HARD COVER OF

BOOK
Taarkashi
INTRICACIES OF WIRE ART ON WOOD

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2 TAARKASHI INTRICACIES OF WIRE ON WOOD
Taarkashi
INTRICACIES OF WIRE ART ON WOOD

Guided by
Ms. Krishna Amin-Patel

Documented by
Archana Vishwanath
Nutendra Singh
Vanshika Aggarwal

Lifestyle Accessory Design

GANDHINAGAR

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4 TAARKASHI INTRICACIES OF WIRE ON WOOD
 ACKNOWLEDGEMENT
This document is the product of contributions and efforts from a number
of people.

We would like to begin by thanking the National Institute of Design and

the discipline of Lifestyle Accessory Design, for giving us this immense
opportunity. We are grateful to Ms. Krishna Amin-Patel for guiding us
throughout this enlightening journey, our Discipline Lead Mr. Amresh
Panigrahi, for his constant support and encouragement.

We are thankful for our classmates and batchmates who always rally
around and continue to motivate each other.

This document would not be, if not for the tremendously skilled artisans of
Taarkashi, Mr. Ram Dayal Sharma, Mr. Ram Swaroop Sharma and their
family, who’s patience, cooperation and welcoming nature was essential
to our understanding of their intricate and mesmerising craft. They practice
their craft with an honest pride, and approach everyday tirelessly.

Finally, we thank our families and friends, who forever are our constant
support system.

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6 TAARKASHI INTRICACIES OF WIRE ON WOOD
 PREFACE
India is home to a luxuriant and diverse treasure of handicrafts. The
cultural flavour of every craft is deeply influenced by the State it belongs
to and the empires it has survived through. Craft isn’t simply the product
of masterful skills and experience, but has a strong emotional connect
to the artisans, their communities and culture. It is often described as the
utilisation of mind, body and soul in the creation of something beautiful.

The craft industry is the second largest in our Nation and therefore
adequate and appropriate documentation becomes vital to the process of
education and thereby the progress of the sector.

The National Institute of Design has maintained a pivotal position in

promoting crafts in our Nation and rendering support to Artisans and
educating them. The institute encourages research into the field and
documentation of crafts.

The Department of Lifestyle Accessory Design has worked closely with

the Craft sector and so an elaborate documentation of the crafts of our
country has always been a point of focus for this department.

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8 TAARKASHI INTRICACIES OF WIRE ON WOOD
The craft documentation required us to visit an artisan’s workshop and
observe and learn their process. Our country being a treasure trove of
various cultures left us with a task of selecting a craft to document. The
theme of metal narrowed down our options but still left us with several
astonishing crafts that would have been a pleasure for us to document
and learn, from the immensely talented artisans.

In our quest to pick our craft we browsed through several books and
online sources until we found a craft that married the elegance of metal
and the humility of wood, within the pages of ‘Handmade in India’ edited
by M. P. Ranjan and Aditi Ranjan. Taarkashi is practiced by artisans in
Jaipur, Rajasthan. The exquisite craft along with the charming city led to us
finalising Taarkashi as the focus of our craft document.

Hailing from different parts of our country we travelled to Jaipur

separately, taking routes of road, rail and air, meeting up at a delightful
hostel in the city that we would call home for the duration of our stay in
Jaipur.

Throughout our stay in the Pink City we met people from around the globe
with inspiring stories. The rich culture of the city left us in awe with tales of
royalty and courage. With stunning sights, mouth-watering delicacies and
music that makes one want to dance along, the city was a treat for all our
senses. We left the city richer in experiences.

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10 TAARKASHI INTRICACIES OF WIRE ON WOOD
 TABLE OF CONTENTS

1. INTRODUCTION TO RAJASTHAN........................................... 14
1.1 GEOGRAPHY............................................................... 17
1.2 FLORA AND FAUNA...................................................... 18
1.3 WILDLIFE SANCTUARIES AND TIGER RESERVES................. 19
1.4 ARCHITECTURE........................................................... 20
1.5 PEOPLE OF RAJASTHAN............................................... 25
1.5.1 COMMUNITIES................................................. 25
1.5.2 TRADITIONAL ATTIRE.......................................... 26
1.5.3 FESTIVALS........................................................ 29
1.5.4 LANGUAGES.................................................... 30
1.5.5 CUISINE.......................................................... 30

2. JAIPUR – THE CITY................................................................. 32

2.1 A KING’S VISION......................................................... 35
2.2 LOCATION................................................................. 36
2.3 TOPOGRAPHY............................................................. 38
2.4 CLIMATE..................................................................... 38
2.5 CONNECTIVITY........................................................... 38
2.6 PLACES TO VISIT.......................................................... 40
2.6.1 AMBER FORT.................................................... 40
2.6.2 JAIGARH FORT.................................................. 42
2.6.3 NAHARGARH FORT............................................ 44
2.6.4 HAWA MAHAL.................................................. 46
2.6.5 CITY PALACE.................................................... 48
2.6.6 JAL MAHAL...................................................... 50
2.6.7 BAZAARS......................................................... 51

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 2.7 CRAFTS OF JAIPUR.................................................. 52
2.7.1 BLUE POTTERY..............................................52
2.7.2 LAC BANGLES.............................................. 53
2.7.3 MEENAKARI WORK....................................... 54

3. TAARKASHI – AN INTRODUCTION.................................... 56
3.1 TYPES.................................................................... 59

4. TAARKASHI - METAL INLAY ON WOOD............................. 62

4.1 RAW MATERIALS..................................................... 65
4.1.1 RAW MATERIAL PROCUREMENT........................ 66
4.2 TOOLS AND MACHINERY........................................ 66
4.3 THE PROCESS – MAKING OF A JEWELLERY BOX.......... 72
4.3.1 PREPARING THE WOOD FOR INLAYING.............. 72
4.3.2 PREPARING THE WIRE FOR INLAYING................. 78
4.3.3 INLAYING PROCESS...................................... 78
4.3.4 APPLICATION OF BHIRIYAAN........................... 80
4.3.5 LEVELLING AND FINISHING............................. 82
4.3.6 ASSEMBLY OF THE BOX.................................. 84
4.4 MAKING OF PHOTO FRAMES................................... 107
4.5 MAKING OF ANIMAL FIGURINES.............................. 108
4.6 PATTERNS AND MOTIFS........................................... 112
4.7 PRODUCTS ........................................................... 116
4.8 THE ARTISANS........................................................ 120
4.8.1 ABOUT THE RAJASTHAN COLLEGE OF ARTS........ 126
4.9 MARKET................................................................. 127

5. CONCLUSION.................................................................. 128

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13
14 TAARKASHI INTRICACIES OF WIRE ON WOOD
Rajasthan
AN INTRODUCTION
15
Meherangarh Fort, Jodhpur.
Source : https://www.andbeyond.com/experiences/asia/india/north-india/rajasthan/jodhpur/private-tour-mehrangarh-fort-museum/

16 TAARKASHI INTRICACIES OF WIRE ON WOOD

1. RAJASTHAN - AN INTRODUCTION Rajasthan; Wikipedia;
2018
https://en.wikipedia.org/
‘The Land of Kings’, Rajasthan paints a mesmerising picture with various hues of Culture and wiki/Rajasthan (Accessed
Royalty, set against golden sand dunes and lofty hills. Located in the north west of India, Rajasthan 2019 – 01 – 01)
personifies the Rajput heritage through the numerous forts, temples and palaces established by the
Rajput Kings.

1.1 GEOGRAPHY

Located in Northern India the state of Rajasthan

covers an area of 342,239 square kilometres,
which is 10.4 percent of the total geographical
area of India, making it one of the largest states
in the country.

The State can be divided into four major

physiographic regions;

• The western desert with barren hills, rocky

plains and sandy plains
• The Aravalli hills: running southwest to
northeast starting from Gujarat and ending
in Delhi,
• The eastern plains with rich alluvial soil
• The south eastern plateau.

The major rivers of the State are the Mahi, the

Chambal and the Banas.

1 Map of India with Rajasthan highlighted.

RAJASTHAN AN INTRODUCTION 17
Rajasthan; Wikipedia;
2018
https://en.wikipedia.org/
wiki/Rajasthan (Accessed
2019 – 01 – 01)
(Fig. 2)
Source : https://www.
thrillophilia.com/desert-
national-park-jaisalmer
(Accessed 2019 – 01 – 01)
1.2 FLORA AND FAUNA
Rajasthan has a rich and varied flora and
fauna, in spite of having a large percentage of
its total area under desert cover. The natural
vegetation is termed as Northern Desert Thorn
Forest. They grow in small, sporadic clumps.
The density and size of the patches increase
from west to east following the increase in
rainfall.
The Desert National Park in Jaisalmer is spread
over an area of 3,162 square kilometres
(1,221 sq. mi), exhibits the ecosystem of the
Thar Desert and its diverse fauna. The region
sees several migratory and resident birds of the
desert.
The most common include, Eagles, harriers,
falcons, buzzards, kestrels and vultures. Short-
toed snake eagles (Circaetus gallicus), tawny
eagles (Aquila rapax), spotted eagles (Aquila
clanga) and laggar falcons (Falco jugger).

2 Desert National Park, Jaisalmer.

18 TAARKASHI INTRICACIES OF WIRE ON WOOD

1.3 WILDLIFE SANCTUARIES AND Rajasthan; Wikipedia;
2018
TIGER RESERVES https://en.wikipedia.org/
wiki/Rajasthan (Accessed
The Ranthambore National Park located in Tal Chhapar Sanctuary is a very small sanctuary 2019 – 01 – 01)
Sawai Madhopur is a well-known Tiger reserve in Sujangarh, Churu District, 210 kilometres
(Fig. 3)
and joined ‘Project Tiger’ in 1973. from Jaipur in the Shekhawati region. This Source : http://www.
The Sariska Tiger Reserve located in Alwar sanctuary is home to a large population of ranthamborenationalpark.
district, 107 kilometres from Jaipur, covering an blackbuck. Desert foxes and the caracal, an in/ (Accessed 2019 – 01
area of approximately 800 square kilometres apex predator, also known as the desert lynx, – 01)
(310 sq. mi) was declared a national park in the can also be spotted, along with birds such as
year 1979. the partridge and sand grouse.

3 Ranthambore National Park.

RAJASTHAN AN INTRODUCTION 19
https://www.jagranjosh. 1.4 ARCHITECTURE
com/general-
knowledge/rajasthan-
architecture-1375784172 Rajasthan, the land of Kings is home to stunning The palaces of Rajasthan are decorated by
-1 (Accessed 2019-01-04) architectural marvels. Adorned with a variety of Jain and Muslim architecture. Several structures
monuments, from fantastic Havelis to fabulous reflect the amalgamation of Rajput and Mughal
Architecture of Rajasthan:
Important Artefacts and
forts, and majestic palaces to intricately carved styles while the more recent ones carry a touch
Features; Oh My Rajasthan! temples. Major monuments in cities like of European interiors.
https://www. Jaisalmer, Jaipur, Udaipur, and Jodhpur are the
ohmyrajasthan.com/ handiwork of the Rajputs from the Rajput School There are several structures with prominent
architecture-of-rajasthan-
artifacts-features (Accessed
of Architecture. Apart from the Rajputs, many styles, such as Havelis, Jharokhas, Stepwells,
2019-01-04) communities like the Bhils, Jats, Gujjars, and Chhatris and so on.
Yadavs have rendered a helping hand in the
(Fig. 4) construction of Rajasthan.
Source : http://www.
theholidayindia.com/blog/
things-to-do-rajasthan/
(Accessed 2019-01-04)

4 Exquisite wall and ceiling paintings done using vegetable dyes, seen in an archway in Amber Fort, Jaipur.

20 TAARKASHI INTRICACIES OF WIRE ON WOOD


Havelis or mansions were built by the Marwaris
in the Marwar and Shekhawati regions between
the year 1830 and 1930. They usually had two
courtyards, with the outer one meant for the
men and the inner one was for the women.
The word Haveli is derived from Hawli, a
Persian word which means an “enclosed place”.
5 Haveli in Mandawa, Rajasthan.
(Fig. 5)
Source : https://
imagesoftheheart.
They share traits with other mansions derived wordpress.
from the Architecture of Islam such as the com/2012/02/21/a-z-
customary houses in Morocco that are called archive-h-is-for-haveli/
(Accessed 2019 – 01 – 01)
the Riads. Many Havelis in Pakistan and India
carry the influence of Central Asian, Indian and
Islamic Persian architecture.
RAJASTHAN AN INTRODUCTION 21
(Fig. 6)
Source : https://www.
flickr.com/photos/
twiga_swala/2279953685
(Accessed 2019-01-03)
Jharokha is a style of balcony commonly seen
in temples, palaces, and havelis of Rajasthan.
It is a stone window within an enclosed gallery,
projected out of a wall plane. One of its
significant purposes was to permit women in
Pardah to witness the events without being
noticed themselves. On the other hand, these
casements could also be used to place spies
and archers.

6 Jharokhas in Patwon-ki-Haveli, Jaisalmer.

22 TAARKASHI INTRICACIES OF WIRE ON WOOD

Stepwells, also known as Baoris, were the walls of wells, that are used by a person the (Fig. 7)
constructed to supply underground water to the reach the water below. Source : http://www.
chandbaori.org/ (Accessed
villagers. They consist of steps constructed on 2019-01-03)

7 Chand Baori at Abhaneri

RAJASTHAN AN INTRODUCTION 23
(Fig. 8)
Source : http://www.
natgeotraveller.in/alwar-
guide-palaces-heritage-
stays-safaris-at-this-
rajasthan-getaway/
Chhatris are dome-shaped structures with Bikaner, etc. They serve as memoirs for the
elevated pavilions that are considered as a distinguished and honorary personalities who
symbols of peace and pride. There are various sacrificed their lives for their land. Moosi Rani ki
Chhatris in Rajasthan at places like Jodhpur, Chhatri at Alwar is a prominent example.

8 Rani Moosi ki Chhatri

24 TAARKASHI INTRICACIES OF WIRE ON WOOD

1.5 PEOPLE OF RAJASTHAN
The people of Rajasthan, termed as Rajasthani,
form an ethno-linguistic group that is distinct in
its traditions, cultural practices, attire, cuisine,
festivals and so on.
1.5.1 COMMUNITIES
There are many castes and communities,
with diversified traditions of their own. Rajput,
Brahmins, Jat, Gurjars, Bhils, Kalvi, Garasia,
Kanjar etc. are a few major communities which
are further distinguished in different castes and
tribal communities.
Brahmins have sub communities such as Aboti
Brahmins, Jangids, Bhargavas, and so on. The
Bhils are the largest community in Rajasthan.
They are believed to have been food gatherers,
but over time they have taken up agriculture,
city residence and other employment. Of the
Bhils, Bhil Garasia, Dholi Bhil, Dungri Bhil,
Dungri Garasia, Mewasi Bhil, Rawal Bhil, Tadvi
Bhil, Bhagalia, Bhilala, Pawra, Vasava and
Vasave, can be found in Rajasthan.
The word Meena is derived from Meen, the
Sanskrit word for fish, and the Meenas claim a
mythological descent from the Matsya avatar,
or fish incarnation, of Vishnu. The Meenas ruled
Rajasthani People;
Wikepedia; 2018
https://en.wikipedia.org/
wiki/Rajasthani_people
(Accessed 2019 – 01 – 05)
at certain places in Rajasthan till they were
overpowered by invading Rajputs. The Meena
tribe is divided into several clans and sub-clans,
including Ariat, Ahari, Katara, Kalsua, Kharadi,
Damore, Ghoghra, Dali, Doma, Nanama,
Dadore, Manaut, Charpota, Mahinda, Rana,
Damia, Dadia, Parmar, Phargi, Bamna, Khat,
Hurat, Hela, Bhagora, and Wagat.
The Rajputs are a large multi-component
cluster of castes. The term Rajput covers various
patrilineal clans historically associated with
warrior-hood. Their lineage can be traced back
to a mythical fire atop Mt. Abu, a mountain in
Rajasthan creating the Agni Kula or the Fire
Family, the sun, Suryavanshi or the Sun Family,
and the moon, Chandravanshi or the Moon
Family. The Suryavanshis include Sisodias of
Mewar (Chittaur and Udaipur), Rathores of
Jodhpur and Bikaner, and Kachwahas of Amber
and Jaipur while the Chandravanshis includes
the Bhattis of Jaisalmer.
RAJASTHAN AN INTRODUCTION 25
Poonam Binayak; 2018; An
Introduction to Rajasthan’s
Traditional Dress; Culture
Trip.
https://theculturetrip.com/
asia/india/articles/an-
introduction-to-rajasthans-
traditional-dress/
(Accessed 2019 – 01 – 04)
(Fig. 9)
Source : http://
aboutrajasthani.blogspot.
com/2014/06/traditional-
costumes-of-rajasthan-for.
html
26 TAARKASHI INTRICACIES OF WIRE ON WOOD
1.5.2 TRADITIONAL ATTIRE
The traditional outfit for Rajasthani men is
dhoti and angarkha, or pyjama-kurta. The
dhoti is a long piece of cloth tied around the
waist and wrapped around like a loin-cloth
between the legs. The angarkha is a type of
robe characterized by an inner panel that covers
the chest and is usually worn by the wealthy
class. However, some tribal and pastoral
communities have adopted it, reserving it for
special occasions. The length and flare of this
garment varies. The royal Rajput clan prefers
wearing flared, ankle-length angarkha, while
other communities and tribal groups wear knee-
length or shorter versions.
The pyjamas are pants, generally made from
cotton. The kurta, is a loose-fitting shirt. While it
usually goes down to the knees, Rajasthani men
today take liberties in the length and form.
The traditional outfit is incomplete without the
pagari, the heargear or turban, which is a
piece of cloth, generally two meters long and
0.2 meters wide, draped and tied around the
head. They come in several colours and there
are different ways of wearing it, each defining
a specific region or caste. Specially designed
pagaris, called safas (short and broad in size),
are worn during weddings and festivals, while
everyday pagaris are rustic.
The accessories for the men, include round balis
or studs are worn by the men in their earlobes,
with crystal beaded neckpieces. The Royals also
wear kambarbandh or waistbands and patka, a
piece of cloth hung over the shoulder.
The women wear Ghagra, which is a full length,
pleated skirt, often carrying rich embroidery,
which comes in a variety of colours, prints
and fabrics, such as silk, cotton, georgette
and crêpe. Kanchli or Choli is the top wear or
blouse. The cholis are colourful and intricately
designed. Mirror-work embellishments, beads
and sequins, coral and shells, creative-cut work,
all add an ethnic touch.
The Oodni is a traditional scarf. Made of light
printed or patched fabric, carrying gorgeous
embroidery, beadwork or other embellishments,
it is an integral part of the entire attire. There
are different ways of wearing it, but the most
traditional way is tucking one corner inside the
ghagra, resting the middle portion on the chest
and draping the end over each shoulder and
above the head, covering it gracefully.
The women’s accessories include extravagant
neckpieces such as Jadau sets, chockers, etc.
Rani Har is a long necklace, reaching the belly
button, worn by women from affluent families.
The women of tribal groups such as Bhil, Meena
or Garasia prefer wearing brass, silver or
white metal ornaments. Kaanbali or surliya are
earrings, nathani are nosepins, bajubandh are
armlets, rakhdi or borla or maang tikkas, tagdi
or kardhani are belly or waist chains, payal are
anklets, bangadi are bangles, bichuwa are toe
rings and finger rings.
9 Rajasthani Royal Attire.

RAJASTHAN AN INTRODUCTION 27
10 Rajasthani women celebrating the Gangaur festival.

28 TAARKASHI INTRICACIES OF WIRE ON WOOD

1.5.3 FESTIVALS
Indian Festivals reflect the rich culture and
traditions of the country with the deep
mythological reasoning behind every festival
and the customs involved in them.
While some festivals are common throughout
the nation, several are specific to the State they
originate from. The Festivals that are Rajasthani
in nature include, Teej, Elephant Festival,
Teej celebrates the bounty of nature, arrival
of the monsoon, with social activities, rituals
& customs. Mainly celebrated by women the
festival includes dancing, singing, getting
together with friends and narrating stories,
applying henna on hands and feet, wearing
brightly coloured lehariya saris, sharing festive
foods and playing under trees on swings on
Haryali Teej.
In many parts of the country, it is dedicated
to Goddess Parvati, also known as Teej Mata.
Women pray to the goddess seeking the
wellness of their husband.
Elephants have held an important position
in Indian mythology. The Elephant Festival is
celebrated in Rajathan on the day of the full
Fairs and Festivals;
Rajasthan Tourism
http://www.tourism.
moon, Phalguni Poornima. The elephants are rajasthan.gov.in/fairs-and-
worshipped and decorated on this day. festivals.html (Accessed
Gangaur is one of the most important festivals 2019 - 01 – 06)
in Rajasthan. “Gan” refers to Lord Shiva &
(Fig. 10)
“Gauri” or “Gaur” stands for Goddess Parvati, Source : https://halla.in/
the heavenly consort of Lord Shiva. Gangaur entry/55813
celebrates the union of the two and is a symbol
of conjugal & marital happiness. Celebrated
in the month of Chaitra (March-April), the
first month of the Hindu calendar, it marks
the end of winter & the onset of spring and
goes on for eighteen days. It is celebrated
especially by women, who worship clay idols of
“Gan” & “Gauri” in their houses. The idols are
worshipped by unmarried girls who seek the
blessings of Gan & Gauri for a good husband,
while the married women pray for the good
health and long life of their husbands.
On the eve of Gangaur festival, women
decorate their palms and fingers with henna.
The idols of Gan and Gauri are immersed
in a pond or in a nearby lake on the last
day of the festival. The festival is concluded
in a procession, with colourful pageantry of
old palanquins, chariots, bullock carts and
performing folk artists.
RAJASTHAN AN INTRODUCTION 29
Rajasthani language; 1.5.4 LANGUAGES
Wikipedia; 2018.
https://en.wikipedia.
org/wiki/Rajasthani_ Rajasthan has a rich literature, going back to
language#cite_note-5 approximately 1500 years. Ancient astronomer
(Accessed 2019 - 01 – 06) and mathematician Brahmagupta of Bhinmal,
a town in Jalore, Rajasthan, composed Brahsfut
Siddhanta. In 779 A.D., Udhyotan Suri wrote
Kuvalaya Mala partly in Prakrit & partly in
Aprabransh. Maru-Gurjar or Maruwani or
Gujjar Bhakha (1100–1500 AD), a language
considered an ancestor of Gujarati and
Rajasthani, was spoken by the Gurjars in
Gujarat and Rajasthan. Texts of this era display
characteristic Gujarati features such as direct
or oblique noun forms, post-positions, and
auxiliary verbs. During the medieval period, the
literary language split away from Gujarati.
By around 1300 CE a fairly standardised form
of this language emerged. While generally
known as Old Gujarati, some scholars prefer
the name of Old Western Rajasthani, based on
the argument that Gujarati and Rajasthani were
not distinct at the time.
The Rajasthani languages belong to the Western
Indo-Aryan language family. The varieties of
the Rajasthani language include; Standard
Rajasthani, Marwari, Malvi, Dhundhari, Mewari,
Shekhawati, Ahirwati, etc.
Most of the Rajasthani languages are chiefly
spoken in the state of Rajasthan but are also
spoken in Gujarat, Haryana and Punjab.
The languages are also spoken in the
Bahawalpur and Multan sectors of the Pakistani
30 TAARKASHI INTRICACIES OF WIRE ON WOOD
provinces of Punjab and Tharparkar district of
Sindh. They merge with Riasti and Saraiki in
Bahawalpur and Multan areas, respectively.
1.5.5 CUISINE
The lifestyle of the people and the availability
of ingredients strongly affect the cuisine of
Rajasthan. The Rajputs led a war-like lifestyle
and so were predominantly non-vegetarians
with their diet consisting of dishes cooked using
game meat such as laal maas, safed maas,
khad khargosh and jungli maas.
Even today, Rajasthani princely feasts flaunt
meat cuisines that are delectable. Even the
vegetarian food of Rajasthan are flavoursome
with dishes cooked in pure ghee with mouth-
watering aroma. Pulses and gram flour are
used to make delicious curries. Dry fruits,
spices and yogurt are used in many delicacies.
Rajasthan can also boast of a vast array of
savouries and sun-dried snacks.
Daal Baati aur Churma is probably the most
famous dish from the state. Baati is hard,
unleavened bread cooked to perfection. It has
a long shelf life and requires barely any water
in its preparation. The daal is a broth made of
lentils. The churma is a coarsely ground mixture
of wheat, crushed and cooked in ghee and
jaggery or sugar.
Pyaaz ki kachori is a deep fried bread that
originated in Jodhpur but is now eaten all over
 Top 10 foods to try in
Rajasthan; BBC Good
Food;
the state, mainly as a breakfast snack. The sliced almonds. It has a crunchy texture and is https://www.bbcgoodfood.
flaky deep fried breads made of plain flour with made in a mould. There are varieties of Ghevar com/howto/guide/top-10-
an onion stuffing with spices including fennel, that can be prepared from a plain, mawa or foods-try-rajasthan
Rajasthani Cuisine;
cumin, turmeric and chilli powder. They are condensed milk and malai ghevar, which is Wikepedia
served with a spicy chutney made from mint and made using milk cream. https://en.wikipedia.org/
coriander, and a sweet chutney made from date wiki/Rajasthani_cuisine
and tamarind. Marwari Bhojnalaya, or vegetarian restaurants, (Accessed 2019 - 01 – 06)
originated in the Marwar region of Rajasthan. (Fig. 11)
Sweet dishes are served before during and Today, they are found in many part of India, Source : https://
after the meal. Ghevar is a sweet dish from offering the vegetarian food of the Marwari www.foddiescorner.
Jaipur that is essentially a disc made from people. com/2018/04/rajasthani-
dal-bati-churma-recipe-
flour, soaked in ghee, milk and topped with how.html

11 Daal Baati aur Churma.

RAJASTHAN AN INTRODUCTION 31
32 TAARKASHI INTRICACIES OF WIRE ON WOOD
Jaipur
THE CITY
JAIPUR THE CITY 33
View from top of Jaigarh Fort, Jaipur

34 TAARKASHI INTRICACIES OF WIRE ON WOOD

2. JAIPUR - THE CITY (ISBN O 86131 472 7, A
History of Jaipur, Jadunath
Sarkar)
With captivating colours bringing forth a blend of cultures, the city of Jaipur speaks an enthralling
tale of its rich history. Named after its founder Maharaja Jai Singh the Second, built in the eighteenth (Fig. 12) In all probability
century, it was India’s first planned city. A major tourist attraction today, it boasts of magnificent forts this was the first ever map
of the city of Jaipur. (History
and resplendent palaces. There are fascinating bazaars that display the many crafts this region is of the Jaipur City)
now home to.

2.1 A KING’S VISION

The city of Jaipur was ruled by the Kachhawaha

or Kachhawa clan. Claiming descent from
Kush, the son of Lord Ram, they are termed
as ‘Suryavanshis’ or ‘the progeny of the sun’,
hinting to the belief that Lord Ram was a
descendent of Lord Surya, the Sun God.

Sawai Jai Singh, deeply read in arts and

sciences, spend seven years between 1723 and
1729, laying out his capital city, the country’s
first planned city. Drawn out by a Brahman
from Bengal named Vidhyadhar Bhattacharya,
who was well read in Vastu Vidhya and ancient
Sanskrit books on architecture and town
building. The nucleus of the city was the palace
and garden at Jai Niwas, with its foundations
being laid down in 1725.

Jaipur was built with wide road, straight

avenues crossing through streets at right angles.
It sits in crescent shaped vale, with hills on three
sides, reinforced by nature and man made
structures. On the fourth, south side stands the
city wall. 12 A map of the city of Jaipur and its surroundings was
drawn up and presented with the Census report of
1881.

JAIPUR THE CITY 35

 The official name of the city when it was
founded was Sawai Jaipur. This name in
mentioned in several documents from that
period. A deed, dated 1728 AD, granted
land to Jagannath Samrat, who performed a
ceremony for the laying of the foundation stone
of the city. A letter, dated 1729 AD, inviting
Ghasiram Murlidhar to come and settle in the
city. A letter from the Emperor, dated 1933 AD
declaring the city of Sawai Jaipur as the new
capital.
The title ‘Sawai’ was soon dropped from use,
but the exact time period of that is unclear. In
several documents the city has had different
spellings. In ‘A history of the reign of Shah Alum’
by Francklin, in 1798 AD, the city is spelled
‘Jypore’.
adopted for all purposes, official and unofficial.
2.2 LOCATION
Jaipur district is located in the eastern part of
the state of Rajasthan. It is bounded in the north
by Sikar district, in the east by Alwar and Dausa
districts, in the south by Tonk districts and in the
west by Ajmer and Nagaur districts. It stretches
between 26 degree 26’ 08.11” and 27 degree
51’ 52.11” north latitude and longitudinally
from 74 degree 54’ 52.59’’ to 76 degree 17’
34.36’’ east with an area of approximately
11,136 sq kms. Several rivers flow through
the district, including Banganga, Banas, Sabi
and Shekhawati rivers and the streams, Bandi,
Mashi, Dhund, Morel, Mendha, Gumti ka Nala,
Madhobini, Sota etc.

Until the eighteenth century and the early

decades of the nineteenth, Jaipur has also been
referred to as ‘Jainagar’. A Bengal document,
dated 1731 AD, carries one of the earliest
mentions of ‘Jainagar’.

The spelling of the name of the city as ‘Jeypore’

was standardised in a treaty dated 1818 AD
with the British Government. From there on,
until the final few years of the nineteenth century
the spelling remained in all official documents,
census reports and so on. In the last two or
three years of the nineteenth century, the
spelling changed to ‘Jaypur’.

From 1898 or 1899, the spelling ‘Jaipur’ was 13 Maps of Rajasthan with Jaipur city highlighted.

36 TAARKASHI INTRICACIES OF WIRE ON WOOD

 (Fig. 14)
Source : http://
jaipurpropertynews.
blogspot.com/2015/03/
jaipur-district-
maphttpwwwgurukripa.
html?spref=pi

14 Detailed map of the city of Rajasthan.

JAIPUR THE CITY 37

(Fig. 15) 2.3 TOPOGRAPHY 2.5 CONNECTIVITY
Source : https://
indiarailinfo.com/
search/jp-jaipur- The topography of Jaipur ripples through with By Air: The Jaipur airport is located at a
junction-to-dli-old-delhi- majorly even terrain in the centre and western distance of 15 km from the main city. It is
junction/272/0/349 parts, with intermittent hills in the east and connected with regular flights to and from
north. The general topographical elevation of Delhi, Mumbai, Ahmedabad, Kolkata, Jodhpur,
the region is between three hundred and four Udaipur etc. It has recently been upgraded to
hundred metres. The surrounding hills rise up-to an International Airport.
a height of seven hundred metres.
By Road: Jaipur is very well connected by road.
It is linked by NH8 and NH11. There are many
2.4 CLIMATE state roadways and tourist buses that connect
Jaipur with many important towns and cities in
The climate in Jaipur is semi-arid in nature, with and around Rajasthan.
three distinct seasons annually. The winters span
four months from November to February, with By Rail: It is well connected with important cities
average temperatures in the range of 15 to 18 of the country like Delhi, Mumbai, Kolkata,
degrees Celsius and low humidity. December Chennai, Varanasi, Jodhpur, Jaisalmer, Udaipur,
and January are the coldest months with the Bikaner etc.
temperature dropping to between 5 and 10
degree Celsius. The month of March brings
forth a pleasant transition into the summer
season. The months from April through June
record average daily temperature of about 35
degree Celsius. May and June are the hottest
months in Jaipur with the temperatures climbing
up to as high as 48 degree Celsius. The region
receives the monsoon showers from the months
of June to September. (Hydrological Atlas of
Rajasthan Jaipur District)

38 TAARKASHI INTRICACIES OF WIRE ON WOOD

15 Jaipur Junction Railway Station

JAIPUR THE CITY 39

History of amber fort; Pink
City; 2016
https://jaipur.
org/2016/08/05/history-
of-amber-fort/ (Accessed
2018 – 12- 28)
(Fig. 16) https://
en.wikipedia.org/wiki/
Jaigarh_Fort#/media/
File:Jaipur.Jaigarh.Fort.jpg
40 TAARKASHI INTRICACIES OF WIRE ON WOOD
2.6 PLACES TO VISIT
Jaipur is a popular tourist destination with
a number of ‘must see Places’ to visit. From
the captivating forts and royal palaces to
the colourful street bazaars selling stunning
traditional handicrafts, textiles and so on.
2.6.1 AMBER FORT
One the foothills of the Aravallis stand the
grand and glorious Amber Fort. Considered to
16 Amber Fort
be one of the State’s most visited destinations,
its construction was started by Raja Mansingh in
1592 but completed to its present form by Raja
Sawai Jai Singh in 18th century. It is generally
pronounced as “Amer”. It was the capital of
Kachhwaha’s of the state of Dhurandhar,
for over six centuries until Jaipur was made
the official capital in 1727. It is located at a
distance of 11 km from the city of Jaipur. The
fort is famous for its Sheesh Mahal which is
known for its craftsmanship in mirrors.
17 Entrance to Amber Fort

JAIPUR THE CITY 41

Jaigarh Fort; Pink City; 2.6.2 JAIGARH FORT
2012 – 09 - 24
https://jaipur.
org/2012/09/24/jaigarh- Magnanimous and massive, the Jaigarh Fort
palace/ (Accessed 2018 secures the palaces and the old town of Amber.
– 12- 28) It was built by Maharaja Jai Singh II in 1726
and is still well preserved. The architecture
of this fort is similar to Amber fort. It gives a
breath-taking view of the pink city of Jaipur.
Located at a distance of 15 km from the main
city, it is cleverly built to give its archers and
advantage over any approaching attackers.
The Fort houses the Jai Ban Canon which is the
world’s biggest Cannon on wheels. The cannon
requires 100 kg of gun powder for a single shot
and has been test fired once.

18 View of Jaigarh Fort

42 TAARKASHI INTRICACIES OF WIRE ON WOOD

19 Jai Ban Canon

JAIPUR THE CITY 43

Nahargarh Fort; Pink City;
2012 – 09 - 18
https://jaipur.
org/2012/09/12/
nahargarh-palace/
(Accessed 2018 – 12- 28)
2.6.3 NAHARGARH FORT
Resplendent in the aura of the Aravallis, sits the
majestic Nahargarh Fort. Located approximately
at a height of 700 feet and nearly about 15
km away from the city of Jaipur, its construction
was started in the year 1734 by Raja Sawai
Ram Singh for residence and security purposes.
Completed in the year 1866, it is also known as
the tiger fort. This fort gives a whole view of the
city and the Amber fort.

20 View from Nahargarh Fort

44 TAARKASHI INTRICACIES OF WIRE ON WOOD

21 Baori at Nahargarh Fort

JAIPUR THE CITY 45

Palace of Winds (Hawa 2.6.4 HAWA MAHAL
Mahal); Pink City; 2012 –
09 - 24
https://jaipur. A sight in pink, the Hawa Mahal has become day activities from the cool confinement of its
org/2012/09/24/palace- synonymous with the city of Jaipur. Known as majestic facade. It comprises of 953 niches and
of-winds-hawa-mahal/ the palace of winds its construction was started 152 windows. It is a five storied semi octagonal
(Accessed 2018 – 12- 28) by Raja Sawai Pratap Singh in the year 1747 structure and noted for its elaborate and fanciful
(Fig. 22) and ended in 1799. It was built for the royal architecture.
Source : https:// ladies to enjoy the procession and day to
en.wikipedia.org/wiki/
Hawa_Mahal

22 Hawa Mahal, Jaipur.

46 TAARKASHI INTRICACIES OF WIRE ON WOOD

23 View from atop Hawa Mahal.

JAIPUR THE CITY 47

History of City Palace; Pink
City; 2016-08-05
https://jaipur.
org/2016/08/05/history-
of-city-palace/(Accessed
2018 – 12- 28)
2.6.5 CITY PALACE
A luxurious blend of Rajput and Mughal
architecture, the City palace is located in the
heart of the city, occupying about one seventh
of the walled city of Jaipur. The palace complex
was built between 1729 and 1732 by Raja
Sawai Jai Singh. The palace houses museums
that exhibit the lavish history of the princely
state also known as Maharaja Sawai Man Singh
museum.

24 Main building, City Palace, Jaipur.

48 TAARKASHI INTRICACIES OF WIRE ON WOOD

25 Courtyard, City Palace, Jaipur.

JAIPUR THE CITY 49

Jal Mahal History; Pink 2.6.6 JAL MAHAL
City; 2016 – 08 - 03
https://jaipur.
org/2016/08/03/jal- The spectacular Jal Mahal, residing in the water it was cooler during summers and was a
mahal-history/(Accessed centre of the Man Sagar Lake, was built by Raja summer resort for the royal family. It has one
2018 – 12- 28) Sawai Pratap Singh in 1799. It is located about level above water and four more below water.
6 km from Jaipur and on the way to Amber The Jal Mahal with its reflections in the waters of
(Fig. 26)
Source : https:// fort. During winters it attracts a lot of migratory the Man Sagar Lake offers a stunning view. The
en.wikipedia.org/wiki/ birds thus it was built for Royal duck shooting latest plan of the government is to convert the
File:Jal_Mahal_in_Man_ parties. Because it was built surrounded by Jal Mahal to a hotel.
Sagar_Lake.jpg

26 Jal Mahal

50 TAARKASHI INTRICACIES OF WIRE ON WOOD

2.6.7 BAZAARS
Jaipur is home to several handicrafts and so is
also a Shopper’s paradise. The lively bazaars
are bustling with shoppers from around the
globe, who would carry a piece of this charming
city back home with them. The Bazaars on
(Fig. 27)
Source : http://
dorian.derobert.free.
Hawa Mahal street, Bapu Bazaar and Nehru fr/blog2/index.php/
Bazaar sell attractive garments and textiles. post/2007/10/04/the-pink-
Johari Bazaar boasts of stunning jewellery and city-of-Jaipur
gem shops. A day browsing through the many
bazaars of Jaipur is an experience in itself.

27 Bazaar on Hawa Mahal Street.

JAIPUR THE CITY 51

Jaipur Blue Pottery; Indian 2.7 CRAFTS OF JAIPUR
Specialities; Indian Mirror
http://www.indianmirror.
com/culture/ The city of Jaipur, draped in hues from its
indian-specialties/ luxuriant history, is home to several vibrant
jaipurbluepottery.html crafts.
(Accessed 2018 – 12 – 29)

(Fig. 28) 2.7.1 BLUE POTTERY

Source : https://www.
neerjainternational.com/
A craft that has Turko-Persian origins, Blue
Pottery is widely considered a traditional Jaipuri
craft.
The only pottery technique in the world, that
doesn’t use clay, gets its name from the striking
blue patterns, that are obtained using cobalt
dye. Quartz stone powder, powdered glass,
fuller’s earth or multanimitti and borax. Gum
and water are mixed to form the paste or
dough.
A combination of wheel turning and moulding
techniques are used to create the forms. The
products are glazed and low fired.
It is believed that Maharaja Sawai Ram Singh
II brought the Potter brothers, Churamani and
Kaluram to the School of Art and with them the
Art of Blue Pottery to the City of Jaipur.

28 Blue Pottery Products.

52 TAARKASHI INTRICACIES OF WIRE ON WOOD

2.7.2 LAC BANGLES Ranjan M.P.; Ranjan Aditi;
Handmade in India
The female lac insect produces a resin called women alike and have a special place in Lac Bangles; Art and
laakh or lac which is formed into various religious events with several rituals and customs Crafts; Oh My Rajasthan!
jewellery products by the Lac Artisans in Jaipur. that consider them auspicious. Specific colour https://www.
The most popular of the jewellery being the ohmyrajasthan.
combinations are often sought after. Gulali com/lac-bangles-of-
lac bangles which are produced in spectacular Chooda, a combination of odd number of rajasthan(Accessed 2018
colours and are often found studded with maroon (or red) bangles (usually three) paired – 12 – 29)
beads, glass pieces, stones and so on. with green bangles on either end, is one of the
(Fig. 29)
most popular combinations. Source : https://
Lac bangles are worn by married an unmarried rajasthantourismbuzz.
wordpress.
com/2015/07/27/the-
lacquer-craft-of-jaipur/

29 Lac Bangles

JAIPUR THE CITY 53

Meenakari; Art and Craft; 2.7.3 MEENAKARI WORK
Government of Rajasthan;
http://plan.rajasthan.
gov.in/content/ Intricate carvings, encasing enamels with Meenakars from the Mughal empire in Lahore,
industries/handmadein alluring colours, Meenakari is the process to Jaipur thereby establishing the craft in the
rajasthandepartment/ of fusing coloured mineral substances over city.
artandcraft/jewellery0/
metal surfaces. Raja Mann Singh bought skilful
meenakari.html# (Accessed
2018 – 12 – 29)

(Fig. 30)
Source : https://blog.
bridals.pk/the-righteous-
rule-of-meenakari-
necklace/#section-7

(Fig. 31)
Source : https://www.voylla.
com/blog/meenakari-tales-
of-art/

30 Meenakari Jewellery

54 TAARKASHI INTRICACIES OF WIRE ON WOOD

31 Meenakari product in the making.

JAIPUR THE CITY 55

56 TAARKASHI INTRICACIES OF WIRE ON WOOD
Taarkashi
AN INTRODUCTION
TAARKASHI AN INTRODUCTION 57
A Bidri product in the making.
Source : https://www.tfod.in/art-design-articles/6302/craft-culture-bidri-and-beyond

58 TAARKASHI INTRICACIES OF WIRE ON WOOD

3. TAARKASHI - AN INTRODUCTION http://plan.rajasthan.
gov.in/content/
industries/handmadein
Taarkashi refers to the process of inlay of wire on an etched or engraved surface. It literally means to rajasthandepartment/
‘fit the wire’. artandcraft/woodand
The substrate could be wood or metal. sandlewoodwork/tarkashi.
html

3.1 TYPES (Fig. 32)

Source : https://www.
Bidri ware practiced in Bidar, Karnataka involves deccanherald.com/sites/
dh/files/gallery_images/
the inlaying of silver or gold on steel or copper. file72rzdrjjeo8105gaole0.
A black colour is achieved by rubbing a mixture jpg
of earth or mitti and ammonium chloride after
heating. Coconut oil is rubbed to deepen the (Fig. 33)
Source : https://www.
black and reveal the inlay patterns. deccanherald.com/sites/
dh/files/gallery_images/
file72rzdrkbychqjt85le5.jpg

(Fig. 34)
Source : https://www.
33 Nandi figurine with Bidri work. deccanherald.com/sites/
dh/files/gallery_images/
file72rzds0nv85piifxle4.jpg

32 Wine holder with Bidri work. 34 A Bidri artisan at work.

TAARKASHI AN INTRODUCTION 59
(Fig. 35)
Source : http://www.
dsource.in/gallery/silver-
filigree-work#7715
(Fig. 36)
Source : http://www.
dsource.in/gallery/silver-
filigree-work#7715
(Fig. 37)
https://www.holyart.co.uk/
religious-items/rosary-
beads-and-rosary-cases/
rosary-cases/rosary-case-
heart-in-800-silver-filigree
60 TAARKASHI INTRICACIES OF WIRE ON WOOD
Chandi Tarkashi or Silver filigree was brought to
Orissa during the Mughal rule over 500 years
ago. It involves thick silver wires that are used to
form the farma or frame, into which the sikko or
design pieces, formed out of thin wires is fitted.
35 Silver filigree product with intricate wire work.
36 A silver filigree work in progress.
The rich and royal in the North western
provinces of India, desired to adorn their doors,
Sandook or storage chests with the shimmer
of metals or ivory. With plenty of artisans and
craftsmen of exceptional skills and dexterity, and
the Mughal influence, the craft of Taarkashi was
born in Mainpuri, Uttar Pradesh. The earliest
products to be inlayed in this manner were
Khadauu or slippers worn by pious men.
During the conceptualisation of Jaipur, King
Jai Singh II brought in several craftsmen
and artisans and handed them with the task
of beautifying the city. It is believed that the
Taarkashi craftsmen also migrated to Jaipur,
from Mainpuri, where it was patronised by the
Nawabs.
37 Silver filigree work with thick wires.

TAARKASHI AN INTRODUCTION 61
62 TAARKASHI INTRICACIES OF WIRE ON WOOD
Taarkashi
METAL INLAY ON WOOD
TAARKASHI INTRICACIES OF WIRE ON WOOD 63
Artisan working on daat using chugna.
Source : https://www.youtube.com/watch?v=I0iQCjvqbSU

64 TAARKASHI INTRICACIES OF WIRE ON WOOD

4. TAARKASHI – METAL INLAY ON WOOD
Taarkashi is the process of inlaying metal wire into a substrate. The type of Taarkashi involving metal
wire inlay on wood, practiced by artisans in Gopalpura village, Jaipur, is the focus of this document.
4.1 RAW MATERIALS
Shisham, Dalbergia sisso, is a deciduous tree
native to the sub-Himalayan tract, central
India and Baluchistan. A fast growing tree, it is
adaptable to a wide range of temperatures.
Shisham wood has a very high value among
Indian timbers. It is strong, hard, heavy and
close grained. It is considered to be among the
finest Indian woods for carving.
Shisham wood was used by Taarkashi artisans
until it’s export was banned by the Government.
38 Shisham Tree.
(Fig. 38)
Source : https://
en.wikipedia.org/wiki/
Dalbergia_sissoo#/media/
File:Dalbergia_sissoo.jpg
(Fig. 39)
Source : https://pk-
photography.blogspot.
com/2013/02/babul-tree-
Babul, Acacia nilotica, is one of the most acacia-nilotica.html
widespread and commonly found trees in India.
A thorny tree native to dry, hot regions, it is
indigenous to Sind, but is found in Rajasthan,
Gujarat and the Deccan peninsula.
Babul wood is hard, insect resistant and
durable. It is widely used in the Indian
countryside in the making of cart wheels,
furniture, agricultural implements, tools, boats,
etc. The wood is also used as fuel and young
branches are consumed as animal fodder in
arid areas where grass is scarce.
39 Babul Tree
TAARKASHI INTRICACIES OF WIRE ON WOOD 65
 4.2 TOOLS AND MACHINERY

Sheets of metal are used to make the flat wires
that are inlayed into wood.
Copper and Brass are the most commonly used
metals.
Sheets of different gauges are used depending
on the desired thickness of the pattern.
The most commonly used gauges are 34 gauge
or 24 gauge.
4.1.1 RAW MATERIAL PROCUREMENT
The Artisans use a number of Auzaar or tools to
create stunning products using the technique of
Taarkashi.
They use two types of chisels to do Khudaai or
carving out of the pattern they have previously
marked onto the wood using a pen.
Gida is the big chisel. It is used to do work that
does not involve a lot of intricacy.

200 feet of wood or an entire tree is bought at a Chugna is the small chisel. It is used to do fine
time. The average cost of a tree is Rs. 15,000. and intricate work and is thinner as compared
At a time they buy a kilogram of copper and to the Gida.
brass, in sheet form.

1 kilogram of brass costs between Rs. 250 and

Rs.500.

1 kilogram of copper costs between Rs.700 and

Rs. 800.

They buy 200 grams of Silver at a time. That

costs them between Rs. 34,000 to Rs. 40,000.
They buy silver and have it made into sheets of
34 gauge.

Gold is only used on order. They ask their

customers to procure the gold wires from their
goldsmiths. They give them a sample of the wire
they use in their work for reference. 40 Chugna with short blade, long blade and Gida.

66 TAARKASHI INTRICACIES OF WIRE ON WOOD

Guniya or the Right angle tool is used to make Gira/Geera/Pakad is the bench vice. They
accurate markings at right angles. use it to hold the piece of wood in place. They
clamp the piece of wood they are working on,
in place, with the help of Gira.

41 Guniya

Prakaar or Divider, is another marking tool 43 Gira

which is used to mark curved and circular lines.
It is also used to copy distances.
Hathaudi commonly known as hammer is used
for the process of Khudaai and fitting the wire. A
hammer of size 3 no. is used to do the task. It is
a small hammer.

42 Prakaar 44 Hathaudi

TAARKASHI INTRICACIES OF WIRE ON WOOD 67

 Khatkus/Khatkas, a marker tool, is used to Gurskaap is a handmade planar which
draw straight lines parallel to the edges of the basically looks like a regular planar cut in two
piece wood. It consists of a cuboid of wood identical halves. They use it on the edges of the
attached to a long handle. The cuboid has two ready pieces.
wooden rods, running through it in directions
perpendicular to the handle. The edge of both
rods have a projection made from the metal
wire used in umbrella frames.

47 Gurskaap

Chimti or a pair of tweezers are used is hold

the wire while breaking it off to finish the wire
work. It is also used to pick up Bhiriyaan.
45 Khatkus

Kainchi or Scissors are used to cut out thin strips

of metal wire from a large sheet of metal for the
process of inlaying into wood.

46 Kainchi
48 Chimti

68 TAARKASHI INTRICACIES OF WIRE ON WOOD

Silli (emery stone) is used to level the wood and A small table is used to as a base for the bench
metal inlay work. vice so as to enable the artisan to maintain a
good posture while working.

Lakdi ka Gutka is a wooden slab which the

artisans use to keep the piece while rubbing it
with silli.

Patti is a piece of broken blade which is used

to remove all the sanded particles and also to
check if the wood and the wire inlay is levelled.
49 Silli
Aara Machine also known as the band saw is
used to do the initial cutting of wood.

Kabja/Naake is the hinge that they use to allow

the movement of the box.

Lohe ki Plate is a metal slab which they use to

keep bhiriyaan on while working and it is also
used to fix the kabja in place by nailing it.
Paana is the spanner which is used to tighten
the screws of the bandsaw.

Shaar/Barma/Burma is the hand-drill which the

artisans use to make holes for the kabja.
50 Silli

TAARKASHI INTRICACIES OF WIRE ON WOOD 69

51 The tools used for inlaying of wire in wood.

70 TAARKASHI INTRICACIES OF WIRE ON WOOD

Apart from the hand tools they use several
machines including the Buffing machine,
Sanding machine, Band saw and the Rotating
Saw machine.

52 Buffing Machine

53 Sanding Machine 54 Band Saw

TAARKASHI INTRICACIES OF WIRE ON WOOD 71

 4.3 THE PROCESS - MAKING OF A
JEWELLERY BOX

Since Shisham has been banned from exports in

India, Babul wood is used by them.

Shisham was more convenient to work with,

owing to a higher oil content, that prevented
the wood from chipping off easily, while Babul,
being a drier wood, chips off more easier in
comparison.

4.3.1 PREPARING THE WOOD FOR

INLAYING

The wood is measured depending on the shape To make a box of a specific dimension, the
and size of the article to be made. (Fig. 55) wood is measured using a Guniya or the Right
angle to ensure the sides are at right angles,
and cut using a band saw machine. (Fig. 56)

55 Measurement of wood 56 Cutting of wood

72 TAARKASHI INTRICACIES OF WIRE ON WOOD

The cut piece is then sanded on a machine. The piece is then attached into a Gira or bench
The piece is cut to dimensions of the length and vice, placed on a stool. The piece of wood is left
breath of the final box. (Fig. 57) with some height, so as to ensure a better grip
on the vice, while the inlay work is done. (Fig. 58)

57 Sanding of wood 58 Fixing piece of wood on bench vice

TAARKASHI INTRICACIES OF WIRE ON WOOD 73

 The Khatkas (Fig. 59) is used to make markings
on the piece of wood. The cuboid is placed
against an edge of the piece, and moved
parallel to it (Fig. 60). This causes the projection
on one of the rods to carve a line onto the wood
surface (Fig. 61). The projections are sharpened
frequently, to enable proper marking on the
wood surface.

The rods, running through the cuboid can be

moved such that, the distance between the edge
and the line carved can be altered. (Fig. 62)

61 Working with the Khatkas

59 The Khatkas

60 Working with the Khatkas 62 The Khatkas

74 TAARKASHI INTRICACIES OF WIRE ON WOOD

The process of engraving straight lines is
finished. (Fig. 63)
All the patterns are made by measuring
distances visually. The aid of no measuring tool
is taken here. It is a testament to the artisan’s
years of dedicated practice to the craft that
basic yet fundamental steps such as the marking
out of the pattern do not require any specific
apparatus. It has become second nature to him.

63 Piece of wood with the markings

A Prakaar or divider is used to mark out curved

patterns. (Fig. 64 and 65)

64 The Prakaar 65 Marking with the Prakaar

TAARKASHI INTRICACIES OF WIRE ON WOOD 75

 66 All the markings for making the design

He then uses a Hathoda or hammer of size 3

and Gida or Chugna, which are small chisels, to
create depressions of the patterns. (Fig. 66 to 68)

67 Hammering the design using Gida and Chugna

76 TAARKASHI INTRICACIES OF WIRE ON WOOD

68 Hammering the design using Gida and Chugna

TAARKASHI INTRICACIES OF WIRE ON WOOD 77

 4.3.2 PREPARING THE WIRE FOR
INLAYING

Strips are cut from metal sheets of 34 gauge, The edge of this wire is hammered to make it
using a pair of Kainchi or scissors. (Fig. 69) thinner, so it can be placed into the depression
with ease.

4.3.3 INLAYING PROCESS

The wire is then hammered in place using the

Gida and Chugna. A pair of Chimti or tweezers
are used to make sharp bends in the wire,
wherever necessary, depending on the pattern.
(Fig. 71)

69 Cutting strips of metal

A flat wire of metal is thus obtained. (Fig. 70)

71 Inlaying the strip of metal vertically using hammer

The process of hammering the wire, is started at

the centre of a line, rather than from an edge,
because starting at the edges might cause the
wire to spring out when the ends meet.
70 Flat and thin strip of metal

78 TAARKASHI INTRICACIES OF WIRE ON WOOD

The ends that meet on a straight edge are over
lapped. The chimti is used to break off the
excess wire. (Fig. 72 to 74)

72 Breaking of excess strip of metal

73 Inlaying the strip of metal vertically using hammer 74 Top of the box

For thicker work on larger products, 24 gauge

sheet metal is used.

TAARKASHI INTRICACIES OF WIRE ON WOOD 79

 4.3.4 APPLICATION OF BHIRIYAAN
Many of the patterns have dots or bhiriyaan (Fig.
75) in them. The dots are applied after the wire
inlay is finished.
Pre-drawn metal wires of various gauges are
used. The wire are cut into small pieces to form
the dots. Brass is majorly used for this, since
copper is a softer metal, the process of cutting
copper wire into small pieces is difficult.
The dots are picked using a pair of tweezers.
They are held at their desired location and
beaten into place with the hammer. (Fig. 76)
75 Bhiriyaan
80 TAARKASHI INTRICACIES OF WIRE ON WOOD
The bhiriyaan are not marked out during the
marking of the pattern on the wood. The pattern
without the bhiriyaan appears incomplete and
unfinished. The bhiriyaan are added inside
loops formed by the leheriya pattern, in floral
patterns and so on.
This is done by placing the piece on a wooden
slab, or Lakdi ka Gutkha.
Once the process of inlaying of the metal wire
into the wood is finished, an emery stone is
used to level the wood and the metal wire on
the surface.
76 Placing the Bhiriyaan

TAARKASHI INTRICACIES OF WIRE ON WOOD 81

 4.3.5 LEVELLING AND FINISHING
The block of wood with the Taarkashi work is
called the Daat. Silli or an emery stone is used
to level the wood and wire. (Fig. 77)
77 leveling the wood and metal using emery stone
82 TAARKASHI INTRICACIES OF WIRE ON WOOD
The gaps on the surface created due to the
chipping off of wood during the inlay process is
filled using a putty made by mixing fevicol and
fine saw dust. The saw dust is filtered through
a piece of cloth to ensure the filterate’s minute
particle size. (Fig. 78 and 79)
78 Ptiing putty to fill in gaps
79 Daat after applying putty

TAARKASHI INTRICACIES OF WIRE ON WOOD 83

 4.3.6 ASSEMBLY OF THE BOX

Once the lid or Daat piece is ready, the box

is assembled. Four pieces of wood, with or
without the wire inlaying done, that would form
the sides are cut into size. For this the bandsaw
machine is set to cut the pieces to the required
thickness. The pieces are then sanded. (Fig. 80 to
83)

82 Cutting the Daat

80 Measuring the distance on the band saw machine

81 Measuring the distance on the band saw machine 83 Sanding the Daat

84 TAARKASHI INTRICACIES OF WIRE ON WOOD

Two notches, running parallel to their lengths The excess wood, on the edges, outside the
are made on them, at a distance from the notches are cut off at a right angle, to form
edges. (Fig. 84) a central raised platform, running along the
length. (Fig. 85)

84. Top view and side view of the side piece after parallel 85. Top view and side view of the side piece after the excess
notches are created on it. wood closer to the edges are cut at right angles.

TAARKASHI INTRICACIES OF WIRE ON WOOD 85

86 Edges being cut using the rotating saw machine

86 TAARKASHI INTRICACIES OF WIRE ON WOOD

A handmade planar or Gurskaap is used to fillet
the lowered edge, on one side, at an angle of
45 degrees. (Fig.87 and 88)

SIDE VIEW OF HEIGHT EDGE OF THE

BOX
87 Filing the lowered edge at an angle of 45 degrees

SIDE VIEW OF WIDTH EDGE OF THE

BOX

88 The 45 degee angle 89 Side view of the edges of the box

It is important to note that, only the top edges of
the sides, are filleted to an angle of 45 degrees.
The edges of the base are left at a right angle.
The shorter edges or width of the side pieces,
are cut at an angle of 45 degrees using the
rotating saw machine. (Fig. 86)

TAARKASHI INTRICACIES OF WIRE ON WOOD 87

 TOP VIEW OF THE BOX AFTER THE
SIDES ARE ASSEMBLED.

90 Top vie of the box after the sides are assembled

88 TAARKASHI INTRICACIES OF WIRE ON WOOD

The pieces are placed together to check the Fevicol SH is used to join the sides. (Fig. 93 and
accuracy of their fit. (Fig. 91 and 92) 94)

91 Checking the accuracy of the fitting 93 Putting Fevicol

92 Checking the accuracy of the fitting 94 Sticking the box

TAARKASHI INTRICACIES OF WIRE ON WOOD 89

 Rubber bands are placed around them to hold
them in place as they dry. (Fig.95 to 97)

95 Holding the box together using rubber bands 96 Holding the box together using rubber bands

97 Holding the box together using rubber bands

90 TAARKASHI INTRICACIES OF WIRE ON WOOD

The piece that forms the base of the box, is
measured and cut in a process similar to the top
(Fig. 98 and 99). However, the edges of this piece
are not filleted to form an angle of 45 degrees. It is then cut to dimension using the bandsaw.
(Fig. 100)
The walls of the sides, at the base have a right
angled notch in them to receive the base of the Again, it is placed onto the sides to ensure a
box. The base is placed onto the sides and the snug fit. It could be sanded if needed. (Fig. 101)
required dimensions are marked onto it.

98 Marking the base for perfect fit 100 Cutting the piece for base

99 Markings on the base piece for perfect fit 101 Checking if the piece is correctly cut

TAARKASHI INTRICACIES OF WIRE ON WOOD 91

 The Daat forms the lid of the box. It is cut to the
right height or depth required for the lid of the
box. (Fig. 102 to 104)

From the remaining block of wood, the base of

the box is also cut in a manner similar to that of
the lid. (Fig. 103)

Both pieces are sanded. (Fig. 105)

102 The Daat being cut according to the requirement of 104 The Daat
the thickness

103 The base being cut according to the requirement of 105 Sanding both the pieces
the thickness

92 TAARKASHI INTRICACIES OF WIRE ON WOOD

The piece for the top of the box is sanded to Since the top of the box, carried the inlaying
give the edges a 45 degree fillet. (Fig. 106) work, its joining to the sides is done in such a
manner that no joints are visible. (Fig. 108)
The piece is repeatedly placed on the sides to
check its fit, while the sanding machine is used
to sand away minute layers, until a perfect fit is
achieved. (Fig.107)

106 Sanding the edges of the Daat 107 Joining the top pieece with the rest of the box

108. Side view of the assembled box with the lid in place

TAARKASHI INTRICACIES OF WIRE ON WOOD 93

 The pieces are then glued onto the sides using
fevicol SH. (Fig. 109 to 112)

109 Applying fevicol to fit the base of the box 111 Fitting the top of the box

110 Fitting the base of the box 112 Applying fevicol to fit the top of the box

94 TAARKASHI INTRICACIES OF WIRE ON WOOD

The box thus formed is hollow yet sealed from The saw machine is adjusted to cut a thickness
all sides. of one centimetre, which is the depth of the lid.
(Fig. 115)
A flat piece of metal similar to a blade called
a Patti is used to scrape off the sanded wood
particles. (Fig. 113 and 114)

113 Scraping off the excess sawdust

114 Scraping off the excess sawdust 115 The saw machine being adjusted to cut the top of the
box

TAARKASHI INTRICACIES OF WIRE ON WOOD 95

 The saw machine is used to cut off the lid of the
box. (Fig.116 and 117)

116 The lid of the box being cut 117 The lid and the box separated after cutting

96 TAARKASHI INTRICACIES OF WIRE ON WOOD

It cut edges are sanded to smoothen them
down. (Fig. 118)

118 Sanding the freshly cut sides of the box

120. Top view of the base piece of the box, with the slits cut
Slits are cut on the top edge of the base piece, out for the hinge mechanism
where the hinge mechanism would be attached.
(Fig. 119 to 121)

121. Side view of the base piece of the box, with the slits cut
out for the hinge mechanism
119 Slits are made to fix the hinges

TAARKASHI INTRICACIES OF WIRE ON WOOD 97

 Four slates of wood are used to form the
protruding lip to aid in the fit of the lid, inside
the box. (Fig. 122) The shorter sides are sanded to
an angle of 45 degrees. (Fig. 123)
The lid is placed onto the base to check the
They are measured to fit the inside of the accuracy of the fitment of the closure before the
box, such that they fit into the depth of the lid, pieces are stuck into place. (Fig. 125)
engaging the closure of the box. (Fig. 124)

122 Measurinf the slates of wood 124 Fixing the slates inside the box

123 Sanding the edges of the slate of wood 125 The basic box is ready

98 TAARKASHI INTRICACIES OF WIRE ON WOOD

The slates are then stuck using fevicol SH. A hand drill is used to create the opening to fit
A strip of wood is wedged between the slates to the hinge into the lid piece. (Fig. 128)
ensure pressure while drying. (Fig. 126)

126 Strip of wood put between two slates to stick them

properly

The location point of the hinge is marked on the

lid. (Fig.127)

127 Marking the hinge points on the lid 128 Creating an opening in the lid to fit the hinges

TAARKASHI INTRICACIES OF WIRE ON WOOD 99

 The hinge or Kabza is a circle with an opening,
with a projection that fits into one of the pieces
to be joined. (Fig. 129)
129 Hinges used in the box
The projection is dipped in fevicol and inserted
into the opening drilled onto the lid. (Fig. 130)
130 Putting fevicol on the hinges
100 TAARKASHI INTRICACIES OF WIRE ON WOOD
The Hathodi is used to fix it into place. (Fig. 131)
131 Putting the hinge in the box
With the hinge as a reference for location, a
mechanical drill is used to drill holes on either
side of the base of the box. This is done by
holding the hinge over the side, such that the
drill goes though the eye hole in the hinge
head. (Fig. 132)
132 Drilling a hole to put a nail through the hinge
The box is then assembled. The Patti or scraping tool is used to scrape off
A nail is inserted into the holes from both sides, any excess sawdust and to level the surface. (Fig.
locking the fit of the base and the lid. (Fig. 133) 135)

133 A nail being inserted through the hole and the hinge 135 Scraping excess sawdust

Sand paper of grade P120 is used to finish the This assembly of the box is temporary and the
box surfaces. (Fig.134) surface finishing is done next. (Fig. 136)

134 Final sanding of the box 136 Ready basic assembled box without finishing

TAARKASHI INTRICACIES OF WIRE ON WOOD 101

 Mustard oil or Sarso ka tel is used to polish
the insides and outsides of the box. A piece of
muslin is used to do this. (Fig. 137)

137 Polishing the box using Mustard oil 139 Top of the box after buffing

The buffing machine is used to further finish the

box. (Fig. 138 to 140)

138 Buffing the box 140 Front of the box after buffing

102 TAARKASHI INTRICACIES OF WIRE ON WOOD

Velvet is cut into the size of the inside of the box
using a pair of scissors. An approximate size
is cut and placed into the box such that excess
fabric protrudes out. The box is disassembled
for this step. (Fig. 141 and 142)

142 Checking if the velvet fits or not

Fevicol SH is used to paste it in place.

A scale is used to stick the fabric into all the
corners of the box. (Fig. 143)

141 Cutting velvet for the insides of the box 143 sticking the velvet inside the box

TAARKASHI INTRICACIES OF WIRE ON WOOD 103

 The excess fabric is then cut off using a blade. The nail is then dipped in fevicol and inserted,
(Fig. 144) to ensure proper fitment. (Fig. 146)

144 Excess fabric being cut using blade 146 Nail being inserted with a dollop of fevivol

A layer of potassium permanganate is applied A hammer and screw are used to push the
on the outside of the box, using a tooth brush. nail into the box such that the nailhead is not
(Fig. 145) protruding out. (Fig. 147)

145 Putting a layer of Potassium Permanganate 147 pushing the nail in using a screw

104 TAARKASHI INTRICACIES OF WIRE ON WOOD

A layer of putty is applied into the cavity above
the nail head to cover it. (Fig. 148)

148 Putty being applied over the nail 150 Sides of the finished box

The box is ready. (Fig. 149 to 152)

149 Top of the finished box 151 Insides of the finished box

TAARKASHI INTRICACIES OF WIRE ON WOOD 105

152 A finished Box

106 TAARKASHI INTRICACIES OF WIRE ON WOOD

4.4 MAKING OF PHOTO FRAMES

Photo frames are popular products made by

them.

The inlaying work is done on a flat piece of

wood first.

A groove is cut out on one edge, to

accommodate the backing.

The sides of the frame are then marked and cut

out, depending on the desired shape.

The ends are cut at an angle of 45 degrees.

The sides of the frame are then joined using
Fevicol SH.

The backing is made of MDF board.

A metal hinge is used to attach the stand onto

the backing of the frame. (Fig. 153 and 154)
154 Putting a stand on the hinge
A layer of Potassium permanganate is applied
onto the frame using a toothbrush. (Fig. 155)

153 Putting a metal Hinge 155 Applying Potassium permanganate

TAARKASHI INTRICACIES OF WIRE ON WOOD 107

156 An unfinished Elephant

108 TAARKASHI INTRICACIES OF WIRE ON WOOD

4.5 MAKING OF ANIMAL FIGURINES
Figurines of animals including elephants,
camels, owls, turtles, etc are made. (Fig. 156)
The figurine is carved out of wood. This work is
outsourced by them.
The figurine received is further finished before
the inlaying is begun.
The desired pattern is marked onto the surface
and the patterns are chiselled before the wire
inlay is hammered into place. (Fig. 157 and 158)
157 Finishing the unfinished wire work
158 Finishing the unfinished wire work
The process of application of the Bhiriyaan
follows. (Fig. 159 and 160)
This work is usually done by the women of the
house.
Ram Dayalji’s wife says that once the wire inlay
work is finished in the workshop, Ram Dayalji
brings the products home for the application
of the bhiriyaan. Whenever she finds time from
her household chores, she applies the bhiriyaan
onto the products.
Her precision with the work is immaculate. Even
without any marking she seems to effortlessly
place the bhiriyaan in the perfect spots. The
whole process goes on without any hiccoughs
which indicates her superlative expertise in the
process.
Ram Dayalji admitted he finds the process of
applying the bhiriyaan too time consuming and
monotonous.
159 Putting Bhiriyaan on an Elephant
TAARKASHI INTRICACIES OF WIRE ON WOOD 109
 160 Putting Bhiriyaan on an Elephant

110 TAARKASHI INTRICACIES OF WIRE ON WOOD

The process of inlaying on a curved or irregular
surface is visually similar to that on plane
surfaces. But the figurine might not fit into the
Gira or vice. Sometimes another person is
required to hold the structure while the inlaying
161 Putting Bhiriyaan on an Elephant
is done. Chances of the structure slipping away
and causing mistakes in the process of inlaying
is greater. Because of this, inlaying on a curved
surface is more challenging than on a plane,
flat surface. (Fig. 161)
TAARKASHI INTRICACIES OF WIRE ON WOOD 111
 4.6 PATTERNS AND MOTIFS

The patterns carry several elements that are

used in combination to form stunning designs.
The elements include;
Leheriya is a wavy pattern
Kairi is a pattern of an oval with an s- shape
inside it, to from two mangoes.
Seedhi is the pattern of straight lines.
Phool Patti design is a pattern employing motifs
of flowers and leaves. They usually involve
a central flower, with branches bedecked in
delicate leaves and coils, radiating from it in all
directions. This pattern resembles carving found
in Rajput Architecture and motifs adorning
traditional attire.

The designs done by the Artisans carry a very

strong resemblance to several motifs observed
in the art, attire and architecture of the state of
Rajasthan.

The popular patterns include:

Jaal pattern – A pattern of interconnected

waves.

The jaal pattern has two variants; the single jaal

and the double jaal.

The single jaal or Lota jaal, has a singular mesh

of interconnected waves in one orientation. The
resultant pattern resembles two Lotas placed
mouth to mouth.

The double jaal has two meshes of

interconnected waves, overlapping and running
perpendicular to one another.

There are several other geometric patterns that

are used in the technique. They seem to have
drawn inspiration from the Jaalis seen in several
architectural structures from around Rajasthan.
162 Floral motifs on a door in Hawa Mahal.

112 TAARKASHI INTRICACIES OF WIRE ON WOOD

 165 Motifs in Sheesh Mahal.

163 Jali in Jaigarh Fort.

164 Stone carving in Jaigarh Fort. 166 Jali in Hawa Mahal.

TAARKASHI INTRICACIES OF WIRE ON WOOD 113

167 Single Jaal 169 Double Jaal

168 Geometric Patterns 170 Geometric Patterns

114 TAARKASHI INTRICACIES OF WIRE ON WOOD

171 Phool Patti Pattern

TAARKASHI INTRICACIES OF WIRE ON WOOD 115

 4.7 PRODUCTS
Jewellery boxes are amongst their most popular
products. They are produced in a variety of
sizes, such as 5 inches by 2.5 inches, 2.5 inches
by 2.5 inches. The usual height of these boxes
is 1.5 inches. They also make photo frames,
animal and bird figurines including camels,
elephants and owls in different stances and
positions, and of varying sizes, decorated
plates, containers, mirror frames, vases and
172 Photoframes and a Box
173 Bangles
116 TAARKASHI INTRICACIES OF WIRE ON WOOD
so on. They have created their own version of
Rajasthan’s famous ‘Bani Thani’ in wood and
metal.
They have identified the need to contemporise
their craft and have begun to make personal
accessories such as earrings, bangles, bracelets,
keychains etc to cater to a modern clientele.
174 Photoframes and a Box
175 A Box, A camel and an owl
176 An Elephant and a Camel 178 Earrings

179 Coaster

177 Key Chain 180 Khadaau

TAARKASHI INTRICACIES OF WIRE ON WOOD 117

181 Bangle Box

118 TAARKASHI INTRICACIES OF WIRE ON WOOD

The prices of the products vary depending on ranges from Rs. 4000 to Rs. 5000.
the size of the product, the metal used in the Smaller products with less intricate work such as
inlaying and the intricacy of the inlaying work. keychains and earrings cost around Rs. 200.
Typically, a 5 inch by 2.5 inch jewellery box

182 A variety of products

TAARKASHI INTRICACIES OF WIRE ON WOOD 119

 183 Shri Ram Dayal Sharma and Shri Ram Swaroop Sharma

184 Shri Ram Dayal Sharma and Raju Jee 185 Shri Ram Dayal Sharma, Shri Ram Swaroop Sharma
and their sons

120 TAARKASHI INTRICACIES OF WIRE ON WOOD

4.8 THE ARTISANS
Shri Ram Dayal Sharma and Shri Ram Swaroop
Sharma are brothers and Taarkashi artisans
residing in Gopalpura Village, Jaipur (Fig.
183). They belong to the Jangid community.
The people of this community worship Lord
Vishwakarma, the Lord of creative energy and
the architect of the Universe. It is believed that
all artisans and craftsmen were birthed from
different parts of the Lord’s body and the Jangid
community came from his Jaangh or thigh,
hence the name. Thus, tracing the origin to
Vishwakarma, the craftsman try to combine the
functions of the conceiver and the executor.
Their ancestors were in the business of making
artisanal doors using wood and metal. Saaj or
the technique of metal casting was widely used
to make ornaments to decorate wooden doors.
Sheet metal beaten or cut into the desired shape
and form was also used for the same purpose.
Their ancestors, going back to over 450 years
have been domiciled in Rajasthan.
A family friend, Shri Satyanarayan took a 13
year old Ram Swaroopji to the Maharaja Sawai
Ram Singh Shilpkala Mandir to study a craft.
Looking back, Ram Swaroopji says he picked
Taarkashi because it involved working with
metal and wood, much like the Saaj ka Jodi
work done by his ancestors.
And so, Ram Swaroopji was one of four students
who learned the craft of Taarkashi from Shri
Shravan Mishra at the Shilpkala Mandir.
Ram Dayal Sharmaji learned the craft of
Taarkashi from his elder brother, Ram Swaroop
Sharmaji.
Both brothers have been practicing Taarkashi
since 1975, and has won national awards
for the craft. Ram Dayalji and Ram Swaroopji
have shared the knowledge of the craft to their
cousins and their families as well, and currently
two generations of their family are artisans
practicing Taarkashi.
Ram Dayalji is 60 years old and has three sons
Avinash Sharma, who has studied until the 12th
standard, Naveen Sharma, who has done his
Bachelor of Arts and Radha Krishna Sharma
who is a B.Com graduate and serves in politics
as a Maha Mantri with Congress in the Jaipur
zilla. All his sons practice the craft of Taarkashi.
Avinash Sharma makes pieces on order from
companies, Naveen Sharma runs a Taarkashi
stall in the City Palace, where they sell most of
their products.
His daughters in law belong to the same
community. They learned the craft of Taarkashi
after their marriage and usually lend a hand
whenever possible.
Ram Dayalji and his brothers live in a joint
family (Fig. 185). The family consists of 50-60
members. He and his three brothers are the
head of the family. The family takes all decisions
together but the dominion of the males in the
family is evident. He believes his sons consult
TAARKASHI INTRICACIES OF WIRE ON WOOD 121
186 Shri Ram Swaroop Sharma Jee working in his workshop

122 TAARKASHI INTRICACIES OF WIRE ON WOOD

with their wives and represent them in all Lal ji’s ‘Dada Guru’. (Fig.187)
decision making. Tarachand Meena Ji was Mr Sharma’s first
student and learnt this Craft in 1985.
Ram Dayal ji says he hasn’t seen his father
working much in the craft sector. When India Every Amavas, Ram Dayalji closes his workshop
was under the British Raj, his father was for a day.
appointed as the caretaker and partial owner
of a few villages and the income he thereby Raju Jee is Ram Dayal Jee’s right hand at the
received, was sufficient to grand them a life of workshop. (Fig. 184)
comfort without having to work anywhere. He
also says that if there still was the rule of the
kings he wouldn’t have to work much and could
enjoy his life but due to democracy, he has to
work.
His three sons started working since their
childhood. They can’t even remember when
they learnt the craft.

Mr Sharma has 7 grandchildren including 2

boys and 5 girls.

There is no fixed income at their home, the

income depends on the amount of sale that
happens.

August to April is a good season to sell

products.

November to March is the peak of the sales.

The sales heavily depend on foreigners.

Shri Mohanlal Sharma is Ram Dayalji’s uncle’s

son. Mohanlal Sharma ji learnt the craft from
Ram Dayalji. Ram Swaroop Sharma ji is Mohan 187 Mohal Lal Ji with his son

TAARKASHI INTRICACIES OF WIRE ON WOOD 123

 188 Discription of Ram Swaroop Sharma Ji’s National Award, 2008.

124 TAARKASHI INTRICACIES OF WIRE ON WOOD

189 Discription of Ram Swaroop Sharma Ji’s National Award, 2008.

TAARKASHI INTRICACIES OF WIRE ON WOOD 125

(Fig. 190) 4.8.1 ABOUT THE RAJASTHAN SCHOOL
Source : https://www.cca.
qc.ca/en/search/details/ OF ART (SHILPKALA MANDIR)
collection/object/349923
The Rajasthan School of Arts is the first Institute
dedicated to promoting Arts and crafts in the
city of Jaipur. Maharaja Sawai Mann Singh
the Second was a dedicated patron of Arts
and established the “Madarsa-e-Hunari”, or
The Institute of Arts in the year 1857 AD. The
Institute offered courses in over forty disciplines
of Art and Craft. Renamed the Maharaja
School of Arts and Crafts in 1886, it was the
predecessor of the Rajasthan School of Arts. A
pioneer of the Arts the Rajasthan School of Arts
or the Shilpkala Mandir, as it is often referred
to, is a coveted place to learn and teach Art and
Craft.

190 A photograph of the Rajasthan School of Arts, dated 1857.

126 TAARKASHI INTRICACIES OF WIRE ON WOOD

4.9 MARKET

Ram Swaroop ji has a workshop in Ghat Gate

where he also exhibits and sells his handicrafts.
Ram Dayal ji has a stall at the City Palace where
most of his handicrafts are sold.

191 Ram Swaroopji’s workshop at Ghat Gate.

TAARKASHI INTRICACIES OF WIRE ON WOOD 127

128 TAARKASHI INTRICACIES OF WIRE ON WOOD
Conclusion
CONCLUSION 129
130 TAARKASHI INTRICACIES OF WIRE ON WOOD
5. CONCLUSION

The craft of Taarkashi, began as a craft

exclusively for Royalty, and didn’t reach the
masses. Even today most of the products are
picked up by Foreign tourists. This is usually
because the products are too expensive due
to their intricacies and the amount of labour
involved in the making.

But the products of this craft are so stunning that

a product with minimal inlay work would still
be picked up by customers, and might even be
more popular among youngsters.

With the craft industry being the second

largest in our Nation, the preservation and
continous practice of these crafts is essential
to preserving our rich culture and heritage.
Modernisation has led to the slow demise of
crafts in India and several handmade treasures
are dangerously close to turning extinct. And so
the need of the hour is to provide solutions that
help in the sustenance of the craft in an era of
commercialisation and industrialisation.

This document is a narrative of the craft of

Taarkashi and the numerous lives that are
entwined in it’s beautiful loops and lines.

CONCLUSION 131
 The Team

Archana Vishwanath - Content writing and Photography

Nutendra Singh - Illustrations and Content writing

Vanshika Aggarwal - Layout and Content writing

132 TAARKASHI INTRICACIES OF WIRE ON WOOD

133
134 TAARKASHI INTRICACIES OF WIRE ON WOOD