Traditional Method of Making Attar in Kannauj
Transcription
Traditional Method of Making Attar in Kannauj
International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC Traditional Method of Making Attar in Kannauj Saba Tabassum1 , Prof. S. Asif , A. Naqvi2 Research Scholar, Department of Museology, AMU Aligarh Professor,Department of Museology, AMU Aligarh [email protected] [email protected] ABSTRACT : The term cultural heritage has changed considerably in recent decades, partially owing to the instruments developed by UNESCO. Cultural heritage does not end at monuments and collection of objects. It also includes traditions or living expressions inherited from ancestors and passed on to descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature or the knowledge and skill to produce traditional crafts1. Traditional craftsmanship is perhaps the most tangible manifestation of intangible cultural heritage. However, The General Conference of the United Nations Educational, Scientific and Cultural Organization (UNESCO) meeting in Paris, from 29 September to 17 October 2003, [1]at its 32nd session gave the convention for safeguarding ICH ,is mainly concerned with skills and knowledge involved in craftsmanship rather than the craft products themselves. Instead of just focusing on preserving craft objects attempts should be made for encouraging artisans to continue to produce crafts and to pass on their skills and knowledge to others, particularly within their own communities. 2 There are numerous expressions of traditional craftsmanship. India is known not only for its natural and cultural Heritage such as lakes, majestic palaces, temples, monuments etc. The diversity of floral heritage specially flowers and fragrance has always occupied a prestigious position in Indian culture. Nature has provided India with abundant source of wonderful fragrance which can evoke deep feeling of joy, excitement or serenity with us. The culture of attar production is the heritage of the people of Kannauj has been known for natural attar from Mughal period or even earlier. The beginning of natural attar in India which developed and progressed in and around Kannauj is quiet strong even now. The perfumeries in Kannauj still use age old method to produce all natural scents to maintain attar originality and quality. Attar making is labour intensive process requiring combination of great, talent, skill and patience. Because of high cost of raw material and labour intensive nature of this process of traditional attar making art is unfortunately declining and may be extinct if measures steps to safeguard it are not taken timely. It is up to us, the consumer of attars to support the few remaining attar makers as to maintain the naturality of attar culture and tradition. This is an area where industries, Govt. NGOs, Heritologist , Museologist all have to work together. This paper is an attempt to highlight the traditional attar making and thereby suggesting some means to keep this rich heritage alive. Keywords: Attar, Cultural heritage, intangible, museologist, tangible, Traditional craftsmanship ______________________________________________________________________ I. Introduction: Heritages are things that we regard as important to preserve for future generations. They may be significant due to their present or possible economic value, it create a certain emotion within us or they a make us and feel as that we belong to something i.e. to traditional way of life. They might be objects that can be held and buildings that can be explored or songs that www.ijirssc.in Page 71 International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC can be sung and stories that can be told whatever shape they take these things form part of a heritage. This heritage requires active effort on our part in order to safeguard it. The General Conference of the United Nations Educational, Scientific and Cultural Organization hereinafter referred to as UNESCO, meeting in Paris, from 29 September to 17 October 2003 [1], at its 32nd session adopted a convention for safeguarding Intangible cultural heritage (ICH).[3] The “intangible cultural heritage” define as, the practices, representations, expressions, knowledge, skills - as well as the instruments, objects, artifacts and cultural spaces associated therewith - that communities, groups and in some cases, individuals recognize as part of their cultural heritage (UNESCO 2003).[4] Intangible cultural heritage, transmitted from generation to generation and is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity. The “intangible cultural heritage”, as defined by UNESCO is manifested inter alia in the following domains: • Oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; • Performing arts; • Social practices, rituals and festive events; • Knowledge and practices concerning nature and the universe; • Traditional craftsmanship.5 In 2007, there was a paradigm shift in museum definition. The phrase material evidence in the definition was replaced by tangible and intangible heritage. Therefore, museums are also concerned with safeguarding intangible heritage along with tangible. Ittar or Attar or itr is a type of natural perfume extracted from flowers, herbs, spices or barks into base oil such as sandalwood oil. It is very popular in the Middle East, South Asia sand parts of Africa. The word ittar is derived from the Persian word atr, which means fragrance. It‟s not new to the world, its history dates back to the Mughal era, as nobles in the royal court would apply ittar. People dealing with ittar (Ittarwallahs) boast of selling their perfumes to the erstwhile Mughal princesses, nobles, and the British clolonists. In the old cities across India there are shops and agencies that have been producing and selling ittar for centuries now.. II. Objectives of the Study: The main objectives of the present research paper are as fallows. 1. To document the status of traditional methods and craftsmanship of attar making in Kannauj. www.ijirssc.in Page 72 International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC 2. To find out the constrains and difficulties faced by practitioners of this traditional techniques. 3. To analyze the various factors which are responsible for the decline of the craftsmanship. III.Database and Methodology To collect the primary data following methods have been used: 1. Field survey 2. Interaction with craftsman and owners of manufacturing unit. 3. Audio visual documentation of raw materials, equipment and practices etc. IV.Results and Discussion: Attar is the most common form of concentrated perfumes. Attars are natural perfumes for daily use and they are not injurious to health as alcohol based perfume can be and is appropriate for both man and woman. It contains about 20%-50% concentrated perfumes. It is a mix of various extracts and can be effective for about 10 years. The history of Indian perfumes is as old as the civilization itself. Archaeological evidence shows the earliest inhabitants of the Indian subcontinent held plants in great reverence. With the passage of time, scented oils were extracted by pressing, pulverizing or distilling aromatics vegetable and animal produce. Such processes led to the development of the art of alchemy, the earliest indications of which are available from the perfume jars and terracotta containers found in excavation of the Indus valley civilization. This art of perfumery has survived for centuries and speaks volume for the Indian perfumes.6 Archaeological excavations of Indus valley civilization have revealed round copper stills are called „degs‟. Following the seasons of the flowers, traditional attar-makers, with their degs, travelled all over India to make their fresh attars on the spot. Even today, few traditional “ittar- makers travel with their degs during harvesting period. Their equipment has changed little. A large number of references to cosmetics and perfumes in Sanskrit literature were found like in the Brihat-samhita is a 6th century Sanskrit encyclopedia by Varahmihira (505A.D. 587A.D.). Cosmetics and perfumes making were mainly practiced for the purpose of worship, sell and sensual enjoyment. Gandhayukti gave recipes for making scents. It gives a list of eight aromatics ingredients used for making scents. They were Rodhar, Usira, Bgnonia, A guru, Musta, Vana, Priyangu and pathya. Gandhyaukti gave recipes for mouth perfumes, bath powders, incense and talcum powder, the manufacture of rose water began perhaps in the nineteenth century AD. The earliest distillation of ittar was mentioned in the ayurvedic text Charaka Samhita, The Hurshcharita, written in 7th Century AD in northern India, mentions use of agar wood oils. www.ijirssc.in Page 73 International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC Ittar figures into some of the romantic stones of a bygone era. It patrons included great poets like the legendary Mirza Ghalib. When Glialib met his beloved in the winter, he rubbed his hands, face with ittar hina. In Ain-e-Akbari, Abul Fazal, has mentioned that Akbar used ittar daily and burnt incense sticks in gold and silver censers. A princess‟s bath was incomplete without incense and ittar. A very popular iitar with the Mughal princes was oud, prepared in Assam. Kannauj is situated on the banks of sacred River Ganges, 80km, from Kanpur in Uttar Pradesh, well known in ancient time as „Harsh Vardhan City' today it prides itself as the „Attar City‟ or the perfume city of India. Kannauj is a major attar producing city. Here, there is a legend on how' die first ittars were made in the era. The forest dwelling faqir‟s and sadhu (ascetics) used certain fragrant jungle herbs and roots in their bonfires during the winters. The shepherds who grazed their sheep in that region found die perfume lingering in the burnt wood, long after the ascetics left the place. Word spread about his incident and some enterprising people searched and found die fragrant herbs and roots. Then the experiments on ittar began and the first ittars to be made were Rose and Hina. Method of Making Attar Kannauj tradition still thrive today fondly preserved by artisanal craftsman and small producers and passed on from generation to generation traditions like these often blur the distinction between art and craft. As you watch traditional craftsman at work you will be amazed at how modern old skills can be. Equipments The attar manufacturing for floral type takes place in remote places because the flowers are required to be processed quickly after plucking. The apparatus & equipment used for manufacture of attar are light, flexible, easy to repair with a fair degree of efficiency, keeping in view the above facts, the traditional Deg & Bhapka process is being used for centuries and even now. The details of equipments are as follows:• Deg or Still The process is carried out in copper stills called „Degs‟ as was done centuries ago. The lid of the still is called „Sarpos‟ and is also made of copper having opening for connections to one or two receivers. • Bhapka or Receiver The receiver is built of copper and is of round shape with long neck, for case in connection with Deg via Chonga. It is known as Bhapka and it acts as condenser as well. • Chonga or Bamboo Condenser www.ijirssc.in Page 74 International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC The still and receiver are connected by a Chonga. This is a hollow bamboo pipe wrapped with twine for insulation. • Traditional Bhatti or Furnace It is made up of bricks and clay. Normally wood or coal is used for heating. Heat is controlled manually. • Gachchi or cooling water tank This is the place where Bhapka, or receiver is kept and used for cooling the distillate from Deg. • Kuppi or leather bottle These are the bottle made from leather of animals. The reason for making these bottles is their semi-permeability towards water. It is used for removal of moisture from attars. Raw Materials and their Sources: Base Material : Sandal wood oil, Di-octyl Phthalate (DOP) & Liquid paraffin. Floral Material: Flowers of Gulab, Kewra, Bela, Mehndi, Kadam, Chameli, Marigold, Saffron & Maulshri. Herb & Spices: A number of herbs and spices are used in this industry which includes Oakmoss, Sugandh mantra, Laurel berry, Juniper berry, Cypriol, Indian valerian, Jatamansi, Hedychium spicatum, Daru Haldi, Sugandha Bala, Sugandha Kokila, Kulanjan, Javitri/Jaiphail, Cardamom, Cloves, Saffron, Ambergris & Musk. Sources: Sandal wood oil – South India, Rose, Aligarh (U.P.), Palampur (H.P.), Kewra – Ganjam (Orissa) Manufacturing Process: The attars are made using the centuries old copper vessels called Deg (Kettle) or Stills and Bhapka (Receiver). The Deg & Bhapka system is based on hydro distillation technique is also made of copper having openings for connections to one or two receivers. The Deg capacity range between 10 and 160 Kilos of floral/herbal material. First, filing the plant in the Deg with the requisite amount of water, the lid is sealed with a mixture of cotton and clay. The Deg is heated on wood and cow dung cakes fire. The temperature is controlled by putting in more wood/cow dung cakes or by removing the same. While boiling the raw material in the Deg there is considerable increase in pressure inside the Deg. To prevent the lid from blowingoff, a leaf spring called Komoniis used on the top of the lid. The Bhapka is copper made and generally round in shape with a long neck. The fragrance of flowers (raw material) is obtained by condensing vapours into the base material, which is primarily sandalwood oil. www.ijirssc.in Page 75 International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC The Deg and Bhapka are connected by a Chonga. The chonga acts as a condenser. The mouth of the Bhapka is sealed by wrapping coarse cloth around the bamboo pipe and pushing it inside the condenser. The Bhapka may contain up to 5-10 Kilos of base material and is kept cool in a small water tank. The distillation is managed by highly experienced and skilled workers known as Dighoo. The Dighoo knows by experience when enough vapours have been condensed inside the Bhapka. The water of the tank inside of which Bhapka placed is changed continuously to keep the Bhapka cool, when the desired quantity of vapours get condensed, the Dighoo rubs wet cloth around the body of the still for a temporary pause in distillation and the filled Bhapka is replaced by another Bhapka. The Bhapka is then allowed to cool. The mixture of oil and water is then separated either directly from the Bhapka through a hole at the bottom or pouring the mixture in an open trough. After the oil and water have been separated as two different layers, the water is removed for an opening in the bottom which goes back to the Deg. The base material remains in the Bhapka. If the desired concentration of attar is achieved, then the final attar is poured into leather bottles, known as Kuppi, made of buffalo or camel leather for sedimentation and removal of moisture from the attar. If the desired concentration level is not achieved in the attar, then the attar is poured sback to the Bhapka. The Bhapka is then attached to the Deg and the above explained process is repeated till the desired attar concentration is not achieved [7] www.ijirssc.in Page 76 International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC www.ijirssc.in Page 77 International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC www.ijirssc.in Page 78 International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC V. Conclusion: One product found in every household in Kannauj is „attar‟ (perfume/essential oil). Rows of sparkling ornate bottles of perfumes, attars and essential oils adorn every second shop of the town, be it a restaurant, general store, clothes or utensil shop. The legacy of manufacturing and selling attar in Kannauj dates back to the Mughal period and more than 60% of local population is engaged in the business. Attar manufacturers claim the present government could have helped Kannauj in many more ways like giving them training and financial assistance and helping them approach multinational companies for bulk deals, an exporter says “the industry www.ijirssc.in Page 79 International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 2, Issue:1, (June Issue), 2016 ISSN: (P) 2395-4345, (O) 2455-2909 © IJIRSSC needs latest research and testing laboratories to meet international standards and quality of products. State government should have focused on improving the R&D of attar industry.” The exporters also demand that government should try to reduce excise duty on attars and essential oils which is presently, very high at 17.5%. Manufacturers are happy with the state government‟s decision to reduce VAT on attars from 13.5% to 5% and making gulabjal and kevra tax-free. A manufacturer says “much of our profit margins were dented by excessive tax.” The stakeholders, however, also want the state government to lift ban on production of sandal oil. In UP, cutting of sandal trees and trade of sandalwood was banned more than 20 years ago. This move didn‟t go down well with the attar manufacturers as about 80% of the essential oils comprise sandal oil. Following the ban, around 15-odd sandal oil plants were shut down. Some manufacturers diversified business, while others migrated to Mysore, Karnataka, or Madhya Pradesh. This exodus dealt a huge revenue loss and hit livelihood. Government should lift the ban and revive closed manufacturing units. Manufacturers are purchasing sandalwood at a higher rate from other states. “Earlier manufacturers could get 1 kg sandalwood for Rs. 65-70,000, but now they get it at Rs. 1.25 to Rs. 1.45 lakh per kg.” Besides, ban on tobacco and gutkha consumption has also hit their business. Government should also promote the use and usage of the attar over the synthetic perfumes and other similar products. References : [1] United Nations Education, scientific in cultural organization (2003 ,October 17) [2] United Nations Education, scientific in cultural organization (2016 May 5) a. What is Intangible cultural heritage. b. Retrieval from www.unesco.org/cultural /ich/en/what-is-intangible-heritage. [3] United Nations Education, Scientific in Cultural Organization (2016 May 1) a. Traditional Craftsmanship b. Retrieve from www.unesco.org/culture/ich/en/traditional-craftsmanship-00057. [4] Stefane, Michelle L, Davis Peter and Corsane Gerane, Safeguarding Intangible Cultural Heritage, 2012. Touching the Intangible: An Introcution, Boyell Press, New York. [5] History of perfume. a. https://en.wikipedia.org/wiki/history-of-perfume (visit it on 2016 May 1) Fragrance, Flowers & Attar a. Kannauj.nic.in/attar.htm (visit it on 2016 May 10) All the figures referred are original contribution of author taken in kannauj refineries. [6] [7] www.ijirssc.in Page 80