Supported By
Government of Gujarat
The Craft Analysis helps generate study and diagnostic resources, which aim towards generating awareness regarding the traditional and vernacular building crafts of India. The craft analysis caters to the larger vision and intention of DICRC which is to develop research material related to crafts in interior architecture. The outcome is intended to reach policy makers, design professionals, conservationists, academicians, and students as well as crafts people.

The primary intention of the Craft Analysis is to contribute to the overall performance and collective efficiency of the Small and Medium Enterprise (SME) craft clusters for sustainable development by assisting the local communities of firms and associated institutions in the clusters. The process of carrying out this analysis involves a substantial amount of research – both primary and secondary – has been involved in order to conduct the analytic and diagnostic study of the clusters.

The outcome of the analytic reports talk about various aspects of a given craft cluster, like Business operation & value chain analysis, Quality of products/services, Business development service analysis, Performance/ Ability cluster, Development challenges and Analysis of key issues & suggested solution.

Metal crafts trace back a very ancient lineage in the Gujarat and it underwent rise and fall in demand with time. Communities of Kanasaras, Panchals, Luhars, Sonars and the like have traditionally been involved in the process of metallurgy and metal crafting. With their indigenous skills and knowledge they have been creating vast gamut of metal crafts serving miscellaneous purposes.

In the wide vista of space making crafts, metal resplendently finds its significance in being used along with other popular materials in architecture, as a considerable material for creating furniture and a prevalent element for crafting decorative and utilitarian space enhancing objects. Iron, copper, bronze, silver, gold, tin, lead, aluminium and the like have been the prevalent materials used by craftspeople contributing to the built heritage traditions of Gujarat. Miscellaneous techniques like casting, molding, stamping, embossing, inlay cladding and many more have over centuries been explored and evolved by architects and craftspeople of the state to create a wide range of space making and enhancing crafts.

Metal Embossing is a traditional craft-form in which idols, narrative plates, artifacts etc. that are particularly related to the Hindu and Jain religion are embossed in copper and plated with pure or German silver. Also, doors, chariots and donation boxes for the temple are carved in wood and plated with German silver. Patan is the hub for Metal Embossing, Cladding and Inlay work, majority of which is done for the Jain Temples across the nation. The materials i.e metals are used in different forms and purpose, like silver is generally used in powdered form, copper is used to make Aangi and for cladding, zinc which is known as German silver used for cladding on doors, dropboxes and windows, brass is used to make locks, dhawaja and cladding.

Metal Crafts of Patan encompass variety of metals like silver, copper, aluminium, crafted with diverse techniques like embossing, cladding and inlay. Historically, it is believed that the creators of the craft forms belonging to the Panchal community descended from Georgia and settled in Patan during the reign of Solanki rulers. A tradition which dates back to more than 1000 years is utilised for creating various space making crafts. Catering chiefly to religious purposes, this craft has been promoted by the Jain and Vaishnav communities. The craft cluster holds an immense historical, religious and economical significance. At present the cluster can be defined as an ‘established cluster’ and can be further worked upon to develop it into a ‘mature cluster’.

Wood Turning and Lacquer Craft is a traditional craft of India, which dates back to antiquity. "Wooden objects on a turnery can receive a coating of lac as lacquer. This art must have been known even in ancient India, for Panini (500 B.C.) uses the word Jatu = lac (the resin) and Jatusa = lacquer (lac applied to wooden objects in a turnery).” This craft is done in many parts of India. In each part, there is a different story behind its evolution, the needs out of which it took shape, the processes followed by craftspeople, the products made, and their Applications.

Located about forty kilometers to the southwest of Ahmedabad city, down the Sabarmati River, Dholka or Dholaka is the headquarters of Dholka Taluka. It is the second largest Taluka in Ahmedabad district. To its south lies the Dhanduka Taluka and its northern border touches Viramgam, Sanand and Daskroi Talukas. In Dholka, this craft has evolved out of ritualistic connotations. Craftspeople here are majorly involved in the making of ghodiyo as a principal product along with some seasonal items such as Dandiya sticks and small drums. A ghodiyo or ghodiyu, as it is popularly known in Gujarat, is a traditional crib frame or a cradle for baby, and used during the time of baby birth and other ceremonies associated with it. This is an indigenous craft practiced in and around Dholka, but, now, it has become more of a personalized occupation, rather than being a major contributor to the craft industry/sector.

The wood turning - lacquer craft at Dholka involves both natural and synthetic materials. The industry is therefore totally dependent on forests for primary raw materials. These forest-based products are the wood of babool tree and lac produced from the tree sap. Synthetic materials include paints and pigments. Most of the work within the craft cluster is done by hand-machine coordination. The workshops give a better understanding of the significance of these hand techniques, tools, machines, their coordination, and above all the changes as per the growing needs and changing times.

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