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made in a similar way as the hind limbs. The tail is then narrowed into a thick cylinder with a slightly tapering end, and it is beaten into a paisley like shape. The broader portion of the tail is thinner than the narrower portion. The pattri/rail is then tilted sideways, and the tail beaten over its edge to exaggerate its flow. It is also bent into shape with the help of a chimta/tongs. Final finishing of the tail is done in the end. The head and neck are next to be heated. Fig. 5.14 Fig. 5.12 The part forming the tail is being heated in the furnace Fig. 5.12 Fig. 5.15 Fig. 5.13 After making the heated part thick, it is beaten over the edge of the pattri/rail to impart a prominent curve Fig. 5.14 Flattening of the thick part of the tail Fig. 5.15 Bending the the wavy tail over the edge of the pattri/rail by forging Fig. 5.16 Slight curve imparted by the chimta/ tongs Fig. 5.13 Fig. 5.16 80
The part is elongated and hammered into a thinner cylinder, yet not as narrow as the limbs. The neck is slightly bent and flattened to provide surface area for fixing the head later on. The head, ears and antlers are made separately by taking another 3mm thick metal strip of approximate dimensions 15cm x 2cm. Slits are made according to the placement of the antlers and ears. Each part of the antler is shaped separately. The center portion of the antlers, where the ears and mouth are positioned, was broadened by hammering to give the desired shape. With the help of two chimtas, the antlers are then folded from the center and hammered to make a narrow V. This will form the head which is then temporarily attached to the body of the deer sculpture by hammering. The joinery is made permanent by applying wet mud over the head and keeping it next to the furnace to impart heat for drying. Then, the head is put into the furnace to make it red hot and Fig. 5.18 Fig. 5.17 Cutting out a pattern for the antlers of the deer Fig. 5.18 Slits are made according to the branched beams of the antlers Fig. 5.17 Fig. 5.19 Fig. 5.19 Making the metal red hot from the center 81
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LOHSHILP The Blacksmithy Of Chhatti
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Acknowledgement The completion of t
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Preface The history of Indian handi
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Table of Contents Contents Page No.
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Contents Page No. 8.1 Personal mark
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About NID The National Institute of
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LAD@NID The Lifestyle Accessory Des
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Introduction The crafts of India ar
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19
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1.1 About Chhattisgarh Chhattisgarh
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23 Fig. 1.2
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“ I have moved and moved many tim
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1.5 Climatic condition The climate
Page 29 and 30: quantity of teak. Towards the north
Page 31 and 32: 11 Wildlife Sanctuaries and 3 Natio
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Page 35 and 36: 2.1 Formation of Kondagaon As per t
Page 37 and 38: 2.2 How to reach Kidichepda? Chhatt
Page 39 and 40: nuptials. Even in terms of the popu
Page 41 and 42: The Ghotul is typically located out
Page 43 and 44: a shirt/T-shirt and a piece of clot
Page 45 and 46: Fig. 2.8 play an important role in
Page 47 and 48: Fig. 2.10 natural forces like the s
Page 49 and 50: and cosmetics. One old lady was ser
Page 51 and 52: 2.13 Festival and worship 2.14 Ente
Page 53 and 54: Fig. 2.20 The Dhols, the Mandals, D
Page 55 and 56: 2.15 Folklore The Jhitkhu Mitki sto
Page 57 and 58: Fig. 2.23 Fig. 2.25 Fig. 2.23 Bronz
Page 59 and 60: dye, extracted from AAL found in th
Page 61 and 62: 61
Page 63 and 64: 3.1 Introduction to the craft Lohsh
Page 65 and 66: Fig. 3.4 Fig. 3.4 A craftsman using
Page 67 and 68: Fig. 3.5 ... they started believing
Page 69 and 70: 69
Page 71 and 72: 0.04 in, 0.032 in, 0.025 in, 0.02 i
Page 73 and 74: h. i. k. j. l. scraping it on metal
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Page 77 and 78: 5.2 Making of animal sculpture The
Page 79: Fig. 5.8 Fig. 5.11 Fig. 5.9 Fig. 5.
Page 83 and 84: Fig. 5.26 Fig. 5.29 Fig. 5.26 Strik
Page 85 and 86: Fig. 5.37 Fig. 5.40 Fig. 5.37 The n
Page 87 and 88: Fig. 5.47 87
Page 89 and 90: The posture of the craftsman is suc
Page 91 and 92: To provide shape to the belly, the
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Page 95 and 96: 95
Page 97 and 98: Fig. 5.68 Fig. 5.69 are blunted by
Page 99 and 100: Fig. 5.75 Fig. 5.78 Fig. 5.76 Fig.
Page 101 and 102: Fig. 5.86 101
Page 103 and 104: aat (pinched point) for the wick. I
Page 105 and 106: Fig. 5.100 105
Page 107 and 108: Fig. 5.104 107
Page 109 and 110: Impression moulding Once all the pa
Page 111 and 112: Cleaning The figurines are washed i
Page 113 and 114: Fig. 5.123 Mounting Since these fig
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Page 117 and 118: to countries like Italy, Russia and
Page 119 and 120: Amitabh Vishwakarma 24 yrs of age A
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Page 123 and 124: Fig. 7.2 Fig. 7.2 Cylindrical khut
Page 125 and 126: Fig. 7.6 Fig. 7.6 Laman Diya Dimens
Page 127 and 128: Fig. 7.15 Fig. 7.12 Fig. 7.12 Giraf
Page 129 and 130: Fig. 7.19 Clock Frame Dimensions: T
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Fig. 7.22 Fig. 7.22 Dhruda and Chit
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8.3 Future of lohshilp Challenges a
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8.5 Personal experiences When we go
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Conclusion Handicrafts are a substa
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12. District Administration Bastar.
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