqM 3 lSaMyoqM rsy rsy

30 eSlqj panu 3 eSlqj panu lkcqu lkcqu

31 dlqrh 26 dlqrh dlhnkdkjh&dukZVd dlhnkdkjh&du kZVd

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

33 dwxZ ukjaxh 31 ckxckuh mRikn&ukjaxh

34 eSlwj iku iÙkh 31 ckxckuh mRikn&iku iÙkh

35 uatuxqM dsyk 31 ckxckuh mRikn&dsyk

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

11 36 ikyDdkM eê 30 pkoy pkoy

37 e/kqcuh fp=dyk 16 fp=dyk

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

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

40 —".kk xksnkojh 4 ¶;wy xSl

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

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

43 fildks 33 e|lkj is;

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

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

45 Iksíkj ghjk 14 vkHkw"k.k

46 d'ehj i'ehuk 24 oL=

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

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

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

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

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

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

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

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

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

85 ekulwuM+ ekykckj 30 dkWQh

25

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

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

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

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

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

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

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

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

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

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

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

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

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

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

29 PUBLIC NOTICE

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

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

For any further information in this regard please contact:-

The Assistant Registrar of Geographical Indications, Geographical Indications Registry, Intellectual Property Office Building, Industrial Estate, G.S.T Road, Guindy, Chennai – 600 032 Tel: 22502091, 92 & 93 Fax No: 22502090 E-mail: [email protected].

Sd. ______(V. RAVI) Registrar of Geographical Indications

30 th vkbZ vkosnu i= 83

;g vkosnu NRrhlx< gLrf”kYi fodkl cksMZ lh 35] jfo uxj] jk;iqj NRrhlx< jkT; l;s cuk Hkkjr ds iathdjk [kaM v esa fuca/ku ckLVj nks[kjk ds tfj;s ;g vkosnu i= 83 es LVsVh;wl]LVsVh”;wl ds yksdy MkbVhl izd`fr o euq’; ds cukoV dsUMhy LVsUM]

HkkSxksfyd y{k.k % ckLrj nks[kj oxZ % 6] 21 eky % eku vkSj nsork ds izfr ewfrZ izd`fr o euq’; ds cukoV] dsUMhy LVkUM

31 G.I. – APPLICATION NUMBER 83

Application is made by The Chhattisgarh hastshilp vikas board C35, Ravi Nagar, Raipur, Chhattisgarh State, India for registration in Part A of the register of Bastar Dhokra under Application No. 83 in respect of Statues and statuettes of local deities, nature and human forms, Candle stand, Door handle, Flower vase, Mobile holder, Face mask, Water jug, Key rings, falling in Class 6 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Chhattisgarh hastshilp vikas Board

Address : C35, Ravi Nagar, Raipur, Chhattisgarh State, India

Geographical Indication : Bastar Dhokra

Class : 6, 21

Goods : Statues and statuettes of local Deities, Nature and human forms, Candle stand, Door handle, Flower vase, Mobile holder, Facemask, Water jug, Key rings.

32 m- fofunsZ”k %

nks[kjk mRiknd esa dkLV ds csy esVy dks yksLV cDl ds fØz;ki)fr ls curk gS vkSj ;g csy eVyksa ds okbVksa ds tksMksa ls cudj iznf”kZr gksrk gSA nks[kjk mRiknd dk vknj czkal] ihry] /kkrq vkSj lhad ds feJksa ls curk gSA bldk U;wure o vf/kdre vkdkj 1 bap ls 14 QhV dk gSA ;g mRiknd eq[;r% izn”kZu vkSj mi;skfxd en ds fy, iz;ksx gksrk gSA ;g uewuk eq[;r% tfVy gLrf”kYi ds vkjs[ku o csy /kkrq ds rkj ds fy, izca/k gksrk gSA ;g mRiknd tutkfr lH;rk euq’;ksa ds ;a=] ok|;a= o muds izd`fr vkSj i”kqvksa ds fy, fpf=r fd;k gSA

Q- HkkSxksfyd y{k.k ds uke (vkSj fooj.k) ckLVj nks[kjk th- eky dk fooj.k

nks[kjk ØkQ~V dkalhfVax csy /kkrq (ihry vkSj czkal) ls ^osuf”kax osDl ds rduhfd;ksa ds tfj;s cuk;k x;k gS A ;g gLrdyk i”kqvksa ds ltkoVksa o tutkfr dks fofo/k vkdkjksa ls mudk vkadMk cuk;k tkrk gSA dHkh ;g ikjaifjd lkexzh eq[;r% ltkoV en~nksa ds fy, de iz;ksx esa gksrk gSA blesa ;g ladsr gS fd izFke ckj rRdkyhu jktk ls dykdkjh dks muds dnz dk izrhd djokrk gSA dqNsd jkT; ds izns”kksa esa dykdkfj;ksa dh iksl[kk] dslj] euxt] vkSj fo”odekZ dgrs gSA

,Q- HkksSxksfyd Hkkx ds mRiknd vkSj eki dks i`’B la[;k 53 esa fuEufyf[kr gS

ewylzksr dk mn~xe (,sfrgkfld fooj.k )

nks[kjk (csy eVy) ØkQV dk izek.k vkfndky ds egktnjksa vkSj gjIik lH;rk esa vkfo’d`r gqvk] tks lcwr feykgS fd ,sfrgkfld vkSj ikjaifjd gh eq[; m|e gSa A ;g va”k u`R; ukjh ds ewfrZ dks ladsr djrk gS vkSj egktnjksa esa nck;s x;s lzksr dk mn~xe o f”kYi dk vkjaHk crkrk gSA

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

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

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

(D) Type of goods : Handicrafts

(E) Specification :

Dhokra products are cast in bell metal by lost wax process and display an intriguing finish having bell metal wire work. Dhokra products consist of an alloy of bronze, brass, nickel, and zinc. The minimum to maximum size varies from 1” (inch) to 14’ (feet). The products consist mainly of showcase and utility items. The designs mainly involve intricate handwork of drawing and arranging of the bell metal wires. Mostly the products depict tribal culture, people and their tools, instruments, animals and nature.

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

34 izksQ % jkst”k dkspj dk djrk gS fd ^nks[kjk n VsjMf”kuy vkjV vkWQ eVy dkfLVax ^

;g ladsr djrk gS fd egktnjksa dykdkjh tks izfl) czkal esa uR; ukhj ds ewfrZ dks 4500 o’kZiqjkus izf{kIr fd;k ftUgsa vkt e/; vkSj iwohZ Hkkjr esa iznf”kZr gksuk gS os vc vius vius LFkkuksa esa lek x, gksaxs \ blnks[kjk eVy& dkfLVax izfØ;k dks ns[kdj ykLV&osDl ds rduhfd dks lkspsaxsA ;g gekjs vVwV ikjaifjd esa ewyHkwr dM+k jgk gS vkSj dyk esa izk.k”kfDRk mRiUu djrk gSA Hkkjr esa nks[kjk dyDVjksa ds ykyf;r en~ cu x;k vkSj fons”ksa ds fy, ”kks/k] dykij[kh vkSj euq’;ksa dh :fp cu x;h gSA vk/kqfud bfrgkl esa nks[kjk ds (ckLVj) uhps fuEufyf[kr gS

czkLVj ds mPp ifjokjksa ds fy, dykdkj dk;Z djrsFks vkSj tutkfr;ksa dks vkn”kZ ik= cuk ysrs FksA mlle; FkksMs gh ek= dykdkj jgrs FksA lu~ 1960- o’kZ caxyk “kj.kkFkhZ iquokZlu ds ckn dqN vkbZ,,l vkSJ vkbZlh,l vf/kdkfj;ksa dks izns”kksa ij iz”kkkluh; esa O;oLFkk dk;Zi)fr esa fu;qfDr fd;k gSA bu vf/kdkfj;ksa ds dkj.k izfl) usrk vkSj tulapkj ek/;e O;fDr;ksa Hkh bl LFkku esa izn”kZu djus ds fy, vkdf’kZr gq, gSA bu fofo/k izns”kksa ls fiNMs x, euq’;ksa [kqn c [kqn nks[kjk dzkQV es aizfl) gq,gSa vkSj tYn gh ;g izns”k lekpkj i=ksa esa txg LFkkfir dj ysaxsA blds vfrfjDr tks vf/kdkjh ml le; esa fu;qDr gq, os vkSjHkh dzkQV ds fy, c

ckn esa] czkLVj ds dqN izfl) dykdkjksa dks fofo/k jkT; o jk’Vªh; rd ds iqjLdkj feysA blh le; Hkkjr esa fofo/k uxjksa esa ØkQV dk izn”kZu fufeZr gqvk] tks izfl) dk dkj.k cukA

lu~ 1980 bZLoha ds ckn Jheku t;nso Hkkxsy dks”kaxt ls csy egRo ds dykdkjFks] budh izflf) vUrjkZ’Vªh; rd izkir gqbZA bl dkj.k fons”kh O;kikjh dk /;ku dks”kaxt esa [khapk] bldk ifj.kke uo;qx xzkeksa esa O;kikj djus esa :fp fn[kk;sA egkuxjh; esa cgqr ls fu;kZr dzkQV ds vkd’kZ.k vkSj varfufgr dks ns[kdj mlh dh izf”k{.k esa fodkl fd;sA NRrhlx<

35 (G) Description of goods:

Dhokra crafts are made by casting bell metal (brass and bronze) manually through the vanishing wax technique. These handicrafts include items like ornamented animals, tribal figures of varying sizes. The traditional products are mostly decorative items with very less or no utility. The process of making the moulds is as old as the craft. All the decoration is done on the dyes with wax strings. Wax is the appropriate medium for this craft because of its unique softness and malleability. It can be drawn out in wires of required diameters and can be moulded into desired shapes. The people worship the sun, moon, fields, mountain, jungle, etc. which forms a major part of their designs and motifs. They make idols of deities, and puja accessories like bells, oil lamps, incense stick holders, etc. The craft has its very foundation laid in the religious beliefs and practices of the people.

The Dhokra art is a major attraction of Bastar. They are prepared by the Ghadawa community and hence it is also known as the Ghadawa art. The Ghadawas are small artisan groups who produce brass or bell metal objects. The name Ghadwa is derived from the world 'Ghalna', which means to melt and as these people prepare the craft items by melting the metal using a lost wax technique, so they are given the name 'Ghadwa'

‘Ghadwa’ means the act of shaping and creating, and it is probably this that gives the casters of objects, mainly brass and coppers their name. The various stories related to the origin of the name ‘Ghadwa’ only indicate that it was for the very first time awarded by a contemporary king to craftsmen as a token of appreciation. In some regions the craftsmen are also called ‘Ghasia’,’Khaser’, ‘Mangan’ and ‘Vishwakarma’.

36 izns”k esa 500 o’kZ ds igys dzkLV eVy ewfrZ;ksa ds ihNs tutkfr;ksa dk viuk Js’B ewyJksar dh dgkuh fNih gSA fo”o ds feF;k vkSj czkLVj ds lewg esa dhfriq#’k f”kYi xq: Jh t;nso Hkkxys dkekuuk gS fd dSls eVy dzkLVVhax dk “kq:vkr gqvk \

izkphu vkfnoklh f”kdkjh fudV dqN ugha izkIr gqvk og nwj HkVdj ,d ?kuk txy esa igqaWpk tks lq[kk vkSj jks”kuh iM+us dh txg gSA ogkaW rdus ds dkj.k vkjke djus yxrk gSA taxyksa esa gksusokys vkx mlds tkxk nsrk gS vkSj ?kj igqaWprs oDr pedrk gqvk /kkrq ds ,d va”k dh rjg [kksnrk gS tks iRFkjksa ls feyk tkrkgSA mrjorhZ tkaWp vkSj i;Zos{k.k dk igsyh dk lqy>ko gqvkgSA iRFkjksa esa dhMs [kks[kyk curk gS] ugha rks “kk;n iRFkjksa ls Nsn djrk gks ) iRFkjksa esa [kksdj cukdj vius ?kj ds vanj ekse tSlk Nwrk cudj jgrk gSA taxyksa ds vkx ls vkSj/kkrq dks iRFkjksa ds chp mls fi?kykdj fcUnqvksa dks fxjk;k tkrk gSA mldks lq[kkdj ^osDlu gSllj^ esa Nki cuk ysrk gSA bl dkj.k czkLVj nks[pkjk dk “kq:vkr gqvkA ts- mRikndksa dk i)fr

LFkkuh; esa dPpk eky dk mi;ksx fuEu izdkj gS

Cysd lksby (mukjh feV~Vh ;k fpDdh feV~Vh) ;g feV~Vh ;k e`nk [ksrh ck

jbZl gld (Hkwlk) % gld fey esa ls izkIr gS bls feV~Vh ds lkFk feyk;ktkrkgS D;ksafd Hkwlk lq[kkus dh i”pkr VwVus dh laHkkouk gS blfy, bldks feyk;k tkrk gSA vkSj ;g lkaWps esa fNfnzy cukrk gS vkSj vkx tyrs le; lkaWps dks VwVus ls cpkrk gSA

jhoj LbZM lkSby (:bZ feV~Vh) % ;gfeV~Vh unh ds fdukjs ls izkIr gksrk gSA ;s feV~Vh eqyk;e] vklkuh ls vkdkjg ksuk] lkaWpk vkfn cu

37 (H) Geographical area of Production and Map as shown in page no-53

(I) Proof of origin: (Historical records) The evidence of the Dhokra (Bell Metal) craft has been discovered in the relics of M ohanjodaro and Harappa civilizations, which prove the historical and traditional importance of the industry. It is of interest to know that the statue of the dancing girl, unearthed at Mohenjodaro is the proof of origin and continuity of the craft.

Prof. Rajesh Kochhar in his brochure “Dhokra- the Traditional Art of Metal casting” states that if

Mohenjodaro craftsman who famously cast the bronze figurine of a dancing girl some 4500 years ago were to visit central and east India today, he would undoubtedly feel at home. In the Dhokra metal-casting process he will recognize the lost-wax technique. It is this unbrokenness of tradition coupled with the intrinsic starkness and vitality of the art form that makes Dhokra a coveted collector’s item in India and abroad for connoisseurs, scholars and laypersons alike.

The following presents a recent history of Dhokra at Bastar:

The artisans used to work for the Royal families of Bastar and make tribal idolatry statues. There were very few artisans at that time. In 1960 after the Bangla -refugee rehabilitation, some I.A.S. and I.C.S. officers were posted in the region for administering the settlement activities. With these officers, some famous leaders and media people were also attracted to visit the place. This filtering-in of people from various regions gave an automatic popularity to the Dhokra craft and soon the sector found space in newspapers. Even officers who were posted there at that time felt the potential of the craft and tried to develop it further.

Later, a few famous artisans of Bastar were given various state and national level awards. Also during this time, many exhibitions of the craft were organized in various cities of India, which made it move towards highly popular.

After 1980’S Mr. Jaidev Baghel, one of the bell metal artisans from Kondagaon achieved international popularity. This attracted the attention of traders world-wide towards Kondagaon and as a result the new generation in the village also started taking keen interest in the trade.

38 ldrk gS vkSj blds vFkkZr blls Hkh vafre cukoV vPNs vkdkjksa ls curk gSA ;g feV~Vh yky jax dk gksrk gSA ;gkaW ij Hkh lgh ek= esa feV~Vh dks pquuk gS ugha rks mldks tykrs oDRk VWVus dh laHkkoouk gks ldrh gSA dkÅ

39 Many exporters from metro cities, after seeing the potential and glamour in the craft took training for developing the same. Behind the superb metal cast images of the Chhattisgarh region, the tribal have their own story of origin, which dates back to 500 years. In the world of myth and legend shilp guru Shri Jaidev Baghel of Bastar recounts, how metal casting first came into being. An ancient ‘adivasi’ hunter unable to find anything nearby strayed far into the thickly forested area, inside it was arid and dry. Exhausted he felt asleep. A forest fire woke him and on way home he spotted a shiny metal piece in a form as if it had been poured from the stone above. On subsequent visits and observation the mystery was solved. An insect had hollowed a stone (or used stone with hole perhaps) and made waxen hive for home inside and the hollow of the stone. With the forest fire, the metal ore within the stone had melted and dropped down; upon solidifying it bored the impression of the waxen hive. This is how Bastar Dhokra work came into being.

(J) Method of Production:

Raw materials locally used are as follows: Black Soil (Aari mitti or Chikti mitti): This is mud or soil procured from the beds of the fields. This soil is volcanic in origin, hence contains clay, which holds the soil together. It is black soil, but precision in choosing is very important.

Rice Husk (Bhoosa): Husk obtained from the mills is mixed with the soil, to hold it together, as clay tends to break apart easily when dry; it also makes the mould porous and avoids the cracking of the mould during firing.

River side soil (Rui mitti): This soil is procured from the river beds. The soil is very soft and easy to shape, mould, file and hence provide good final shape and finishing. The soil is red in color. Precision in picking is important here too, as the wrong soil may lead to breaking when heated.

40 Qk;bj ÅM+ (tyoku) ;g taxyksa ls izkIr gksrk gSA oqM dksy (dks;yk) % ;g feJ.k eksMy ds Åijh Hkkx ds fy, iz;ksx gksrk gSA izfØ;k

;g iwjk Hkkx ikaWp fdoHkkxksa esa ckaWVk tk ldrk gS tks fuEufyf[kr gS 1- ekWMfyax 2- ekSyfMax 3- fnosDlax 4- dzklafVx 5- fQfuf”kax ekMfyax

Hkwlk dk iz;ksx

Hkwlk dk iz;ksx ewfrZ cukus vkSj udkcs ds fy, mi;ksx gksrk gSA ekSyfMax

bl izfØ;k dh ckjg i)fr esa ckaVk x;k gS

osx ekMy dk iz;ksx dj mls Åijh Hkkxks esa dksV fd;k tkrk gS

[ksrh ck

tc ekMy vPNh rjg lq[kkus ds i”pkr mldks unh fduksj feV~Vh lsl LoPN fd;k tkrkgSA mldkls :bZ feV~Vh dgk tkrk gSA mldks nqckjk LoPN fd;k tkrk gS ikuh ds lkFk lq[kk gqvk xkscj dk ikmMj vkSj ÅM dksy dks vPNh rjg feyk fy;k tkrk gS tc rd og vkVk uje cu tk, mldks lq[ks gq, ekWMy esa jax fd;k tkrk gS vkSj fQj ls lq[kk;k

41 Cow Dung (Gobar): Cow dung is mixed to the river soil as it allows the wax to melt out of the cast and not get stuck on to the soil.

Red Soil (Lal mitti): This is the soil available above ant homes in the soil. The soil is picked up

as it is.

Bean Leaves (Sem Patta): Lima bean leaves picked up from the plants. Also, other plant leaves could serve the same purpose, but bean leaves are chosen, because of their high water content.

Wax (Mome): Wax of two different types is used. Both types serve the same purpose.

Bee Wax (Madhumakkhi ka mome): Pure bees’ wax extracted directly from the hives is taken. Paraffin Wax (Mombatti ka mome): Candle wax or paraffin wax can also be used. Since candle wax breaks easily, it is mixed with Damar (Coal tar) and Agarbatti dhoop.

Bell Metal: It is a mixture of two alloys, brass and bronze, is used for casting. Brass adds the shine to the surface, while bronze adds glitter. Brass being more viscous does not easily flow into the casts; bronze being heavy and less viscous helps in the molten mixture to flow easily and through narrow channels.

Fire Wood (Jalawan): It is generally obtained from near by forests.

Wood Coal (Koyla): Used to prepare mixture for covering layer on model.

Process

The entire process can be broadly divided into five major parts as follows: Modeling 2 Moulding 3 Dewaxing 4 Casting 5 Finishing

42 tkrk gSA 85&90 izfr”kr ds vuqikr esa feV~Vh 10&15 izfr”kr ds ckscj ;k ÅV dksy gksrk gSA

Hkjuk vkSj vkdkj

tc ekWMy dBksj vkSj lq[k tkrk gS mldks fofo/k /kkrqvksa ds vkdkj cUn dj mls

tc ekMy iwjh rjg lw[k tkrk gS dPps ch osDl dks xMs ds Åij vkx esa tyk;k tkrk gSA ch osDl dks fi?kykdj :bZ diM+ksa esa Nkudj nwljs xMs esa Hkwlh dks ikuh esa Hkjk fn;k tkrk gSA osDl dks BaMk dj ds Åij cgdk;k tkrk gSA tc osDl iwjh rjg cu tkrk gS] rc mldks xMs ls fudky fn;k tkrk gS rkfd osDl ikuh;ksa ls vyx fd;k tk,A osDl lhfVjax dh mRifRr

osDl lhfVjax dk cukoV iwjh rjg cuk;s gq, osDlksa ls fd;k tkrkgSA lwjt ds jks”kuh esa ujerk gksus ds fy, NksM+k tkrk gSA mlds ckn gkFkks ls ;k LVSafMax izsel ds vuqlkj gyokb;ksa ls lsokbtu (mls fipdh] ij.kh esa czkLVj tSls LisxfV izsl) ftlesa esVy lSbDl dks ?kqlk ds rkj ds eksVkiu ds fglkc ls cuk;k tkrk gSA rkj dk vkoj.k

tc osDl rkj rS;kj gks tkrk gS] mldks ekMy esa vorfjr fd;k tkrk gS] tks dBksj] vkSj lw[kk vkSj gjk tks v/kZ iRrksa esa ikuh dh rjg gSA tc ekWMy dks rkjksa ls iwjh rjg cUn fd;k tkrk gS] lk/kkj.k ekse ls viuh bPNkvksa ds vuqlkj Mht+u cuk ysrs gSA vc ekWMyksa dh ltkoV osDl rkj vkSj lk/kkj.k ekse ls cukA fuNys Hkkx esa ikuh ls cuk/kkrq

43 Modeling Preparation of clay: This clay is used for structure making and masking the finer clay. River soil, Rice husk, Deemak mitti and sufficient amount of water are used for making paste.

Moulding The process is carried out in twelve different steps as follows: Preparing vague model and coating it with first layer: Black soil in the fields (locally known as chikti mitti) is brought and mixed with rice husk in the ratio - 1 kg of black soil with 100 Gms of rice husk. Water is added to knead it into soft pliable dough. A basic model of the form wanted is made and left to dry in the sun.

Providing second layer: When the model properly dries, clean sticky riverside soil (locally known as rui mitti) is brought and cleaned again; enough water as well as powdered dung or wood coal is added and mixed thoroughly and knead the mixture into smooth pliable dough. This is patted all over the dry model and again leaved to dry in the sun. Proportions are in the range 85-90% soil to 10-15% cow dung or wood coal.

Shaping and filling: When the model gets hard and dry, it is filed and shaped with metal files to bring into a proper shape. The pieces of dry sticky soil which have fallen are gathered, soften with water into a paste, dried again in the sun, moistened with water and then the paste is applied all over the shaped model and leaved it in the sun to dry. Leaf paste: When the model is thoroughly dry, it is rubbed all over with both hands to remove dust and gravel. Fresh and ‘semi’ or ‘sem’ or country bean creeper leaves are brought, crushed by rubbing them between both palms till a green liquid oozes out. It is then rubbed all over the model until the models looks totally green. This is to prevent the soil from sticking to the model. Model is again dried in the sun.

44 dzkfLVax esa ?kqlk fn;k tkrk gS] vkSj NksVk lk Nsn ekse dks ?kqlkus ds fy, fd;k tkrk gSA ys;fjax ohr fjDjLVbM lkby ikmMj dksy%

unh fduksj feV~Vh ikmMj lk fpidkrk vkSj bl ikmMj ÅM+ dksy dks LoPNdiM+k esa Nkuk tkrkgSA mldks izksi”ku 90&85 izfr”kr ;k 10&15 izfr”kr ikuh dks fefJr fd;k tkrk gS vkSj vkVk cukdj ekWMyksa ij vorfjr fd;k tkrk gSA ys;jfjax for vujho’ax fLVd jhojLbM lkWby

vifjd`r fpipfpigkV unh fdukjs feV~Vh dks fy;k tkrk vkSj ikuh ds lkFk feykdj nwljs ijr ds lw[ks ekWMy esa iz;ksx fd;k tkrk gSA Nsnksa dks lqjf{kr ls ns[kktkrk gS rHkh /kkrq iwjh rjg ls ?kql ldrs gSaA ys;fjax Qze rjejbV feV~Vh vksoj n ekWMy

rjekbV fgyksa ls feV~Vh dks yk;k tkrk gS vkSj NksVs&NksVs le`) fefJr ikmMj cuk ysrs gSA mlds i”pkr ekWMy ds Åij Mkydj lq[kk;k tkrk gSA dBksj cuk ds igys ,d cM+k pSuy ;k ekse ds pSuyksa ls iqjkus pSuy ls fefJr fd;k tkrk gSA (rkfd eVy dks Mky ldrs gS) afuNys Hkkx esa rjekbV feV~Vh dks Hkjk fn;k tkrk gS rHkh iSlst rS;kj cukdj NqNhvkdkj esa cuk ysrs gSa vkSJ lq[kk fd;k tkrk gSA dzkfLVax

Qjukl Qj Qkbfjax vkSj dzkfLVax

,d lw[ks Hkwfe esa ,d QqV xgjkbZ esa xksy lk 2 ;k 2-5 QhV VkbZehVj esa [kksnk tkrk gSA og Hkkx LdkSbZj ;k jDV,safxy esa gks ldrk gSA yMdh dk cuk [kks[kyk lk iSbi j[kdj rjekbV fgy (iksyk) ;k ,d ,safxy dh rjQ j[k fn;k tkrk gS tc feV~Vh lw[k tk; mM dksy dks gj rjQ QSy fn;k tkrk gS vkSj uhps vkx tykdj ekWMyksa dks j[k

45 Dewaxing

Preparing wax: When model is completely dry, raw bee wax is heated in a pot over fire. The melted bees wax is filtered through coarse cotton clot into another wide mouthed clay pot filled with water. The wax cools and sets as it falls in it and floats on the top. When the wax is set properly, it is removed from the pot and shook so that the water is separated from the wax.

Making wax strings: Wax stings are made from the prepared wax; it is softened by leaving it in the sun. It is put through a hand held or standing press similar to that used by halwais to make sevaiyyan (called phichki pharni in Bastar, somewhat like a spaghetti press) in which metal sieves are inserted according to the thickness of the strings required.

Wrapping of strings: When wax strings are ready as required, they are wrapped closely around the model, which is hard and dry and green with the application of sem-leaf liquid. When the model is totally covered with wax strings, designs of choice can be made with plain wax too. Now the model is fully decorated with wax stings and plain wax. A channel at appropriate spots at the bottom is made where the liquid metal is to be poured for casting and a pin made from wax is inserted in it.

Layering with riverside soil and powdered wood coal: Powdered sticky riverside soil and powdered wood coal are sieved separately through clean cloth. Mixed in the proportions 90-85% and 10-15%, water is added and kneaded to make dough like consistency and applied over the model.

Layering with unrefined sticky riverside soil: Unrefined sticky riverside soil is taken and mixed with enough water and another layer is applied on the dry model. Care is taken to keep the holes or the channels for the metal clear.

46 fn;k tkrk gS mM+ dk ekWMy ds Åij j[kdj tykrs gSaA ;g mMu ydMh ekWMyksa dks vPNh rjg dM+k djrk gSA ;g iksyk ;k iSbi ds izgkj dks vPNh rjg tykus dh dksf”k”k djrk gSA nwljk Qjukl eVy ihl (200 xzke czkal ls 800 xzke ihry) rd fi?kydj ,d /kfj;k esa j[kk tkrk gSA bl /kfj;sdks mMdksy fn;k tkrk gSA mlds ckn iksyk ikbi dks 1000&1200 fMxzh ls vkx esa tykrs gSA a tks eVy ihl dks fi?kyrk gS A vkx yxkrkj tyrk jgrk gSA

ekWMy dks tykrs oDRk igys Qjukbl esa yky jax esa cnyrk gSA tc csy eVy fcUnqvksa esa f?kjus yxrk gS vkx esa tyrk gqvk ekWMy fpesaV dks /kfj;k esa ykrs gSA ekWMy dks ÅaWpk uhp cuk ysrs gSA rkfd ikuh esa jgk csy eVy dks pSuyksa esa ;k Qwuyl uhps j[kk fn;k tkrk gSA bl /kfj;s dks Åij mBkdj vkSj eksyVu eVy Qsuyksa esa Mkyrs gSa rHkh pSuyksa esa ?kwldj ekWMy esa ekse cu tkrk gSA mlds ckn BaMk fd;k tkrk gSA fQfuf”kax dwyfx vkSj fQfu”k

ekWMy dks 1&6 ?kaVk vkdkj gksus ds fy, BaMk fd;k tkrkgSA vxj BaMk ugha gksrk rks ikuh dks fpM+dk tkrk gSA tc BaMk gks tkrk gS rc Åij ds lkaps dks ÅM+u ekysV ls rksM+k tkrkgSA mlesa ls vlyh vkdkj ds va”k dks ckgj fy;k tkrk gSA o;j cz”kl ls lw[ks gq, feV~Vh dks lkQ fd;k tkrkgS vkSJ mls lkQ ;k feVkus ds fy, j[kk tkrk gSA

;wfuD;wul

czkLVj ds eVy izfrewfrZ esa dzkfLVax rduhdh ls cuk vf}rh; gS] lkFK gh muds thou ds euksHkko vfHkO;fDRk vkSj lekjksg Hkh gSA izd`fr;ksa vkSj xzkE; dk vHkko] ikjaifjd lH;rkl ds feykoV dh czkLVj esa tutkfr ds QScfjdksa esa ewy dk dkj.k cuk gSA xzkE; dyk] f”kYi vkSj izd`fr gh czkLVj tutkfr lewg esa ewylzksr cuk gSA ;g f”kYi dk vkfo’dkj] fodkflrk vkSj dYiuk vkSj f”kYidkj ij izdk”k iM+k gSA tks

47 Layering from termite soil over the model: Soil from the termite hill is brought, powdered and kneaded to make a smooth mixture. Then it s applied all over the model thoroughly and leaved to dry. Before it hardens, a bigger channel or channels from wax are added to the earlier channels (for pouring metal) made at the bottom and covered with termite soil mixture to make the passage ready (inverted funnel shape) and dried.

Casting Furnace for firing and casting: On dry land a round pit one foot deep is dug with a diameter of 2 or 2.5 feet. The furnace can be square or a rectangle. A wooden hollow pipe is placed, covered with wet termite hill (pola) or a pipe at an angle inside. After the soil is dry, wood coals is spread over it and at the bottom and light it, the model is then placed over it for firing. Wood is then kept all around and on top of the model and lights it. Wooden sticks are used to prop up the model to keep it erect. The pola or pipe is to blow on and to keep the fire burning steadily. Another furnace is made to melt the metal pieces (200 gm bronze to 800gm brass) placed in a crucible. The crucible is placed on lighted wood coal, surrounded with wood and lighted. The pola pipe is then blowed on so that the fire is burning at high temperature, reaching almost 1000-1200° C, which is required to melt the metal pieces. The fire is blowed continuously.

The model in the first furnace turns red on being properly kept in fire. When the bell metal turns into pouring consistency, the ready-fired model is lifted gently with tongs and brought near the crucible. The model is held upside down for the liquid bell metal to be poured in the channels or funnels made at the bottom. The crucible is then lifted with long-handled pincers and the molten metal is poured in the funnel so that it can pass through the channel to replace the wax inside the model. Then it is left to cool. Finishing Cooling and finishing: The model is left to cool for 1-6 hours depending on the size. If it has not cooled down, water is sprinkled lightly on it to cool. When it is cooled down the outer mould is broken gently with a wooden mallet. The original shape of the piece can be taken out. Wire brushes are used to clean the dried soil sticked to it and filed to gently rub and clean.

48 vkjaHk dky dks ikus vf/kd tfVyrk dks mBk, vkSj ml ijaijk dks pykus esa Hkh dk;Z mBk;sA

tutkfr euq’; nsork ds izfrewfrZ dks cuk, iwtk ds lkexzh tSLs csy] fn;k] vxjcRrh j[kuk dh iwtk vkfnA ;g f”kYi vkfndky ls /keksZa dk ekuuk gS vkSj mlh dks fdz;kfUor djrs gSA izFke ;g f”kYi eafnjksa ds lkekuksa o nsork izfrewfrZ ds fy, vkjafHkr fd;k gSA ;g lHkh tutkfr ds lH;rk dk izdk”k iM+rk gS] czkLVj nks[kjk dk izfl) gSA

ekse lcls eq[; gS tks cstksM+ cukrk gSA ;g eqyk;e vkSj ujerk curk gSA bldks rhjksa esa vius bPNk vuqlkj cuk;k tkrk gS vkSj mldks lkaWpk cukdj bPNk ds vuqlkj vkdkj cuk;k tkrk gSA blls eqf”dy Mhtu Hkh yk ldrs gSaA ekse gh blesa eq[; izfdz;k gS] ogh tyk ds fi?kyk;k tkrk ldrk gS mlds ckn esa gh eksyVu eVy cuk;k tkrk gSA

lHkh ltkoVsa ekse ds /kkxs ls cukrs gSa] ftlls lHkh vkdf’kZr rduhfd;ksa dks ekse rkj ls vkdkj cuk;k tkrkgSA lHkh f”kYi izkphu tutkfr dk lH;rk dks eglwl djkrk gSA ;gh nks[pkjk dzkQV dk eq[; dkykVh cukrk gSA

nks[kjkckjg izfdz;k esa gS] ftldk ewy fuekZ.k f”kYidkjksa ls gSA czkLVj feV~Vh lcls eq[; mRiknd gSA bldkl eq[; yksdfiz;k cukus ds dkj.k gS ed<+h Qy vkSj cht ds Mhtu dk iz;ksx gh gSA vke rkSJ esa nsoh ;k nsork dk mRiknu gh djrs gSaA ftlesa ikjaifjd vkoj.kksa ds dk;ksZa ls curk gSA ^VªeiV^ Mhtu eq[; gSA /kkxk dk dk;Zdze vke ckr cu x;k ftles agkFk dk Nkik fn[kkbZ iM+rk gSA vius dyiuk ds tfj;s dykdkj mRikndksa esa fcuk dksbZ fpUgksa ls mlesa Mht+u cuk ysrs gSA

,y- i;Zos{kd vax izca/k funsZ”kd] lh th gLrf”kYi fodkl cksMZ] lh&35] jfouxj] jk;iqj (lhth) 2&3 izfrfuf/kRo ds czkLVj dzkQV ds jk’Vªh; iqjLdkj A

49 (K) Uniqueness:

The metal images of Bastar are peerless not only for the technique of casting, but also for their earthbound expression of life and celebration. Abundance of nature and folk, cultural traditions together form the unique inherent basic fabric of tribal heritage of Bastar. Folk art, craft and nature constitute the foundation of the tribal society of Bastar. This craft reflects vibrant creativity, inventive genious and imagination of the craftsmen, who have tried to retain the original perception and core concept governing the lifestyle of their ethos.

The tribal people make idols of deities, and Puja accessories like bells, oil lamps, incense stick holders, etc. The craft has its very foundation laid in the religious beliefs and practices of the people. The craft is said to have originated with the first products being temple accessories and Deity idols. All these invariably depict tribal culture and their expression, which is very unique to Bastar Dhokra.

Wax is an important one, which gives special uniqueness. Its use produces unique softness and malleability. It can be drawn out in wires of required diameters and can be moulded into desired shapes. Thus very intricate designs can be achieved. And of course wax is indispensable in this process, since it conveniently melts out and burns, thus giving way to the molten metal.

Since all the decoration is done with thin wax threads, thus, deriving all the ornamental techniques by using precisely shaped pieces of wax strings in repetition. Most of the detailing is linear, giving the craft an ancient and tribal feel. This is the peculiar quality of the Dhokra craft.

50 izcU/k funsZ”kd] lkaLd`frd dyk txnkyiqj lh th ekdsZfVax ikVuZ] “kcjh ;seiksfj;e] gLrf”kYi fodkl cksMZ] lh&35] jfouxj jk;iqj (lhth) lgk;d funsZ”kd vks@vkslh (f”kYidkjh) txnkyiqj lh th

51 The unique 12-stage process of Dhokra making is the original creative instinct of the craft persons. Bastar Soil is very unique for the product. The motif popularly used is Makdi and fruits and seeds designs are used. The common products produced are Devi and Devitha, which are, have traditional jewellery intricacy work. Trumphet design is a specially used design. Thread work is very common and also the fingerprint will be very much visible. The artisans design the products without any support of sketch, but by imagination.

(L) Inspection body:

Managing Director, CG Hastshilp Vikas Board, C-35, Ravinagar, Raipur (CG) 2-3 representatives of National awardees for Bastar craft. Managing Director, Sanskriti Art, Jagdalpur, CG Marketing Partner, Shabari emporium, Hastshilp Vikas Board, C-35, Ravinagar, Raipur (CG) Assistant Director, O/o DC (Handicrafts), Jagadalpur, CG

52 53 th vkbZ vkosnu la[;k 84

;g vkosnu NRrhlx< gLrf”kYi fodkl cksMZ lh 35] jfo uxj] jk;iqj NRrhlx< jkT; Hkkjr us Hksth gS] cLrj ydMh f”kYi dks iath ds Hkkx ^v^ esa iathdj.k ds fy, vkosnu la[;k 84 ds v/khu oxZ 20 esa “kkfey gksusokys lHkh ydMh ls cus ltkoVh mRikn tSLks nhokj pkS[kVk] taxyh tUrqvksa dh izfrek] if{k;ksa nsorkvksa vkSj nsfo;ksa] tutkrh; udkc] tutkrh; dFkk oLrq dk QuhZpj niZ.k Qzse njoktksa vkSj njoktk pkS[kVk] tokgjkr cDls dks] HkkSxksfyd eky min”kZu (iathdj.k o laj{k.k) vf/kfu;e 1999 dh /kkjk dh mi&/kkjk (1) ds varxZr Lohdkj djus gsrq ,rn~okjk foKkfir fd;k tkrk gSA vkosnd % nRrhlx<+ gLrf”kYi fodkl cksMZ irk % lh 35]jfo uxj] jk;iqj NRrhlx<+ jkT;] Hkkjr

HkkSxksfyd min”kZu % cLrj ydM+h f”kYIk oxZ % 20 eky % lHkh ydM+h ls cus ltkoVh mRiknu tSls nhokj pkS[kVk ] taxyh tUrqvksa dh izfrek] if{k;ksa] nsorkvksa vkSj nsfo;ksa] tutkrh; udkc] tutkrh; dFkk oLrq dk QuhZpj] niZ.k Qzse] njoktk vkSj njoktk pkS[kVk] tokgjkr cDls d- vkosnd dk uke NRrhlx<+ gLrf”kYi fodkl cksMZ

[k- irk % lh 35] jfo uxj] jk;iqj] NRrhlx<+ jkT;] Hkkjr x- O;fDr@ mRiknd@

54 G.I. – APPLICATION NUMBER 84

Application is made by The Chhattisgarh hastshilp vikas board C35, Ravi Nagar, Raipur, Chhattisgarh State, India for registration in Part A of the register of Bastar Wooden craft under Application No. 84 in respect of Decorative products like wall panels, Statues of wild animals, Birds, Gods and goddesses, Tribal masks, Furniture with tribal motifs, Mirror frames, Doors and door panels, Jewellary boxes all made of wood falling in Class 20 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Chhattisgarh hastshilp vikas board

Address : C35, Ravi Nagar, Raipur, Chhattisgarh State, India.

Geographical Indication : Bastar Wooden craft

Class : 20

Goods : Decorative products like wall panels, Statues of Wild Animals, birds, gods and goddesses, Tribal Masks, Furniture with tribal motifs, mirror frames, Doors and door panels, Jewellary boxes all made of wood.

55 laxBu@ izkf/kdkj la?k dh lwph % ekaWxs tkus ij fn;k tk;sxkA

?k- eky ds izdkj % gLrf”kYi

M- fofunsZ”k

dPpk eky (ydM+h) ftldk mi;skx gksrk gS os gSa lky (“kksfjik lkscLrk)] Vhd (VsdVksuk xzkMhl)] vkSj vU; izdkj tSls lkxkSu (Vhd dh ydM+h)] fl;ksuk] jks”ke] lky~] chtk (VsjksdkiZl ekjlwhi;e)] lktk (Vsjfeukfy;k VkseuVkslk)] /kkojk (v.kksusll yfrQksfy;k)] egwok (e/kwdk bafndk)] rsnw (Mk;skLikjl esykuvksDlhyksu)] veyk (jkefcyhdk vksQhufyl) dkjjk (DyslLFkFkl dksyhul)] ckaWl (MsuV=ksdkykel LV=hDVl) A mRikn ewfrZ;kaW] nhokj pkS[kVk] QuhZpj oLrq vkfn gSA ;g mRikn lthoVh dk;Z] mi;ksfxrk dk;Z] vkUrfjd cukuk] nhokj pkS[kVk vkSj QuhZpj oLrq vkfn ds fy, mi;skx fd;k tkrk gSA p- HkkSxksfyd min”kZu dk uke vkSj fooj.k % cLrj ydM+h f”kYi

N- eky dk fooj.k

;g cLrj tutkrh; dk lcls izfl)] lqUnj vkSj ydM+h fp=dkjh dk fof”k’V dyk gSA ;g ydM+h f”kYi cf<+;k Vhd ydM+h] js”ke] lkxkSu vkSj f”kouk ydM+h f”kYi esa uewuk] izfrek] nhokj pkS[kVk] QuhZpj oLrq vkfn “kkfey gSA QuhZpj oLrq ds varxZr nhokj (cDls ds lkFk pkjikbZ) vf/kd izfl) vkSj vkd’kZd gSA D;ksafd blesa cLrj laLd`fr ds fofHkUu fp= dh fp=dkjh dyk vkSj vU; vfHk:fp ds fMtkbu “kkfey gSA vkerkSj ls ;g gLrf”kYi ns”k ds fofHkUu txgksa ij fu;kZRk fd;k tkrk gS vkSJ bldh ekaWx fons”kh ns”kksa esa Hkhk gSA

cLrj ds f”kYidkj ;g mRikn cukrs gSaA vke rkSj ls tutkrh; yksx vius mi;skx ds fy, ysfdu vktdy O;kikfjd mi;ksx ds fy, Hkh cukus yxs gSA bu yksxksa dks bu mRiknksa ij dqN lkaLd`frd egRo Hkh gks ldrk gSA

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

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

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

(D) Type of goods : Handicrafts

(E) Specification :

Raw material (wood) used are Sal (Shorea robusta), Teak (Tectona grandis), and Other varieties like Sagon (Teak wood), Seona, Sheshm, Sal, Bija, Halder, Bija (Pterocarpus Marsupium), Saja (Terminalia Tomentosa), Dhawra (Anogeissus Latifolia), Mahua (Madhuca Indica),Tendu (Diospyros Melanoxylon), Amla (Embilica Officinalis), Karra (Cleistanthus Collinus),Bamboo (Dendrocalamus Strictus).The products are Idols, wall panels, furniture items etc. The products are used for decorative purpose, utility purpose, building interior, wall panel and furniture items etc.

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

(G) Description of goods:

This is one of the most famous, beautiful and unique art of wooden carving of Bastar tribals. These wooden crafts are made out of the finest teak wood, sheshum, sagon and shivna wood. These wooden crafts include models, Idols, wall panels, furniture items etc. Among the furniture items Deewan (Cot with box) is very famous and attractive since it involves the art of carving with different pictures of Bastar culture and other designs of interest. These

57 muds }kjk cuk, x, mRikn dks vkerkSj ls rhu Js.kh esa ckaWVk tk ldrk gS % ltkoVh mRikn] tutkrh; fo’k;oLrq ds lkFk QuhZpj] nSfud mi;ksx mRiknA t- mRiknu dk HkkSxksfyd {ks= vkSj ekufp= i`’B la[;k 73 esa n”kkZ;k x;k gSA

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

10 bZ “krkCnh ls ;g ydM+h f”kYi cLrj esa izpfyr Fkk (tutkfr;ksa ds vfLrRo ds vkus ds ckn) ik’kk.k fp=dkjh /khjs&/khjs de gksus yxhA

cLrj ds iqjkrRo laca/kh vtk;c?kj ds foLr`r v/;;u ds ckn] MkW oksfj;j ,yfou us dbZ ikB vkSj iqLrd fy[pks] ftudks HKkjr ljdkj us fu;qDr fd;k Fkk] 1935 esa tutkrh; vkSj laLd`fr dk v/;;u djus ds fy, vkSj dbZ “kks/kkfFkZ;ksa us cLrj ds yksxksas dh laLd`fr ij “kks/k fd;k vkSj laLd`fr dk o.kZu fd;k tks lfn;ksa ls cLrj esa izpfyr bl dyk dk mik; nsrk gSA izknqHkkZo dk izek.k dk dqN m)j.k fuEufyf[kr gSA cLrj QksYd vkVZ & ,e iksLVy vkSj tn dkWij] i` -la-52 vke rkSj ls tutkrh; ?kjksa esa jgrs Fks rks gekjs iwoZtksa ls fHkUu ugha gSA os vius ?kjksa dks ydM+h c) oLrq ls ltkrs FKs vkSJ iwtk LFKyksa ij tfVyrk ls lh/kk [kEHkk] nhokj pkS[kVk] Nr

58 handicrafts are generally exported to different places of the country, and it has demand even from foreign countries also. The products made by the artisans of Bastar, basically tribal people were for their own use but nowadays they are making it for commercial use. These products may also have some cultural importance to these people.

The products which are generally made by them can be broadly classified into three categories: Decorative Products, Furniture with Tribal Motif, Daily Use Products.

(H) Geographical area of Production and Map as shown in page no-73.

(I) Proof of origin: (Historical records)

The wood craft in Bastar exist from 10th century A.D (since the existence of tribes). This craft was supposed to be on its verge, when stone carving began to decrease in the region.

After the extensive study of the archeological museum of Bastar, many texts and books written by Dr. Verrier Ellwin, who was appointed by the government of India, in 1935 to carry out the study about the tribes and culture and many more researchers did their research on the culture of the people of Bastar and described the culture which clearly gives the idea of the existence of the craft in Baster for Centuries.

Following are some of the extracts that are given as proof of origin.

Bastar folk arts by- M. Postal& z. Cooper, Page no.52, Tribals often live in houses not dissimilar to those of our ancestors. They decorate the wooden fixtures of their housed and shrines with intricately carved upright poles, door panels, ceiling frames, etc. with carved motifs of birds, animals, human figures, floral and geometric designs. The wooden memorials cannot stand the ravage of the weather, termite and fungal attack. Hence most of them do not last more than a decade.

59 esa ydM+h fp=dkjh dk vH;kl O;kid gks x;k tc ik’kk.k fp=dkjh djusokys f”kYidkjksa dh deh gksus yxh] D;ksafd ydM+h Ik;kZIr ek=k esa miyC/k FksA yksx viuh ekaWxksa dh iwfrZ ds fy, Lekjd dks [kM+k djuk vkSj ltkoVH dk;Z ds fy, ydM=h ij fp=dkjh djus yxsA V=kbcy vkVZ vkWQ feMy bafM;k] osfj;j ,yfou] i` la 90

Mh ,p xksjMu us dgk fd ,d le; dks:d yksxksa us fojxy izdkj ds ik’kk.k Lekjd LrEHk dks [kMk fd;k vkSj ydM+h Lekjd blh ls fy;k x;k gSA ;g lEHko gS fd ydM+h vkSj ik’kk.k Lekjd ,d le; esa lkFk&lkFk jgs gksaxsA ;g Lekjd dk eq[; fo’k; oLrq gS] ysfdu Lo:I tSls taxy eqxkZ&eqxhZ] edM+h vkSj ekuo dk dku] Hkh “kkfey fd;k tk ldrk gSA ts- ,y dkeFk }kjk www.kamkath.com ,d bfrgkgdkj] ftUgksaus viuh iqLrd %^eseksfj;yl vkWQ nh feMy bZLV esa fy[kkA i{k ikB

tc f”kYidkjks asdh deh gks xbZ vkSj f”kYidkjh egaWxh gks xbZ] yksxksa us “kk;n ydM+h Lekjd fp=dkjh dks pquk gksxkA cLrj esa ogkaW ydM+h izpqj ek=k esa gS] os LrEHk izdkj dh rjQ x;s] rqckZd iwohZ tutkrh; yksxksa us de [kphZyk r[rk Lekjd dks pqukA os vius fj”rsnkjksa ds ejus ds ckn ydM+h ls fp=dkjh fd;k x;k Lekjd [kM+k djrs FSA bl ijEijk dk ikyu “kk;n 11oha “kRkCnh ls fd;k tkrk fKk] tc eqfj;k vfLrRo esa vk,A

V=kbcy vkVZ vkWQ feMy bafM;k] osfj;j ,yfou] i` la-91

cLrj esa eqfj;k yksx mu {ks=ksa esa NksVs vfHkUu ydM+h ds LrEHk cukrs Fks tgkaW mudh egkik’kk.k fo’k;d iaFk xk;c gks x;kA banzkorh ?kkvH ds dq:d NksVs LrEHk dks [k= fd;k djrs Fks ftlds Åij i{kh ds vkd`fr dh fp=dkjh gksrh FKhA ;g flQZ fclh;u gksuZ ekfj;k gh FKs ftUgksaus bl vH;kl dks foLrkj fd;kA

60 Before 13th century the tribes used to do stone carving for erecting memorials and decorating temples and other public places and the stone carving was greatly effected by the craft done in Orissa because it is adjacent to Bastar and all of these regions were under one reign. Wood carving in Bastar began to be extensively practiced in 13th century, when the artisans who did stone carving became scarce, as the wood was readily available. People started to meet their needs by carving out wood for erecting memorials and decoration purposes.

Tribal art of middle India, by Verrier Elwin, Page no.90, Mr. D.H.Gordon has suggested that at one time the koruks erected stone memorial pillars of virgal type and that the wooden memorials are derived from these, though it is possible that wooden and stone memorials at one time must have co-existed. This is the main theme of the memorial, but such symbols as jungle fowls, a spider and human ear, may be included.

www.kamath.com by Mr. J.L.Kamath, one of the historians who wrote in his book named “M emorials of The M iddle East”. Supporting Text When the sculptors became scarce and sculpturing became expensive, people might have opted for carved wood memorials. In Bastar where wood is abundant, they went in for the pillar type, whereas the eastern tribals preferred less expensive plank memorials.

They used to erect wood carved memorials on the death of their relatives. This tradition is supposed to be followed from 11th century, since muriyas came into existence.

Tribal art of middle India, By- Verrier Elwin, Page no.91, In Bastar the muriyas made small-undistinguished pillars of wood in those areas where their megalithic cult has disappeared. The kuruks of indravati valley erected small pillars with the figure of bird carved on the top. It is only Brision horn Marias who has elaborated the practice. Supporting Text The wood carved memorial of a hero in the forest. It is very similar to stone carving in olden days near to diminishing era of stone carving

61 i{k ikB

taxy esa Lekjd ij ydM+h ds fp=dkjh fd;k x;k uk;d gSA ;g iqjkus le; ds ik’kk.k fp=dkjh ;x ls /khjs /khjs ?kV jgk gSA

www.kamath.com bl tSls izdkj ds fo’k;oLrq dk mi;ksx tks fla/kq ?kVh lH;rk esa Hkh Fkk ;g n”kkZrk gS fd ;g dyk yEcs le; ls izpfyr Fkk] ftldk mi;ksx xkaWo oklh viuh thfodk ds fy, mi;skx djrs FksA

V=kbcy vkvZ vkWQ feMy bafM;k] osfj;j ,yfou i`- la- 06

fjpMZ LV=kl dk fla/kqw ?kkVh ls feV~Vh ds orZu ij jxkbZ lkQ izdk”k Mkyrk gS vkSj dbZ fo’k; oLrq ds Åij izdk”k Mkyrk gS ftls tutkrh; yksx nhokj vkSj nhjoktk] da?kk vkSj rEckdw isVh ij mi;ksx djrs Fks] vk/kqfud tutkrh; yksx jSf[kdh; Lo:I fMtkbZu dh fp=dkjh djrs Fks tks gtkjksa o’kZ iqjkuk gS] izkphu fla/kq ?kkVh lH;rk dh vksj ys tkrk gSA www. vedamsbook.com (V=kbcy vkWQ feMy bafM;k uked 20] tqykbZ 2000 dk ys[k) i{k ikB fla/kq ?kkVh lH;rk esa ik;s tkus okys ewy fo’k; oLrq cLrj fo’k; olrq tSls f=dks.k] LofLrd] VsMs&esM+s] ydhj tkuoj i{kh] eNyh] lhax vkSj cSYk flj] rkjs] da/kk] ikS/ks] foHkDRk xksykdkj eNyh i{kh vkfn ls cgqr feyrk tqyrk gSA

fuEufyf[kr oDRO; ;g n”kkZrk gS fd ;g dyk fofHkUu dk;Z ds fy, mi;skx fd;k tkrk Fkk vkSj 14oha “krkCnh ls O;kikfjd gks x;k vkSj ;g fl) djrk gS fd dyk ml le; izpfyr FkkA

62 www.kamath.com The use of similar kinds of motifs as in Indus valley civilization proves that the craft had been existing from long, used by their villagers in their day to day livelihood.

Tribal art of middle India, By- Verrier Elwin, Page no.06, Richard Strauss’s Indus valley painted pottery has clearly illustrated and illuminatingly discussed many of the motifs which the tribesman used today on wall and door, on comb and tobacco-case, the modern tribesman carve geometric symbolic design that are thousands of years old, going right back to the ancient civilization of Indus valley.

www.vedamsbook.com (20th June of year 2000 in an article named “Tribed Of Middle India”) Supporting Text The basic motifs found in Indus valley civilization were very similar to Bastar motif such as triangle, swastika, meandering lines, animal, bird, fish, horn and bull head. sun, star, comb plant, intersecting circle. Fish , bird etc.

Below mentioned statements prove that the craft was used for different purposes and began to commercialize around 14th century and this proves that the craft was there since then.

He also said that during Dussehera, one of the most famous festivals celebrated at the place, the tribesmen used to carve a rath made of wood with just an axe, which carries the king at the time of the procession.

It was the Kakatiya dynasty, which provoked the artisans of Bastar to do it on a larger scale and in making of monuments for their decoration purpose. As Stated by: The present King of Rajwara, Maharaja KAMAL CHANDRA BHANJDEO, Jagdalpur

63 os ;g HKh dgrs gS fd n”kgjk ds nkSjku] bl txg lcls izfl) R;ksgkj gS] tutkrh; yksx flQZ dqYgkMh ls ydMh ij jFk dk fuekZ.k djrs FksA tks tqywl ds nkSjku jktk dh lokjh gksrh FkhA

;g dkdkrh;k dk oa”k Fkk ftUgksaus cLrj ds f”kYidkjksa dks bls cMs iSekus esa djus dks HkVdk;k vkSj ltkoV dk;Z ds fy, Lekjd cukus ds fy, HkhA

;g m)j.k% orZeku jktokjk dk jktk] egkjkt dey panz Hkunso] txnyiqj }kjk i{k ikB

nsorkvksa ds laj{k.k ea] jktk v..ke nso] laLFkkid] okjaxy ds dkdkrh; jktk ds HkkbZ vkSj #nz izrki nso (1424 bZ) us cLrj esa vius vki dks LFkkfir fd;kA bu jktkvksa us tutkrh; yksxksa dks bl f”kYi dh f”k{kk fn;kA www.qconnect.net esa 20 tqykbZ 2000 dks ^V=kcsM vkWQ feMy bafM;k^ uked ys[k Nkik] ftlesa dgk x;k gS &

gky esa cLrj dk f”kYi] tks O;kikfjd gs] cLrj dk iqjkuk ijEijkxr f”kYi gSA vkt ;g iw.kZRk ls lery] ifjHkkf’kr] iw.kZ vkSj pedhyk gSA 200 o’kZ iwoZ caxky ls dqN f”kYidkj vk;s vkSj vius rRoksa ls cLrj dyk dh “kq:vkr fd;k ftlls bl dyk dks caxkyh >yd feyhA

dgk x;k % ijEijkxr f”kYidkj vkSj jk’V=h; iqjLdkj fotsrk] lq[kiky /kqzo vkSj jke euMoh

64 Supporting Text Raja ANNAM DEV, founder, brother of the Kakatiya Raja of Warangal, and Pratap Rudra Dev (1424 A.D), are said to have established themselves at Bastar under the protection of the goddess. These rajas made the tribals to learn the craft.

IN www.uqconnect.net an article printed on 20th June of year 2000 in an article named “TRIBED OF MIDDLE INDIA” says Present an art of Bastar, which is quiet commercialized, has an old traditional Bastar art. Now days it is fully smoothened, defined, finishes and polished. Some Bengali artisans arrived to Bastar some 200 yrs ago and started doing the Bastar art with their essence, which gave the art a Bengali tint.

Stated by: A traditional craftsmen & national awardees, Sukhpal Dhurva and Ram Mandavi.

(J) Method of Production: The basic processes involved in wood carvings are: Sawing and leveling Splitting Paining Tracing or drawing Carving Smoothening Polishing and finishing.

Sawing and Leveling The first process is to cut the trees and make them into logs, which are then sold in the auction to the crafts men. The branches are also sawed off and used. The wood is also cut to particular sizes in the mills. Apart from this, wooden planks are also readily available in the saw mills which are purchased by the artisans as per requirements or to suit the size of the article to be carved.

65 ´- mRiknu dk rjhdk

ydM+h fp=dkjh esa ewy izfØ;k “kkfey gS

lkbax vkSj leryrk LifyfVax isbfuax V=sflax ;k vkjs[ku fp=dkjh fpdukiu pedkuk vkSj iw.kZ djuk lkbax vkSj leryrk

izfØ;k esa lcls igys isM+ dks dkVk tkrk gS vkSj yV~Bk esa cnyk tkrk gS tks fd ckn esa f”kYidkjksa dks uhykeh esa cspk tkrk gSA rguh dks dkV dj mi;ksx fd;k tkrk gSA

feyksa esa ydM+h dks fofHkUu vkdjksa esa dkVk tkrk gSA blds vykok ydM+h dks r[rk Hkh lkW feyksa esa miyC/k gskrk gS ftls f”kYidkj vko”;drk ds vuqlkj [kjhnrs gS ;k fp=dkj ds fy, oLrq vk vkdkj lgh gksA

LifyfVx

lkW feyksa esa nwljs pj.k ds rgr ydMh dks fLLifyfVax fd;k tkrk gSA f”kYidkj dks cLrj esa fp=kRed ydM+h dk;Z dk vH;kl djrs Fks] ydMh ds yV~Bksa dks dqygkMh vkSj vkjk dh enn ls fofHkUu vkdkj esa dkVk tkrk gSA gj oLrq dks cukus ds fy, f”kYidkjksa dks fofHkUu vkdkj pkfg,A dHkh&dHkh vko”;drk ds vuqlj yV~Bs ds fdukjs dks dkVK tkrk gSa

66 Splitting

The second step is splitting the wood from the saw mills. The craftsmen, who practice figurative wood work at Bastar, cut wooden logs with the help of axe and saw, in various sizes and split them into different sizes. These sizes are required by the craftsman for each article. Sometimes edges of the logs are shaven as per the suitability.

Paining The wooden logs cut into the required are then smoothen with “Randa” so that drawing can be done on them. Wood logs of particular shapes and sizes are separated according to the motifs and shapes of desired objects. Drawing on wood is known as “Nakkashi” by the craftsmen. Nakkashi is done on the smoothen piece of wood with help of pencil or chalk. The designs made by these craftsmen are traditional tribal motifs or imaginative designs. These traditional drawings are no texactly proportionate, as a result the final product also may not be in proportion.

Now a days commercial artists use various measuring devices to give accuracy to the tracings or designs.

Carving There are two phases of carving done on wood to get final shape. Rough carving Final carving

Rough Carving This process starts with chiseling out the boundary by a tool which has a V shape to mark the boundary of the design. There after unwanted areas or extra piece of wood is removed by chiseling the wood so that an outer silhouette of the design is obtained.

67 isbfuax ydMh ds yV~Bs dks vko”;drk ds vuqlkj dkVk tkrk gS ckn esa jaMk ls fpduk fd;k tkrk gS rkfd vkjs[ku fd;k tk ldsA fo’k; oLrq vkSj vko”;d oLrq ds vkdkj ds vuqlkj fof”k’V vkdkj vkSj izdkj ds yV~Bs dks vyx fd;k tkrk gSA ydM+h ij vkjs[ku dks f”kYidkj ^uDdk”kh^ dgrs gSA isafly ;k pkWd dh lgk;rk ls fpduk ydM+h ij uDdk”kh dh tkrh gSA

f”kYidkj }kjk cuk;k x;k fMtkbu ijEijkxr tutkrh; fo’k; oLrq ;k dyiuke; fMtkbu gksrk gSA bl ijEijkxr vkjs[ku esa dksbZ ewyikB vuqikr ugha gksrk ftlds dkj.k vafre mRikn Hkh vuqikr esa ugha gksrk gSA

vktdy O;kikfjd f”kYidze V=sflax ;k fzMtkbu dks “kq)rk nsus ds fy, dbZ ukiusokys lk/ku dk mi;ksx djus yxs gSA fp=dkjh

vafre vkdkj ds fy, ydM+h ij nks izdkj dh fp=dkjh dh tkrh gSA

[kqnjkiu fp=dkjhA vafre fp=dkjh A

[kqnjkiu fp=dkjh

bl izfØ;k dh “kq:vkr lhek dks vkStkj ls rjk”kus ls “kq:vkr gkrh gS tks V vkdkj dk gksrk gS tks fMtkbu ds lhek dks fu”kku nsrk gSA

68 Final Carving In this process the final detailing of the design is carried out. Following the outlines of carving is carried out. In the three dimensional figure the work is round, where as for the panel works high or low relief is followed for highlighting the bold motifs Smoothening In this process the finally carved piece is smoothened with help of filers and sand papers of different numbers. Uneven surface is smoothened by filing the surface of the article. The sand papers of 50, 60, and 80,120,150,180 are used to give it different kinds of finishes. Polishing, Finishing and Ornamentation Polishing of the article was never done earlier and was given a raw finish. But today these articles are being polished and given very different look. Before the carved object is polished and finished, a mixture (gum based adhesive and saw dust) is used to fill the gaps or cracks present, if any. Then the article is dried under Sun.

(K) Uniqueness: The use of the local mythology and culture was easily noticeable in the arts of the Bastar craftsmen. They emphasized more on their local livelihood technique and used them again and again Geometric motif by hand gives somewhat more haphazard arrangements of themes. There is a unique quality of rawness in the finish that adds to the rustic appeal of the product.

The motifs used in this craft mainly consist of the tribal life style and their livelihood. The carvings are straightforward and realistic and there is a remarkable absence of geometry design. The geometrical aspect of any product is unique i.e., for example the face was made in a squared shape, which is geometrically incorrect. The motifs were mainly tribal and they depicted the local livelihood of the tribal life.

The second type of wood carving is done in the relief technique. The item produced are wall panel depicting tribal rituals and day to day life of tribal like Ghotul group dances, market and hunting scenes, etc. Other items are murals, door panels, windows, etc.

69

mlds ckn ydM+h ds vokaNuh; {ks= ;k vfrfjDR ydM+h ds VqdMsa dks ydM+h dks rjk”kdj gVK;k tkrk gS rkfd flygV dk ckgjh fMtkbu izkIr dj ldsA vafre fp=dkjh

bl izfØ;k esa fMtkbu dk vafre C;kSjsokj o.kZu fd;k tkrk gSA ckn esa fp=dkjh dks :ijs[kk fn;k tkrk gSA rhu vk;keh vkd`fr esa dk;Z xksykdkj gksrk gS] tcfd pkS[kVk dk;Z ds fy, vU; ;k fuEu mHkM+h gqbZ uDdk”kh ds ckn lqn`< gfo’k; oLrq dks izdk”k;qDr fd;k tkrk gSA fpdukiu

bl izfØ;k esa vafre fp=dkjh fd, x;s VqMd dks jsrh vkSJ fofHkUu la[;k ds ckyw dkxt ds enn ls fpduk fd;k tkrk gSA vlarqfyr /kjkry dks olrq ls Hkjdj fpduk fd;k tkrk gSA fofHkUu izdkj dh iw.kZrk ds fy, ckyw dkxt 50] 60 vkSj 80] 120] 150] 180 dk mi;ksx gksrk gSA pedkuk] iw.kZ djuk vkSj vyadj.k

blls igys oLrq dks pedk;k ugha tkrk Fkk vkSj dPpk iw.kZrk fn;k tkrk FkkA ysfdu vkt bu oLrqvksa dks pedk;k tkrk gS vkSj fcYdqy vyx n`”; ns[kus dks feyrk gSA fp=dkjh oLrq dks pedkuk ;k iw.kZrk ls iwoZ] vxj dksbZ [kkyh txg ;k njkj gS rks mls Hkjus ds fy, feJ.k (xksan ;qDr fpifpik vkSj ydM+h dk cqjknk) dk mi;skx fd;k tkrk gSA ckn esa oLrqdks lw;Z ds uhps lw[ksu ds fy, NksM+ fn;k tkrk gSA

70

(L) Inspection body: Managing Director, CG Hastshilp Vikas Board, C-35, Ravi Nagar, Raipur (CG) Secretary, Bastar Craft Development Association, Shahid Park, Jagdalpur, CG Representative of National awardee for Bastar Wooden craft . Marketing Partner, Shabari Emporium, Hastshilp Vikas Board, C-35, Ravi Nagar, Raipur (CG) Assistant Director, O/o DC (Handicrafts), Jagadalpur, CG

71 V- vuU;rk

cLrj f”kYdkjksa dh dyk esa LFkkuh; ikSjkf.kd dFkk lkfgR; vkSj laLd`fr ds mi;ksx dks vklkuh ls ns[kk tk ldrk gSA os LFkkuh; thfodk rduhd ij T;knk tksj nsrs Fks vkSJ gkFK ls ckj ckj jSf[kdh; fo’k; oLrq dk mi;ksx djrs Fks ftlesa vfu;fer dze ls jpuk fo’k; oLrq feyrk gSA iw.kZrk esa fof”k’V vizkS<+rk dk xq.k gS tks mRikn ds nsgkrh vihy dks c<+krk gSA

bl f”kYi esa mi;ksx gksusokys dFkk oLrq esa eq[;r% tutkrh; thou “kSyh vkSj muds thfodk dk mi;ksx gksrk gSA fp=dkjh lh/ks&lh/ks Li’V vkSj lR;:I gksrs gS vkSj ;g js[kkxf.kr fMtkbu jfgr gS tks foy{k.k gSA fdlh mRikn dk jsSf[kdh; i{k fof”k’V gksrk gS tSls dh psgjk pkSdksj vkdkj dk gksrk gS] tks js[kkxf.kr ds fglkc ls xyr gSA fo’k;oLrq eq[;r% tutkrh; gksrk gS vkSJ ;g tutkrh; thou ds LFkkuh; thou dk fp=.k djrs gSA

nwljh izdkj dh ydM+h fp=dkjh mHkMh gqbZ uDdk”kh rduhd ls dh tkrh gSA blls mRikfnr oLrq nhokj pkS[kVk gS tks tutkrh; jhfr&fjokt vkSj tutlewg u`R;] cktkj vkSj f”kdkj n`”; vkfn dks n”kkZrs gSA vU; oLrq Hkhr&laca/kh] njoktk&pkS[kVk] f[kM+dh vkfn gSA r- fujh{k.k fudk;%

izca/k funs”kd] lh th gLrf”kYi fodkl cksMZ] lh&35] jfo uxj] jk;iqj (lhth) lfpo] cLrj f”kYi fodkl la?k] “kghn ikdZ] txnyiqj (lhth)@ cLrjl ydM+h f”kYi dk jk’V=h; iqjLdkj fotsrk dk izfrfuf/kA i.ku Hkkxhnkj] “kcjh ,eiksfj;e] gLrf”kYi fodkl cksMZ] lh&35] jfo uxj] jk;iqj lh th@ lgk;d funs”kd] vks@vks Mh lh (gLrf”kYi) txnyiqj (lh th)

72 73 th vkbZ & vkosnu la[;k 91

fueZy Vk;l vkSj vkVZl baMfLVª;y dks&vkijsfVo lkslkbVh fyV] ckW;l twfu;j dkWyst ds cxy esa] fueZy&504106 ftyk vfMykckn vkU/kzizns”k] Hkkjr }kjk vkosnu la-91 ds v/khu] oxZ 28 esa iMusokys ydMh ds f[kykSus dks fueZy Vk;l vkSj ØkQ~V ds jaftLVj ds Hkkx , esa iathdj.k djus gsrq vkosnu fd;k tkrk gSA izLrqr vkosnu tks ,rn~}kjk lkexzh dk HkkSxksfyd laadsr iathdj.k o lqj{kk) vf/kfu;e 1999 ds /kkjk 13 mi/kkjk 1 ds v/khu Lohd`r foKkfir gSA vkosnd % fueZy Vk;l vkSj vkVZl baMfLVª;y dks&vkijsfVo lkslkbVh fyV irk % ckW;l rwfu;j dkWyst ds cxy esa] fueZy&504106 ftyk vfMykckn vkU/kzizns”k] Hkkjr

HkkSxksfyd ladsr % fueZy Vk;l vkSj ØkQ~V oxZ % 28 lkexzh % ydMh lkexzh

,- vkosnd % fueZy Vk;l vkSj vkVZl baMfLVª;y dks&vkijsfVo lkslkbVh fyV ch- irk % ckW;l rwfu;j dkWyst ds cxy esa] fueZy&504106 ftyk vfMykckn vkU/kzizns”k] Hkkjr lh- O;fDRk;ks adk la?k@mRiknd@ laxBu@ izkf/kdkj.k dh lwph

% vkosnu fd;s tkus ij iznku fd;k tkuk gSA

Mh- lkexzh dk izdkj % gFkd/kkZ

74 G.I – APPLICAT ION NUMB ER 91

Application is made by Nirmal Toys & Arts Industrial Co-operative Society Ltd, Nirmal,.Beside Govt. Boys Junior College,Nirmal - 504106.Dist: Adilabad Andhra Pradesh ,India for registration in Part A of the register of Nirmal Toys and Craft under Application No 91 in respect of Wooden Toys falling in Class 28 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

Applicant : Nirmal Toys & Arts Industrial Co-operative Society Ltd,

Address : Beside Govt. Boys Junior College, Nirmal - 504106.Dist: Adilabad Andhra Pradesh, India

Geographical Indication : Nirmal Toys and Craft

Class : 28

Goods : Wooden Toys

(A) Name of the Applicant : Nirmal Toys & Arts Industrial Co-operative Society Ltd

(B) Address : Beside Govt. Boys Junior College, Nirmal - 504106.Dist: Adilabad Andhra Pradesh ,India

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

(D) Type of goods : Handicrafts

75 bZ- fofufnZ’Vhdj.k

iksfudh ydMh (mldk cksVkfudy uke gS ft;ksfV;k jksVjh Qkzfel) dks fueZy Vk;l cukus ds fy, mi;skx fd;k tkrk gSA bls vfMykckn ds {ks=h; taxyksa ls ik;k tkrk gSA bu f[kykSus dks vU; ydMh f[kykSus ls muesa mi;ksfxr iksfudh ydMh ds dkj.k rFkk mudh otu ls fHkUu djk ldrs gSaA bu f[kykSuksa dk vkdkj bruh lkSan;Zijd gS fd iw.kZ fd;s x;s lkexzh tSls f[kykSus] dk thoui;ZUr xq.krk miyC/k gS tks izk.kh] i{kh] Qy vkSj rjdkjh dh izkd`frd :iksa ds tSls lwpd gSA f[kykSuksa ds fy, dksbZ fof”k’V vkdkj ugha vkSj vko”;drk ds vuqlkj ,d gh :i dks fofHkUu vkdkjksa esa rS;kj djrs gSA

,Q- Hkksxksfyd ladsr dk uke (o fooj.k) % fueZy Vk;l vkSj ØkQ~V th- lkefxz;ksa dk Li’Vhdj.k fueZy Vkk;l ^iksfudh^ ydMh ls cukus izkd`frd :i gS tks dyk dk vkuUnizn lwpd gsA bu isM fueZy ds cxy ds taxy rFkk igkMksa esa ik ldrs gSA ;s f[kykSus fofHkUu vkdkj rFkk vkd`fr ds gksrs gSaA dkjhxjksa ls cuk;s tkusokys bu f[kykSus dks rhu oxksZa esa oxhZd`r dj ldrs gS% izk.kh rFkk i{kh ftuesa ck?k] fgj.k] e;wj] rksrs vkfn lfEefyr gSA

Qy vkSj rjdkjh ftlesa cSaxu] VekVj] vaxwj] vke vkfn lfEefyr gSA nsoksa rFkk nsfo;ksa dh ewfrZ tSls dke/ksuq] jke] lhrk] guqeku vkfnA ydMh ds bu f[kykSuksa dks fofHkUu jax fn;k tkrk gS] tks vkaW[kksa ds fy, vkuUnnk;d vkSj vkd’kZd gksrs gSA f[kykSus dks jaxhu djus ds fy, izkd`frd jaxksa dk mi;ksx fd;k tkrk gSA izkd`frd jaxksa dks eksMqxk isM] vukj isM ds Nky] bafMxks isM] gYnh vkfn ls {ks=h; dkjhxjksa }kjk rS;kj fd;k tkrk gSA

,p- mRiknu ds fy, HkkSxksfyd {ks= vkSjj uD”kk tSls i`’V la 86 esa fn[kk;k x;k gS

fueZy Vk;l dks fueZy “kgj esa cuk;k tkrk gS (vfMykckn ftyk)] tks gSnjkckn (vkU/kz] Hkkjr dh jkt/kkuh) ls yxHkx 280 fdyksehVj nwjh ij gSA

76 (E) Specification

Poniki’ wood (the botanical name of it being Jiuotia Rotteri Fromis) is used to make Nirmal toys, is sourced from the surrounding local forests in Adilabad. The toys can be easily differentiated from other wooden toys because of the poniki wood used and by their weight. Also the shape of toys are made so aesthetically that the finished product i.e., the toy has a life like quality which is expressive of natural forms like animals, birds, fruits and vegetables. There is no particular size for the toys and the same form is made in different sizes as per requirement.

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

Nirmal Toys and Craft

(G) Description of goods:

Nirmal toys are delightful expressions of art of natural forms made from the wood of ‘poniki’. These trees are found in the forests and hills adjoining Nirmal. The toys are of different size and shape. These toys made by the artisans can be classified into three categories: 1. Animals and birds that include tiger, deer, peacock, parrot, etc. 2. Fruits and vegetables that include brinjal, tomato, grapes, mango, etc. 3. Idols of Gods and Goddesses like Kaamdhenu, Ram, Sita, Hanuman, etc These toys of wood are painted in colors which are very pleasing and appealing to the eye. For painting the toys natural colors are used. The natural colors are prepared by the artisans themselves from locally available material like flowers of moduga tree, bark of pomegranate tree, indigo plant, turmeric, etc.

(H) Geographical area of Production and Map as shown in page no-86.

The Nirmal toys are made at Nirmal town (in Adilabad district), located at about 280 kms. from Hyderabad (capital of Andhra Pradesh , India). The area of production i.e., Nirmal Revenue Mandal is situated between 19.06 N latitude and 78.25 E longitude covering an area of 51,447 Acres.

77 mRiknu dk {ks= tSls fueZy jsoU;w eaMy 51]447 ,dM dks doj djrs gq, 19-06 ,u ysfVV~;wM vkSj 78-25 bZ ykafxV~V;wM ds chp fLFkr gSA vkbZ- ewy dk xokg (,sfrgkfld vfHkys[k)

fueZy dk iqjkuk bfrgkl] ljnkj O;fDr;ksa ls dyk vkSj laLd`fr dh vksj vifjgk;Z J)k ds lkFk cgqr gh mTtoy FkkA ;q)ksa ds fy, “kL= mRiknu djusokys 16oha “krkCnh ds nyok; ^fuEe uk;Mq ^ }kjk ^fueZy^ gh okLrfod uke fn;k x;k FkkA mUgksus vius deZpkfj;ksa dh dkjhxjh dks izksRlkfgr fd;k ftlls ydMh ij uD”kkdkjh dh dyk dks fodkl rFkk lgk;rk iznku fd;kA fueZy lnk ljnkj O;fDr;ksa dk laj{k.k ik;s A gSnjkckn ds fut+ke ydMh uDdk”kh vkSj f”kYidkjh dh vksj vksj cgqr gh vkdf’kZRk FksA dkdkfV;k] pkyqD;k] fo’.kqdqafMuh vkSj dqrqc”kkgh rFkk futke izkd`frd gsfjVst dh fodkl dh vksj va”knku iznku fd;s gS vkSj mTtoy cuus rFkk bl dyk dh mUufr ds fy, lgk;rk fd;sA

fuEek uk;Mq jktLFkku ls 400 o’kksZa ds igys 4 f”kYidkjksa dks yk;k vkSj vius dezpkfj;ksa ds f”kYidkjh dks izksRlkgu djuk “kq: fd;k ftlls fd ydMh uDdk”khdj.k dh dyk dks izkrlkgu vkSj fodkl esa lgk;rk fd;kA fueZy ml le; miyC/k ugha FkkA Lora=rk rd os gSnjkckn ds futke ds fy,dke fd;sA turk fueZy esa vkus yxs vkSj f[kykSus fodflr gksus yxs ftlds igys ek= QfuZpj vkSj fp= cukrs Fks A

lkse{kf=;k uked dkjhxj ds lewg ls bl dyk dk vH;kl fd;k tk jgk Fkk tks ^udk”k^ tkfr ds FksA Lora=rk rd os gSnjkckn ds futke ds fy, dke fd;sA izFke ys[k vkadMs rFkk feFkkWyth ls ,filksM ij vkf/kkfjr Fkk vkSj ;s dykRed lkexzh ek= FksA

n`rxfr ls ifjorZu gksusokys VªsaMksa ds lkFk lkFK fueZy dkjhxj] dyk dh ijaijkxr izFkk rFkk lw{erk ls vyx u gksdj vk/kqfud :fp ds fy, mi;qDr LVkby fodflr djus yxs A dkjhxj /kkfeZd ewfrZ;kaW cukus yxs] ij vc Qy] rjdkjh] f[kykSus rFkk xqfM;k tSls jxhu fp=.k Hkh djus yxsA ts- mRiknu dh rjhdk

1- ydMh dks Lokfn’V djuk

rktk ^iksfudh ^ ydMh lk/kkj.kr% otu esa Hkkjh gksrh gSA tSls fd taxy esa ;g ydMh i;k tkrk gS mlesa dqN o’kkZ dh ikuh miyC/k gSA ueh oLrq dks Hkki

78 (I) Proof of origin: (Historical records)

The ancient history of Nirmal had glorious past with the overwhelming admiration towards art and culture from the ruling nobility. “Nirmal” the original name was given by “Nimma Naidu” a Dalwai of the 16th century who manufactured weapons of war. He also encouraged craftsmanship of his workers thereby helping the growth and promotion of art of the wood engraving. Nirmal, always enjoyed the patronage of the ruling nobility. The Nizams of Hyderabad were very much inclined towards the ecstatic wooden engravings and craftsmanship. The Kakatiyas, the chalukyas, the VishnuKundinis, the Qutubshahis and the Nizams have contributed to the growth of cultural heritage and made it flourish and helped in promotion of the art.

Nimma Naidu 400 hundred years back brought 4 craftsmen from Rajasthan and started encouraging craftsmanship of his workers thereby helping the growth and promotion of art of the wood engraving. Nirmal then didn’t exist. They worked for the Nizams of Hyderabad until independence. People started to migrate to Nirmal, and the toys were developed, before which only furniture and paintings were made.

The craft is practiced by a community of artisans known as Somakshatriyas who belonged to the “Naqash” caste. They worked for the Nizams of Hyderabad until independence. The first articles were based on figures and episodes from mythology and were purely art objects. Keeping pace with the fast changing trends the Nirmal craftsmen have developed styles to suit the modern taste without moving away from tradition and intricacy of the art. Artisans used to make religious figures, but now are making brightly coloured depictions of fruits, vegetables, animals, toys and dolls. (J) Method of Production:

1. Seasoning of wood The fresh ‘poniki’ wood is usually heavy in weight. As the wood is found in forests so it has some amount of rain water in it. This wood is kept in the sunlight for drying to vaporate the moisture content. Seasoning is compulsory as it prevents the wood from decaying, protects it from pests and also makes the wood lighter. This usually lasts for

79 gksus nsus ds fy, lw;Z esa lw[kk gksus j[kk tkrk gSA Lokfn’V djuk blfy, vko”;d gS D;ksafd ;g ydMh dh lMu ls jksdrk gS] mls dhMksa ls cpkrk gS vkSj ydMh dks gyds Hkh cuk nsrsk gSA ;g lk/kkj.kr% iwjs o’kkZ _rq rd tkjh jgrk gSA Lokfn’V djuk ydMh ds vkdkj dks oSls gh j[kus esa lgkr;k djrk gS rFkk ydMh esa ueh dks de djus esa lgk;rk djrk gSA

2- ydMh dks dkVuk

Lokfn’V fd;s x;s ^iksfudh^ ydMh dks dfVax e”khu dks mi;ksx djds dk;Z”kkyk esa ;k; ?kjksa esa lkW dks mi;ksx djds VqdMksa esa dkVk tkrk gSSA vkdkj lk/kkj.kr% Ldks;j ;k ledks.k lekukUrj prqHkqZt gksrs gSa ftlls lkexzh dks vkxs vkdkfjr fd;k tkrk gSA ydMh dks lsUVhehVjksa esa ekik tkrk gS (lh,e,l) vkSj bls dkjhxj }kjk vko”;drk ds vuqlkj dkVk tkrk gSA

3- Hkkxksa dks tksMuk (fpUrkecyh & xk

vxj f[kykSus dks nks ;k vf/kd VqdMksa ls cuk;k tkrk gS rks fQj bu VqdMksa dks ^yIie^ mi;ksx djds tksMuk gSA (beyh chtksa dk isLV) A vxj f[kykSus dks ,d ek= VqdMs ls cuk ldrs gS rks fQfyax dks vkdqjkb (Qkbyj) dks mi;ksx djds fd;k tkrk gSA blds ckn f[kykSus ds vkdkj dks lgh O;k[;k nsus ds fy, yIie dk iz;ksx fd;k tkrk gSA

4- lq[kkuk

bu :iksa dks lw;Z esa lw[kus ds fy, j[kk tkrk gSA blds fy, nks fnu gks ldrk gS c”krsZa fd vf/kd lw;Z dh jks”kuh gksA vxj o’kkZ dh _rq gks rks bles a7 ls 15 fnu rd gks ldrk gSA vxj vkns”k la[;k esa vf/kd gS vkSj mls y?kq vof/k esa iwfrZ djuk gS rks dkjhxj :iksa dks lq[kkus ds fy, ns”kh; ghVjksa dk iz;ksx djsaxsA

5- fQfYkax

lw[ks :iksa dks fQj VWVu ds fy, tkaWpk tkrk gS vkSj vxj ns[kk tkrk gS rks ^yIie^ isLV dks mi;skx djds esaM fd;k tkrk gS A lq[kkus ds ckn] :iksa dks fQj vkdqjkb ls Hkjk tkrk gS rkfd ry dks ljy cuk ldsA bl Lrj esa fyECl] iSj] chd vkfn tSls vkdkjksa esa fooj.k ij dk;Z fd;k tkrk gSsA bls :iksa esa rh[ks ikbUVM fMªfyax midj.k dks mi;ksx djds NksVs Nsnksa dks cukdj fd;k tkrk gSA bl midj.k dks Vkspu dgk tkrk gSA ckaWlh LVse dks fQj ^yIie^ uked ns”kh; isLV esa Mqck;k tkrk gS vkSj fQj Nsnksa esa bUlVZ fd;k tkrk gSA vPNs xq.krkokys

80 the whole rainy season. The seasoning will help in retaining the shape of the wood as well it helps in reducing the moisture in the wood.

2. Cutting of the wood: The seasoned ‘poniki’ wood is cut to sizes with a cutting machine at the workshop or with a saw at homes. The shapes are usually squares or rectangles from which the product is further shaped. The wood is measured in centimeters (cms) and cut as per the requirements by the artisan himself.

3. Joining of parts (using ‘chintambali’- the thick tamarind paste) If the toy has to be made up of two or more pieces of wood then these pieces are joined using ‘lappam’ (adhesive of tamarind seeds). If the toy can be made from one solid piece of wood then filing is done using the ‘aakurai’ (filer). After this the ‘lappam’ is applied to give a proper definition to the shape of the toy.

4. Drying These forms are then kept in sunlight for drying. This can take up to two days provided the weather is clear with plenty of sunlight. In the rainy season it can take up to 7 to 15 days to dry. If the orders are plenty in number and have to be completed in a short span of time then the artisans use indigenous heaters to dry the forms artificially.

5. Filing The dried forms are then checked for cracks and if found are mended using ‘lappam’ paste and kept in sunlight for drying again. After drying, the forms are then filed with an ‘aakurai’ to smoothen the surface. At this stage the details in the shape of limbs, legs, beaks etc. are worked upon. This is done by drilling small holes into the forms with a sharp pointed drilling instrument called a ‘tochan’. Bamboo stems are then dipped in the indigenous paste called ‘lappam’ and inserted into the holes. Finer quality lappam is then used to give the final shape for the article. These forms are then left out for drying. The dried forms are then filed with sandpaper number 50 to remove the roughness of the form. Cotton cloth (purchased in the local market, it is the Indian loin cloth) is then used

81 yIie dks fQj lkexzh dks vkf[kj :i nsus ds fy, mi;ksx fd;k tkrk gSA bu :iksa dks fQj lw[kus fn;k tkrk gSA bl lw[ks :iksa dks fQj lSaMisij la[;k 50 ls Hkjk tkrk gS rkfd :iksa esa dBksjrk dks gVk ldsaA dikl diMs ({ks=h; ekdsZV esa [kjhnk tkrk gS] vkSj ;g Hkkjrh; y;u diMk gS) dks fQj f[kykus ds tksMksa dks doj djus ds fy, mi;skx fd;k tkrk gSA ;g fyac dks ,dlkFK tqMkus esa lgk;rk djrk gS vkSj vkdkj dks viukus esa lgk;rk djrk gSA

6- ^iV~Vq dk iz;ksx ^

dksey dikl diMs dks iV~Vq ls dksV fd;k tkrk gSA (beyh cht islV vkSj ikuh dk feJ.k) tks lkexzh ds tqMkoksa dks lqwn`< djrk gSA iV~Vq dks fQj ^rkih^ ds lg;ksx ds lkFk f[kykSus ds iwjs “kjhj ij iz;ksx fd;k tkrk gSA diMs dh ys;j rFkk ^iV~Vq ^ ;g lqfu”pr djrk gS fd Hkfo’; esa tqMkoksa esa dksbZ VwVu u vk;saA

7- lSaMisij la-100 mi;ksx djds dksey cukuk

lSaMisij la-100 tks dksey xq.krk ds gS dks fQj f[kykSus ds ry dks dksey djus ds fy, mi;ksx fd;k tkrk gSA

8- ^lqMkeRRkh^ dk iz;ksx

lqMkeRrh uked ,d feJ.k (unh rVksa ;k dukyksa ds lehi ij ik;s tkusokys Dys) ] ikuh vkSj ,Uoyi xe dks :iksa esa fxygjh cky cz”k mi;ksx djds iz;ksx fd;k tkrk gSsA ;g isLV ds :i esa dk;Z djrk gS vkSj jxhu djus ds fy, ,d vPNk ry Hkh iznku djrk gSA ;g jax djus ds nkSjku f[kykSus ls viuk;s tkusokys jax dh ek=k dks de dj nsrk gsA lw[kus ds fy, cgqr le; ugha gksrh gSA bl izfØ;k ds ckn] vxj dksbZ VwVu ry ij nh[krk gS] fQj ^fpjh^ dgs tkusokys NksVS dkxt dh fLVªi idks ^iV~Vq^ iz;ksx djds bu VwVuksa ij iz;ksx fd;k tkrk gSA

9- dyfjax vkSj okfuZf”kax

dkjhxj izkd`frd jaxksa ls ,d jax pqu ldrk gSA izkd`frd lQkbZ jax dks iz;ksx djus ds ckn] jaxhu isbUV ds dksVksa dk iz;ksx fd;k tkrk gsA lkekU;r% dksVksa dh la[;k mi;ksxfxr jax ij vk/kkfjr djds fu.kZ; fy;k tkrk gsA vkaW[k [khapuk] Qj] Vsby vkfn tSls lw{e fooj.kksa dks var esa fpf=r fd;k tkrkg sA vafre jax iz;ksx ds ckn bfUlMkWy rsy vkSj xzkmUM uV rsy dks f[kykSus ds fy, XykWlh fQfu”k iznku djus ds fy, iz;ksx fd;k tkrk gS ;g jax dh thou vof/k dks c

82 to cover the joints of the toys. This helps in reinforcing the limbs together and helps in retaining the shape.

6. Application of ‘Paatu’ The fine cotton cloth is coated with ‘paatu’ (a mixture of tamarind seed paste and water) which reinforces the joins of the article. ‘Paatu’ is then applied on the whole body of the toys with the help of ‘Taapi’. This layer of cloth and ‘paatu’ make sure that no cracks appear on the joints in the future.

7. Smoothening using sandpaper no. 100 Sandpaper of number 100, which is of a finer quality, is then used to smoothen the surface of the toy.

8. Application of ‘Suddamatti’ A solution of ‘suddamatti’ (clay found on river beds or near canals), water and envelope gum is applied onto the form using squirrel hair brushes. This works as an adhesive and also provides a fine surface for painting. It also reduces the amount of color absorbed by the toy during painting. It does not take much time to dry. After this process, if any cracks appear on the surface, then small strips of paper called ‘chiri’ are pasted onto these cracks using ‘paatu’.

9. Coloring & varnishing The artisan can select color from a variety of natural color paints. After the application natural white color, coats of coloured paints are applied. Generally the number of coats is decided depending upon the color used. The finer details are painted at the end like painting the eyes, fur, tail etc. After the final painting, Incidol oil and ground nut oil is used to give a glossy finish on the toys. This mixture not only gives a glossy finish but also increases the life span of the color. It takes approximately 1 day for the oil to dry. These toys are then packed and sealed in transparent cellophane bags and sent to the showroom for sale.

83 rsy dks lw[kus ds fy, yxHkx ,d fnu yxrk gSA bu f[kykSus dks fQj iSd fd;k tkrk gS vkSj VªkULijsUV lsyksisu cSxksa esa iSd vkSj lhy fd;k tkrk gS vkSj “kks:e dks fcØh ds fy, Hkstk tkrk gSA ds- vuks[kkiu

fueZy Vk;l] tSls fd lq>ko nsrk gS xkWo fueZy ls ik;k x;k gS vkSj Hkkjr ds gFkd/kkZ lsDVkWj ds v/khu vkrk gSA blesa dqN vuks[kk Qhpj miyC/kgS] tks bUgsa vU; gFkd/kkZ f[kykSus ls fHkUu djkrk gSA ^iksfudh^ ydMh dks fueZy f[kykSus cukus ds fy, mi;ksx fd;k tkrk gS ;g vfMykcsM ds cxys ds {ks=h; taxyksa ls ik;k tkrk gSA ^yIie^ tSls isLV (beyh isLV vkSj lkW MLV ls cuk;k) gYds otu (tSls fd ydMh Lokfn’V fd;k x;k gS)] f[kykMh izkd`frd :i lwfpr djrk gS( fpfM;k] izk.kh] Qy] rjdkjh vkfn)A nks ydMh ds Cykdksa ds chp tksMusokys oLrq ds :i esa ckaWl LVse dk;Z djrk gSA vafre isbfUVax ds igys bu f[kykSusa dks dksey dikl diMs ls doj fd;k tkrk gS A ^yIie^ dks iz;ksx djus ds fy, ^rkih^ ,d ns”kh; ;a= gS A lkefxz;ksa esa jaxhu fd;s tkusokys lw{e fooj.k lkexzh dks n`f’Vxr VsDLpj iznku djrk gSA

,y- fujh{k.k ckWMh

ckg~; lnL; lfEefyr mfpr] Lora= vkSj izHkkoh fujh{k.k ckWMh dks lsV vi djus ds fy, vkosnd }kjk dk;Zokgh fy;k tk jgk gSA

84 (K) Uniqueness:

Nirmal toys, as the name suggests comes from a village Nirmal and comes under the handicrafts sector of India. It has some very unique features which makes them different from other hand-made toys. • ‘Poniki’ wood is used to make Nirmal toys, is sourced from the surrounding local forests in Adilabad. ‘lappam’ i.e., adhesive (made of tamarind paste and saw dust) • Light weight (as the wood is seasoned) • Toys depict natural forms (birds, animals, fruits, vegetables, etc.) • Bamboo stems act as the joining material between two wooden blocks. • Before the final painting these toys are covered with fine cotton cloth • ‘taapi’ is an indigenous tool used to apply ‘lappam’ • The intricate details painted on the products give a visual texture.

(L) Inspection body:

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

85 86 th vkbZ & vkosnu la[;k 59

isVUV bUQjes”ku lsUVj] MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh] Hkkjr }kjk vkosnu la-59 ds v/khu] oxZ 15 esa iMusokys eM~Mye&xhr ;a= dks eM~Mye vkWQ ikyDdkM ds jaftLVj ds Hkkx , esa iathdj.k djus gsrq vkosnu fd;k tkrk gSA izLrqr vkosnu tks ,rn~}kjk lkexzh dk HkkSxksfyd laadsr iathdj.k o lqj{kk) vf/kfu;e 1999 ds /kkjk 13 mi/kkjk 1 ds v/khu Lohd`r foKkfir gSA vkosnd % MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh irk % MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh

HkkSxksfyd ladsr % eM~Mye vkWQ ikyDdkM oxZ % 15 lkexzh % eM~Mye & xhr ;a=

,- vkosnd % MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh ch- irk % MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh lh- O;fDRk;ks adk la?k@mRiknd@ laxBu@ izkf/kdkj.k dh lwph

% vkosnu fd;s tkus ij iznku fd;k tkuk gSA

Mh- lkexzh dk izdkj % gFkd/kkZ

87 G.I – APPLICAT ION NUMB ER 59

Application is made by Patent Information Centre, Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, West Block No. 7, RK Puram, New Delhi, India for registration in Part A of the register of Maddalam Of Palakkad under Application No59 in respect of maddalam –music instrument falling under Class 15 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

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

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

Geographical Indication : MADDALAM OF PALAKKAD

Class : 15

Goods : maddalam – music instrument

88 bZ- fofufnZ’Vhdj.k

vkdkj esa xksyh; eM ~Mye dV~gy ydMh ds ,d VqdMs ls uDdk”khd`r fd;k tkrk gSA bl cMs uDdk”khd`r Mªe ds gkWyks dksus dks xk; rFkk HkSal peZ ds feJ.k ls vko”;d isjdq”ku izHkko ikus ds fy, lqn`< :i ls LVªsi fd;k tkrk gSA vkarfjd fjax ds fy, xk; dh gkbM tcfd ckg~; fjax ds fy, HkSal dh gkbM dk mi;ksx fd;k tkrk gSA nk;kaW dksus ds dsUnz esa ,d dkyk isLV dk LFkkbZ LikV jgsxkA bl dkyk LikWV Mªej dks fo”ks’k Vksu fuekZ.k djus esa lgk;rk djrk gSA nks rjg ds eM~Mye gksrk gS & lq/kk eM~Mye vkSj rkWih eM~MyeA izFke dks diMs tfj;s Mªej ds osbLV esa ckaW/k fn;k tkrk gS tcfd ckn ,d NksVs o”kZu gS ftls xys esa ls lLisaM fd;k tkrk gSA

,Q- Hkksxksfyd ladsr dk uke (o fooj.k) %

eM~Mye vkWQ ikyDdkM th- lkefxz;ksa dk Li’Vhdj.k

eM~Mye dsjy esa dFkdyh] iapok/;e vkSj dsyh vkfn tSls eafnj dyk :iksa ds fy, mi;ksfxr isjdq”ku okn~; gSA eM~Mye dk nks izdkj gS & lq/kk eM~Mye vkSj rksih eM~MyeA izFke dks diMs tfj;s Mªej ds osbLV esa ckaW/k fn;k tkrk gS tcfd ckn ,d NksVs o”kZu gS ftls xys esa ls lLisaM fd;k tkrk gSA

,p- mRiknu ds fy, HkkSxksfyd {ks= vkSj uD”kk tSls i`’V la 96 esa fn[kk;k x;k gS vkbZ- ewy dk xokg (,sfrgkfld vfHkys[k)

f”ko ds u`R; esa eq[; lEesyu gksus ds dkj.k ls eM~Mkye dks ,d nSfod okn~; ;k nso okn~; dgk tkrk gSA eM~Mye 13 oha “krkCnh dh gSA

eM~Mye dsjy esa mi;ksfxr fdlh isjdq”ku okn~; ds tSls eafnj jhfr&fjoktksa vkSj R;ksgkjksa ;k eafnj fFk;sVjksa ls lacaf/kr gSA cgqr gh ØwMLV Qksd izdkj dk Hkh ,d fjpqoysfLVd mi;ksx gSA eq[;r% dbZ okn~; cgqr gh lkekU; gS vkSj vk;Z rFkk vvk;kZ iwtk dsUnz nksuksa ds chp izfln~/k gSA buesa ls cgqrksa dks fofHkUu fo”oklksa ds turk ls vius /kkfeZd rFkk lkekftd R;ksgkjksa esa mi;ksx fd;k tkrk gSA /keZ ds tSls] tkfr dk Hkh bu okn~;ksa ds lkFk dqN fof”k’Vrk jgrk gSA turk blesa fof”k’V /;ku nsrs gS fd mUgsa ikjaifjd ifjokjksa ls ek= gh mi;ksx fd;k tkuk gS

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

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

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

(D) Type of goods : Handicraft

(E) Specification :

Cylindrical in shape maddalam is chiseled out of a single piece of jack wood. The hollow ends of this elongated chiseled out drum are tightly strapped with a combination of cow and buffalo leather to create the required percussion impact. Cow hide is used for the inner ring whereas for the outer ring buffalo hide is used. At the center of the right end is a permanent spot of black paste. This black spot helps the drummer create special tones. There are two varieties of maddalam- Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.

(F) Name of the Geographical Indication

MADDALAM OF PALAKKAD

90 ftuds xoZiw.kZ gsfjVst esa mudh j[kj[kko rFkk viukiu vkSj izn”kZu dh nh?kkZof/k vfHkys[k miyC/k gSA

iapokn;e ikaaWp isjdq”ku okn~;ksa dk lfEeJ.k gS] ijaijkxr rkSj ij eafnj R;ksgkjksa ls tqMk gSA iap okn~;e (ikaWp okn~;) ,d vuks[kk dyk gS ftles ikaWp xhr okn;ksas (eM~Mye] bMDdk] frfeyk] dksacq vkSj ,yFkkye) ls rFkk “kadq (dkaWp) vkSj dqGy tSls nks vkfDlysjh;ksa ls mn`r ukn dks fofHkUu fipksa esa fladzksukbt fd;k tkrk gSA ;g dFkdyh vksj eksfguh vkV~Ve u`R; :iksa dk ,d vfHkUu vax gSA ;g e`naxe ds tSls gSA eM~Mye] nf{k.k Hkkjr ds Dykfldy Mªe gSA vkSj bls oksdy] ;kaf=d rFkk u`R; fu’iknuksa ds lg;ksxh ds :i es ami;ksx fd;k tkrk gSA

iqjk.kksa esa O;k[;k fd;s x;s ikaWp rjg ds okn~;ksa esa ls vkSj jkT; esa vc Hkh miyC/k okn~;kas esa ls ;g Mªe vxzlj gS vkSj blesa vf/kdre izdkj miyC/k gSA xkuk ;k /kkrq blds ckn vkrk gS vkSjfQj lqf”knk ;k gok A ts- mRiknu dh rjhdk

dPpk lkexzh

dVgy ydMh

peZvkSj isLV vkStkj

okypq mfy (osUV fplsy)] okV~Vok;u ;qfy (eqMs dksus ds lkFk fply)] nks b#Ecq dksfDd (ekjus ds fy, mi;ksfxr pkaWnh dh vkStkj] gFksMh ds tSls)] nks dS bM rjku mfy (fo”ks’k vkdkj ds fplsy) dksfMy (Iyk;j)] fr#fy (peZ esa Nsn cukus ds fy, rh[ks vkStkj)] fr#fy (rh[ks dksus ds fcuk igys gh miyC/k Nsn dks xgjk djus ds fy, mi;ksfxr)] okydRRkh (peZ ds rh dks LdkfiZax djus ds fy, mi;ksfxr)] dksyqrq vkSj dPpk (gwd vkSj diMs ftUgsa peZ czslksa dks lqn`< djus ds fy, osbLV ij ckaW/kk tkrk gS )

ydMh ds ykWx dks vko”;d vkdkj esa dkVk tkrk gS vkSj gkFk ls mi;ksfxr vkStkj ls fplsy fd;k tkrk gSA dksus dks ,d Qkby mi;ksx djds dksey fd;k

91 (G) Description of goods:

M addalam is a percussion instrument used in Kerala for the temple art forms like Kathakali, Panchavadyam, and Keli etc. There are two varieties of maddalam- Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.

(H) Geographical area of production and maps as shown in page no-96.

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

Maddalam is considered to be a divine instrument or “Deva vadya” on account of its inclusion as a major accompaniment in the dance of Shiva. M addalam dates back to 13th century.

Maddalam like any other percussion instrument used in kerala is connected either with temple rituals and festivals or with temple theatres. Even the crudest folk varieties have a ritualistic purpose. Interestingly, many of the instruments are common and popular with both Aryan and non-Aryan worshipping centres. Most of them are used even by people belonging to different faiths in their religious and social functions. Like religion, caste too has little significance with the instruments. The people are particular only that they should be handled by traditional families in whose proud heritage there is a long record of their possession, maintenance and presentation.

Panchavadyam, an ensemble of five percussion instruments, is traditionally associated with temple festivals in Kerala. Pancha vadyam (the five instruments) is a unique art in which sound emanating from five musical instruments (Maddalam, Idakka, Timila, Kombu and Elathalam) and two auxiliaries, Sankku (conch) and Kuzhal, in varying pitches are syncronised. It is an indispensable accompaniment for the Kathakali and M ohini Attam dance forms. It is very similar to the mridangam. The maddalam is the classical drum of South Indian and is used as an accompaniment for vocal, instrumental and dance performances.

Of the five types of instruments described in the classics and still prevalent in the state, the drums stand foremost, and have maximum varieties. Ghana or metals come next and then, the sushida or the wind.

(J) Method of Production:

Raw Materials

Jack Wood. Leather and adhesives.

92 tkrk gSA eMmYke dh vko”;d :i izkIr djus ds fy, ysFk e”khu dks fodYi ds :i esa mi;ksx fd;k tkrk gSA mfpr peZ dks pquk tkrk gS] ftUgs aigys Ldzsi fd;k tkrk gS ckn esa lw[kk tkrk gSA peZ dks fQj ,d xkSy :i esa dkVk tkrk gS vkSj fQj fLVªiksa esa dkVk tkrk gS ftUgsa eM~Mye rS;kj djus esa mi;ksx fd;k tkrk gSA izFker% peZ gwIl dks Mªe ckWMh ds Åij ckaW/kus ds fy, ysFkj VkWx dks lh/ks fd;k tkrk gSA blds ckn HkSal gkbM ls dkVs xksykdkj dks fVªe fd;k tkrk gS A xksykdkj peZ dh vkarfjd Hkkx dks Ldzsi djrs gq, lkQ fd;k tkrk gS vkSj ck~g~; ry dks mlds ry dks dBksj djus ds fy, Ldzi fd;k tkrk gSA lHkh Åij ds peksZa dksk vanj dh vksj f”kQV djds peZ ds vUnj 4 Nsn fd;k tkrk gSA blds ckn LykV fplsy ls iap fd;ktkrk gSa pkj peZ fLVzi ds lkFk gkbM xksykdkj dh dkEiksflV dks dksus esa lqn`< fd;k tkrk gSA\

vkxs LykWV ds fy,] VsEIysLV dh lgk;rk ds lkFk fpafgr fd;k tkrk gS vkSj vanj bUVjysl djus ds fy, gwi ds fy, 34 LykWV iap fd;k tkrk gSA fQj peZ czsl dks izFke LykWV ij FksM fd;k tkrk gSA IysbfVax dk;Z “kq: gks x;k gS] IysbV ds dsUnz esa nks vkxs dh LVzsi bUlVZ fd;k tkrk gSA IysbV izR;sd FkzsfMax ds lkFk VSU”kUM gks tkrk gSA izh LVªsVfpax ds lkFk xk; peZ dks ,d jLlh dh lgk;rk ls Mªe ds lkFk ckaW/kk tkrk gS vkSj nwljh vksj ,d oy;e ds lkFk ckaW/kk tkrk gSA gwi esa esEczsu xk; peZ fLVªi ds lkFk lqn`< gks tkrk gSA fLVªi dks fQj esEczsu ckMZj ls tqMk tkrk gS vkSj mls vius txg esa nck;k tkrk gSA Mªe ij gsMksa dks nck;k tkrk gS vkSj ckWMh ij vLFkkbZ QkLVfuax fd;k tkrk gSA QkLVfuax czsl dks LFkkbZ HkSal peZ czsl ls iqu%LFkkiu fd;k tkrk gSA czzl dks lqn`< djus ds ckn rFkk V~;wfuax ds ckn eM~Mye rS;kj gSA ds- vuks[kkiu

eM~Mye dks ,d nSfod okn~; ekuk tkrk gSa ;g ijaijkxr@lkaLd`frd vfHkO;fDr dk :i gSA ;g iapokn~; dk eq[; lfEeJ.k gS vkSj ;g ijaijkxr rkSj ij dsjy ds eafnj R;ksgkjksa ds lkFk tqMk gSA bls dsjy ds ikyDdkM ftyk esa gh rS;kj fd;k tkrk gSA bl {ks= ds dkjhxj eM~Mye rS;kj djus dh dyk esa prqj gSA

,y- fujh{k.k ckMh

ckg~; lnL; lfEefyr mfpr] Lora= rFkk izHkkoh fujh{k.k ckMh dks fuekZ.k djus ds fy, vkosnd ls dne fy;k tk jgk gSA

93 Tools:

Valchu uli (bent chisel), vattavayan uli (chisel with curved end), two irumbu kotti (iron tools used for hitting, used like a hammer), two kai eda tharan uli (special shaped chisels) Kodil (plier), tiruli (pointed tool for making holes in leather), tiruli (without a sharp tip used for widening existing holes), valkathi (used for scarping surface of the leather), koluthu & kacha (hook & cloth tied around the waist used for tightening the leather braces).

Wooden log is cut into the required size and chiseled out using hand tools. The edges are smoothened using a file. The lathe machine is alternatively used to obtain the required form of the maddalam. Appropriate leather is selected, which is first scraped and then dried. The leather is then cut into circular form and also into strips which are both used in making the madallam Firstly the leather thongs for tying the leather hoops over the drum body is straightened. After which a circle cut of buffalo hide is finely trimmed The inner face of a circular skin is cleaned by scraping it and the outer surface is scraped to roughen its surface. Four holes are punched through the skins with all the upper skins slightly shifted inward. After which slots are punched with chisel. The composite of hide circles are fastened on the edge with four leather strips.

Marks are made for further slots with help of a template and the 34 slots are punched for the hoop to be interlaced through. Then a leather brace is threaded into the first slot The plaiting work has thus begun, two further straps are inserted into the center of the plait. The plait becomes tensioned after each threading. For pre-stretching, cow skin is tied with a rope onto the drum and tied against the valayam at the other end. The membrane in the hoop becomes strengthened with cow leather strips. The strips are then stuck onto the membrane border, and it is pressed in its place. The heads are pushed onto the drum and temporary fastening of the heads on the body is done. The fastening brace is replaced by the permanent buffalo leather brace. After tightening of the brace and tuning the maddalam is ready.

(K) Uniqueness:

Maddalam considered being a divine instrument is a form of traditional /cultural expression. It is an essential accompaniment of Panchavadya and is traditionally associated with temple festivals in Kerala. It is made only in Plakkad district of Kerala. The artisans of this area are skilled in the art of making of M addalam.

94 (L) Inspection body

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

95 96 th vkbZ & vkosnu la[;k 58

isVUV bUQjes”ku lsUVj] MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh] Hkkjr }kjk vkosnu la-58 ds v/khu] oxZ 27 esa iMusokys dsjy dh LØw ikbu ØkQ~V jaftLVj ds Hkkx , esa iathdj.k djus gsrq vkosnu fd;k tkrk gSA izLrqr vkosnu tks ,rn~}kjk lkexzh dk HkkSxksfyd laadsr iathdj.k o lqj{kk) vf/kfu;e 1999 ds /kkjk 13 mi/kkjk 1 ds v/khu Lohd`r foKkfir gSA vkosnd % MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh irk % MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh

HkkSxksfyd ladsr % dsjy dh LØw ikbu ØkQ~V oxZ % 27 lkexzh % esV] Mksj esV] nhokj gSafxax] fcLrj esV] izkFkZuk esV

,- vkosnd % MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh ch- irk % MsoysIesaV dfe”uj (gFkd/kkZ)] VsDLVkby ea=ky;] Hkkjr ljdkj] osLV Cykd la-7] vkj ds iqje] ubZ fnYyh lh- O;fDRk;ks adk la?k@mRiknd@ laxBu@ izkf/kdkj.k dh lwph

% vkosnu fd;s tkus ij iznku fd;k tkuk gSA

Mh- lkexzh dk izdkj % gFkd/kkZ

97 G.I – APPLICAT ION NUMB ER 58

Application is made by Development Commissioner (Handcrafts), Ministry of Textiles, government of India, West Block No.7, RK Puram, New Delhi, India for registration in Part A of S crew pine craft of Kerala under Application No 58 in respect of Mat, door mats, bed mats, prayer mats and Wall hangings falling under Class 27 is hereby advertised as accepted under sub-section (1) of section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.

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

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

Geographical Indication : S crew pine craft of Kerala

Class : 27

Goods : (Mat), door mats, Wall hangings, Bed mats, prayer mats

98 bZ- fofufnZ’Vhdj.k

LØw ikbu] ikaMkuql ;qfVfyl ds iRrs bl dyk ds fy, mi;ksx fd;k tkrk gSA enZ ikS/kksa ds ?kfV;k iRrksa ds rqyu esa Js’B xw< iRrksa ds fy, dkjhxj L=h ikS/kksa dks vf/kekU;rk nsrs gSaA nks IykbZ LØw ikbu esV esa Js’B vij ys;j vkSj fuNys Hkkx esa ?kfV;k ys;j miyC/k gS] ftlds dksus esa Vkadk tkrk gSA lwij Qkbu esV dks cgqr gh Js’B LØw ikbu iRrs fLiyV] ftUgsa 8 ls 10 izfr bap esa j[kk tkrk gS esa i”k j[kk tkrk gSA izfr bap 22 fLifYaVokys mPp xq.krk esV dks Hkh vuqHkoh dkjhxjksa }kjk rS;kj fd;k tk ldrk gSA th- Hkksxksfyd ladsr dk uke (o fooj.k) %

dsjy dk LØw ikbu dyk

,p- lkefxz;ksa dk Li’Vhdj.k

lkexzh dks LØw ikbu ds lkFk rS;kj fd;k tkrk gS ftlesa Vscy esV] Qyksj esV] dq”ku doj] dksLVj] cSx] ckWDl doj] chp gSV] gSaMcSx vkSj nhokj gSafxx lfEefyr gSA eSV dks vDlj Js’B gkFk ,EczkbMjh ls lqUnj fd;k tkrk gSA nks Iykb LØw ikbu esV dks lksus ds fy, mi;ksx fd;k tkrk gSA vkbZ- mRiknu ds fy, HkkSxksfyd {ks= vkSj uD”kk tSls i`’V la 105 esa fn[kk;k x;k gS ewy dk xokg (,sfrgkfld vfHkys[k)

dsjy dh cgqr gh iqjkuh dkWVst dyk rkGki;k@ LØw ikbu esV dks LØw ikbu ls cuk;k tkrk gS ftUgsa mlh {ks= esa mRiknu fd;k tkrkgSA rkGki;k csM esV ls vkfFkZzfVd nnZ ls eqDr ik ldrs gSa ,slkekuk tkrkgSA yxHkx 800 o’kZ iqjkus bl dyk dks L=h vius ?kj esa vH;kl djrh gSA LØw ikbu esV dsjy ds ikjaifjd dLVe esa fof”k’V Hkwfedk fuHkk;k gSA vkxUrqdksa dks cSBus ds fy, esV fn;k tkrk FkkA vkxUrqd tks rqyu esa cgqr gh de Lrj ds gSa mUgsa rMdq uked lk/kkj.k LØw ikbu esV fn;k tkrk FkkA Js’B Lrj ds vkxUrqd dks esFki;k ;k dfpik;k uked Js’B xq.krk LØw ikbu esV fn;k tkrk FkkA ijaijkxrk ;s tqykgs dqjok lewg ds gksrs gSa tks dqaVk] dqjou] iuZ] dkdk vkSj ikaMh uked pkj oxksZa esa vkrs gSA leFkZu nLrkost http:www.hindu.com/lf/2004/05/20/stories/20040520012802000.htm

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

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

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

(D) Type of goods : Handicraft

(E) Specification

Leaves of Screw-Pine, Pandanus utilis are used for this craft. Craftsmen prefer the female plant for its fine subtle leaves than the male plants coarse leaves. The two-ply screw pine mat consists of a fine upper layer and a coarse bottom one, with stitching at the edge. Super fine mats are made of very fine screw pine leaf splints placed 8 to 10 per inch. High quality mats of up to 22 splints per inch can also be made by experienced artisans.

(F) Name of the Geographical Indication

Screw pine craft of Kerala

(G) Description of goods:

The products being made with screw pine include table mats, floor mats, cushion covers, coasters, bags, box covers, beach hats, handbags and wall hangings. The mats are often embellished with fine hand embroidery. The two-ply screw pine mat is used for sleeping on.

(H) Geographical area of production and maps as shown in the page no-105.

100 ts- mRiknu dh rjhdk

dPpk lkexzh

LØw ikbu] ikaMuql ;fVfyl dk fijekbMy] dqN le; vfu;fer] [kqys ij vf/kd “kk[kkd`r flygkSVh] dksey] LVªkSV Vªad ftUgsa rhu QqV nh?kZ rFkk rhu bap xgjs iw.kZ] xzslQqy nh?kZ] irys iRrksa ds xzslQqy gsM gksrs gSa tks LVch ”kk[kkvksa ls Likbjyh mxrs gSaA LØw ikbu ,d eksuksdkWV gS vkSj ?kkl] vkfpZM vkSj ikWe ds fudV fj”rk ds gksrs gSA bl ikS/ks ds fy, lkekU; uke mlds “kk[kkvksa ds cxy esa izcaf/kr Likjyh O;ofLFkr LVªªsi tSls Likbuh iRrksa ls mRiUu gqvkA L=h ikS/ks iRrs cgqr gh ljy rFkk Hkquus ds fy, Js’B gksrs gSA LØw ikbu 60^ ÅaWpkbZ rd igqasWp ldrk gS ij ;g 25^ ÅaWps rFkk15^ xgjs gksrs gSA vkStkj

LØw ikbu mi;ksx djus ds igys lkQ djus dk dke cgqr gh lrdZrk ls fd;k tkrk gS ugha rks ;g ?kko igqaWpsxkA Likbu dks ukfj;y Qkbcj mi;kx djds gVk;k tkrk gS vkSj VsUMj iRrs dks lrdZrk ls lkQ fd;k tkrk gSA eq[;r% rkGik;k ;k LØw ikbu esVksa dks ek= vkSjr gh cukrs gSa A izfØ;k

lkQ fd;s x;s iRrs dks] iRrksa dh okLrfod yackbZ dks fcuk ck/kk igwaWprs gq, vk/ks esa fLIyV fd;k tkrk gSA bu nh?kZ rFkk laldh.kZ iRrksa dks xje fd;k tkrk gS vkSj rkt+k ikuh esa jkr esa varj.k djds j[kk tkrk gSA bu iRrksa dks lw[kk fd;k tkrk gS vkSj ,d ;k nks fnu esa budh jax vkbojh cu tkrh gSA ,d ckj lw[ks iRrksa pkdw mi;ksx djds lh/ks djus ds ckn mUgsa jksy djds j[kk tkrk gS vkSj Hkquuk “kq: djus rd caMy djds j[k tkrk gSA oho tks mi;ksxfxr gS og ,d osQV iRrs ls tksnks okiZ iRrsa ds chp Mk;xuyh pyrk gSA

fLIyV dks mudh izkd`frd vkbojh jax esa Hkquk;ktkrk gS ;k fofHkUu “ksMksa esa Mkb fd;k tkrk gSA Mkb fd;s x;s LØw ikbu] tc Hkquk;ktkrk gS esa vkd’kZd”ksM izHkko gksrkgS tks izkd`frd cqfu;knh jax dh osfj;s”ku ij vk/kkfjr gSA ,d flaxy ys;j rkGki;k cukus ds fy, vxj ,d vkneh ,d fnu esa 8 ?kaVk dke djrs gS rks yxHkx 15 fnu yxrk gSA ,d nks ys;j fd;s fcLrj esV rS;kj djus ds fy, ,d eghus rd yxrk gSA ewY; tqMko ds fy, iwfrZ fd;s x;s lkexzh ij ,eczkbMjh fd;k tkrk gSA vko”;d ,EczkbMjh isVuZ dks Vªsflax dkxt ij Vªsl fd;k tkrk gS vkSj bl dkxt dks lkexzh ds Åij flyk;k tkrk gSA ,EczkbMjh dks dkxt dks

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

One of the oldest cottage crafts of Kerala the thazhapaya/screw pine mat is woven from screw pine which grows locally. Thazhapaya bed mats are believed to alleviate arthritic pain. Over 800 years old this craft is practiced by women in their homes. Screw pine mats have played significant role in the traditional customs of Kerala. Traditionally mats were offered as seats to visitors. A visitor of comparatively low status was offered a ordinary screw pine mat called Thadakku. The visitor of superior rank was given a superior quality screw pine mat called M ethapaya or Kachipaya. Traditionally the weavers are from Kurava community which fall in to four categories namely Kunta, Kuravan, Purn, Kakka, and Pandi.

Supporting document produced http:www.hindu.com/lf/2004/05/20/stories/2004052001280200.htm

(J) Method of Production:

Raw Material:

Screw-Pine, Pandanus utilis has a pyramidal, sometimes irregular, open, but much- branched silhouette, the smooth, stout trunks topped with full, graceful heads of long, thin leaves, three feet long and three inches wide, emerging spirally from stubby branches. Screw pine is a monocot and instead is a close relative of grasses, orchids and palms. The common name for this plant originated from the strap-like spiny leaves spirally arranged around its branches. Screw pines are dioecious, meaning male and female flowers are born on separate plants. Though male plants produce tiny fragrant flowers, craftsmen prefer the female plant for its fine subtle leaves than the male plants coarse leaves. The female plants leaves are much more fine and better for weaving. The screw pine is capable of reaching a mature height of 60' tall but is typically 25' tall and 15' wide

Tools: The work of cleaning the screwpine leaves before they can be used has to be done very carefully or else it can lead to injury. The spine is removed using a coconut fiber and the tender leaf cleaned carefully. Interestingly, only women craft the thazhapaya or screw pine mats.

Process: Cleaned leaves are spilt in half without disturbing the original length of leaves. This long and narrow leaves are boiled and transferred and kept in fresh water overnight. The leaves are dried and within one or two days it becomes ivory in color. Once dry the leaf is straightened using a knife and kept rolled and bundled until the weaving begins. The weave used is with one weft leaf going diagonally between two warp leaves. Tools used for making a reed.

102 ekxZnf”kZdk ds :i esa mi;ksx djds fd;k tkrk gSA ,EczkbMjh dks iwfrZ djus ds ckn] dkxt dks lkexzh ds mPpre Hkkx ls QkMk tkrk gSA ds- vuks[kkiu

Mkb fd;s x;s LØw ikbu tc Hkquk;k tkrk gS esa ,d vkd’kZd “ksMM izHkko jgrk gS tks izkd`frd cqfu;knh jax dh fofHkUurk ij vk/kkfjr gSA ,d flaxy ys;jMZ rkGkik;k dks rS;kj djus ds fy, vxj ,d O;fDr ,d fnu esa 8 ?kaVs dke djrk gS rks 15 fnu yxrk gSA ,d 2 ys;jokyh fcLrj esV rS;kj djus ds fy, ,d eghus yxrk gSA bl dyk dks dsjy esa ek= vH;kl fd;k tkrk gSA Ldzw ikbu ,d vuks[kk dyk gS ftls dsjy ds dqjok lewg dh L=h] fof”k’V :i ls vH;kl djrh gSA

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ckg~; lnL; lfEefyr mfpr] Lora= rFkk izHkkoh fujh{k.k ckMh dks fuekZ.k djus ds fy, vkosnd ls dne fy;k tk jgk gSA

103 The splints are either woven in their natural ivory color or are dyed in various shades. The dyed screw pine, when woven has an interesting shaded affect, which is based on the variations of the natural base color. A single layered thazhapaya takes approximately 15 days to make if a person works 8 hrs a day. A two layered bed mat takes up to 1 month to prepare. For value addition embroidery is done on the finished product. The required pattern of the embroidery is traced on a tracing paper and the paper is stitched on top of the product. The embroidery is done using the paper as a guideline. After the embroidery is finished, the paper is torn from the top of the product.

(K) Uniqueness:

The dyed screw pine, when woven has an interesting shaded effect, which is based on the variations of the natural base colour. A single layered thazhapaya takes approximately 15 days to make if a person works 8 hrs a day. A bed mat containing 2 layers takes up to 1 month to prepare.This craft is practiced only in Kerala. Screw pine is a unique craft practiced exclusively by Kurava community women of Kerala.

(L) Inspection body

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

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