CRAFTS OF UDAIPUR

An overview by Indian Artisans Online

1. Miniature Painting - Udaipur2. Pichhwai Painting - Nathdwara3. Danka Embroidery - Udaipur4. Akola Prints - Akola5. Kaavads - Bassi6. Terracotta - Molela7. Marble Work - Udaipur8. Puppet Making - Udaipur

Major crafts of Udaipur

MINIATURE PAINTING

• Miniature Paintings began taking shape in India around the 6th-7th century AD, when Kashmiri miniatures first emerged. During the 16th century, under the Mughal rule, the art got a boost as it became a preferred method of recording court proceedings and everyday life.

• There are different styles like early Jain style, Mughal, Deccani etc.• There are no strict caste divisions in this craft. It can be taken up by anyone.• Due to tourism the craft has flourished and at present there are over 3000 practicing artisans

in Udaipur’s old city. But ironically very few of them are traditional artisans. Most are learned artists who have taken up the craft as a profession.

• Reva Shankar Sharma is one of the most well known artist who has won the national award for his paintings.

•There is a strong hold of the market by traders. Most artisans sell to traders and do not market their work directly. This gives them very little remuneration for their work.

• While the craft seems to be flourishing, a closer look shows that traditional artisans are leaving the art. Most artists have learned the craft just to earn an income. They are now giving a tough competition to traditional artists as their work is cheaper and tourists usually buy their paintings. Artisans who have been involved in the craft since generations are now moving towards wall and portrait painting.

•Since miniatures are a part of fine arts, it has become highly commercialised.

CHALLENGES FOR THE CRAFT

Type of miniature paintings commonly found in the local market

Miniature paintings by award winning artists

•A 500 year old art form, Pichwai paintings are said to have been brought by the families who came with the Hindu god Lord Krishna from Mathura to Nathdwara (Rajasthan). •Pichhwai is used as a background for the idols of Hindu god Shreenathji (an avatar of Krishna) in temples.•The themes used for Pichwai are mostly from various Krishna Leela. There are different Pichhwai for all 365 days. Special ones are made for festivals.•To paint natural colors are used on cotton cloth and artists make it according to the description given in the Vedas.•Pichhwai painting has evolved with the time. Artists are now making small sized paintings which even individual customers can buy. •Raja Ram Sharma is a National Award winner in Pichhwai Painting.

PICHWAI PAINTINGS

•Limited market for Pichwai paintings is making artists leave their traditional work. It takes almost a month to complete one painting and artists do not get equal remuneration.

•While there is a perpetual demand for Pichhwai from temples, demand from individual customer is very low

•There are other options in the market which are cheaper and it is giving a competition to traditional Pichhwai work.

CHALLENGES FOR THE CRAFT

Commercial pichwai painting Pichwai painting on wood

A contemporary pichwai painting Traditional style of pichwai painting

• Danka is a traditional embroidery from Udaipur which has been around for over 400 years.• For Danka work, artisans use thin silver sheets coated with gold which are cut in different sizes according to the design. Popular motifs include, sun, moon and paisley. The final product can be quite heavy and expensive. Most of their clientele comprise of royal families. •Earlier gold sheets were used but due to high cost, artisans are using silver and other alternatives like light weight alloy.•Due to the high investment required, very few artisans in Udaipur are still practicing the craft.

DANKA EMBROIDERY

• Danka work is time consuming and requires highly skilled artisans. Because of this many artisans have giving up the craft. • Availability of cheaper alternatives, high cost of raw material and the final product has reduced the demand for Danka work. •Danka can be done on very few textile like silk and satin and the use of silver makes the garment heavy. This is making it less popular as customers want more choices in lesser cost. • No initiatives are being taken by government or other organizations to keep the craft alive. Coupled with the low demand for the products, it has become difficult for artisans to sustain the craft.

CHALLENGES FOR THE CRAFT

Danka art

•The Akola region in Chittorgarh (52 kms from Udaipur city) is renowned for hand block printing. •One of the most well known print is the Phetiya. It is worn exclusively by women of the Jat and Chaudhury castes especially during marriages. •Unlike the condition of hand block printing in other parts of India, in Akola this craft is flourishing. This is because it has become mandatory for Jat women to wear phetiya. Local demand has ensured that almost every household practices hand block printing. Demand for the same also comes from adjoining areas of Udaipur.•Traditional Akola looks similar to bandhini. Unlike dabu printing Akola prints are created using hot printing technique.•Many organizations are working with craftsmen in Akola which is one of the important factor in its survival.

AKOLA PRINTS

• Due to the immense demand for Phetiya cloth, artisans are focusing only on the local demand for it. There is very less production of traditional Akola print.

• There is a strong competiotn with bandhini.

• The work is labour intensive and most job work pay very less.

CHALLENGES FOR THE CRAFT

Phetiya print

Traditional akola prints

•Kavads are portable temples or shrines which are shaped like a box with multiple doors. Different stories from the epics like Mahabharata and folk tales are painted on it and they were earlier used for storytelling purposes by the Kawadiya Bhat community. They used to travel from village to village, narrating stories from epics and connecting them with social issues. In return they used to get food, money, clothes, cattle etc.•Two communities are involved in the making of kavads- suthars (woodworkers) and Bhat. The suthars make the kavads while the Bhats paint them. These days the Bhat community does all the wood work themselves. •Kavads were a specialty of Bassi village but low demand is forcing artisans to shift to other work. Traditionally the craft was passed on from father to son, but these days most parents are not interested in teaching their kids. At present, there are only 10 families left in the village who are still practicing the craft.

KAAVAD MAKING

•Rising cost of wood, seasonality and access to nearby cities due to lack of transportation are some the challenges that artisans have to face. • Traders have a strong hold on the market, and artisans earn very less. This is also reducing the interest in the work. •The art is also bound to traditional style and artisans hardly use any innovative approach. This limits the market.

CHALLENGES FOR THE CRAFT

Different types of Kaavads

• Molela in Rajasmand is famous for terracotta craft, which are made by the Mina and Bhil tribes. The main items made at Molela are votive, plaques, and idols of gods and goddesses.

• Traditionally the tribes largely make idols of their clans deity called the ‘kuldevata’. There is a strong local demand for these idols and almost every household in Molela practice the craft.

• Apart from idols of the deity they also make small decorative items and panels. Due to the demand for such items the craft is flourishing in Molela.

• The village itself is famous for its own style of pottery and visitors from all around the world come to village to learn the art.• Seasonality and transport issues are challenges that artisans face. • Although the craft is flourishing many parents are not interested in teaching their children this craft.• Mohanlal Kumbhar won the Padmshree for his work in Terracotta.

TERRACOTTA- MOLELA

Terracotta of Molela

• Marble work is not a major craft in Udaipur, despite it being the hub of raw marble. • Most of the marble work is done by machine or are outsourced from other parts of Rajasthan. The carving found in Udaipur is very simple and artisans mostly make small decorative articles. • There is a strong hold on the market by traders and export houses. Most artisans prefer to work in export houses as they earn well. There are very few artisans practicing the craft at an individual level. • Most of the work is done with machines.

MARBLE WORK

Marble work of Udaipur

•Puppet making is not a major craft in Udaipur and there are very few artisans left. •Puppets of Udaipur are different from those found in other parts of Rajasthan like Jaisalmer as they have a better finish. There is more attention to details for example the puppets have well painted faces with bigger eyes and males are depicted with traditional Rajasthani beard. •Just like other crafts, traders dominate the market and artisans get very low prices for their work.•Major quantity of puppets are outsourced from other parts of Rajasthan.•Many of them have stopped practicing this craft and make wooden utility products instead.•Most artists are focusing more on doing puppet shows during weddings and parties. For this they outsource puppets or use old ones which is being carried on in the family since generations. They make very few new puppets.

PUPPET MAKING

Puppets Of Udaipur

Gautam Kumar- Glass inlay artist and his work

AWARD WINNING ARTISANS IN UDAIPUR

Reva Shankar Sharma National Award winning miniature artistKnown for paintings of Radha Krishna

Pinku SharmaPopular miniature artist in the local marketKnown for his paintings of peacocks

Jamunalal KumbharAward winning terracotta artist

Mohanlal Kumbhar Teracotta ArtistPadma Shri winner

Raja Ram SharmaNational Award Winner Pichhwai Artist

Mangelal MistryNational award winner in kaawad making

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