MKSSS’s School Of Fashion Technology The Story Of Copper Art
PREFACE The copper craft, a very famous craft of Pune, Maharashtra, also known as tambat craft, is a very important part of our curriculum, allowing us to gain practical experience in the field of handicrafts. In this study and documentation, the primary objective is to examine the tools, raw materials, and processes used in the manufacturing of tambat crafts and to understand the conditions that the artisans live in. It has been an honor to interact with the artisans of Pune, Maharashtra, with the idea of gaining an overall perspective on one such sphere. The effort that has gone into preserving this fine craft has made us more sensitive to it. In conse- quence, we aim to make everybody aware of the existing state of this craft through this document, and to whatever extent that is accomplished would be considered a pleasant undertaking. Through this project, we have gained an in-depth understanding of the state of the tambat industry and the need for new designs to survive in the cur- rent trend-driven global market. The goal of the tambats should be to con- tinue exploring and creating new products for people while also exploring the amalgamation of technology and art.
ACKNOWLEDGEMENT On the very outset of this documentation, we would like to express our sin- cere and heartfelt gratitude towards all the people who have helped us in this endeavor. Without their active guidance, help, co-operation and encourage- ment we would not have made headway in this project. We extend our heartfelt gratitude towards Dr. M.M. Hundekar, Principal, School of Fashion Technology for bestowing us with this opportunity to study and learn about an age old heritage craft. We sincerely thank Dr. Sud- hakar Jadhav, Course coordinator and Faculty, Fashion Communication, for his valuable support in completion of this project. We would also like to thank Mrs. Garima Bhalla, HOD UG, for her academic inputs and support. We are thankful with a deep sense of reverence towards the artisan Sandeep Lanjekar, Nevanth Parange, Uday Kalve, Raju Karade, Nitin Pimple, Arun Patil, Ganesh Potpide for their valuable time and effort in tutoring us and providing authentic information about such age old craft. We are also thankful to Ms. Sneha Maktedar, faculty and subject in charge of Craft Documentation for her guidance and supervision throughout the course of accomplishment of this project. We are greatful to Mr. Shubham
INTRODUCTION A copperware product is called tambat or copperware in Marathi. It was during the reign of the Peshwas that Tamatkars first came to be recog- nized. The ‘Bara Balutedars’ were originally from the Konkan region and were responsible for fulfilling the economic, military and religious needs of the Peshwa Empire. They served the royal family determinedly, by sup- plying all the products required for household and weaponry. (example - copper coins) In modern times, they make copper objects like pots and show pieces, as well as copper utensils of everyday use. The artisans continue their tradi- tions today in the heart of Pune, where they handcraft these items by hand and decorate them with a typical mosaic beat metal technique called Ma- haarkaam. Copper artisans in their 7th generation have been documented and their work and the people involved have been studied in great detail.
CONTENT 1 2 1. ABOUT PUNE 2 1.1 PUNE 3 1.2 HISTORICAL TIMELINE 5 1.2.1 BRITISH RULE 5 1.3 HISTORICAL PLACES OF IMPORTANCE 5 1.3.1 SHANIWAR WADA 5 1.3.2 LAL MAHAL 7 1.3.3 NANA WADA 7 1.3.4 RAJA DINKAR KELKAR MUSEUM 7 1.3.5 AGA KHAN PALACE 7 1.4 GEOGRAPHY OF PUNE 7 1.4.1 CLIMATE 7 7 2. PEOPLE AND THEIR LIFESTYLE 8 2.1 DEMOGRAPHICS OF PUNE 8 2.2 SEX RATIO 8 2.3 CULTURE 8 2.4 FESTIVAL 9 2.5 CLOTHING AND ACCESSORIES 9 2.6 OCCUPATION 11 2.7 FOOD 11 2.8 LANGUAGE 12 12 3. CRAFTS OF THE REGION 12 3.1 CRAFTS OF MAHARASHTRA 12 3.2 CRAFTS OF PUNE 12 3.3 REGIONAL CRAFTS 12 3.3.1 SAWANTWADI CRAFT 3.3.2 BIDRI WARE 3.3.3 PAITHANI SAREES 3.3.4 MASHRU AND HIMROO FABRICS
CONTENT 13 13 4. ORIGIN OF TAMBATS 13 4.1 TWASHTA KANSAR’S HISTORY 13 4.1.1 GEOGRAPHICAL INFORMATION 14 4.1.2 THE TWASHTA KANSAR CASTE 14 4.1.3 TWASHTA KANSAR’S TRADITIONS 14 4.2 TAMBATS / COPPERSMITHS OF MAHARASHTRA 15 4.2.1 MIGRATION TO PUNE 15 16 5. TAMBAT ALI, PUNE 16 5.1 TAMBAT CLUSTER OF PUNE 17 5.2 THE TAMBAT AALI 19 5.3 THE BAKHAL 19 5.4 IMPORTANCE OF COPPER CRAFT IN INDIA 19 20 6. TAMBAT ARTISANS 21 6.1 ARTISAN’S STYLE OF WORK 21 6.2 BELIEFS AND RITUALS 21 6.3 PROBLEMS FACED BY THE ARTISANS 21 21 7. MATERIALS REQUIRED FOR THE CRAFT 21 7.1 PRIMARY MATERIALS 22 7.1.1 COPPER SHEETS 22 7.1.2 DAKH – SOLDER 22 7.2 SECONDARY MATERIALS 22 7.2.1 CHARCOAL 22 7.2.2 WATER 22 7.2.3 FITTINGS 24 7.3 CLEANING MATERIAL 24 7.3.1 SULPHURIC ACID 24 7.3.2 JUTE RAG 7.3.3 TAMARIND PULP 7.3.4 STEEL WOOL SCRUBBER 7.4 STORAGE
CONTENT 25 25 8. TOOLS AND EQUIPMENTS 25 8.1 TOOLS 25 8.1.1 KATRI – SCISSORS 25 8.1.2 AADHI AND MANDLI - METAL SINKING BLOCKS 25 8.1.3 SANDSHI – TONGS 25 8.1.4 DHANNI – LONG HOOKED ROD 25 8.1.5 MOGRI – WOODEN MALLET 25 8.1.6 KANSI – METAL FILES 26 8.1.7 DABAKS – METAL HAMMER 26 8.1.8 CHARYACHI HATODI – CRISSCROSS HAMMER 26 8.1.9 MATHAR NAKHI – COINING HAMMER 26 8.1.10 PARWADI - EDGED HAMMER 26 8.1.11 MATHAR DUMUKHI – DOUBLE HEADED HAMMER 26 8.1.12 MATHAR CHAVADSHI – TAPERED HAMMER 28 8.1.13 SUI – NEEDLE 28 8.1.14 POGAR – SHORT POINTER 28 8.1.15 HEXAGONAL NUT AND POKAL SANAP – HOLLOW PUNCH 28 8.1.16 HATODI – HAMMER 28 8.1.17 CHANNI – CHISEL 28 8.2 EQUIPMENTS 28 8.2.1 KHOD – WOODEN SEAT 28 8.2.2 KHARVAIS – BAR ANVILS 29 8.2.3 ASSEMBLY OF KHOD – WOODEN SEAT AND KHARVAI – BAR ANVIL 29 8.2.4 UBAAD – UPRIGHT ANVIL 29 8.2.5 UKHAL – SINKING STONE 29 8.2.6 BHATTI – OPEN FURNACE AND ELECTRIC BLOWERS 29 8.2.7 METAL TUBE BEADING MACHINE 29 8.2.8 BUFFING MACHINE 30 8.3 MAINTENANCE AND REPAIR
CONTENT 31 31 9. MAKING PROCESS 31 9.1 STEPS INVOLVED IN MAKING COPPER VESSELS 31 9.1.1 AKHANDA – WHOLE 31 9.1.2 JOINED 31 9.1.3 ATAR KAAM – CUTTING 31 9.1.4 GHAD KAAM – FORMING 32 9.1.5 JOD KAAM – JOINING 32 9.1.6 UJAL KAAM – CLEANING 32 9.1.7 MATHAR KAAM – FINISHING 32 9.1.8 KALAI – TINING 32 9.1.9 CUSTOMIZED ENGRAVING 33 9.2 BUMBA – THE WATER HEATER 33 9.2.1 STAGE 1 34 9.2.2 STAGE 2 35 9.2.3 STAGE 3 35 9.2.4 STAGE 4 36 9.2.5 STAGE 5 38 9.2.6 STAGE 6 40 9.2.7 STAGE 7 40 9.2.8 STAGE 8 42 9.2.9 STAGE 9 42 9.2.10 STAGE 10 42 42 10. TAMBAT PRODUCTS 42 10.1 TAMBAT / COPPERWARE PRODUCTS 42 10.2 CLASSIFICATION OF PRODUCTS 43 10.2.1 RELIGIOUS OBJECTS 44 10.2.2 KITCHEN UTENSILS 44 10.2.3 HOUSEHOLD OBJECTS 10.2.4 CONTEMPORARY PRODUCTS 10.3 PRODUCT RANGE
CONTENT 44 44 11. THE TAMBAT MARKET 45 11.1 TAMBAT LOCAL MARKET 45 11.2 INTERNATIONAL MARKET 45 11.3 GOVERNMENT / NGO / BRAND / DESIGNER SUPPORT 45 45 12. SUSTAINABILITY AND WASTE MANAGEMENT 45 12.1 SOCIAL 46 12.2 ENVIRONMENT 50 12.3 ECONOMY 53 57 13. MEETING THE TAMBAT ARTISANS CONCLUSION GLOSSARY BIBLIOGRAPHY
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1. ABOUT PUNE 1.1 PUNE As soon as India gained independence in 1947, the city’s population and territory grew rapidly. The Pune is one of Maharashtra’s districts. In terms of flood of 1981 led to displacements from the river population, Pune is the second most populated city bank which resulted in new suburbs being built to in Maharashtra and the eighth largest city in India house the destitute.In the post-independence era, (Government of Maharashtra, 2018).Pune has an this region emerged as a prominent manufacturing old history and is thus the cultural capital of Maha- center. It has also seen further development in the rashtra (Government of Maharashtra, 2018). advanced education sector during that time frame. It was dauring the seventeenth and eighteenth cen- 1.2 HISTORICAL TIMELINE turies that the Marathas ruled over the area, a time that contributed significantly to the history of Ma- Dadoji Kondadeo died in 1647, Shivaji assumed harashtra.Pune was built as the Maratha Empire’s control of Pune. Shahista Khan and Mirza Raja Jai capital between the 17th and the 18th centuries. Singh took over Pune. Shaista Khan made Pune the principal military center of the empire during his In 1818, the British rulers made Panipat a major stay in Pune by establishing the Mangalwar Peth army base after the Peshwa/de facto Maratha lead- (1622). A long war, spread over two long decades ers’ rule fell. was also the cause of Shivaji’ Mahraj’s death in Both sides of the Mutha River contributed to the 1680, which gave way to the rule of Aurangzeb. development of the city during the nineteenth and Dhanaji Jadhav, relieved the Mughals from control mid - twentieth centuries.The town used to be lo- over Pune after Aurangazeb’s death.The Maratha cated on the east bank of the river before the Brit- Empire was ruled by Peshwa Bajirao I after Balaji ish took over. According to Kulthe (2011), Pune Vishwanath died in 1721. was considered a stronghold of political demon- stration (protest) against British rule. 2
Pune was established by leveling the old city 1.2.1 BRITISH RULE walls, along the stream bank, in 1728 by Bapuji Shripat. There were 18 Peths or localities in Pune A battle was fought near Pune on 5 November be- at that time. Educational and commercial estab- tween the Peshwas and the British, in which the lishments flourished in that city. When Madhavrao Peshwas were crushed and the city was seized by died, Peshwa control was overthrown. Scindia, the latter. A vast military cantonment was built by Holkar, Gaikwad, and Bhosle, the four leaders of the British to the east of the city. the Peshwas, destabilized the Peshwas’ power. A British settlement was established then. 3
1.3 HISTORICAL PLACES OF 1.3.3 NANA WADA IMPORTANCE Nana Phadnavis was Peshwa’s chief executive of- 1.3.1 SHANIWAR WADA ficer and accountant when he built the residence in 1780. There is a wooden ceiling, arches, cypress Bajirao I started building the landmark on 10th shaped pillars, and banana flower motifs in this January, which was a Saturday in 1730 C.E. The mansion, which was built by Nana Phadnavis for building was a living arrangement for the de facto himself and situated south of Shaniwar Wada. Maratha leader, Peshwa. There have been numer- ous upgrades to the first arrangement of the royal 1.3.4 RAJA DINKAR KELKAR residence since its development. MUSEUM The final stage of the project featured fountains, many small yards and gardens. It is a seven story The collection of this museum is a tribute to the building with mesmerising architecture. lone child of Dr. Dinkar G. Kelkar (1896-1990). Established in 1962, Dr. Kelkar gifted the accu- 1.3.2 LAL MAHAL mulated funds to the Government of Maharashtra in 1975.There are over 2500 objects on display in A red block building, Lal Mahal is located in Pune, the exhibition hall which currently contains 20,000 as its name suggests. In 1540, Dadaji Konddev, objects, most of them from the 18th and 19th cen- after taking over the city from the Adil Shahi Sul- turies and comprise the most beautiful pieces of tans, brought Shivaji and his beloved up to the cas- ordinary life and craftsmanship. tle, and this was a monument he constructed. Pune Municipal Corporation renovated the Lal Mahal in 1988. Located next to Shaniwarwada, this magnif- icent structure contains a large number of pictures depicting various events in Shivaji Maharaj’s life. 5
1.3.5 AGA KHAN PALACE 1.4.1 CLIMATE The palace was built by Sultan Muhammed Shah There are two major climate zones in Pune: dry Aga Khan III in 1892 in Pune, India. From 9 Au- and tropical wet. The normal temperature in Pune gust 1942 to 6 May 1944, Mahatma Gandhi and is 20 to 28 °C, which is affected by other seasons his wife, Kasturba Gandhi, spent time here accom- such as monsoon, summer, and winter. Due to geo- panied by his secretary, Mahadev Desai due to im- graphical factors, there is not an even distribution prisonment. During the construction of the palace, of rainfall throughout the district. It is hilly and Aga Khan III employed 1000 people and spent 12 forest-covered, its Western part borders the coast. lakh Indian rupees, in order to create employment This area, therefore, gets more rainfall than parts for the villagers who were suffering from famine. of the district located in the east. 1.4 GEOGRAPHY OF PUNE Pune is in the northwest corner of Thane dis- trict. Raigad is the district adjoining Pune in the west. And Satara is the district adjoining Pune in the south. In the southeast and north-east of the state, respectively, are the districts of Solapur and Ahmednagar. At the foot of the Sahyadri Moun- tains, Pune district is triangularly distributed along the west coast of Maharashtra and it is divided into three parts: Ghatmatha, Maval, and Desh. 7
2. PEOPLE AND THEIR LIFESTYLE 2.1 DEMOGRAPHICS OF PUNE Janmashtami, Navaratri, Holi, Rakshabandhan, Christmas, Eid, and the like are celebrated with Pune is a cosmopolitan city where you will find great enthusiasm. However, Pune is quite well- people of different religions, castes, districts, and known for the Ganesh festival they celebrate still ethnicities. Different ventures, colleges, and estab- today. lishments from all over the country have contrib- uted to the diversity in the region. Multi-national 2.5 CLOTHING AND ACCESSORIES companies and multinational ventures have con- tributed to the diversity. A dhoti and pheta/shirt are the traditional dress for men in Pune. Women wear nav-vaari, a nine yard 2.2 SEX RATIO saree covered in a blouse and a choli, which is a The 2011 census recorded a female to male ratio folded cap made of cotton, silk or wool. The nose of 915 to 1000 for Pune, up from 919 for the 2001 ring with a pink or white stone in the middle is census. 883 girls out of every 1000 boys were enu- traditionally worn by Maharashtrian women for merated in 2011 (Census of India, 2011). special occasions such as weddings or poojas/wor- 2.3 CULTURE 2.6 OCCUPATION There are no social boundaries between Maharash- tra and the rest of the country. Until the Peshwas Pune is a major IT hub of India. It has also a large- came to power, the social structure was rigid but ly agricultural economy. Several educational, re- gradually became more flexible after the British search, and training institutes are dotted across the arrived. More diverse religions were accepted. city, making Pune the place to be if you are a white collar professional. In terms of per capita income, 2.4 FESTIVALS Pune is the sixth most prosperous city in the coun- In Pune, there are no religious or linguistic restric- try and the seventh largest metropolitan region. tions, and a host of Indian festivals such as Diwa- 8
2.7 FOOD Pune’s traditional cuisine incorporates both mild and spicy dishes. Pune cuisine consists of flat- breads: chapatis, puranpoli , rice, lentil soups, thali and madder leaf rolls. There is also amti/a spicy lentil soup and falooda/a spicy lentil soup. Dessert consists of Shrikhand, Amras-puri, Modak/Rice dumplings. 2.8 LANGUAGE Marathi is the primary language of communica- tion in Pune. Hindi is the second most popular, and people who speak it can communicate with one another. English is also widely spoken among the youth residing in Pune, as well as native languages of people from other states who have settled there. 9
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3.1 CRAFTS OF MAHARASHTRA Maharashtra is known for many handicraft cate- gories, such as: Sawantwadi Crafts, Bidri Works, Maharashtra, with its rich and proud history of Leather Works, Weaving, Mashru and Himru, crafts, is also known for its unique handloom fab- Ajanta Paintings, Warli Paintings, Jewelry mak- rics, such as Pathani brocade, that has existed for over 200 years and still follows the same pattern 3.2 CRAFTS OF PUNE and weaving technique. Throughout history, rulers have encouraged the development of new prod- Almost 55 different craft communities were list- ucts and techniques created by craftsmen. Until ed in the 1885 district directory for Pune city, in- the 19th century, the local economy was domi- cluding sonars, blacksmiths, weavers, kasars, glass nated by handcrafts, which had a strong historical bangle makers, tailors, and shimpis etc. There are influence. many crafts in the state that are now extinct, but some still exist. Handicrafts are skill-specific and craftsmen-spe- Poona saree, burud, tambat, and pottery are some cific, according to Maharashtra State Develop- of them. There are many issues the crafts of Pune ment Report (2014) - crafts are traditionally caste- face, such as time changes, the loss of pride in lo- based. In crafting, a craftsman’s skill is evident in cal crafts, and rapid urbanization etc. Currently, the products they create, but the quantity of work the following crafts are seen being: Textile: Hand they can produce also depends on how often they embroidery, Leather: Footwear - Filigree and sil- can work for a prolonged period of time. As a re- verware, Metalware, Pottery, Basket weaving. sult of all these factors, the craft sector is unorga- nized. With the industrial revolution, the handicrafts industry began to decline. Technological prog- ress and advancement of machinery discouraged 11
3.3 REGIONAL CRAFTS 3.3.1 SAWANTWADI CRAFT 3.3.2 BIDRI WARE IMAGE SOURCE : https://www.dsource.in/resource/wood- IMAGE SOURCE : https://www.tfod.in/art-design-arti- en-toys-sawantwadi/introduction cles/6302/craft-culture-bidri-and-beyond 3.3.3 PAITHANI SAREES 3.3.4MASHRU AND HIMROO FABRICS IMAGE SOURCE : https://ashagautam.com/paithani-sa- IMAGE SOURCE : https://www.itokri.com/products/2021- rees-iridescent-weave-exquisite-drape/ 293-1-8-pure-handloom-mashru-cotton-fabric-from-kutch 12
4. ORIGIN OF THE TAMBATS 4.1 TWASHTA KANSARS HISTORY Tambat Aali is the name of one of these communi- ties’ colonies. The surnames of most of these peo- Maharashtra’s bronze smiths also have a rich ple are derived from their village identities. (Ref: cultural heritage, which is as old as its historical Information taken from Gazette Of The Bombay traditions. Coppersmiths in Maharashtra had the Presidency. VOL22 published in 1884) opportunity to showcase and market their talents during the golden era of the Peshwas from 1730 4.1.2 THE TWASHTA KANSAR CASTE to 1745 A.D. The Peshwas were a prominent rul- ing family then. Initially, the Peshwas assisted Coppersmiths (tamrakar) of the Twashta Brahmin the community by making utensils and teaching caste historically lived primarily in Maharashtra, them weapons making. Tamba’ means copper in India. They are also known as Tambat or Twash- Marathi, and Tambat means coppersmith. Kasar ta Brahmans. Tambats are artisans who have been was the term previously used for the tambats working and dealing with copper, bronze and brass which has its basis in the Sanskrit word Kansya. utensils for hundreds of years. They are part of a The mythological architect Vishwakarma known centuries-old social structure known as the ‘Bara as ‘Twashta’, was said to have had Kasar as one of Balutedars’. A barter system was used in ancient his sons. As a result, coppersmiths are referred to times where people would exchange goods for as Twashta Kasars. services.In exchange for copper, the customer ad- dressed the twashta kansar who provided the cus- 4.1.1 GEOGRAPHICAL tomer with the old utensil. The coppersmith then INFORMATION reform the utensil according to customer require- ments and received a bagful of grains as payment. Maharashtra’s Konkan region is home to Twastha Kansars. It has a substantial presence in Mumbai, Thane, Pune, Nasik, Dhule, Jalgaon etc. 13
There are Twashta Kansar communities in Ma- 4.2 TAMBATS/ COPPERSMITHS OF harashtra in places like Thane, Mumbai, Colaba, MAHARASHTRA Pune, Ratnagiri, etc. The age-old system has not changed yet except the remuneration is in the form In spite of the fact that Maharashtra is not en- dowed with copper mines, it has a long history 4.1.3 TRADITIONS IN THE of creating copper and brass utensils, weapons, TWASHTA KANSAR CASTE and other artifacts. Twashta Kansaras are known to have immigrated to North-West India from the Hereditary businesses in this community make Rajasthan-Gujarat region 500-600 years ago as and sell copper and brass water pots. Their busi- nomadic tribes. They are believed to collect scrap ness evolved into creating copper and brass de- copper and use vessels from places that had festi- signer showpieces over time. Kalika, the commu- vals or jatras When the king’s wife saw the crafts- nity’s guardian deity (Palak Devta), is the primary manship on display at Mahim in Mumbai, she was religion of the Twashta Kansar. Every town where impressed and requested permanent housing for there is a sizable Indian population, they have es- the nomads. Kansar wadavali, the birthplace of tablished “Twashta Kasar Samaj Samstha Kalika this community, is presently located near Thane, Mandirs’, which are community centers where Mumbai. During this period, they spread up to they organize events.Twashta Kasars have cel- Sindhudurg and then to Goa as their population ebrated Ganeshotsav in Pune since 1893. They practice brahministic traditions and possess brah- 4.2.1 MIGRATION TO PUNE minical gotras. The Twashta Kasar community participates in Upanayana ceremonies as an act of In the old city of Pune you will find potters known sanskar. Even though Konkani is their native lan- as Kumbhar, keg makers known as Kansar, and guage, they prefer to converse in Marathi. They cantonments known as Kasba. This migration may are traditionally vegetarians. have occurred 300-350 years ago during the reign of the Peshwas. . 14
5. TAMBAT ALI (LANE), PUNE Metalsmiths in the Peshwas region made vessels, Upon acquiring the Bakhal (government-approved coins, cannons and weapons made of an alloy of space) which serves as a designated working area five metals called panchdhatu. The first copper for practitioners, he played a major role in further utensils from Pune were not made, but were only developing the craft. sold in Pune in 1818 when the British ruled the city After the steam engine service between Mum- 5.1 TAMBAT CLUSTER OF PUNE bai and Pune began in 1856, the scenario changed. In response, copper sheets reached Pune from Tambat / copperware craft has its principal center Mumbai and the vessel making was renewed. Fol- in Pune, Maharashtra. Initial achievement was a lowing this, business and trade thrived.The British result of Peshwa’s power, and after the British oc- government published three volumes on Pune in cupation, the introduction of railways caused a de- the Government Gazette of the Bombay Presiden- mand for copper utensils, and thus they achieved cy in 1884. As one of the most prominent busi- that status. As the artisans developed their craft, nesses in the period, this gazette references the they settled in Bakhal, a government owned part vessel-building activities of the Twashta Kansara of Kasba Peth where they had their home base for community. Approximately 2300-2700 employ- years. The development of Pune in the mid-80’s ees and 70 tradespeople support the business. slowly turned it into a metropolis. While the city’s With the establishment of the Pune metal workers development was taking place, the sound of metal factory by Anantrao Godambe in 1888, the crafts- forming spread into the adjacent neighborhoods, men began to use a bit of automation. causing residents of the area to voice concerns. Community members began considering moving the community, raising the question of where to move it. 15
As a result of the City Corporation of Pune’s de- 5.3 THE BAKHAL liberation, the Bakhal was ultimately transferred to the tambats so that their identity and locale may be UNESCO has chosen the Bakhal as a heritage site preserved. At present, there are two main groups of in recognition of its significance as the original set- copperware artisans in Pune known as Tambat Aali tlement of the tambat artisans in Pune. It is the pur- and Bakhal. Both of these clusters are located on view of the PMC and an authorised settlement for either side of a long curved road. artisans. In the middle of the market and residential area of the old city stands the Bakhal, which is a historic house. 5.2 THE TAMBAT AALI It is mostly 100*80 feet in size and has two entranc- es on the street level. It is elevated from the street Tambat Aali has narrow streets and large chowks/ level.Within the Bakhal, the coppersmith’s water crossroads where the coppersmiths’ workshops tanks are housed in the central courtyard. The liv- and dwellings are located. Tambat Aali is a maze ing quarters are surrounded by rooms (10x10 feet), of interconnected streets and buildings. The lane and the workshop is in the semi-open space in front behind these newer buildings is lined with tambat of the living quarters. You climb a stone staircase workshops and homes hidden behind their facades. adjacent to a small metal shop that leads to a nar- On either side of the narrow lane, there are open row passage that is dark and leads you to a sound of spaces with workshops on either side.Then the metal clattering.Upon reaching the courtyard, you lane narrows into the approach road to the houses will be able to see the source of the sound. Fol- of the artisans. low the sound until it leads to the central courtyard. There have been generations of family workshops Hammered copper is shaped or indentations are here. Most artisans here are involved in renovating coined by artisans by using a mathaarkaam tool. household articles and coining the indentations for articles used for pujas that are now a part of mass 16
Some of the artisans still residing at the Bakhal The chapters of Rasaratna-Samuchchaya and have built rooms above other historic buildings on Rasarnavam show the mining methodology, and the Bakhal in order to accommodate their grow- how different alloy mixes and proportions were ing number of customers. Currently, most of the made to make different metal mixtures, prov- Bakhal’s houses are rented out. Despite being the ing that ancient Indian metallurgy was of the only place where artisans can practice their trade, highest caliber. Copper has medicinal value, as the Bakhal has a unique aura because of its organ- detailed in ayurvedic manuscripts, and copper ised environment for the artisans to collaborate utensils play a vital role in our everyday lives. and connect. Around 20 artisans have been oper- According to Ayurveda, all natural processes are ating from the space instead of the earlier 50-60. governed both microcosmically and macrocos- mically by three fundamental universal forces 5.4 IMPORTANCE OF COPPER CRAFT which are called tridoshas.Vata, Pita, and Kapha IN INDIA are the three energies that make up the Tridoshas. A land of ancient tradition and cultural diversity, ‘Tamara jal’ is a drink that contains copper, which India is home to a multitude of traditions and cul- balances all three doshas. The water needs to be tures. There is evidence of copper mining in In- heated in a copper pot for eight hours or over- dia dating back thousands of years based on ar- night to achieve this effect. As a result of us- cheological evidence. The usage of copper and its ing copper, you will not suffer from acidity or application to lifestyle products are described in gastric issues: the element is good for cleans- ancient manuscripts. ‘Agnau suvarnamaksheenam ing the stomach, as well as for weight loss. Rajate dwifalam sate’ is mentioned in a text titled ‘Yajnyavalkya Smriti’ dated between the third and fifth century. 17
Antibacterial and anti-inflammatory properties of copper help the body heal better, and copper also boosts immunity, helping the body heal faster. Maintaining cardiovascular health and regulating blood pressure is also one of the benefits of copper. Besides being a stimulant, copper also contains anticonvulsant properties, which are beneficial for the development of the brain. 18
6. TAMBAT ARTISANS 6.1 TAMBAT ARTISAN STYLE OF 6.2 BELIEFS AND RITUALS WORK Tambat’s house had eight pillars on the north-west Each workshop is devoted to a specific fixed object corners, which formed a shrine. It was an area cre- or utensil, which can only be found in the bakhal. ated to serve as a puja-ghar for a variety of gods An organization known as Tawasta Kansar Tambat and goddesses. In Nag-Puja, fruits, modak, and Association administers the division of labor be- ghee are offered as a sacrifice to the god by mar- tween the artisans with the consent of the artisans. ried women in the home every month. This association helps regulate the flow of work There are also a number of rituals the people fol- between the artisans. low that are part of their everyday lives observ- able throughout the surroundings. In addition to Division was done to establish a better quality and protecting the copper against scratches, it also acts to develop a strong specialization for each type of as a layer on top of the floor. In most places, wa- item or vessel sold in the marketplace by the com- ter tanks have hibiscus flowers in them, which are munity of artisans. Orders taken from the market considered sacred and are used to clean the water are usually completed by the community, as well daily. as helping each other meet deadlines. Majoori/la- bour is done by most artisans by borrowing met- al from the market, thereby paying a labour fee in exchange for the finished object. Low income and low savings have contributed to this situation, which has led to artisans being unable to purchase raw materials. 19
6.3 PROBLEMS FACED BY THE COPPER SHEET SCRAPS ARTISANS T They have become accustomed to the noise now, although it is not very comfortable but it is their sole source of income. Several artisans have de- veloped hearing problems because of the continu- ous exposure to loud noise. This makes it hard for them to converse while working. While the artisans strive for perfection in the end products, their efforts go largely unappreciated due to their hard work throughout the week. It is com- mon for artisans to be older than 40 years old, and the younger generations do not prefer this kind of work even if it is a family tradition. 20 HAMMERING
7. MATERIALS REQUIRED FOR 7.1.2 Dakh THE CRAFT A coarse brass powder, also called Dakh/ solder, is 7.1 PRIMARY MATERIALS mixed with zinc chloride salt flux, called “soggi” in the proportion of 2:1 along with a few drops of 7.1.1 COPPER SHEETS water to create a grainy paste. Sheets of copper are cut into rectangular sheets 7.2 SECONDARY MATERIALS and circular plates of varying sizes before being 7.2.1 CHARCOAL sold to artisans, who select the sheets based on the dimensions of their final product.Dished sheets Copper is rated as either Grade 1 or Grade 2 de- typically have a thickness ranging from 18 to 22 pending on its purity. Grade 1 copper is used gauge (mm). for machine spun products and smaller articles. The thicker sheets are used for larger items and for Handcrafted larger objects are made from grade 2 items that are used regularly as they need to with- copper, which contains some impurities. Copper stand daily handling. originates from Pune, Gujarat, and Hubli, and is purchased in bundles of 70kg each. Copper sheets Copper is rated as either Grade 1 or Grade 2 de- vary in thickness and grade. pending on its purity. Grade 1 copper is used for machine spun products and smaller articles. Handcrafted larger objects are made from grade 2 copper, which contains some impurities. Copper originates from Pune, Gujarat, and Hubli, and is purchased in bundles of 70kg each. Copper sheets vary in thickness and grade. 21
7.2.2 WATER The artisans originally made these fittings by hand, but they became more cost-effective and readily A primary requirement of making craft articles is available when they bought them from the market. the availability of clean water, which is used for a variety of purposes during the manufacturing 7.3 CLEANING MATERIAL process.In addition to quenching freshly soldered products, water is used to check for leakages in 7.3.1 SULPHURIC ACID the various parts of the Bumba/water heater. Wa- Debris and stains can be removed with sulphuric ter is also used in the preceding and following acid diluted with water. It is available in a can of steps of certain processes. 500ml from the market 7.2.3 FITTING 7.3.2 JUTE RAG To clean with sulfuric acid, a thin gunny bag made A variety of fittings are used for various products, of jute is used. and some of them are listed below: From the market, Bumba/traditional water heat- 7.3.3 TAMARIND PULP er handles are bought on a piece basis, as are the By soaking tamarind in water overnight, artisans handles for the Ghangala/water containers made make their own tamarind pulp, which removes tar- of brass or copper. A copper rivet is used to con- nishing stains from the products, adding a beautiful nect the handles and the main body of a tradition- shine to this material. al water heater. The artisans also buy these rivets from the market. There are brass hinges and knobs that are acquired from the market for the peephole for the Bumba or water heater. The copper cap is bought from the market.able when they bought them from the market. 22
7.3.4 STEEL WOOL SCRUBBER Steel scrubbers, which are available locally, are used along with tamarind pulp to remove stains and give the products a shine. 7.4 STORAGE Ahammer is typically hung on a small wall-mount- ed rack, and the kharvais and bar anvils are stored horizontally in a corner of the workspace, resting against the khod. Plastic boxes are used to store smaller tools like files, punches, etc. When not in use, the beading, buffing, and polishing ma- chine are located in the common areas outside the workshop and are protected by cloths and jute baggies.
8. TOOLS AND EQUIPMENTS 8.1 TOOLS In traditionally used household tools, sandshi/ tongs and channi/ long hooked rod are almost Blacksmiths are now making the tools needed always used in conjunction. The tongs provide a for the craft, rather than the artisans making them grip on objects, while the long hooked rod is used themselves. In the past, the tools were made by the to prevent slipping when handling larger and lon- artisans themselves.Each artisan generally uses a ger objects. set of hand held tools based on their style of use and ergonomic needs. In this category, we list and 8.1.5 MOGRI describe the hand held tools used in crafting the Its flat circular area of contact evenly distributes the blow across the area it hits and is used to flat- 8.1.1 KATRI - SCISSORS ten the interlocked joints and correct shape by These scissors are used to cut copper sheets from planishing. Due to the wood-crafted nature of the larger sheets of copper to a specified size. They mallet, it does not cause any damage to metal sur- are made of large, curved iron for cutting copper faces. Modern versions of the mallet now have an sheets. Besides trimming excess material after acrylic head mounted on a wooden handle. metal has been formed or beaten, these scissors are also used to trim serrations on the edges of two in- 8.1.6 KANSI terlocking parts. A set of metal files of varying grades is used to 8.1.4 DHANNI file and smooth the edges of the products because they are formed and shaped by hand. The sandshi / tongs are used to lift hot objects from the furnace along with long iron rods with curved hooks on one end. 25
8.1.1 Katri 8.1.5 Mogri
8.1.7 DABAKS Indentations have a proportional size to the object’s The head of the hammer determines the kind of size. indentation that it will make on the copper sheet or brass sheet. This set of varieties has a pol- 8.1.10 MATHAR DUMUKHI ished surface used for making the characteristic matharkaams and indentations. Indentation with Type of indentations created- Flat elliptical dots a hammer takes place at a specific place on the Usage- Indentations like these are typically seen on object and is done with a specific hammer.A sol- utensils around their necks and mouths. Crimping is id bamboo or wooden stick, fitted with iron ham- also used on the edges of folded utensil rims. mer heads and a lead-iron alloy hitting surface, is 8.1.11 MATHAR CHAVADHI 8.1.8 CHARYACHI HATODI Type of indentations created -Linear dots with thin Indentation type - Cross hatch or checkered grid edges Usage- A hammer usually used in order to cover Usage- A similar type of indentation is used on and seal brazed joints, as on water storage con- utensils around the neck and mouth region. Usually tainers, pots, etc. It can also be used to create this type of indentation is used on smaller, more patterns on small contemporary items like can- delicate objects. It can create a variety of patterns depending on how it is oriented. 8.1.9 MATHAR NAKHI 8.1.12 SUI Type of indentations created - Circular dots Using a sui/needle is to mark the locations for (Small to medium sized) hole-making and the placement of the handle fit- Usage - Typically used on the main body and all tings with a thin ink- or pigment-dipped steel rod. around the surface of an object, this type of in- dentation contributes to the distinctive identity of tambat/copper-ware craft products. 27
8.1.13 POGAR 8.2 EQUIPMENTS Iron nails are used to punch holes of various sizes into copper objects. The nails are situated on the 8.2.1 KHOD markings made on the copper objects and ham- In Maharashtra, the khod/ seat is made of a high- mered to punch holes. ly seasoned wood which is commonly found in Konkan region only. It consists of two legs which 8.1.14 HEXAGONAL NUT AND are about 60 feet apart, forming an ‘A’ shaped POKAL SANAP frame.Anvils made from kharvai bar can be passed through the hole in the frame to create a The hexagonal nut is placed below the sheet metal seating that is adjustable at different angles. while the nail with the rivet is above the handle. The thick iron nail is hollow on the inside to ac- 8.2.2 KHARVAIS commodate the rivet. There are a number of kharvais which are specif- ically designed and named after the utensil that 8.1.15 HATHODI they are used to shape. The anvils are bent and In India, using a hammer with an iron head and polished at one end. Anvils used to make swords wooden handle, called a hathodi, one makes holes are called kharvai/bar anvils when the end rests in copper sheets with an iron nail, as well as giv- on the ground and mukh/mouth when the opposite ing the rivets a place to go by using the hammer through the handle. 8.2.3 ASSEMBLY OF KHOD An artisan always assembles Khod/wooden stools 8.1.16 CHANNI together with Kharvai/bar anvils he possesses a Small parts can be carved or marked with a channi/ variety of bar anvils that are mounted on Rhod/ chisel. wooden frames when building a seating. 28
Chisels, Compass and Hammers
The kharvais/bar anvils are each used to shape 8.2.6 BHATTI a particular utensil or object. Each bar anvil can Open furnaces are typically built with a raised also shape certain parts of an object. square brick platform covered with concrete and Adding padding under the bar anvil at the point with a slight circular depression for placing coal where it rests on the wooden seat allows the in the center. height of the Khod/wooden seat and Kharvai/ This setup is generally outside the workshop or in bar anvil to be adjusted. Layers of folded jute a corner. The coal is traditionally fanned using me- gunny bags are placed on top of the wooden seat chanical blowers: electric blowers are now used in to provide padding and make the seat more com- place of them. The air that is blown is directed to- ward the hollow at the center of the platform from 8.2.4 UBAAD underneath. In modern times, portable versions of this tool are also available. The cost of the ubaad is about 8.2.7 METAL TUBE BEADING Rs. 400. It is an upright pole with a smooth and MACHINE shiny head used to shape utensils including pots. The edges of large products such as the bumba/ 8.2.5 UKHAL water heater, pimpa/water filter, and ghanghal/bath Traditionally used for shaping copper sheets into water containers are beaded by hand, which gives utensils, these slabs of basalt stone have a hol- low center carved into them. Nowadays, they are 8.2.8 BUFFING MACHINE sometimes used as jigs for standardizing the size of utensils. Following the removal of the products from the fur- nace and cleaning them, the buffing machine pol- ishes the product’s surface, creating a smooth, spot- less surface for coining. 29
8.3 MAINTENANCE & REPAIR BUFFING MACHINE In many cases, the artisans claim that the hammers and tools they use have been handed down from generation to generation for over a century. In or- der to allow the wooden handle of the hammer to expand due to absorption of water, the hammers are soaked in water for a couple of hours before use. When the wood has expanded due to the water, the hammer head fits better in the handle and keeps it from sliding. A hammer that is used for matharkaam must be remade since the hammer has a polished face and cannot be repolished. A new one is replaced after a few years, however, after buffing it on a buffing ma- chine. Blacksmiths from Konkan craft these ham- KALAI 30
9. MAKING PROCESS 9.1 STEPS INVOLVED IN MAKING 9.1.3 ATARKAAM COPPER VESSELS Based on the size and shape of the vessel, copper 9.1.1 AKHANDA sheets are cut into the desired format. As these vessels have no joints, they are stron- 9.1.4 GHADKAAM ger and more durable because they are formed entirely from a single piece of copper. Smaller In this procedure, the copper sheet is sunk (khol- utensils tend to fall into this category. kaam), raised, and shaped. 9.1.2 JOINED 9.1.5 JODKAAM Most large vessels are made by joining two or Joining is performed by nipping, hammering, and more parts together. The joints of these vessels zakkaam/brazing. How joints are placed depends on are weaker than those of other vessels and are the vessel’s shape, its complexity, and its strength more likely to tear. These vessels are compara- requirement. tively more brittle than other vessels. 9.1.6 UJALKAAM Copper objects made by hand go through the following steps: During this process, parts are soaked in an acid bath to remove the oxides and sulphates left over from the previous processing. 31
9.1.7 MATHARKAAM A mechanized method of creating indentations on vessels has not yet been created which can model These dots give the vessels their characteristic the matharkaam. identity and add beauty as well as strength to the metal. These dots have not only enhanced the 9.1.9 CUSTOMIZED ENGRAVING aesthetics of the vessels, but have also enhanced Customised engravings of the artisan’s name that 9.1.8 KALAI created it, are added behind the product to give it a meaning and personal touch.These engravings are Tin coating is a procedure through which inside done by a team of workers using metal screws. Each surfaces in contact with food are made non-reac- product has a significant artisan style attached to it. tive by coating them with tin. This is only neces- sary for vessels used for cooking. 9.2 DETAILED PROCESS OF PRODUCT The number of steps involved in each stage var- MAKING ies depending on the complexity of the product. BUMBA Also, some stages might be skipped based on the type of product. Several small industries have Around two to three specialized artisans make the emerged in the past couple of decades that have Bumba/Water heater. Artisans specialize in one or automated many of these processes due to the more areas of expertise and divide the work among strenuous work and time-consuming processes themselves according to their level of expertise. Ap- involved in handcrafting the vessels.While in- proximately three or four bumbas/water heaters are dustrial methods are effective for achieving pre- made each day by the artisans working eight hours cision in shape and for speeding up production a day. times, they lack the character that an artisan’s meticulous shaping of the vessel yields. 32
Here is a detailed description of how artisans make The diameter of circle sheets used for the lid is 2 bumba/water heaters, primarily the No.15, the most more than that of the main body, thus the diame- common among the artisans. ter of the circle sheet used is 17 whereas copper sheets used for the base cap have a main body of STAGE I 15 diameter. All cylindrical parts are manufactured from rectan- gular copper sheets, while the lid and base cap are At first, the craftsman marked the diameter of produced from circular copper sheets for making the circular discs with a compass, then cut it with the bumba/water heater. A 45mm diameter cylin- metal shears from rectangular copper sheets. In der requires three times the sheet length of a 15mm recent years, pre-cut circular copper discs of stan- diameter one, i.e. 45mm long. Likewise, it shares dard sizes and gauges have now been available, the same height/diameter with its main body, i.e. 15” This is cut from a 22 gauge rectangular copper STAGE II sheet. Various copper sheets are cut into predetermined The koti or coal chamber has a diameter of 7 and a shapes based on the dimensions required for the height of 10 inches and is made from 18 gauge cop- various parts. per sheet. The naala/inner tube for flue gases has a The bumba/water heater has a hemispherical base diameter of about 5 and a height of about 17 inches. with a shallow lid. The artisan who forms these Copper circular sheets are used for both the lid and parts remains consistent throughout to ensure the base cap. consistency in the workmanship. On the aadhi/ sinking block, the circular sheet for the base cap is placed and hammered radially inward to form the concave base. 33
The hole in the centre is cut out and enlarged as There are about 1 cm of nips along the edges of the the base is formed.A vertical rim surrounds the teeth, and these nips are alternately folded to al- hole. The diameter of the hole is wide enough to low proper interlocking with the non-nipped edge. accommodate the hoti/coal chamber (lower cyl- When the cylinder is placed over the mukh/mouth inder). A copper sheet is repeatedly annealed to of the stake, the nipped edges are hammered down form the dome shape. for a secure fit. In addition to being leak-proof, the bumba/ water heater is also used for heating wa- During Annealing, copper is heated to a criti- ter. These joints are sealed and strengthened by cal temperature to disintegrate the strained and Zalkaam/brazing. hardened metal grains that formed during form- ing. When the copper reaches the critical tem- In making dakh/braze, the artisan mixes brass pow- perature, the metal grains dissolve into smaller der and zinc with a flux and applies it to the edges grains.In the case of copper, as the temperature of the interlocking bars.The first step is to quickly is increased above the critical temperature, tiny fire the joint so the powder can adhere to it. Grad- new grains are formed and fuse with one anoth- ually, it is fired slowly. Copper’s melting point is er, making the metal more ductile because of the higher than the melting point of the braze, so when increased grain size, permitting further reduc- it melts and fuses with the copper, the connection tion of the copper. will be permanent. Copper’s melting point is higher than the melting point of the braze, so when it melts STAGE III and fuses with the copper, the connection will be permanent. To close the cylinders, the artisan cuts the verti- cal edges of one of the cylinders so that they can be interlocked against the other side.The copper, the connection will be permanent. 34
STAGE IV As another artisan joins the koti/coal chamber to Following the brazing process, each cylinder is indi- the flue tube, the naala is being worked on. vidually tested for leaks. According to the wear and tear the part will undergo, brazing is either done on Coal chamber rims are shaped outward on the bot- the outside or inside. The inside of the cylinder is tom at an approximate angle of 45 degrees, while filled with water in a gentle stream. The leaking spot the top rims are shaped inwards at an approximate is sealed again by soldering with the solder material angle of 30 degrees. Its bottom edge is also bent and heating it on the furnace. outward and its upper edge is also made outward on the naala/flue tube (upper cylinder). Before The water bubbles in the gap and seeps into the adja- moving forward, the joint is checked for leaks af- cent joint. A tank full of water is used to cool the re- ter both cylinders have been brazed together. seated parts. Charayachi hatodi/criss-cross hammer is used to level the brazed joint. The joint is durable STAGE VI and long lasting. When the cylinders are mounted To make the complete bumba/water heater, the on the stake and hammered, the deformations in the parts are now plugged together to form the entire three cylinders are corrected. unit. It is first necessary to check the fit and weight of the two parts before they are joined. There is a STAGE V nip at the lower end, and this is interlocked with the edge of the base cap so that the cylinder can To allow the lid to rest on the main cylinder, two be brazed together. A barrel full of water is used grooves are cut on the top edge with a mechanical to quench the main body. If leaks appear, they are beading machine. As one artisan holds the cylin- inspected. As a result, the two inner cylinders are der between the two rollers, the other turns a lever joined with the main body and form the heating which causes the inner roller to apply pressure on element. the metal to form the bead. 35
In order to fit the bottom cylinder into the hole at the base, the main body slides over the tubes and is pressed into place. Assembling the outer body and the inner heating element at the base is next. Once assembled, the lid is also checked to make sure it fits well. STAGE VII In order to remove any soot or stains that form on the surface of the lid and assembled main body, they are placed in hydrochloric acid for a few minutes. A steel scrubber dipped in tam- arind pulp is used to clean the parts after they have been removed and rinsed thoroughly with water. To remove the scratches from the surface of the parts, the artisan buffs the parts on an electric buffing machine. After drying in the sun, the 36
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STAGE VIII In matharkaam, tiny dots appear all over the sur- face that appear like fish-scales. Metal surfaces To begin with the most admirable process of all, are stressed in this process, giving them additional the artisans carefully return the Bumba/water stiffness and elasticity. If any distortions or surface heater to the stake. To give the heater its final imperfections exist, this pattern serves to conceal identity, two artisans simultaneously work on them. In addition to the hammers, many kinds of each part separately. The main body of the Bum- dabaks are used for the coining as described previ- ba and the lid are only covered in matharkaam. ously.Every indent has a specific purpose to solve in order to prevent oxidation of the metal surface To prevent sweat staining on their hands and resulting from contact with the atmosphere. Each lap, the artisans place a clean cloth over them. In indent compresses the metal surface, closing the the next step, the artisan meticulously carves in- air pores and protecting it from oxidization. With dentations on the surface. This is accomplished each subsequent blow, these indentations harden the by placing thousands of small dots next to each copper sheet, making it more structurally sound and other without overlapping them. Perfecting this reducing the chances of it breaking. technique requires years of practice. Light is reflected off the tiny surfaces created by the Matharkaam’s uniqueness lies in the way the indentations, making the heater shine in the sunlight patterns are arranged on each piece. As a result, after it has been coined. Once the coining has been each piece has an identity of its own. In addition completed on the entire heater, it is cleaned with to playing with the density of the indentations soft steel wool to give it a superb shine. as well as the size and the orientation of the indentations, each artisan has his own unique 38
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