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Acknowledgement The completion of this undertaking would not have been possible without the support, participation and assistance of many. The contributions are sincerely appreciated and greatly acknowledged. We express our deep sense of gratitude to our respected guide Ms. Krishna Amin-Patel, Dean, NID Gandhinagar, for her unwavering encouragement throughout the project. She is instrumental in providing us with the opportunity to acquaint ourselves with India’s rich cultural heritage in the form of its unique crafts. We are also highly grateful to our Discipline Lead, Mr. Amresh Panigrahi, for helping us in the process of craft selection. His contribution to our knowledge growth has been immense. We are highly indebted to Mr. Tiju Ram Vishwakarma, the practising artisan, for letting us into his humble abode and helping us explore Lohshilp. He was extremely patient with our questions and provided us with a lot of information regarding their craft, culture and traditions. His wives Vimla didi and Rajmani didi were very welcoming and hospitable and made us feel at home. His youngest brother and craftsman Amitabh Vishwakarma, and other artisans, Rajesh Vishwakarma, Indal Vishwakarma and Raghuveer Vishwakarma also deserve a special mention for assisting us in documenting their work. We would like to thank Mr. Palash Vaswani, Former Design Associate, IDC Bombay, for helping us connect with the artisans associated with the craft. Last but not least, we would like to thank our dear friend and colleague, Mr. Aayush Chandrawanshi, a resident of Raipur, Chhattisgarh, for being a generous guide throughout. 5
Page 1 and 2: 1
Page 3: LOHSHILP The Blacksmithy Of Chhatti
Page 7 and 8: Preface The history of Indian handi
Page 9 and 10: Table of Contents Contents Page No.
Page 11 and 12: Contents Page No. 8.1 Personal mark
Page 13 and 14: About NID The National Institute of
Page 15 and 16: LAD@NID The Lifestyle Accessory Des
Page 17 and 18: Introduction The crafts of India ar
Page 19 and 20: 19
Page 21 and 22: 1.1 About Chhattisgarh Chhattisgarh
Page 23 and 24: 23 Fig. 1.2
Page 25 and 26: “ I have moved and moved many tim
Page 27 and 28: 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
Page 33 and 34: 33
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
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Fig. 2.23 Fig. 2.25 Fig. 2.23 Bronz
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dye, extracted from AAL found in th
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61
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3.1 Introduction to the craft Lohsh
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Fig. 3.4 Fig. 3.4 A craftsman using
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Fig. 3.5 ... they started believing
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69
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0.04 in, 0.032 in, 0.025 in, 0.02 i
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h. i. k. j. l. scraping it on metal
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75
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5.2 Making of animal sculpture The
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Fig. 5.8 Fig. 5.11 Fig. 5.9 Fig. 5.
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The part is elongated and hammered
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Fig. 5.26 Fig. 5.29 Fig. 5.26 Strik
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Fig. 5.37 Fig. 5.40 Fig. 5.37 The n
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Fig. 5.47 87
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The posture of the craftsman is suc
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To provide shape to the belly, the
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93
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95
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Fig. 5.68 Fig. 5.69 are blunted by
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Fig. 5.75 Fig. 5.78 Fig. 5.76 Fig.
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Fig. 5.86 101
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aat (pinched point) for the wick. I
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Fig. 5.100 105
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Fig. 5.104 107
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Impression moulding Once all the pa
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Cleaning The figurines are washed i
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Fig. 5.123 Mounting Since these fig
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to countries like Italy, Russia and
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Amitabh Vishwakarma 24 yrs of age A
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Fig. 7.2 Fig. 7.2 Cylindrical khut
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Fig. 7.6 Fig. 7.6 Laman Diya Dimens
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Fig. 7.15 Fig. 7.12 Fig. 7.12 Giraf
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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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