The Tribal Tales

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Preface National Institute of Design has always given emphasis to the craft sector of India. The Institute recognizes the importance of this sector and helps in the preservation and expansion of different craft practices through rigorous research and documentation. The department of Lifestyle Accessory Design (LAD) aims to evolve the crafts that are being practiced in India by working on numerous crafts prevailing in the country and doing research and documentation for preserving such precious examples of craftsmanship of our country. Craft gives identity to an individual and gives definition to the livelihood of many citizens of our country, this is the reason behind this sector being the second largest industry, economically, in India. Thus, its preservation and sensitizing people about the rich heritage associated with it is essential. This document aims to depict the importance and different aspects of the Tribal Jewellery of Rajasthan. The underlying meaning it carries and the emotions associated with it. A detailed description of the craft, right from the origin, manufacturing, process, marketing and all other factors are elaborated clearly for the complete understanding of this craft. We completed the field visit in 14 days and worked meticulously throughout the visit in collecting and validating the data. Documenting the craft has been an exciting experience, especially interacting with the tribal people and understanding their lifestyle gave us a completely different perspective towards their cultural practices, traditions, rituals, livelihood, etc. We hope that this document and the information contained in it helps in educating and spreading the information about this craft.
Page 1 and 2: The Tribal Tales Akanksha Singh Sou
Page 3: The Tribal Tales (Tribal Silver Jew
Page 8 and 9: About NID LAD@NID Brief on Craft Do
Page 10 and 11: 8. 8. Types of Ornaments 8.1 Introd
Page 12 and 13: Lifestyle Accessory Design `17 with
Page 15 and 16: Brief on Craft Documentation Docume
Page 17 and 18: INTRODUCTION 3
Page 19 and 20: to jewellery in presenting the arti
Page 21 and 22: Banjara (a nomadic tribe) women are
Page 23 and 24: GLIMPSE INTO THE REGION 9
Page 25 and 26: Rajasthan also has a significant nu
Page 27 and 28: 2.3 (Fig 2.3) Blue coloured houses
Page 29 and 30: and wood used to create royal seats
Page 31 and 32: 2.2.3 Language People speak differe
Page 33 and 34: 2.2.9 Crops Agricultural activities
Page 35 and 36: Railway station - Jodhpur railway s
Page 37 and 38: 2.2.18 Clothing The people of Rajas
Page 39 and 40: 2.2.21 Fairs and Festivals Cultural
Page 41 and 42: The Umaid Bhawan Palace of Jodhpur
Page 43 and 44: THE BANJARA COMMUNITY 29
Page 45 and 46: 3.1 Introduction The word Banjara i
Page 47 and 48: 3.4 Language The Banjaras speak Goa
Page 49 and 50: Their ornaments are made up of silv
Page 51 and 52: 3.10 Family and Marriage The family
Page 53 and 54: 3.12 Death They believe that death
Page 55 and 56: FIELD VISITS 41
Page 57 and 58:
4.3 4.2 4.4 (Fig 4.2) A jewellery s
Page 59 and 60:
4.7 4.8 (Fig 4.7) and (Fig 4.8) Tri
Page 61 and 62:
4.11 4.12 4.13 (Fig 4.11) Silver ob
Page 63 and 64:
4.14 4.16 4.15 4.17 (Fig 4.14) and
Page 65 and 66:
4.19 4.18 4.20 (Fig 4.18) A jewelle
Page 67 and 68:
4.23 The male members of this famil
Page 69 and 70:
4.28 4.27 4.29 (Fig 4.27) A boy bel
Page 71 and 72:
4.31 4.33 4.32 4.34 (Fig 4.31) and
Page 73 and 74:
4.37 4.38 (Fig 4.37) and (Fig. 4.38
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4.41 4.43 4.42 4.44 (Fig 4.41) Trib
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4.47 4.48 4.49 (Fig 4.47), (Fig 4.4
Page 79 and 80:
4.51 4.52 (Fig 4.51) and (Fig 4.52)
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4.54 4.55 (Fig 4.54) and (Fig 4.55)
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4.58 4.59 (Fig 4.58) and (Fig 4.59)
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4.63 4.65 4.64 4.66 (Fig 4.63), (Fi
Page 87 and 88:
4.71 4.70 4.72 (Fig 4.70), (Fig 4.7
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4.76 (Fig 4.76) Women and Children
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4.77 4.78 4.79 (Fig 4.77) Mr Bhanwa
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79
Page 95 and 96:
4.81 (Fig 4.81) Gold nose pin worn
Page 97 and 98:
4.84 4.85 (Fig 4.84) and (Fig 4.85)
Page 99 and 100:
4.89 4.90 (Fig 4.89) and (Fig 4.90)
Page 101 and 102:
4.95 (Fig 4.95) Women of the Rathor
Page 103 and 104:
4.99 4.100 (Fig 4.99) and (Fig 4.10
Page 105 and 106:
4.11 Insights The field visits play
Page 107 and 108:
RAW MATERIALS 93
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5.1.1 History Silver has been in us
Page 111 and 112:
5.1.3 Types There are various types
Page 113 and 114:
5.1.4 Uses Silver is used for makin
Page 115 and 116:
5.2.1 History Most archaeological e
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5.2.4 Uses Gold is also used for ma
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Wood charcoal: Wood charcoal is use
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TOOLS AND MACHINERY 107
Page 123 and 124:
6.1 Overview Tools and machineries
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CHANDI GALANE KI BHATTI Chandi gala
Page 127 and 128:
TAAR PATTI MACHINE The Taar Patti m
Page 129 and 130:
BHATTI Bhatti is used for melting s
Page 131 and 132:
KATIYA AND JAMBURA Katiya (cutter)
Page 133 and 134:
PASA OR DARI The pasa or dari is a
Page 135 and 136:
6.31 6.32 6.33 6.34 6.35 6.36 6.37
Page 137 and 138:
THE MAKING123
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Step 3: The muus(small mud bowl) is
Page 141 and 142:
7.2 Process of Making Silver Wires-
Page 143 and 144:
Punches are tools made of rod steel
Page 145 and 146:
7.5 Process of Braiding Braiding is
Page 147 and 148:
After creating the impression of gh
Page 149 and 150:
The thin wires of chapdi then can b
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Process: Step 1: The primary step i
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Step 6: Lead is heated and poured i
Page 155 and 156:
Step 8: For creating the lock of th
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Step 11: The completed kadla is buf
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TYPES OF ORNAMENTS 145
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Some of the prominent and important
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8.2 (Fig 8.2) A Banjara woman weari
Page 165 and 166:
8.4 8.5 (Fig 8.4) Sketch of Bor att
Page 167 and 168:
8.7 (Fig 8.7) Different designs of
Page 169 and 170:
8.9 (Fig 8.9) Earring or Jhumka att
Page 171 and 172:
8.11 (Fig 8.11) Hansali or a torque
Page 173 and 174:
8.13 (Fig 8.13) Warla or Worlo, a t
Page 175 and 176:
8.15 (Fig 8.15) Kanthi or neck piec
Page 177 and 178:
8.17 (Fig 8.17) Different design of
Page 179 and 180:
8.19 (Fig 8.19) Patri (plaque amule
Page 181 and 182:
8.21 (Fig 8.21) Tabeez or pendants
Page 183 and 184:
8.23 (Fig 8.23) Simple circular pen
Page 185 and 186:
8.25 (Fig 8.25) Muthiya or cuffs ma
Page 187 and 188:
8.27 (Fig 8.27) Bazuband or amulet.
Page 189 and 190:
8.29 (Fig 8.29) Kakan or silver ban
Page 191 and 192:
8.31 (Fig 8.31) Gold bangles. 177
Page 193 and 194:
8.33 (Fig 8.33) Chandi ki dibbi or
Page 195 and 196:
8.36 (Fig 8.36) Pazeb or flexible s
Page 197 and 198:
THE ARTISANS183
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9.2 Beliefs and Practises Being Hin
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9.6 Skill Level Soni community is h
Page 203 and 204:
CRAFTSMANSHIP189
Page 205 and 206:
10.2 Environment Around Artisans Th
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10.5 Posture Study Craftsmen sit on
Page 209 and 210:
195
Page 211 and 212:
THE MARKETS 197
Page 213 and 214:
11.3 Online Markets Jewellery is so
Page 215 and 216:
INSIGHTS 201
Page 217 and 218:
12.1 Challenges Tribal jewellery is
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12.2 Conclusion Craft is an importa
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Point of Contact •Name: Mr Hindu
Page 223 and 224:
Bibliography •Official Website of
Page 225 and 226:
This picture was taken in Jodhpur j
Page 227:
The notion of education through han
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