Credits: Research Team: Aditya Desai, Anushka Kelkar, Bhavya Kakkar, Dhwani Vora, Eshita Mohan, Jaiaditya Singh Sethi Content Writing Team: Aditya Desai, Dhwani Vora Layout Team: Anushka Kelkar, Eshita Mohan Media Team: Bhavya Kakkar, Dhwani Vora, Jaiaditya Singh Sethi Illustrations team: Bhavya Kakkar, Dhwani Vora, Eshita Mohan
Copyright ©2023 NIFT All rights reserved. No part of this craft research document may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the author or the National Institute of Fashion Technology, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. . National Institute of Fashion Technology , Mumbai
Fig 1 Daulatabad fort
ACKNOWLEDGEMENT We are very grateful to the National Institute of Fashion Technology, Mumbai for giving our group the wonderful opportunity to visit the Bidriware cluster in Aurangbad and explore the illustrious and intricate craft of Bidriware. We would like to thank our course coordinator Mr.Shripati Bhat and our mentor, Mr. Somnath Mane, whose unwavering guidance and support has helped foster an environment that encourages creativity, collaboration and curiousity. We would like to express our sincere gratitude to the artisans who generously shared their knowledge and skills with us. Their expertise and encouragement deepened our understanding of traditional crafts and their cultural significance. Their pride, commitment and resolve in strengthening their mastery over the craft has proven to be a deep source of inspiration for us. A special thanks to Mr.Pavan Godiawala, Director, Nift Mumbai. This research document is a testament to the collective efforts of our group, and we were honored to be a part of this enriching experience.
Fig 2 Bidriware paper cutter
ABSTRACT Aurangabad, steeped in history, unfolds its grandeur through the majestic Ajanta-Ellora caves and Bibi ka Maqbara minarets, showcasing glimpses of bygone golden eras. Amidst these tourist destinations lies the enigmatic art of 'Bidriware,' characterized by metal engraving and silver inlay on darkened alloy creating exquisite artifacts, a testament to artisans' exceptional craftsmanship. In June 2023, our group embarked on an enthralling five-day journey to explore Bidriware as part of our Craft Cluster program. We encountered devoted Bidriware artisans, preserving the historical legacy. The finished pieces, appearing bright and delicate, showcased the meticulous creation process. Conversations revealed their pride and admiration for the craft, challenges, and future aspirations. Drawing from enriching interactions and historical research, we present this project, emphasizing preserving traditional artforms, promotion amongst youth, addressing artisans' concerns, and ensuring accessible pricing to cherish the cultural heritage of Bidriware.
About the01 02 03Background&Market Craft C O N TProvenance
05 04 06 SchemesE N T SIssuesData Collection
Contents 3-4 5 Background and Provenance 6 7 Origin 7 Introduction 8 History 8 Culture Religion and langauges Food and Cuisine 13-14 Economy 15-16 17-18 About the Craft 19-26 27-30 Introduction 31-34 Raw Materials 25-38 Tools and Equipment 39-44 Process Design and Motifs Significance Product About the makers 46-48 Market 49-50 Product quality Market Study
Issues 52-54 SWOT Analysis 57-58 Schemes 61-62 63-64 Government 65-70 Schemenes and NGOs 71-72 Data Collection References Glossary List of Images Meet the Team
01. BACKGROUND & PROVENANCE 02
Origin of Bidriware Bidriwareware is a traditional art form and craft that originated in Bidar, a city in the neighboring state of Karnataka. Bidar is a historical city known for its association with the Bahmani Sultanate and other medieval dynasties. The Bahmani Sultanate, established in 1347, was a prominent medieval Islamic state in the Deccan region with it's capital being Gulbarga, Karnataka. The sultans of the Bahmani dynasty were patrons of art and culture, and it was during their reign that Bidriware flourished. The craft is believed to have been developed by Persian artisans who migrated to the Deccan region during the Bahamani reign. According to a legend, the art of Bidriware made its debut in a painting - a 1625 miniature, cited as the first instance of Bidriware in a painting by renowned art collector Jagdish Mittal. This painting depicts a brass and silver-inlaid hookah, a device used for smoking tobacco, and showcases the exquisite beauty of Bidriware hookahs, allowing us to distinguish between different historical periods. (Refer to Fig.3). Fig 3 Origin of Bidriware-A miniature painting from 17th Century
In 1656, Aurangzeb besieged and captured Bidar, keeping it under Mughal dominance until the mid-18th century. Aurangabad, the capital of Aurangzeb's Empire, became a center of arts and crafts under his patronage, including the promotion of Bidriwareware artisans, contributing to the art form's popularity in the region. Although not originating from Aurangabad, Bidriwareware spread to various regions, including the city, and became a significant cultural heritage and art form. Skilled artisans in Aurangabad have embraced Bidriwareware, adding their unique designs and fostering its promotion and popularity in the area .[1] Development and Local Adaptation: As Bidriwareware art spread to Aurangabad, it underwent some local adaptations, incorporating regional motifs and designs. Artisans in Aurangabad began incorporating local elements, flora, fauna, and cultural symbols into the traditional Bidriwareware designs, giving it a distinct regional identity. Fig. 4 depicts a Bidriware teapot. Sustaining Traditions: Over the centuries, Aurangabad developed into a significant center for the production and trade of Bidriwareware artifacts. Skilled artisans and craftsmen honed their skills, passing down the art form through generations. Families and communities dedicated themselves to the preservation and promotion of Bidriwareware in the region. Fig 4 04
Introduction to Aurangabad Aurangabad, officially known as Chhatrapati Sambhajinagar, is a city in the Indian state of Maharashtra. It is the administrative headquarters of Aurangabad district and is the largest city in the Marathwada region. Located on a hilly upland terrain in the Deccan Traps, Aurangabad is the fifth- most populous urban area in Maharashtra with a population of 1,175,116. The city is known as a major production center of cotton textile and artistic silk fabrics. [2] Fig 5 Ellora statue The city is also a popular tourism hub, with destinations like the Ajanta and Ellora caves lying on its outskirts, both of which have been designated as UNESCO World Heritage Sites since 1983 (Refer to Fig. 5). Other tourist attractions include the Aurangabad Caves, Devagiri Fort, Grishneshwar Temple, Jama Mosque, Bibi Ka Maqbara (refer to Fig.6), Himayat Baugh, Panchakki and Salim Ali Lake. Historically, there were 52 Gates in Aurangabad, some of them extant, because of which Aurangabad is nicknamed as the \"City of Gates\". [2] Fig 6 Bibi ka maqbara
History Under Malik Ambar's leadership, Aurangabad flourished as Khadki because he was able to spend money wisely and his troops were loyal to the city. Under his leadership, the city was able to acquire beautiful architecture, but soon after his death in 1626, things started to go awry. During the invasion of Jahangir's imperial armies in 1621, some changes became apparent. Malik Ambar's son Fateh Khan succeeded the throne after his death, renaming the city Fatehnagar. However, he was unable to contend with the political intrigues and power struggles of the day, and by 1633, the Mughals had taken control of the city. Following this, Aurangabad quickly became the scene of numerous clashes between the Mughals and Shivaji's Marathas, who were leading them. Khan Jahan Bahadur built a city wall around Aurangabad to protect the city from Marathas' surprise assaults and give the Mughals some time to defend the city. (Refer to Fig.8) In the Indian rebellion of 1857, Aurangabad also served as the main hub and played a crucial role. Until it was incorporated into the Indian Union and then back into Hyderabad State in 1956 following independence, Aurangabad was still a part of Nizam of Hyderabad's princely Hyderabad State. It joined the newly created multilingual Bombay state in 1956, and then in 1960 it joined Maharashtra state. [3] Fig 7 Daulatabad fort Fig 8 06
Culture of Aurangabad Aurangabad boasts a vibrant and diverse cultural landscape . The city's Fig 9 culture, which is influenced by its lengthy history, seamlessly combines Marathi, Muslim, and Hindu traditions. It has a heavy influence from Islamic culture of Hyderabad. The most common languages in this city are Marathi, Urdu, and Hindi, showing the influence of the Dakhni-Hyderabadi Urdu dialect. Aurangabad is particularly acclaimed for its ethnic local arts such as Paithani Saris, Himroo and Mashru fabrics, Kimkhab work, Bidriware and the handmade paper of Kaghzipura. The chief festivals celebrated at Aurangabad, apart from the traditional India festivals, include Ganesh Chaturthi, Shivaji Jayanti, Maharashtra Day, Pola, Gudi Padwa, Nag Panchami, Vat Purnima, Narali Purnima, Paithan Fair, Ajanta and Ellora Festivals [4] Religion and Languages According to the official census of 2011 and the population data of 2023, the majority of the population of Aurangabad district follows the Hindu religion. According to the 2011 census, Aurangabad district had a total population of 3,701,282. Hinduism constitutes 68.77 percent of the population, while Muslims play an important role in the electoral world, constituting 21.25 percent of the total population. Buddhists are a minority in Aurangabad, constituting 8.35 percent of the total population. [5] Fig 10
Food and Cuisine in Aurangabad Fig 11 Naan Qalia/Khalia The traditional Mughlai or Hyderabadi food and the cuisine of Aurangabad have many similarities. The speciality of Aurangabadi food is meat, along with the fragrant pulao and biryani. Exclusive mutton curry called Naan Qalia is served with Naan. (Refer to Fig. 11) When Muhammad bin Tughlaq moved his capital from Delhi to Daulatabad, this dish made its way to Aurangabad from his army camp. Another well-known dish from Aurangabad's cuisine is the rice-based tahria. Other Aurangabad specialties include Ras Malai, Chicken Pulao, Thecha, Jwari & Bajri chi Bhakri, Murg Noorjeha, Badshahi, Shahi Chicken Korma, Meat Durbari, Seekh Kabab, Shami Kabab, Orange Phirni, Kujja Kulfi, and other Mughlai dishes. [4] Economy Aurangabad's economy is characterized by a diverse mix of sectors contributing to its growth and development. The city serves as an industrial hub, housing manufacturing units for automobiles, pharmaceuticals, textiles, and more. Its historical significance and proximity to UNESCO World Heritage sites like Ajanta and Ellora Caves drive tourism, providing a boost to the hospitality sector. Agriculture and agro-processing remain significant, with the region producing crops like cotton, soybeans, and fruits. The establishment of various educational institutions and IT companies has led to the growth of the knowledge and technology sectors. Overall, Aurangabad's strategic location and varied economic activities make it a vital contributor to Maharashtra's economy. [6] [7] Fig 12 08
AURANGABAD \"City Of Gates\" Kailash Temple Bibi ka maqbara Dr. Babasaheb Ambedkar Aurangabad univercity airport Panchhaki Gulmandi Aurangabad railway station
Climate Aurangabad is host to a semi-arid climate. The most comfortable time of year to travel is during the winter, from October to February, when mean temperatures vary from 17 to 33 °C. The district occasionally experiences cold waves during the winter season as a result of the passing of western disturbances across north India towards the east. Most of the rain falls between June and September during the monsoon season. There are thunderstorms from November to April. 710 mm of rain falls annually on average. During the monsoon season, the city is frequently overcast, and the cloud cover may last for days. The summers in Aurangabad become excessively hot, resulting in the decline of toursim during these months. This affects the sales of Bidri tremendously causing a shortage in supply as well, pushing the artisans to find alternative income sources. Fig 13 Evening sky of Aurangabad 10
02. ABOUT THE CRAFT 12
Fig 14 Bidriware elephant showpiece
Product: Bidriware The craft primarily involves the creation of decorative and functional items using a combination of metals, primarily zinc and copper. Bidriware craft products are characterized by their small to medium size, intricate and symmetrical shapes, contrasting black and silver colors, smooth and lustrous texture, and the use of zinc, copper, and silver or white metal for their creation. A few of the products are shown in Fig. 15, Fig. 16, Fig 17. and Fig 18. Fig 15 Fig 16 Fig 17 Fig 18 14
Raw materials 1. Zinc and copper The raw material used in the creation of Bidriware is primarily a special type of alloy composed of zinc and copper, known as \"Bidriware.\" The composition of the Bidriware alloy typically consists of approximately 94% to 97% zinc and 3% to 6% copper. Billets of Zinc and Copper are shown in Fig. 19. Fig 19 2. Copper sulphate 3. Gold and silver Fig 20 Fig 22 It is applied on the casted It is used to engrave in the object to obtain design grooves. (Fig. 20) temporary black coating on the article, so that it is Fig 21 easy to sketch the design over dark background. (Fig. 20) [9] 4. Bidar fort Mitti (Clay of old fort having saltpeter, Lead, Sal ammo-niac) Bidar fort mitti-clay is boiled and products are dipped in the mitti solution to obtain permanent black color. (Fig. 22) [9]
Fig 23 5. Resin or erandel tel Fig 24 6. Sangzeera Fig 25 (Castor oil) Fig 26 (white stone powder) Castor oil is added to red clay to enhance its malleability, making This powder is used it easier to shape and mold into to smotthen the desired forms. (Fig. 23) mold. (Fig. 24) 7. Red clay/Mitti 8. Coal The red clay provides the It is used to give flexibility and durability heat to the required for shaping the furnace. (Fig. 26) intricate designs and patterns during the casting process. (Fig. 25) 9. Groundnut oil/coconut oil Once the product is made, coconut oil is applied to deepen the black matt coating. (Fig. 27) [9] Fig 27 16
Filer Fig 28 Fig 29 Compass Fig 30 Holders Various tools are used to Sander stone (for Hammer (hatoda) Fig 33 accentuate the intricate sharpening the metalwork, adding delicate tools) embellishment to the dark alloy surface. Refer to the Fig 31 images to the right. Fig 32 Chisel (Kalam) Fig 35 Crucible Fig 34
Furnace Buffing machine Blower Furnace is Different types of buffing used to blades are used to melt smoothen the surface of metals. the article. (Fig. 37) [9] (Fig. 36) Fig 37 Fig 38 Fig 36 Fig 39 Rituals: Casting moulds (peti/petya) A collection of Bidriware articles form a part of the dowry of daughters in a wealthy Muslim Tools and households. These articles are collected for Machinery over a period of years- sometimes more so for their finely executed designs than their utility. 18
Process Stage 1: Melting the Alloy Bidriware pieces are created by individually casting them from a special type of soil that is made flexible by adding castor oil and resin. The metal used in the process is a mixture of 95% Zinc and 5% copper, which is melted at a temperature of 800F. Once the molten metal reaches the desired state, it is poured into specially prepared molds. After allowing the molds to cool, the solidified objects are carefully extracted. Fig 40 The furnace melts the alloy
In the case of smaller designs, the setting time is significantly shorter, taking only 10 to 20 minutes. Initially, the surface of the freshly cast piece appears rough and textured. To achieve a polished finish, skilled craftsmen employ the techniques of filing and buffering, meticulously smoothing the surface and enhancing its overall appearance. 20
Sangzeera (white stone powder) is sprinkled on the clay filled mould which will allow easy removal of design which is being cast. Fig 42 Sangzeera is sprinkled before casting and an opening is made for pouring the alloy
Fig 43 The artisan puts his bodyweight to tightly pack the sand of the mould Fig 44 The mold is prepared for the 22 casting procedure. The clay-filled frame is pressed and imprinted upon. In order to achieve precise accuracy, artisans sometimes apply their weight and stomp on the clay- filled frame.
Fig 45 Molten alloy is poured into the mould Stage 2: Casting the Article The molten metal is carefully poured into the prepared mold and the cast metal product is extracted from the mold then polished to achieve a smooth finish.
To achieve a temporary black coating, the Fig 47 article is rubbed with a solution of copper sulphate. This process creates a matte black surface on which the intricate designs are etched. Using a sharp metal pen-like tool, skilled artisans meticulously draw all the designs by hand. Fig 46 Fig 48 The artisan scratches out a pattern after applying a temporary black coating 24
Stage 3: Engraving and inlaying Fig 49 Artisan uses a small chisel to inlay silver wires in the engraved design Bidriware ware is firmly fixed on a waxed stone to hold it in a way to engrave the designs on the Fig 50 Artisan files down the piece to achieve a smooth finish article. The artisan uses small chisels to engrave the design. Pure silver is converted into fine flat wires and hammered or inlaid carefully into these chiseled grooves. Silver metal sheets also inlaid if the design motif dimensions are wide. Geometrical designs are created with silver wire. Wherein, the floral arabesques and intricate leaf patterns are designed with silver metal sheet. After the inlaid work is complete the article is rigorously filed to obtain a smoother surface [8]
Fig 51 The piece is put in a boiling mixture of bidar sand, The mixture has oxidized the water and ammonium chloride Fig 52 base alloy turning it black Stage 4: Oxidizing In this stage the Bidriware item is ready for its final step, to make the surface permanently black so that the silver inlay design will stand out in bright contrast against the dark background. A particular type of soil found in the inner depths of ruins in building particularly brought from Bidriware fort, which are three hundred years old and where neither sunlight nor rain has fallen from many years. This soil when mixed with ammonium chloride and water produces a very special solution. This solution is boiled at an accurate temperature and the Bidriware article is dipped in this solution. [8] The solution has a special oxidizing property which when reacted with the alloy, darkens the body of product but has no effect on the inlayed silver wires. The article is then rinsed off in normal water leaving the silver shinning against the black surface. Finally oil is rubbed on the piece to deepen the black matt coating Fig 53 26
DESIGN Fig 54 Small Bidriware vases & MOTIFS
The major motifs are influenced by Persian/Mughal motifs in geometrical and floral patterns. The Persian patterns include the fuljarrri, ''ashrafi ki booti'' (five pointed leaf pattern) ''teenpatti ki booti'' (three pointed leaf pattern), vine creepers, poppy plant with flowers, and ''kairi'' (mango shapes). The ''mahi-pusht'' or fish scale pattern is another interesting design. fuljharri ashrafi ki booti plant with flowers mahi-pusht Fig 55 Fig 56 Fig 57 Fig 58 28
There are various types of Bidriware craft that vary significantly from one another. They can mainly be categorised into 4, these are- Teh Nashin : This has a backdrop with silver inlay, whereas most designs are black. It takes a lot of time and calls for high-level talents. In contrast to the wire, this employs silver sheets to cover up big areas of backdrop. (As shown in Fig. 59) Fig 59 Aftabi : consists of a heavy gold or silver inlay set into intricate engravings on a piece of base metal.The patterns are splashed on the surface without any relief on a black backdrop. (As shown in Fig. 60) Fig 60 Zar Nashin/Zar Buland : This refers to high or low relief inlay. Silver is inlaid on a lead pad to make patterns appear 3D on the surface. (As shown in Fig. 61) Fig 61 Tarkashi :This is just wire work. The surface is Fig 62 carved with the grooves required for designs. According to the designs, thick silver wires are required. It is then inlaid on a black background. It is usually referred to as phooljhadi job. (As shown in Fig. 62)
Fig 63 Floral relief pattern from Bibi ka maqbara Fig 64 Geometrical pattern from Bibi ka maqbara Fig 65 Lotus pattern from Bibi ka maqbara Bidriware is heavily influenced by the motifs etched onto the ceilings and walls of the mosque of Bibi ka Maqbara, which was commissioned by Aurangzeb in the late 17th century in honour of his first wife. Geometrical decorations, floral inlays, crisscross patterns, and roses are significantly influenced by the monument's architecture. (Refer to Figs. on the page) Having originated in Karnataka, the Bidriware seen in Auranagabad, thus displays its own spirits through design elements incorporated in the craft after the construction of the regal structure. Fig 66 Vine pattern from Bibi ka maqbara 30
SIGNIFICANCE Significant cultural and historical significance is attached to Bidriware art in Aurangabad and the surrounding area. A distinctive style of metalwork known as Bidriware was created in the 14th century during the Bahmani Sultanate's rule. Later, it moved to other areas, such as Aurangabad, where it became a vital component of the neighborhood's art and craft culture. Fig 67 Bidriware product catalogue
1. Rich heritage: Aurangabad's Bidriware art displays the aesthetic brilliance of the trained craftsmen who have been practising this art form for decades, reflecting the Deccan region's rich heritage. 2. Mughal court patronage: During the Mughal era, the imperial courts gave major support to Bidriware craftspeople. The fact that Aurangabad was a significant Mughal Empire hub further aided in the development and spread of Bidriware art in the area. 3. Special craftsmanship: The exquisite inlay of silver or other contrasting metals into a darkened zinc and copper alloy is known as Bidriware. This craft has been mastered by the talented Aurangabadi artists, who produce magnificent designs on vases, trays, boxes, bowls, and other decorative things. 32
4. Cultural identity: A crucial component of Aurangabad's cultural identity is Bidriware labour. The art form is frequently utilised to produce keepsakes and mementos that tourists and visitors bring home, so promoting the city's cultural history. 5. Tourism draw: Bidriware art, which is present in Aurangabad, draws visitors and art enthusiasts from throughout the world. Tourists frequently stop by neighbourhood workshops and stores to see the accomplished artisans at work and to buy genuine Bidriware artefacts. 6. National significance: Bidriware work has gained national recognition, and the Indian government has promoted it as an important traditional craft through a number of programmes and programmes. 7.It represents the cultural legacy of the area, displays expert craftsmanship, offers employment possibilities, and boosts the city's tourism sector. Bidriware art needs to be preserved and promoted in order for it to survive and be appreciated by future generations. [10]
Fig 68 Artisan showing the catalogue 34
PRODUCT Bidriware artifacts are indeed highly sought after for their decorative appeal, making flower vases and statues particularly popular among customers. These exquisite pieces of art add a touch of elegance and cultural heritage to any living space, making them cherished display items in homes, offices, and hotels. As highly regarded gifts, Bidriware artifacts hold special significance for various occasions and celebrations. People often present them as tokens of appreciation, love, and goodwill, making them prized gifts for weddings, anniversaries, and other significant events. Corporates and businesses also appreciate the cultural value and artistic finesse of Bidriware pieces, Fig 70 Fig 69 Often purchasing them as corporate gifts to convey a sense of cultural appreciation to their clients and partners Moreover, Bidriware artifacts have become popular among tourists visiting the region. Visitors from different parts of the world are drawn to the allure of this traditional Indian craft, and they eagerly take these unique pieces as souvenirs to cherish the memories of their travels and to showcase the rich cultural heritage of India in their own countries
Fig 71 Bidriware earrings Popular items that are used day-to-day include Fig 72 Bidriware keychain in plastic packaging earrings and other jewellery are typically packaged in a plain manner and is packed in plastic. (As shown in Fig. 71) Customers are given a carry bag and the articles are often covered in bubble wrap or newspaper. However, a velvet box similar to those used for jewellery may be used for special items or events. 36
PRODUCT RANGE 15 Inches Fig 73 Fig 74 Fig 75 Fig 76
Search
