SEMIOTIC STUDY OF WOODEN CRAFT OF SAWANTWADI By

SEMIOTIC STUDY OF WOODEN CRAFT OF
SAWANTWADI
By
RAKSHI RAWAT
SUBMITTED TO NIFT IN PARTIAL FULFILLMENT OF
THE REQUIREMENTS FOR THE DEGREE OF MASTER OF
DESIGN DEPARTMENT OF DESIGN SPACE
FACULTY GUIDE: PROF. DISHA GUPTA
NATIONAL INSTITUTE OF FASHION TECHNOLOGY
MUMBAI
2012-14
1
NATIONAL INSTITUTE OF FASHION TECHNOLOGY
MUMBAI
2014
Semiotic study of Wooden Craft of Sawantwadi
By Rakshi Rawat
M.Des Batch
Submitted by Ms. ……………………………………………. To NIFT in partial
fulfillment of the requirements for the degree of Master in Design of the National
Institute of Fashion Technology at Mumbai and hereby certify that in the judgment of
the following members of jury it is worth of acceptance: Name
Institute/ Organization
& Date
Remarks, if any: -
Signature of CC – Design Space
Date:
2
Signature
DECLARATION
I hereby declare that the project entitled ‘Semiotic study of Wooden craft of
Sawantwadi’ submitted for the M.Des Degree is my original work and all information
in this document has been obtained and presented in accordance with academic rules
and ethical conduct. I also declare that, as required by these rules and conduct, I have
fully cited and referenced all material and results that are not original to this work.
3
ABSTRACT
Sawantwadi City is famous for its arts and culture. Various traditional arts still thrive
in the city. The city is well known for its wooden crafts, wooden toys, bamboo crafts,
pottery art and Ganjifa cards. Chitari gali is a home for traditional wooden artisan.
This art has been preserved and patronized by the Royal family under the aegis of
Sawantwadi Lacquer ware Handicrafts, which manufactures handicrafts, ganjifa and
typical Sawantwadi pattern of furniture painted in natural watercolor and coated with
lacquer, so durable it almost lasts forever. The famous wooden toys are made from
‘Pangara’ tree. This tree is known for its lightness.
Unfortunately, the numbers of these skilled artists is dwindling rapidly. There are not
many incentives for artists to continue their occupation. Traders and brokers who
export these commodities exploit the craftsmen. In addition, trees such as Nisarg
(Pangara) & Fanas, whose timber is used for making wooden toys, are no longer
available locally due to indiscriminate and unsustainable extraction. They are now
brought in from neighboring states making it nearly impossible for self-employed
artisans to afford them.
Due to the non-availability craftsmen Uday Chitari has brought a unique innovative
technique of making toys out of Saw Dust as a substitute, which has changed the
whole scenario of making the craft.
It was then decided to collect photographs of the different wooden products from the
olden times and the present time in order to conduct a visual research to generate
4
ideas and examine which factors had caused the transition of it from a traditional craft
to a commercialize product.
Also the research is being focused on the study of the motifs and icons used in the
craft as very less study has been done on these motifs and icons used in the design of
the craft. Therefore the study gives a deeper understanding of the influences and
meaning behind the motifs and icons.
5
ACKNOWLEDGEMENTS
I would never have been able to finish my dissertation without the guidance of my
mentor, help from friends, and support from my family.
I would like to express my deepest gratitude to my mentor, Prof. Disha Gupta, for her
excellent guidance, caring, patience, and providing me with an excellent atmosphere
for doing research.
I would like to thank all the craftsmen working in the palace and factories of
Sawantwadi. My special thanks goes to the Master craftsman Uday Chitari for helping
me throughout in the study of the transition of the craft.
I would also like to thank Rani Satvashila Devi of Sawantwadi who gave me vital
facts behind the semiotic reasoning and cultural astute into understanding the
traditional essence of the Wooden craft of Sawantwadi.
Finally, I would like to thank my parents and siblings. They were always supporting
me and encouraging me with their best wishes.
6
TABLE OF CONTENT
CHAPTER
TITLE
PAGE
NO.
1.
NO.
INTRODUCTION
1.1 About the craft- Sawantwadi wooden craft
1.1.1 Design details
1.2 Objectives
1.3 Significance of the project
1.3 Limitations
2.
REVIEW OF LITERATURE
2.1 Introduction: Making of wooden toys as crafts
in India
2.2 Arts and handicrafts
2.3 Chirar-Ali gully
2.6 Cultural influence on product design
2.7 Conclusion
3.
RESEARCH DESIGN AND
METHODOLOGY
3.1 Research design
7
3.2 Methodology
4.
PRIMARY RESEARCH
4.1 STAGE 1- TRANSITION
4.1.1 Evolution of wooden craft
4.1.2 Chitarli gully
4.1.3 Royal family and their contribution
4.1.4 Types of products made
4.2 STAGE 2- DESIGN DETAILS AND
MOTIFS
4.2.1 Thaki Bowli
4.2.2 Floral borders
4.2.3 Lord Krishna’s bindi
4.2.4 Icons/ Hindu mythological figures
4.2.5 Birds
4.2.6 Colours
5.
CONCLUSION
6.
RECOMMENDATIONS AND
SUGGESTIONS
7.
REFERENCES
8
8.
BIBLIOGRAPHY
9
CHAPTER 1
INTRODUCTION
1.1 About the craft- Sawantwadi wooden craft
Sawantwadi City is famous for its arts and culture. Various traditional arts still thrive
in the city.
The city is well known for its wooden crafts, wooden toys, bamboo crafts, pottery art
and Ganjifa cards. Chitari gali is a home for traditional wooden artisan. Wooden
handicraft, pottery, gold and silver embroidery, lacquer ware and ganjifa. Some of
these gifted by the Indian kings to the British monarchy are preserved in the Victoria
& Albert museum, London as well as the Playing Cards Museum in Stuttgart,
Germany.
This art has been preserved and patronized by the Royal family under the aegis of
Sawantwadi Lacquer ware Handicrafts, which manufactures handicrafts, ganjifa and
typical Sawantwadi pattern of furniture painted in natural watercolor and coated with
lacquer, so durable it almost lasts forever.
The famous wooden toys are made from ‘Pangara’ tree. This tree is known for its
lightness.
Wood Craft has a history of around 300 years. It came into existence around 1627 and
in the mid-20th century, the art fell into a decline and demand for the high-quality
work had virtually disappeared. The royal family of Sawantwadi, the
10
Bhosles, then took it upon themselves to revive the dying art of Ganjifa and
Lacquerware wooden craft.
They engaged one of the few remaining master painters to train young artists in the
Ganjifa style and transformed the audience hall of their palace into a workshop.
Focusing on quality while strictly adhering to the traditional methods and styles of the
art, they were able to build a market for this revived art form and preserve an artistic
tradition that was on the verge of extinction.
Today, under the patronage of the Bhosle family, skilled artists continue to create
one-of-a kind decorative items in the vivid colors and unmistakable designs of an
ancient tradition.
1.1.1 Design details
Sawantwadi wooden craft was originally produced with “Pangara” tree wood, artistic
paintings, breathtaking designs and a colourful combination of motifs and religious
icons/ hindu mythological figures in the border and center. The traditional colours
used were the natural colours made by the artisans and the most common colours used
were vivid like bright red, yellow, green which is still followed by artisans.
1.2 Objectives

To study the cultural identity of the craft

To study the transition- from craft to commercial product

To do a semiotic analysis of motifs and icons used in the craft
11
1.3 Significance of the project
Very less study has been done on the study of the motifs and icons used in the design
of the craft. The study will give a deeper understanding of the influences and meaning
of motifs and icons.
1.4 Limitations

The numbers of these skilled artists is dwindling rapidly. Very few craftsmen
are working on this craft. Young people are not interested in learning the craft
as it requires lot of hard work and they want easy money.

The study is limited to primary resources available in Sawantwadi.

No proper documentation or data was found related to the motifs and icons
used in the wooden craft.

Availability of the authentic data confirms the exact symbolic meaning is rare.
12
CHAPTER 2
REVIEW OF LITERATURE
2.1 Introduction: Making of Toys as crafts in India
A widespread network of toy-making crafts and cottage industries exists in India.
There are two broad types of such development and production communities:
1. Communities focused largely on making utility products (for example- pots
and pans) but which also produce toys as a seasonal or side activity.
2. Those well established communities whose main products are toys. These
communities work with materials, including terracotta, wood, reeds, grass,
pith, bamboo, and papier-mache.
The potters of the village of Nagaur in Jodhpur district of Rajasthan have traditionally
produced a range of utility products made of terracotta. They also make toys as a
regular activity, employing the same techniques used for making utility products; the
toys are based on traditional and contemporary themes. Using traditional themes, they
create figures of people, animals and birds. In the late 1990s the potters started
making a new range of toys: motorcycle riders, pilots, airplanes, and autorickshaws
with their drivers. The villagers themselves initiated this change, and the new forms
are developed with great understanding and creativity, retaining the craftsperson’s
special style.
The craftspeople of Lucknow, Uttar Pradesh, are traditional potters who have
switched over entirely to toy making, and specialize in painted terracotta fruits and
13
vegetables. They also make miniature figures of animals, birds, and people.
Apparently the suggestion of making miniature objects came from some British
tourists. The toy makers take great pride in their work and call themselves
Khilonewale (“the toy people”). Their skills are so keen that they often place their toy
fruits with real ones and ask their customers with a mouthful of clay.
The wooden toys from Varanasi (Banaras) in Uttar Pradesh are very famous. Many
men and children are engaged in making wooden toys: mainly lattus (tops) and
miniature kitchenware. They utilize indigenous techniques to make these turned-wood
lacquered toys. “Turned wood” refers to a process using a lathe; a machine tool that
creates a shape by cutting away-unwanted wood from a woodpiece that is rotated
against a cutting a cutting tool. With one electric motor, a craftsperson can power
several lathes within his home. Children learn this craft as apprentices. Hundreds of
persons are involved in the turned-wood lacquered toy making craft at Varanasi.
Similar but much larger toy making units operates at Chennapatna, in Karnataka.
There are household units as well as factories engaged in making toys and gift items
with the “turned wood” technique. An equally impressive tradition exists in Udaipur
in Rajasthan, at Idar and Mahava towns in Gujrat, and at Budhanighat village in
Madhya Pradesh, there were over a hundred home-based workshops in Udaipur
Rajasthan. Today, however, these communities face the major problem of shortage of
raw material. At Budhanighat village, there are about 20 home units that have, for
generations now, been producing various types of types of turned-wood lacquered
toys. These toy makers have to face not only the unavailability of wood but they also
lack the knack and marketing ability that is needed to sell their products.
14
The craft of carved wooden toys is extensively practiced in several parts of India. At
Nutangram village in West Bengal, there is a large craft community specializing in
the making of pole dolls. They develop the forms by chiseling out material and
painting figures of people, birds and animals. A similar tradition exists at Bassi
village in Rajasthan. They make toys depicting a soldier, mother and child, and other
people of India, as well as birds, animals, and popular gods and goddesses. Even the
children of this community are able to do fine chiseling and painting work. The craft
community of Kondapalli village in Andhra Pradesh concentrates on toy depicting
such traditional subjects as marker scenes, women at a well, fishermen, toddy tappers,
and acrobats, as well as contemporary themes.
Another well-known woodcraft community at Sawantwadi in Maharashtra specializes
in making painted wooden fruits and vegetables. Primary schools often order these for
use as learning aids.
Wood Craft has a history of around 300 years. This has a great roll in economy of
Sawantwadi city as well in preservation of this ancient art. Wooden toys came into
existence in 1627 with the Thakibowli and different kind of artisanship was there
which was basically from Rajasthan
(Sisudia’s family). Therefore people find
resemblance in Rajasthani craft and Sawantwadi craft.
These are carved out of 'Pangara’ wood and coated with priming made of Tamarind
seed powder, which make it long lasting. After drying they are polished and the
surface is painted with watercolours to stimulate various fruits. As they are made of
organic material their tackle feel make them better products. Instrument used for
15
painting is called 'Charka'. Charka style of painting is also used for making typical
Sawantwadi type furniture, which is also painted in watercolour and treated
with lacquer. Hence is known as Lacquered Furniture also.
2.2 Arts and handicrafts
Lacquer wares
From evidence which has come to light only recently, it appears that the Craft of
Lacquer ware was introduced into Sawantwadi around the end of the 17th and
beginning of 18th century. Lacquer ware of Sawantwadi can be broadly divided into
three categories.

Firstly, turned Lacquer ware, which is the craft of applying coloured lacquer
on an object, which is turned on a lathe and polishing and buffering it by
means of “Pandanus odorifer” (Kewda leaf).

Secondly painting of floral borders and motifs on surfaces of objects.

Thirdly painting of mythological figures on various surfaces
The painting of floral boards of motifs, and mythological figures are done with water
based tempra colours and are then covered with suitable finished in order to preserve
and enhance their colour values.
The painting of mythological figures shows three distinct styles. These can roughly be
divided into the Chitrakatha the Temple art and Ganjifa styles. The Chitrakatha
paintings, which are very similar to what are now know as "Paithan" paintings, show
a bold style with a tremendous amount of mobility of figures. The Temple paintings
are very static and are usually depicted as a deity sitting on a stuffed mattress (Gadi)
16
with a bolster (Load) behind it. The Ganjifa paintings depict the ten Incarnations of
Lord Vishnu in an iconography, which is very stylish and typical. On a very close
study of all these three styles one can easily see that there is a marked influence of the
Andhra School of Painting in them.
Historically it is a well known fact that in the 17th and 18th centuries a number of
very learned Brahmins from Andhra and Telangana areas visited Sawantwadi to hold
discourses in Dharmashastra with the late Rajabahadur Khem Sawant - III Bhonsale,
who was then the Ruler of the State of Sawantwadi and was considered to be an
unchallenged authority on Dharmashastra. It is very likely that this Craft of Lacquer
ware with all its styles of painting were introduced into Sawantwadi by these learned
people, particularly so far as the figure paintings are concerned.
The floral decorations are of a style of their own. One see a happy blend of the
Spanish and Portuguese styles mixed with Hindu motifs, and many of the floral
borders on the older pieces of furniture, which are still in the possession of the Ruling
Family of Sawantwadi, appear almost Southern European in their appearance.
During the 18th and 19th Centuries various schools of this craft were started in
Sawantwadi. Notable amongst them did Shri Kelkar who employed persons from all
communities start the one. Much later in the 1930s His Late Hignness Rajabahadur
Sir Khem Sawant V tried to promote this craft more seriously. The artisans who were
trained in this school, many of who were imported from the territory of Karnataka
came to be known as "Chitrakars" or "Chitaris".
Unfortunately because of professional misunderstandings between themselves and
because of lack of proper direction and control, the sophisticated craft was reduced to
17
the cheaper forms of Lacquer ware, which consisted of manufacture of wooden fruits
and toys and other articles, which could be sold easily and cheaply at village fairs.
The craft, which had reached its zenith in the middle of 19th century in design and
craftsmanship, was reduced to the level of Jatra standards (local fairs). In 1972 Lt.
Col. Rajabahadur Shivram Sawant Bhonsle and his wife Rani Satvashiladevi Bhonsle
took it upon themselves to revive the more sophisticated forms of Sawantwadi
Lacquer ware. They tried their level best to form a co-operative Society of the
craftsmen but failed to do so owing to the craftsmen's internal squabbles. They
therefore decided to undertake the task themselves. In their search they found one
person whose sale was limited to about two sets of Ganjifa per year. They employed
him and trained craftsmen belonging to all communities.
Sawantwadi Lacquer ware has a large range of products and is now concentrating
more and more on the development of traditional hand painted and lacquered
furniture and light fittings. It has also developed the Ganjifa Card Games in all the
varieties that were being produced in the 18th and 19th century and has established a
wide export Market for their products in the United States of America, Norway,
Belgium, West Germany, Japan and Hong Kong. Its products have been marketed
abroad by well known departmental stores and importers of high-class Indian
Handicraft. These products of Sawantwadi Lacquer ware also find a place of pride in
many households in India and form and attractive addition to many an interior
decorator's dream.
Earlier a languishing trade, this art form was brought in the public eye, and more
importantly to foreign tourists, by Princess Satwasheela Devi. Using traditional local
talent more people have been trained and the palace has proved instrumental in the
18
production of lovely lacquer-ware furniture, chess sets, board games, candlesticks,
fruit and vegetables and little dolls — all beautifully made and coloured. However,
the quality of the articles renders the items extremely expensive.
2.3 Chitar-Ali Gully:
Chitar Tekadi – Chitarali
Chitar means a place where paintings are done - Tekadi means a hill - Ali means a
lane.
This is a place where artisans have created woodcraft for years. This has a great roll in
economy of Sawantwadi city as well in preservation of this ancient art.
Five red-tiled roof shops in Chitarli gully and Sawantwadi Lacquer wares run in
Sawantwadi town together trying to keep going the famed Sawantwadi woodcraft
tradition.
The citizenry is aware of the importance of Chitarli gully, making it easy for an
outsider to spot the sloped market. Masks made of papier-mâché, coloured wooden
cooking sets for kids and fruit sets for home decoration are the main items on display
at the shops, which rarely have a busy clientele.
2.4 Cultural influence on product design:
Sawantwadi has a huge cultural influence on the product design of sawantwadi
wooden toys.
Fruit basket- the famous fruit basket’s inspiration is being taken from the
horticultural aspect of sawantwadi. As sawantwadi is famous for its horticulture
19
which includes mangoes, cashews and different kinds of other fruits which we can
notice coming in the product designs of wooden crafts.
Pat (choki)- It was noticed that people of sawantwadi eat their food sitting on pat
(chokis). So every craftsmen is making and selling pat (chokis) as it a traditional
thing, which everybody uses at their home. It is a hot selling prduct.
Thaki doll- in initial times girls used to get married at a very younger age. So during
the wedding mother used to give her daughter a doll, which was named as Thaki doll
so that she should feel that there is someone with her all the time and do not feel
alone.
Games- royals were always interested in entertainments. They used to play lot of
games, which included snakes and ladder, chess, ganjifa cards, checkers and more.
But the games were made according to their design and pattern. For example- they
used to do hand paintings on the boards and game materials bringing the essence of
sawantwadi craft in it.
Modern times- in the modern times craftsmen have started working on some new
products taking inspiration from the surroundings itself like the Konkani house. In
sawantwadi almost every house is made in typically Konkani design. So craftsmen
have converted it into a Konkani house toy.
20
2.5 Conclusion:
The study of Sawantwadi wooden craft for this research work is quite interesting and
exciting on one hand but difficult on the other hand as there are no relevant books,
literature or research works available to rely and to base on the study.
The craft of Sawantwadi is not well documented therefore so much information was
not available. It was then decided to collect photographs of the different wooden
products from the olden times and the present time in order to conduct a visual
research to generate ideas and examine which factors had caused the transition of it
from a traditional craft to a commercialize product.
Also to study the motifs and icons used in the craft as very less study has been done
on the study of these motifs and icons used in the design of the craft so that the study
can give a deeper understanding of the influences and meaning of motifs and icons.
21
CHAPTER 3
RESEARCH DESIGN AND METHODOLOGY
3.1 RESEARCH DESIGN
The research was ethnographic and historical in nature. It is a qualitative kind of
research based on primary and secondary research. It is multi-focal in its reasoning
and exploration. The emphasis would be on semiotics that underlay in the motif
vocabulary. The research is empirical, inductive and interpretive.
The study was conducted in 2 stages:
Stage 1: About Sawantwadi wooden craft

History

Technique and material used

Innovation in the craft

Chitari community

Royal family
Stage 2. To do a semiotic study of the wooden craft of Sawantwadi

Floral motifs

Borders

Icons- Hindu mythological figures

Birds
22

Colours
SECONDARY RESEARCH
 It is proposed, to gather from literature available online through articles and
blogs.
 Semiotics in crafts is to be studied.
PRIMARY RESEARCH
In order to understand the changes in the craft- the transition over the years and the
factors affecting the changes, data were collected through observation and personal
interviews with Rani Satvashila Devi and artisans using photograph as a tool. Also
several aspects of the use of motifs and icons used are studied.
23
3.2 METHODOLOGY
24
CHAPTER 4
PRIMARY RESEARCH
4.1 STAGE 1- TRANSITION
4.1.1 Evolution of Wooden Craft
EVOLUTION OF PRODUCT DESIGN
Sawantwadi has its own wooden craft since last 400 years. There are varieties of
wooden products available. There are Ganjifa cards and wooden toys and furniture
available majorly in market.
The Ganjifa cards were invented for royals as a game for their entertainment. The
artist who painted these cards was generally called from other states to work for the
palace. The Ganjifa cards have very intricate designs. Even there are varieties of
Ganjifa cards.
There are other games like Tabalphal and chess made of wood. The games have very
interesting carved chess pieces and very interesting paintings. These games have been
into existence since years. The designs have been quite similar for years when it
comes to games.
There is a large variety of furniture sold at Rani’s palace. It includes tables, chairs,
mirror, and lot of other small products like book case, newspaper holder, fruit and
vegetable basket, lot of other show pieces, tea coasters, etc.
The wood used in earlier times was always Pangara for fruits and vegetable sets but
now they use “Sawdust” (bhusa- the powder which is obtained when carving the
wood). The quality of product is very low if it is made out of (bhusa) and is not
durable.
25
And mostly in furniture teak wood or plywood is used. The designs on furniture and
all the other pieces are mostly intricate floral designs, which are like the identity
factor for Sawantwadi wooden products.
The tea coasters were also made of teak wood and the paintings were of butterfly,
horse, birds, etc. which were painted by Rani Satvasheela Devi herself.
One of the products, which was commonly manufactured almost in every factory of
Sawantwadi and was major, selling item during marriage season, was ‘pat’ (flat stole).
Goan people in their marriage mostly use the ‘pat’ as they have a tradition of gifting
the part to the daughter. It has a parrot motif over it and flower motifs around the
borders. The design of pat also has been same since ancient time.
There were some very interesting products in the market, which are invented by the
craftsmen themselves by taking inspiration from their surroundings. As for example
Mr. Uday Chitari invented a small wooden product, which can be used for applying
oil over the dhosa while cooking dhosa.
He even had a product, which had a wooden carved face and the spectacles, or glares
can be fixed over it. It is like a stand for spectacles.
One other interesting product in kanekar factory was the house. They have made a
wooden house, which is made by taking inspiration from the surrounding houses of
Sawantwadi. It is a wooden Konkani house and they have also fixed a light into the
house. The product is like the showpiece, which is used to gift the guests, which
shows the traditional Konkani living culture.
26
Obstacles:
Unfortunately, the numbers of these skilled artists is dwindling rapidly. There are not
many incentives for artists to continue their occupation. Traders and brokers who
export these commodities exploit the craftsmen. In addition, trees such as Nisarg
(Pangara) & Fanas, whose timber is used for making wooden toys, are no longer
available locally due to indiscriminate and unsustainable extraction. They are now
brought in from neighboring states making it nearly impossible for self-employed
artisans to afford them.
Due to the non-availability craftsmen Uday Chitari has brought a unique innovative
technique of making toys out of Saw Dust as a substitute.
Also the procedure of making wooden toys out of Nisarg (Pangara) wood is quite
long, as they have to soak this wood for a year to make it lighter before starting the
making of the toys.
Craftsmen bringing new technique:
SAW DUST
Sawdust or wood dust is a by-product of cutting, grinding, drilling, sanding, or
otherwise pulverizing wood with a saw or other tool; it is composed of fine particles
of wood. It is also the byproduct of certain animals, birds and insects that live in
wood, such as the woodpecker and carpenter ant. It can present a hazard in
manufacturing industries, especially in terms of its flammability. Sawdust is the main
component of particleboard.
27
Sawdust products can include the following materials derived from wood:

Wood fibre

Wood shavings

Wood chunks

Wood chips

Wood flour

Wood powder

Sawdust

Pieces of wood used in wine making (excluding staves, headboards and
barrels)
Craftsmen using this technique in the craft:
During the craft cluster it was noticed that only Rajesh Kanekar and Uday Chitari are
making toys using the sawdust technique.
Rajesh Kanekar explained that how he is finding it difficult to make wooden toys with
Nisarg (Pangara) wood.
 As this wood is no longer easily available due to indiscriminate and
unsustainable extraction.
 Also the procedure of making wooden toys out of Nisarg (Pangara) wood is
quite long, as they have to soak this wood for a year to make it lighter before
starting the making of the toys.
 (Nisarg) Pangara wood is expensive too and does not give them much margin.
28
Especially Uday Chitari has brought a unique innovative technique of making toys
out of sawdust using molds, which his nephew had made for him.
Advantages of Sawdust technique instead of Nisarg (Pangara) wood:
Sustainable point of view:
Therefore using sawdust, which is a waste product and creating products out of it will
definitely lead to healthier environment in today’s world where trees are so important
for the environment.
Flexibilty in design: Sawdust gives craftsmen flexibility in designing the products
using molds, which makes their work easy and also consumes less time. It also allows
them to make products in bulk resulting in mass production.
Easy available: Sawdust is quite easily available as compared to Nisarg (Pangara)
wood. It is easily accessible in the nearby forests of Sawantwadi.
Cost effective: Sawdust is a waste product and has no cost. Therefore Sawantwadi
craftsmen go to nearby forests and get the sawdust in bulk to make toys. For that they
do not even have to pay any amount while they have to pay a lot of money to buy
Nisarg (Pangara) wood, as it is quite expensive.
Comparative analysis:
 Bhoosa comes very cheap- 100/ Sack where as Nisarg (Pangara) – 1800/
Cubic Foot
29
 Products made out of sawdust (bhoosa) are almost as strong as products made
of Nisarg (Pangara) wood because the craftsman put chemical, gum and flour
with it to make it really strong.
 There are two another technique he is going to come up with:
•
Products made from Plywood
•
Product made from MDF
 Has a good clientele because the durability and quality of the wooden products
is no less. Also people buy things appreciating his initiatives towards a healthy
environment by making the products sustainable in nature.
Leading towards commercialize product
•
These days most of the designs made by Chitaris (Artisans) are the products
only according to the current market demand and have modified the craft a lot
for the survival.
•
They work mainly for bulk orders.
•
Income is really good as they get lot of orders for export.
•
Also the Chinese market has started making the similar wooden products,
which are very cheap and not durable. They have even brought lot of
innovation into the product but it is not similar to the product range of
Sawantwadi. It is very different in terms of design and durability. People can
easily make out the difference among the Chinese and Sawantwadi products.
Still for commercialization craftsmen are keeping the chinese products along
with their products for sale.
30
Fig. 1 Spectacles holder
Fig. 2 Acupressure products
Fig. 3 Chinese products
4.1.2 Chitari Gully
31
Chitar Tekadi – Chitarali
Chitar means a place where paintings are done - Tekadi means a hill - Ali means a
lane.
This is a place where artisans have created woodcraft for years. This has a great roll in
economy of Sawantwadi city as well in preservation of this ancient art.
Five red-tiled roof shops in Chitarli gully and Sawantwadi Lacquer wares run in
Sawantwadi town together trying to keep going the famed Sawantwadi woodcraft
tradition.
The citizenry is aware of the importance of Chitarli gully, making it easy for an
outsider to spot the sloped market. Masks made of papier-mâché, coloured wooden
cooking sets for kids and fruit sets for home decoration are the main items on display
at the shops, which rarely have a busy clientele.
4.1.3 Royal Family and their contribution
This art has been preserved and patronized by the Royal family under the aegis of
Sawantwadi Lacquer ware Handicrafts, which manufactures handicrafts, Ganjifa and
typical Sawantwadi pattern of furniture painted in natural watercolor and coated with
lacquer, so durable it almost lasts forever.
In the mid-20th century, the art fell into a decline and demand for the high-quality
work had virtually disappeared. The royal family of Sawantwadi, the
Bhosles, then took it upon themselves to revive the dying art.
32
They engaged one of the few remaining master painters to train young artists in the
Ganjifa style and transformed the audience hall of their palace into a workshop. In
1971 they started motivating the art of the Sawantwadi Laquerware. For this purpose
they called youth from various castes and religion along with chitaries but due to local
positions some people were making very poor form of this artisanship. And they
opposed all the activities. But those who were with Rajmata and Raja sahib took this
art to another level. For this purpose they travelled Germany, Japan, Malaysia,
Singapore and they recognized the exhibitions of this art. And thus promoted this art
to foreign countries. Also in India they travelled to New Delhi, Calcutta, Bangalore,
madras and pune to organize exhibitions for promotions.
Focusing on quality while strictly adhering to the traditional methods and styles of the
art, they were able to build a market for this revived art form and preserve an artistic
tradition that was on the verge of extinction.
Today, under the patronage of the Bhosle family, skilled artists continue to create
one-of-a kind decorative items in the vivid colors and unmistakable designs of an
ancient tradition.
4.1.4 Types of products made under this craft
33
 Wooden furniture
Sawantwadi is very popular for its wooden furniture as master craftsmen creates one
of a kind furniture pieces using the traditional designs and motifs representing
Sawantwadi tradition, culture and heritage.
 Wooden Toys- Fruit baskets:
These are carved out of 'Pangara wood and coated with priming made of Tamarind
seed powder which make it long lasting. When dry them are polished and the surface
is painted with watercolours to stimulate various fruits. As they are made of organic
material their tackle feel make them better toys. Instrument used for painting is called
'Charka'. Charka style of painting is also used for making typical Sawantwadi type
furniture, which is also painted in watercolour and treated with lacquer. Hence is
known as Lacquered Furniture also.
Fig 4. Famous Fruit Baskets

Urban Inspiration:
34
In the modern times craftsmen have started working on some new products taking
inspiration from the immediate surroundings like the Konkani house. In Sawantwadi
almost every house is made in typically Konkani design. So craftsmen have converted
it into a Konkani house toy.
Fig 5. Konkani house in one of the shops at Chitarli Gali
 Board games:
Paramapadham (Thayam) is Snakes and Ladders in English; it was created in ancient
India before 1892. It is also known as Parama Pada Sopanam, which means Steps to
the Highest Place (where Parama Pada means highest place and Sopanam means
steps). Paramapadham was inspired by religion; and was believed to be symbolic of a
man's attempt to reach God. The ladders represent virtues and the snakes represent
vices. The snakes carry names linking them to stories from our epics.
35
Craftsmen Uday Chitari’s elder brother who passed away few years back was used to
make this board game for one of his clients in Mumbai in bulk orders. After his death,
nobody could make these board games, as he was the only craftsman who knew this
art in Sawantwadi.
Fig 6.
Fig 7.
Fig 8.
36
GAMES FROM OLDEN TIMES
The same craftsman along with Paramapadam board game also made these board
games but nobody knows the name of theses board games ad how to play.
Fig 9.
Fig 10.
Fig 11.
Fig 12.
37
4.2 STAGE 2: DESIGN DETAILS – MOTIFS AND ICONS
4.2.1 Thaki Bowli
In initial times girls used to get married at a very younger age. So during the wedding
mother used to give her daughter a doll, which was named as Thaki doll so that she
should feel that there is someone with her all the time and do not feel alone.
Significance:

Standing Thaki doll signifies Human sacrifice

Sitting Thaki doll is used for playing
Design element and the influence:
It has been noticed that the motifs used in the Thaki Bowli doll has been inspired
from the Paithani sarees with coin motifs known as buties, spread all over the fabric.
38
Fig 13. Old Thaki Bowli
Fig 14. New Thaki Bowli
Influence:
39
Fig 15. 18th century painting by Raja Ravi Varma of a woman in a glorious Paithani
Saree
4.2.2 Painting of Floral borders: Influences on the craft
Introduction:
•
Sawantwadi craft has one of the earliest influences of globalization on it,
originated under the influence of the Portuguese in the 16th century.
•
As objects of endearment that were essentially folk in nature, it continued in
its pure and innocent form as an integral part of Sawantwadi.
The floral decorations are of a style of their own and many of the floral borders on the
older pieces of furniture, which are still in the possession of the Ruling Family of
Sawantwadi, appear almost Southern European in their appearance.
Fig 16. Trays
Fig 17. Jewelry Box
40
Painting of Floral borders: Influences on the craft:
 Cultural Influence: (1505-1961) Year of Portuguese colonization, and their
influence
 Nature: Motley floral Motifs
 Why Motley is a significant element in the European sensibilities of art?

“Like John La Farge in his painting ‘Wreath’ and ‘Flowers’ by Antoine
Vollon they were able to distinguish the flowers from other objects. They
knew their fragile grace, their peculiar texture- more than anything- their
individual texture. It was so that this flower was balanced on its own stem, it
was this way that the other one clung and climbed. Hence a charming motley
group into a little floral motif”
This is adapted from “Art and Progress” volume 6 number 8 june 1915
Topic- flower painters and what the flower offers to the art by Maria Oakey Dewing
41
Fig 18. Jewelry box
Fig 19. Floor mat
(Portuguese panel with floral borders)
Fig 20. Early 18th century painting
Fig 21. Early 19th century Floral design on Palna
Unknown artist
Preserved at Harvard art museum
4.2.3
Painting of other borders- Lord Krishna’s Bindi
42
The other common border, which has been noticed in many objects, has been
inspired from Lord Krishna’s Bindi as per stated by Rani Satvashila Devi.
Usually painting of borders is done for aesthetics but it is believed that whatever
painting is done, there should be an auspicious element along with it. Also
representing the traditional art.
Fig 22. Gudphal game
Fig 23. Border of a photo frame
43
Fig 24. Tabalphal
Fig 25. Tabalphal Border
4.2.4 Painting of Hindu mythological figures on various surfaces
 Beginning- Mughals started Ganjifa cards; they had images of only of their
emperors representing Mughal culture. People later on realized if while
playing they are taking names of Gods – they do not worship. Therefore they
made another Ganjifa card set which represents only Hindu mythological
figures.
 Ten numeral cards with designs taken from Dashavtara Ganjifas. We can also
see images of Lord Ganesha as ganesh festival is one of the biggest festivals
of Sawantwadi and is big Deity.
 Earlier people started painting of Hindu mythological figures because they
found it interesting to show activities in wooden objects.
44
 Also they aim for the historical development.
 Colour: The background colours and the suit signs of numeral cards help in
most cases to identify the card concerned and its regional style.
Fig 26. Ganjifa card Box
Fig 27. Jewelry Box
Fig 28. Photo frame
Fig 29. Key holder
45
Fig 30. Jewelry box
4.2.5
Fig 31. Jewelry box
ANCIENT GAMES
Royals were always interested in entertainments. They used to play lot of
games, which included snakes and ladder, chess, ganjifa cards, checkers and
more. But the games were made according to their design and pattern. For
example- they used to do hand paintings on the boards and game materials
bringing the essence of Sawantwadi craft in it.
TIC TAC TOE:
Raja sahib originally modified this game. He used typical floral borders and
created his own characters. It is still played as regular chess game; only
aesthetics has been changed to show the essence of Sawantwadi.
46
Fig 32. Characters of the game
Fig 33. Shown as Mini Chess
GUDPHAL: It has been observed that this game has motifs inspired from Lord
Krishna’s bindi for auspiciousness.
47
Fig 34. The front side
Fig 35. The Inside
Fig 36. The border
CHESS
48
Fig 37. The red team
Fig 38. The green team
49
Fig 39. Chess game
4.2.6
BIRDS
It has been noticed that many wooden products have paintings of birds
especially parrots which is all inspired from the nature.
The drawing of parrot’s mouth is taken from Marathi number 6.
Fig 40. Table
50
Fig 41. Pat
4.2.7 COLOURS
Sawantwadi wooden craft- painting shows vivid colours. The most common colours
used are red and yellow.
It started from the beginning of the craft with “Thaki Bowli”.
Red and yellow colour is used most commonly because they are considered as the
most auspicious colours.
As red colour is being used in all the hindu marriages as it represents a hindu bride
and yellow colour is being used because for them yellow colour stands for Haldi
(turmeric) which is used in pooja (prayers).
51
Fig 42. Thaki Bowli (Olden times)
CHAPTER 5
CONCLUSION
The project is undertaken with the objective to study the transition of wooden craft to
a commercialize product. Also to study the different motifs and icons used in the
design. The wooden craft of Sawantwadi displays a strong mythological symbolism.
Some of these symbols are versatile in nature and find background in several cultures.
These are sometimes combined with stories, allegories or composite iconographies.
They find references in Hindu as well as European gamut. The motifs that arrive from
Hindu themes revolve around the cult of Vishnu (Dashavtar). It has been noticed that
the craft has a vast background for motifs with extremes from flora to fauna, western
to eastern cultures and reality to mythology. In such a scenario, the ultimate origin for
certain motifs cannot be emphasized with certainity.
52
CHAPTER 6
RECOMMENDATIONS AND SUGGESTIONS
As it has been observed that Sawantwadi wooden craft is lacking behind and people
are not aware of this craft as compared to the other crafts in India because of lack of
government support and no proper marketing and promotion.
After the whole research on the transition of the craft and studying the motifs and
icons used in the craft, there have been three main keywords:
 Aesthetics
 Auspicious
 Greetings
These three keywords lead to the area of “Wedding Occasions” which is in huge
demand as well as a potential market.
Design opportunityThe design opportunities, which could be taken further:
 Aesthetics – Auspicious – Greetings – Wedding occasions – Wedding cards
53
Wedding cards: Using the floral borders and Icons/ Hindu mythological
figures, one can design a beautiful customize wedding card. Also the motif of
Lord Krishna’s bindi can be used, as it is very auspicious and will give the
design of the wedding card more depth.
Therefore to promote this craft, introducing new products mixing with Sawantwadi
traditions, culture and heritage will contribute in the growth of the Sawantwadi craft.
REFERENCES:
http://www.a2zsindhudurg.com/about-sindhudurg/sawantwadi/chitar-ali-sawantwadi/
http://www.konkanonline.com/sindhudurg/wooden-craft.html
http://www.sawantwadimc.org/culture_art.html
https://www.google.com/search?q=wooden+toys+craft+in+udaipur&rlz=1C5CHFA_
enIN543IN543&espv=210&es_sm=91&source=lnms&tbm=isch&sa=X&ei=CT0UsvDNIygigeSkYCgCA&ved=0CAcQ_AUoAQ&biw=1280&bih=643#facrc=_
&imgdii=_&imgrc=_1ipc5mnBXOOM%253A%3BMhc5xDh635jtMM%3Bhttp%253A%252F%252Fww
w.craftandartisans.com%252Fsites%252Fdefault%252Ffiles%252Fimagecache%252
Finside-view%252Fcloth-dolls-of-
54
rajasthan.jpg%3Bhttp%253A%252F%252Fwww.craftandartisans.com%252Fdollstoys-of-rajasthan.html%3B300%3B232
http://www.livemint.com/Leisure/zYEgmRno5tPeWYhSok8nJN/ChannapatnaKarnataka--Back-in-the-game.html
http://www.sawantwadimc.org/lacquerwares.html
http://www.a2zsindhudurg.com/about-sindhudurg/sawantwadi/chitar-ali-sawantwadi/
http://www.konkanonline.com/sindhudurg/wooden-craft.html
http://www.sawantwadimc.org/culture_art.html
http://www.greenpeace.org/eastasia/campaigns/forests/problems/
http://en.wikipedia.org/wiki/Sawdust
http://www.harvardartmuseums.org/art/217021
Fig 15
https://www.google.com/search?q=raja+ravi+verma+paintings+paithani+sarees&rlz=
1C5CHFA_enIN543IN543&es_sm=91&source=lnms&tbm=isch&sa=X&ei=tKN4U6
iqM46UuASpzYDoCQ&ved=0CAYQ_AUoAQ&biw=1280&bih=642#imgdii=_
55
Fig. 19
https://www.google.com/search?q=portuguese+panel+with+floral+borders
Fig 20
http://www.harvardartmuseums.org/art/217021
BIBLIOGRAPHY:
1. Leyden, Ganjifa- The playing cards of India, London: Victoria and Albert
Museum, 1981.
56