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Step 1: Step 2: Firstly the artisans make sketches of the the design Then they finalize the design and make photocopies of on paper or they make digital designs of them. it according to how many pieces they will need of that particular design. The photocopies are a print out of the laterally inverted image of the design. The designs are printed in the usual 70 gsm xerox sheets. 86Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 3: Step 4: The artisans then draw the outline of the design on The glass pieces are cut according to the outline using the glass pieces using a permanent marker. a diamond cutter and a glass cutter. 87 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 5: Step 6: The glass pieces of the small details are shaped using a They are stuck to the sheet using ‘Gond’ which is a tool called ‘Chimta’ (pliers). transparent, water-soluble mixture of polysaccharides obtained from the bark of the axle-wood tree that is drained from the plant and dried. 88Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 7: Step 8: After all the glass pieces are pasted on the sheet, the The plywood usually has a thickness of 1 or 1 and a design is ready to be transferred to the plywood. half cm. It varies according to the size of the art piece. It is cut according to the size of the design and is cleaned properly to remove any dust particles with a plain cotton cloth. 89 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 9: Step 10: A thin layer of white fevicol adhesive and water, in the For the glass piece to embed on the plywood, a thick ratio of 1:1, is applied on the plywood. layer of marble powder, fevicol and water in the ratio of 6:2:2 is mixed. 90Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 11: Step 12: Sometimes a small portion of a natural colour called A thick layer of the marble paste is applied on the ‘Roasena’ is added to the mixture if the customer plywood with the help of Karni. ever wants a different colour for the background of the art piece. The colour is found in powder form. 91 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 13: Step 14: The plywood is then tapped from the bottom to The border is made using mirrored glass pieces and remove the air bubbles in the marble paste and to they are put on the marble paste and then pressed for evenly spread the marble paste on the plywood. them to be on an even layer with the paste and also to increase stability. 92Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 15: Step 16: The sheet with the glass pieces are put on the marble A tool called ‘Gurmani’ is used to press and level all paste keeping the paper on the outer part and then the glass pieces with the paste. pressed for the glass pieces to be levelled with the paste and also for stability. 93 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 17: Step 18: After the paper is set to the plywood, the piece is kept After the marble paste has dried, the artisans remove outside on the sun to dry. Small plywood pieces can the paper from the piece using a bit of water. dry within 2-3 hours. The large art pieces take more time to dry depending upon the weather. 94Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 19: Step 20: The paper is removed and then he applies another The piece is kept to dry for another 1-2 hours in the thin layer of the marble paste on the piece. This is natural sunlight. to fill the gaps near the glass pieces and to give it a more levelled and smooth layer. 95 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Step 21: Step 22: After the piece is fully dry, the cleaning process Finally, the piece is cleaned by a dry cotton cloth begins. The artisan takes a cotton cloth and dips it and all the unwanted particles are wiped off of it. in water and then cleans the piece thoroughly. 96Craft Documentation | Thikri | B.Des | Accessory Design | 2023

PROCESS FOR WORKING ON WALLS When working with walls, the method alters since the stability of the art on the basis varies, so more emphasis is placed. When working on walls, craftsmen choose materials that have a stronger hold, are water resistant, and can withstand various climates. Zinc and calcium are among the materials utilised in wall construction. Zinc (“zinky powder”), calcium, and water are combined to make a paste. Because the consistency of the combination should be similar to toothpaste, the artisans measure the materials as they go rather than sticking to a set ratio. There is no fevicol in this blend. To do so, they utilise a tool “Karni,” which is comparable to a spackle knife. Thikri on wall Craft Documentation | Thikri | B.Des | Accessory Design | 2023

WORK DISTRIBUTION AMONG THE ARTISANS Mr. Anant Maheshwari is the main artisan of the place. He is the master craftsmen who teaches and allots work to the artisans working under him and he is the one who handles all the finances there. Mr. Nitin Sharma, Mr. Ajay Sikligar and Mr. Devendra Singh Solanki are the three artisans who are mainly in charge of glass cutting. They receive the Thikri and Belgium glass pieces from Anant Ji and then according to the desired designs, they start the first few process of glass inlay with it. Mr. Himanshu Sikligar, being a new comer, helps these artisans during their glass cutting processes. Vinesh Ji is mainly in charge of applying the marble paste and the finishing processes. He can fix the glass pieces on the plywood using the marble paste very skillfully, without any air bubbles being seen on the surface of the art piece. He also cleans the piece and and does the finishing work very neatly. Mr. Sangram Singh Jhala is in charge of all the transport and movement of the craft items. Sometimes he himself goes to the location of the customer, to make sure that the art pieces are delivered properly and in time. Mr. Jalaj Maheshwari is in charge of the website for the shop. Mr. Manish Kumawat is the head of the fixing team for the shop. Mr. Ranchod Sharma is the carpenter for the shop and takes care of the machine equipped tasks at the workplace. 98Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Source: Unsplash.com Craft Documentation | Thikri | B.Des | Accessory Design | 2023

GLASS BLOWING PROCESS • Ideally, two large balloons or glass bubbles can be produced in a single furnace. • The glass is heated and melted inside the furnace. • There is a Glory Hole where the glass blower creates the work, an oven where pipes and punties are kept hot, and an annealing oven where finished work is slowly cooled. • The molten glass is then rolled on a steel table by the artist to give it a cylindrical shape. The glass is then heated in the glory hole, while the artist turns the blow pipe and keeps it in motion. • When the balloons reach a certain size and hardness, different colours are put within the hot balloons. • The blowing begins with a puff on the end of the blow pipe to form a bubble. Back to the Glory Hole for more heating and spinning. Back to the bench for some more shaping. This cycle is repeated numerous times depending on the artist’s desired size and shape. • When the balloon has reached the proper thickness, the blowing is stopped and the balloon is allowed to cool. • After cooling, the balloon is disassembled into individual parts and sold by weight. • We can extract up to 20-25 kg of thikri glass from a single balloon. 100Craft Documentation | Thikri | B.Des | Accessory Design | 2023

TOOL SAFETY AND RISK FACTOR NO USE OF GLOVES: During their work, the artisans do not use hand gloves. During their work, the artisans do not use hand gloves or any protective gear to avoid the glass pieces from entering their skin. This leads to them experiencing multiple cuts and some can also result in fatal accidents. NO USE OF MASKS: When the artisans used the groziers to cut the edges of the tiny glass pieces, the powder from the glass pieces have a very high chance of entering into their bodies through inhalation. There was no use of masks or anything to protect the powder from entering their bodies. SITTING FOR LONG HOURS: The artisans would sit in one position for hours and would be so immersed in their work that it would lead to them having back aches, improper posture, stiffness and neck pain. They would sit with their legs folded on the ground and wouldn’t have proper back support. NO USE OF SLIPPERS: The artisans would take their shoes off and work at the workshop and when they had to get any item for their work, they would walk around the workplace without any slippers or footwear. This can be harmful as tiny glass pieces are spread around the place and can pierce their feet at any time. NO FIRST AID KIT: A place where there is a very high usage of glass should have a proper first aid kit available for any accidents that my occur. They only kept a small bottle of detol antiseptic liquid for cuts and wounds. 101 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

TYPES OF GLASSSES USED IN THIS CRAFT THIKRI GLASS: A kind of hand-blown glass. COLOURED GLASS: Stained glass is glass coloured by adding metallic salts when it is made. DESIGNED GLASS: A lightweight glass on which patterns and designs are printed. INCOME Mr. Anant Maheshwari, the main artisan, handles all the expenses at the workshop. The artisans who work under him get an approximate salary of Rs.15,000.00 per month but their income also depends on the commission they get by selling their work. Therefore, if they get a big project where they need more workforce and materials, their incomes increase on that particular  time  period. SEASON/CLIMATE There isn’t any major factor where the season or climate in Udaipur plays a role for the craft. Since it’s a mostly sunny and dry area, the art pieces take just 2-3 hours to dry. Only during the monsoon weather, that is from July to September, the prices take longer to dry depending on the availability of sunlight. During that period, the tourism also decreases and this affects their income as most of their customers are tourists. 102Craft Documentation | Thikri | B.Des | Accessory Design | 2023

SWOT ANALYSIS: Strength, Weakness, Opportunities and Threats STRENGTHS: • The main attraction about the Thikri craft is its elegance and aesthetic. The art pieces have subtle shades with bright and luminous glass pieces inlayed on it, which makes it look both vibrant and refined. • The art pieces also carry intricate details in its designs that gives it a regal look. This is why it catches most people’s eye from all over the world and has such a large audience. • Due to the effective rate at which the marble paste dries, it doesnt take much time for the smaller pieces to get ready. WEAKNESS: • There are very few utility items in this craft as most of them are wall hangings and for other decorative purposes. • The craftspeople aren’t being able to go hand-in-hand with the technological advancements of the world. Even if they know about the changes, they choose to remain in their own traditional methods of making and selling their products. • The importance of introducing e-commerce in their business isn’t emphasisied and paid importance to which becomes a big obstacle in increasing their business and customer base. 103 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

OPPORTUNITIES: • Artisans can set up workshops or galleries to showcase their work and offer interactive experiences for visitors. This can contribute to the growth of the local economy and create job opportunities in the tourism and hospitality sectors. • Providing training and skill development programs to artisans can enhance their abilities and help them refine their techniques. This can be done through partnerships with government agencies, non-profit organizations, or private initiatives. • Thikri craft can be incorporated into interior design projects, architectural installations, and high-end decor. This can create a demand for Thikri craft and provide a sustainable market for artisans. • Artisans can showcase their products, share their stories, and engage with a broader audience through social media, websites, and online marketplaces. THREATS: • With evolving consumer preferences and the rise of modern designs, there is a risk of declining demand for traditional crafts like Thikri. • Limited awareness about the craft and its historical significance can result in a lack of demand. • Machine-made replicas of Thikri craft, produced at a lower cost and in larger quantities, pose a threat to the authenticity and uniqueness of handmade Thikri products. • The irregular flow of income, seasonal fluctuations, and lack of financial stability can discourage young artisans from pursuing Thikri as a livelihood. 104Craft Documentation | Thikri | B.Des | Accessory Design | 2023

PRODUCT RANGE AT THE GLASS INLAY STORE The prices of the products differ according to their size, their designs, their deatils and the clientele. The prices begin from 800 INR, and go on accordingly. The customers can buy the pieces from the store, or through their website. 105 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Thikri on a Dome Ceiling Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Thikri on a Dome Ceiling Craft Documentation | Thikri | B.Des | Accessory Design | 2023

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Wall Decor Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Thikri Piecies Craft Documentation | Thikri | B.Des | Accessory Design | 2023

FUTURE OF CRAFT • Efforts to revive and preserve Thikri craft can ensure its continuity for future generations. Organizations, artisans, and cultural institutions can collaborate to document traditional techniques, create archives of designs, and establish training programs to pass on the craft’s knowledge. • Artisans can explore innovative applications of Thikri in interior design, fashion accessories, and contemporary art installations. • Collaborations with designers and artists can lead to the fusion of Thikri with modern styles, attracting a wider range of customers and ensuring its relevance in today’s market. • By supporting the livelihoods of artisans and improving their economic well-being, the future of Thikri craft can be secured. • Cultural policies that recognize and protect traditional crafts, provide incentives, and promote tourism can contribute to the growth and preservation of Thikri craft. 114Craft Documentation | Thikri | B.Des | Accessory Design | 2023

GLOSSARY THIKRI: A piece or fragment of an earthen vessel, or a brittle substance, as the shell of an egg or snail. It is also the traditional glass inlay work that originates from the Indian state of Rajasthan. GURMANI: It is a tool used to press and level all the glass pieces with the paste. GOND: A transparent, water-soluble glue of polysaccharides obtained from the bark of the axle-wood tree that is drained from the plant and dried. KARNI: It is a leaf-shaped tool that is used for mixing the marble paste to get a smooth, even consistency. It is also known as a spackle tool or a spackle knife. USTAD: An expert or highly skilled person. CHIMTA: Pliers used by glaziers to break and finish glass in a controlled manner. RAOSENA: A natural color is added to the marble paste to change its color. JINKY/ZINKY: Local term for Zinc powder. GHAGRA: A long full skirt, often decorated with embroidery, mirrors, or bells. PADHARO MHAARE DES: Welcome to our land. 115 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

RAJPUT: A member of a Hindu people claiming descent from the ancient Kshatriya, or warrior caste, and noted for their military spirit. MAHAL: A mansion or palace. DAAL BATI CHURMA: It is made of three components of bati, dal, and churma. Dal is lentils, bati is a baked wheat ball, and churma is powdered sweetened cereal. GHATTE KI SABZI: Gatte ki sabzi, an authentic dish from Rajasthani cuisine is a delicious curry prepared with gram flour as base ingredient. Gatte means cooked gram flour dumplings, which are added to the spicy curd gravy to make this irresistible curry. LAAL MAAS: It is a traditional Rajasthani curry made using goat mutton and spices and it is fiery hot and bright red in color. 116Craft Documentation | Thikri | B.Des | Accessory Design | 2023

BIBLIOGR APHY https://www.incredibleindia.org/content https://www.rajasthantourstoindia.com/handicraft-in- https://glassinlay.com/gallery/ rajasthan www.tourism.rajasthan.gov.in https://youtu.be/xFwIsZ5fX4I https://www.britannica.com/ https://youtu.be/M3sAGOAuOM http://www.eternalmewar.in/ https://youtu.be/-eMj-UVkknI https://www.newkerala.com/states-of-india/rajasthan.php https://youtu.be/aLlz674a3c www.sacramentoartglass.com https://youtu.be/7anyP6tf5eQ traveltriangle.com A Legacy Of Light | Glass Inlay (Rajasthan) by Asian www.travelogyindia.com Paints. https://udaipurbeats.com/ mahashivratri deccanherald.com https://udaipurtimes.com/ https://www.nationalgeographic.com/traveler https://www.outlookindia.com/outlooktraveller/ https://www.outlooktraveller.com/ Rajput tourmyindia.com mughal https://navbharattimes.indiatimes.com/ islamic tripadvisor.com jain india.com colonial agoda.com elephant festival indianeagle.com bundi indiatours.com desert festival https://currentaffairs.adda247.com/ cattle fair adotrip.com baneshwar indiatours.com gangaur royalharbinger.com 117 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

NAMRATA GOGOI NITIE PATEL VASU RAVI Accessory Designer Accessory Designer Accessory Designer @namratagogoi @nitieart https://www.behance.net/ @vasuart nitiepatel 118Craft Documentation | Thikri | B.Des | Accessory Design | 2023

SPECIAL THANKS: SANGRAM BHAIYYA, AJAY BHAIYYA, NITIN BHAIYYA AND HIMANSHU BHAIYYA FOR MAKING US FEEL AT HOME AND MAKING SURE WE HAD ENOUGH CHAI AND KACHORIS IN OUR SYSTEM. THEIR WARMTH AND KINDNESS MADE US AGREE WITH THE PHRASE, ‘PADHARO MHAARE DES!’ 119 Craft Documentation | Thikri | B.Des | Accessory Design | 2023

Frome Right to Left: Ajay Siglikar, Himanshu Siglikar, Nitin Sharma, Vasu Ravi, Nitie Patel and Namrata Gogoi 120Craft Documentation | Thikri | B.Des | Accessory Design | 2023