["The Bidriware product range showcases a captivating array of exquisite craftsmanship and artistic finesse. From intricately designed vases (Fig. 73, Fig. 74, Fig. 75), bowls, figurines of animals (Fig. 76, Fig. 77), boxes (Fig. 78) and decorative plates adorned with elegant silver inlay patterns, to opulent jewelry pieces such as earrings (Fig. 81), pendants, and bracelets, as well as paper clips (Fig. 79) and pocket knives (Fig. 80). every item exudes timeless elegance and cultural richness. Bidriware craftsmen skillfully incorporate geometric designs and mesmerizing floral motifs, ensuring a perfect balance between tradition and modernity. Each Bidriware piece narrates a story of heritage and legacy, offering a glimpse into the artistic brilliance of this centuries-old craft, and leaving a lasting impression of its timeless beauty and charm. 1 Inch Fig 77 Fig 78 Fig 79 Fig 80 Fig 81 38","Fig 82 Home workshop of the artisan","Yusuf Jafri Abdul Raheem Jafri Age: 53 Sex: Male Occupation: Bidriware artisan, Rickshaw driver Experience: 41 Years Contact no. : +91 9730847034 Address: 8-13-226, Lane no.1, beside Bilal Masjid, Aurangabad Yusuf Jafri Abdul Raheem Jafri's father Abdul Raheem Fig 83 Jafri taught a class focused on Bidriware at ITI (Industrial Technical Institute). He was deeply involved in the craft. When Yusuf sir was 12, he started helping his father in the production of Bidriware. Initially, he helped his father with finishing and casting and then eventually learnt the entire process, falling in love with it. Now at 53, which is 41 years later, he is still devoted to his craft. He has trained a lot of young kids who are keen about the craft in hopes of keeping Bidriware, which he refers to as his \\\"mann ki shanti\\\", alive. He has trained about 800-900 girls till date. Him and his wife both are completely immersed in the craft. However, he has 5 sons, none of them wishing to become Bidriware artisans. This worries him as he thinks of Bidriware as a heirloom, and wants it to stay alive even after his own demise. In off seasons, that is when the tourim is low, especially in the months fof March-September, he takes up odd jobs as a security gaurd or as an auto driver or other jobs of such nature to make money. 40","Mohammed Bareque Ali Khan Fig 84 Age: 56 Sex: Male Occupation: Bidriware artisan, MTDC- handicrafts emporium, Runs the NGO- Marathwada handicrafts and cultural development society Experience: 35 years Contact no. : +91 9823194919 Address: P\/NO P\/1 Nasik Mumbai road, Padegaon, Aurangabad 35 years ago, Mohammed Bareque Ali Khan started training under Yusuf Jafri sir and became skilled in the craft of Bidriware. Now, he has also trained about 100- 150 people under him. In 1986, he joined MTDC (Maharashtra Tourism Development Corporation). Today, he is handling the Handicrafts imperium there and also runs an NGO under the name Marthwada handicrafts and cultural development society. He is the connecting link between the artisans of Aurangabad and sales their products. He is working hard to get more government help and organise training exercises to help artisans grow, so Bidriware can reach a whole new level.","Shaikh Mutahera Bano Aslam Age: 41 years Fig 85 Sex: Female Occupation: Bidriware artisan, Tailor, Zari artisan Experience: 20 Years Contact no. : +91 7620887086 Address: Ajim Shah Pura, Khultabad, Aurangabad. Mutahera bibi was a part of a formal training programme for Bidriware arranged by MTDC and learnt the craft 20 years ago. She performs all steps of the process on her own. However, if she is occupied with her household duties, she delegates the selling part of the process to the males present in her family. Her favourite articles to make is necklaces as they look beautiful. She describes Bidriware in one word as \\\"Ahem\\\" to her and only wishes for more and more people to get involved. However, her son neither daughter are inclined towards becoming Bidriware artisans. In off season, she earns her bread by sewing and helping her sister-in-law in the craft of Zardosi embroidery. 42","Bibi Fatema Abdul Razzak Age: 38 Years Sex: Female Occupation: Bidriware artisan, Tailor Experience: 18 Years Contact no. : - Address: Munam galli, Khultabad, Aurangabad In 2005, Fatema bibi got her formal training through MTDC and learnt the craft of Bidriware. She makes various Bidriware items from the catalogue provided to her during training. She has now become a trainer as well and teaches whenever she is called to do so. She is paid 3000 rupees per month for it. Fig 86 Both her son (name), and daughter, Rubeena Bano, are involved in the craft. Rubeena Bano now resides in Surat after her marriage, due to which she is unable to continue working for the craft of Bidriware. She has taken up (google), which is the prominent craft there. (son name) is not an artisan. He overlooks the sales of the products in tourist spots like Ellora and Ajanta. He also wishes to grow his reach and improve his marketing, but falls short due to a alck of knowledge and resources. During the off season, Fatema bibi does Zardosi embroidery and also sews garments.","Fig 87 Household in the cluster 44","","03. Market 46","Product Quality To make sure that Bidriware meets the greatest levels of craftsmanship and elegance, it goes through careful quality control checks. Throughout the production process, meticulous visual checks are carried out to find any surface imperfections or flaws while exact dimensions measurements are collected to adhere to the needs of the design. To ensure a safe and durable finish, the adherence and toughness of the distinctive silver inlay are thoroughly evaluated. A key feature of Bidriware is its richly blackened surface, which was created using oxidised zinc and is meticulously examined for consistency and smoothness. To provide a beautiful appearance free of any jagged edges or defects, the finishing is carefully examined. Practical objects are put through strength and durability tests to make sure they will hold up to regular use. Additionally, evaluations of corrosion resistance are carried out, paying specific attention to safeguarding the silver inlay. Bidriware goods maintain the authenticity and aesthetic tradition of the art form while enticing consumers with their exquisite designs thanks to these extensive quality control techniques.","Fig 88 Bidriware vase 48","MARKET STUDY 1.Product Development and Design: Artisans work on creating unique and attractive Bidriware designs that appeal to the identified target audience. They may also diversify their designs to cater to different customer segments. 2.Pricing Strategy: A pricing strategy is determined, taking into consideration factors such as production costs, market demand, and perceived value of Bidriware artifacts. Pricing should be competitive and aligned with customer expectations. 3.Distribution Channels: Artisans and traders decide on the distribution channels through which Bidriware products will reach customers. This may include local craft stores, art galleries, exhibitions, and online platforms. 4.Collaborations and Partnerships: Artisans and traders may collaborate with local hotels, resorts, and other businesses to display and sell Bidriware products. Partnerships with museums or cultural organizations can also help in showcasing Bidriware as a valuable art form. Fig 89 Local market in Aurangabad","Factors affecting the market Local Demand and Tourist Interest:The city's popularity as a tourist destination has led to increased interest in Bidriware among domestic and international tourists, contributing to the local market's growth. Artisan Community: Aurangabad is home to a skilled and vibrant community of Bidriware artisans. The availability of skilled craftsmen and their dedication to preserving the art form has ensured a consistent supply of Bidriware products to meet market demand. Cultural Significance: Bidriware items are often used as gifts and souvenirs during cultural events, weddings, and festivals, adding to their market demand. They hold sentimental value for many people and are considered a symbol of prosperity and cultural pride. Diversification of Designs: To cater to evolving consumer preferences, artisans in Aurangabad have diversified Bidriware designs, incorporating contemporary elements while retaining the traditional essence. This has expanded the appeal of Bidriware products to a broader audience. Art Exhibitions and Fairs: Participation in regional and national art exhibitions and craft fairs has provided Bidriware artisans from Aurangabad with opportunities to showcase their craftsmanship and attract buyers from various parts of India and abroad. Economic Factors: The economic conditions of the region and the disposable income of the local population play a role in determining the demand for luxury and artistic products like Bidriware. Fig 90 50 Artisan's household","","04. ISSUES & CHALLENGES 52","STRENGTHS S W Strong linkage with tourism industry Craft has a long history and tradition. Women's participation Refined, detailed artwork that has high value Proper quality assurance and finishing procedures Offers a diverse range of products WEAKNESSES High cost and limited availability of basic materials, Process takes time and isn't really cost-effective. The absence of modern or brand-new technical infrastructure Artisans' lack of business savvy and ignorance of current market trends Other handicrafts, such Paithani and Himroo, are more commonly accessible in the city than Bidriware. The peak travel season has a big influence on business. Items not being correctly stored","O OPPORTUNITIES T Establishing a powerful online presence Influencer marketing and strategic branding Tapping into exports and foreign markets More programmes for developing skills Technology modernization New government initiatives Merchandise packaging Designer-artisan cooperation Customization of products for a modern audience THREATS Government policy changes and a lack of artisan unions or groups A lack of understanding of sustainability and quality Younger generation are not interested For greater prospects, many craftspeople are moving to cities. Lack of raw materials for crafting - Fort Bidar soil is not always dependable existing artisans are old and prefer to stick to traditional methods that may be less effective 54","","05. SCHEMES 56","Fig 91 Elephant statues from Ellora","Government Schemes and NGOs The Marathwada Handicrafts and Cultural Development Society, an NGO, conducts programs lasting 3 to 6 months for crafts like Bidriware, Himroo, Paithani, etc., aimed at reviving dwindling crafts and supporting artisans. So far, 3000 artisans have been trained in various crafts within Aurangabad district. [12] As a Nodal agency, MSSIDC implements schemes to develop handicrafts and preserve traditional arts in Maharashtra, including those by the State and Central Government. [13] The Comprehensive Handicrafts Cluster Development Scheme (CHCDS) by the Ministry of Textiles supports local handicraft artisans, offering infrastructural support, design and technology upgradation, market access, and other benefits [14] CFCs and Raw Material Banks are also available for artisans. The Sahabhag program aims to engage youth, bridge urban and rural markets, and link skilled artisans to buyers and investors. It assists artisans in showcasing their work at events and providing exposure [15] The Artisan card facilitates identification and serves as official proof of their identity. Additionally, the Ministry of Culture extends financial assistance to veteran artisans. The 2023-2024 PM-VIKAS scheme is a central government initiative that integrates artisans into Micro, Small, and MSME value chains. The National Handicraft Develop provides financial aid, training, technology, infrastructure, and marketing assistance to artisans, leading to increased income. [16] 58","","06. DATA COLLECTION 60","REFERENCES 1.https:\/\/www.sahapedia.org\/life-of-bidri-600-years-of-survival, accessed on : 27\/06\/2023 2.https:\/\/en.wikipedia.org\/wiki\/Aurangabad, accessed on: 27\/06\/2023 3.https:\/\/en.wikipedia.org\/wiki\/History_of_Aurangabad, accessed on:28\/06\/2023 4.http:\/\/www.indiahotels.com\/aurangabad\/aurangabad-culture-and-festivals.html, accessed on: 28\/06\/2023 5.https:\/\/www.census2011.co.in\/data\/religion\/district\/353-aurangabad.html, accessed on 28\/06\/2023 6.https:\/\/wikitravel.org\/en\/Aurangabad, accessed on: 26\/06\/2023 7. https:\/\/timesofindia.indiatimes.com\/city\/aurangabad\/integrated-devpt-plan-for-ajanta-ellora-on-the- cards\/articleshow\/90161111.cms, accessed on: 28\/06\/2023 8.https:\/\/www.lai-designs.com\/blogs\/journal\/making-of-a-bidri-piece, accessed on: 29\/06\/2023 9.https:\/\/medium.com\/@kophi.directcreate\/crafts-of-india-bidri-d8dfac83fe69, accessed on 29\/06\/2023 10.https:\/\/gaatha.org\/Craft-of-India\/bidri-craft-bidar-karnataka\/, accessed on:29\/06\/2023 11. https:\/\/artsandculture.google.com\/story\/quaint-elegance-the-craft-of-bidri-salar-jung-museum\/GwXhA9CfUoMkJw? hl=en, accessed on: 29\/06\/2023 12. https:\/\/www.99corporates.com\/INCOME-TAX-EXEMPTED-INSTITUTE\/MARATHWADA-HANDICRAFTS- AND-CULTURAL-DEVELOPMENT-SOCIETY\/TRUST-124781 ,accessed on: 01\/07\/2023 13. https:\/\/mssidc.maharashtra.gov.in\/ , accessed on:02\/07\/2023 14. https:\/\/govinfo.me\/comprehensive-handicrafts-cluster-development-scheme-chcds\/, accessed on:30\/06\/2023 15. https:\/\/yourstory.com\/2019\/02\/maharashtra-govt-connects-rural-artisans-urban-buyers-sahabhag-initiative , accessed on:30\/06\/2023 16.https:\/\/www.pib.gov.in\/PressReleasePage.aspx? PRID=1697394#:~:text=The%20National%20Handicraft%20Development%20Programme%20%28NHDP%29%20has% 20following,Research%20and%20Development%2C%207%20Marketing%20Support%20%26%20Services, , accessed on:02\/07\/2023","Fig 92 Hallways in Bibi ka Maqbara 62","GLOSSARY BAJRI: Bajri refers to a type of coarsely ground flour made from pearl millet grains. BIBI : A term used to address a respectful title for a lady or a woman in some cultures. BIDAR : A historical city in Karnataka, India, known for its architectural heritage and monuments. CFC: Common Facility Centres CHATRATPATI : A title used for a ruler or monarch in the Maratha empire. CHCDS: Comprehensive Handicrafts Development Scheme HIMROO: Traditional fabric weaving technique from Aurangabad, Maharashtra KALAM: An instrument or tool, such as a pen or brush, used for writing or drawing. MAHARAJ: A title used to address or refer to a king, ruler, or respected person in some cultures. MASHROO: A type of woven fabric, typically made from silk and wool, known for texture and softness MITTI: The hindi word for \\\"earth\\\" or \\\"soil,\\\" often used in reference to the natural environment. MUQBARA: A term used for a tomb or mausoleum, especially one with intricate architecture. MURG: The Hindi word for \\\"chicken\\\" or \\\"rooster,\\\" often used in the context of poultry or cooking. MSSIDC: Maharashtra Small Scale Industries Development Corporation TEL : The Hindi word for \\\"oil,\\\" used to refer to various types of edible or cooking oils. SANGZEERA: Used to describe the art of stone inlay work, particularly prevalent in Indian architecture. PAITHANI : A type of luxurious silk saree, renowned for its intricate designs and vibrant colors. PANCHAKKI: A historic water mill in Aurangabad, India, known for its engineering brilliance PM-VIKAS: An abbreviation for the \\\"Prime Minister's Kaushal Vikas Yojana\\\" PURNIMA: The full moon day , marked by the complete illumination of the moon's surface.","Fig 93 Door from Daulatabad fort 64","LIST OF IMAGES 1 Fig1 Daulatabad fort Fig 2 Bidriware paper cutter Fig 3 Origin of Bidriware-A miniature - (https:\/\/www.re-thinkingthefuture.com\/architectural- painting from 17th Century community\/a6001-the-metal-art-of-india-bidriware\/) Fig 4 Fig 5 Bidriware teapot - (https:\/\/commons.m.wikimedia.org\/wiki\/File:Water_pipe_base,_Bidriware,_Hyderabad,_India.jpg) Fig 6 Ellora statue Bibi ka maqbara Fig 7 Daulatabad fort Fig 8 Daulatabad fort Fig 9 Elephant statue from Ellora Fig 10 Relief structure from Ellora Fig 11 Naan Qalia\/Khalia - (https:\/\/restaurant-guru.in\/MR-Khaliya-House-Aurangabad) Fig 12 Bibi ka maqbara Fig 13 Evening sky of Aurangabad","2 Fig 14 Bidriware elephant showpiece Fig 15 Bidriware horse showpiece Fig 16 Small Bidriware vessel Fig 17 Small Bidriware vase Fig 18 Big Bidriware vase Fig 19 Zinc and copper - (https:\/\/m.indiamart.com\/proddetail\/copper-catalyst-18951599130.html) Fig 20 Copper sulphate - (https:\/\/unliked.wordpress.com\/2017\/10\/10\/usttad-project-bidri-craft-technique\/) Fig 21 Gold and Silver - (https:\/\/images.app.goo.gl\/jrVfg2WXwLpuhYYU6) Fig 22 Bidar fort sand - (https:\/\/unliked.wordpress.com\/2017\/10\/10\/usttad-project-bidri-craft-technique\/) Fig 23 Castor oil - (https:\/\/images.app.goo.gl\/n9VuJuDY5NP67sSv8) Fig 24 Fig 25 Sangzeera. - (https:\/\/m.indiamart.com\/proddetail\/industrial-talc-powder-26856244097.html) Fig 26 Fig 27 Red clay\/mitti Fig 28 Fig 29 Coal - (https:\/\/images.app.goo.gl\/EY2yT4D8F2wGJjMe6) Fig 30 Fig 31 Coconut oil - (https:\/\/en.m.wikipedia.org\/wiki\/Coconut_oil) Fig 32 Fig 33 Filer Fig 34 Sanding stone Compass Holders Hammer Chisel Crucible 66","Fig 35 drawing tools Fig 36 Furnace Fig 37 Buffing machine Fig 38 Blower Fig 39 Casting moulds Fig 40 The furnace melts the alloy Fig 41 Preparing the negative imprint from the master piece 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 Extra sand is scraped off the mould Fig 45 Molten alloy is poured into the mould Fig 46 The alloy hardens and the casted piece is retrieved Fig 47 The excess metal from the opening is cut out Fig 48 The artisan scratches out a pattern after applying a temporary black coating Fig 49 Artisan uses a small chisel to inlay silver wires in the engraved design Fig 50 Artisan files down the piece to achieve a smooth finish Fig 51 The piece is put in a boiling mixture of bidar sand, water and ammonium chloride Fig 52 The mixture has oxidized the base alloy turning it black","Fig 53 The final piece Fig 54 Small Bidriware vases Fig 55 Fuljharri pattern Fig 56 Ashrafi ki booti pattern Fig 57 Plant with flowers pattern Fig 58 Fig 59 Mahi-Pusht pattern Fig 60 Fig 61 Teh-Nashin technique - (https:\/\/www.sahapedia.org\/types-of-bidri-work) Fig 62 Fig 63 Aftabi technique. - (https:\/\/www.sahapedia.org\/types-of-bidri-work) Fig 64 Fig 65 Zar-Nashin\/Zar-Buland technique. - (https:\/\/www.sahapedia.org\/types-of-bidri-work) Fig 66 Fig 67 Tarkashi technique. - (https:\/\/www.sahapedia.org\/types-of-bidri-work) Fig 68 Floral relief pattern from Bibi ka maqbara Fig 69 Geometrical pattern from Bibi ka maqbara Lotus pattern from Bibi ka maqbara Vine pattern from Bibi ka maqbara Bidriware product catalogue Artisan showing the catalogue Bidriware peacock showpiece","Fig 70 Bidriware elephant showpiece Fig 71 Bidriware earrings Fig 72 Bidriware keychain Fig 73 Large Bidriware vase Fig 74 Small Bidriware vase showpiece Fig 75 Small Bidriware vessel Fig 76 Bidriware elephant showpiece Fig 77 Bidriware horse showpiece Fig 78 Bidriware box Fig 79 Bidriware bookmark Fig 80 Bidriware paper cutter Fig 81 Bidriware earrings Fig 82 Home workshop of the artisan Fig 83 Artisan Yusuf Jafri Abdul Rahim Jafri Fig 84 Artisan Mohammed Bareque Ali Khan Fig 85 Artisan Sheikh Mutahera Bano Aslam Fig 86 Artisan Bibi Fatima Abdul Razzak Fig 87 Household in the cluster 68","3 Fig 88 Bidriware vase Fig 89 Local market in Aurangabad Fig 90 Artisan's household 5 Fig 91 Elephant statues from Ellora 6 Fig 92 Hallways in Bibi ka Maqbara Fig 93 Door from Daulatabad fort","ARTISAN DATABASE Name: Mohammed Bareque Ali Khan Age: 56 Artisan Card Number: WRADC420896 Home Address: P\/NO P\/1 Nasik Mumbai road, Padegaon, Aurangabad Mobile Number: +91 9823194919 Years of Experience: 35 Years Association with any NGO:Runs Marthwada handicrafts and cultural development society (NGO) Name: Bibi Fatema Abdul Razzak Age: 38 Artisan Card Number: WRABC008369 Home Address: Munam galli, Khultabad, Aurangabad Mobile Number: - Years of Experience: 18 Years Association with any NGO\/ SHG\/ Designer\/ Brand: N\/A","Name: Yusuf Jafri Abdul Raheem Jafri Age: 53 Artisan Card Number: WRABC11687 Home Address: 8-13-226,Lane no.1, beside Bilal Masjid, Aurangabad Mobile Number: +91 9730847034 Years of Experience: 41 Years Association with any NGO\/ SHG\/ Designer\/ Brand: N\/A Name: Shaikh Mutahera Bano Aslam Age: 41 Artisan Card Number: WRADC214253 Home Address: Ajim Shah Pura, Khultabad, Aurangabad Mobile Number: +917620887086 Years of Experience: 20 Years Association with any NGO\/ SHG\/ Designer\/ Brand: N\/A 72","","Team Members Aditya Desai Anushka Kelkar Bhavya Kakkar Dhawani Vora Eshita Mohan Jaiaditya Singh Sethi 74","","",""]
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