T RA DI T I ONAL C OP P E R CRAF T OF

T R A VUE TL TT R
R IA
P S A NADNMDO R E
K H

W O H
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 ABSTRACT

The warm sun has risen, light reflects off snow capped mountains and falls gently upon
the hills of Kumaon. Another day has begun and the sharp sound of hammers on metal
rings faintly across the village. Copper glints playfully as skillful hands strike a stern
hammer on it with precision. Pyare Lal Tamta is sitting in his nook, among the trees, to do
what he has been his entire life.

Last year, we chose to study the copperware craft 'Tamta' named after the community
that practices it. The craft is practiced in certain pockets of Uttarakhand in Almora,
Bageshwar and Pithoragarh. Bageshwar is known for its religious significance in the form
of Bagnath temple and the practices thus associated with the Gomati river which is a
tributary of Ganges.

Our group explored the Kharai patti region in Bageshwar. We approached and interacted
with some Tamta artisans in the Chaugaon Chinna area. Each had their individual
workspace and this cluster of artisans was spread over different hills. It was an immense
learning experience we treasure.

Over the past few months, we have drawn from those learnings and observations to
design a collection of products expanding the current product range of Tamta. We intend
for this to help widen the scope and market of the craft. Due to unforeseen circumstances
of the pandemic, we were unable to work with the artisans and gain their valuable
insights on bringing the designs to life as we had initially hoped. For this, we are
unfortunate. However, we forge on in the belief that our design interventions are welcome
and capable of making a change for the growth of the craft.
We further hope that our respect and appreciation for the craft and the artisans is realised
in our work.
WELCOME
 ACKNOWLEDGEMENT

We are grateful to our faculty, Professor Sanjeev Kumar Jharkhede and

Professor Sheeza Nasir ma'am, for the opportunity to draw from our learnings
to design a collection of Tamta craftware and being a constant source of
guidance and motivation. Moreover, we extend this gratitude to the artisans
and members of the Tamta community who had graciously welcomed and
allowed us to observe, interview, and document their craft and lifestyle last
year. We would like to thank all the Craftsmen; Pyare Lal Tamta, Sundar Lal
Tamta, Shiv Lal Tamta, Sagar Chand Tamta, and Abhilekh Tamta for sharing
their knowledge and wisdom about the craft. We are also thankful to NIFT,
New Delhi and the Department of Fashion and Lifestyle Accessories, for giving
us the opportunity to work with this wonderful craft, albeit virtually.
 OBJECTIVE

Revisiting identified craft and cluster group and having a realistic

understanding of craft and cluster for integration with professional
expertise.
To draw insights from our study of Tamta craft as practiced in
Bageshwar in detail and to evaluate the current socio-economic
profile of the cluster and propose appropriate design interventions.
Our purpose was to design a collection of Tamta copperware home
products and expand the range of products and strengthening the
USP and identity of the craft to create value.
TOPIC

1) About
- Introduction
- Demographics
- Craft

2) Tamta
- Raw Material
- Process
- Cutting and shaping
- Cleaning
- Finishing and Maintenance
- Tools
- Design Phenomena and motifs
- Product Range
- Artisan Details
- Workplace Requirements
- SWOT Analysis
- Scope of Intervention
- Strategy

3) Product Development
- Brief
- Mood board
- Inspirations, form exploration, and product
development
- Brahmakamal
- Dining
- Stationery
- Tabletop

- Gudhal ka phool
- Lighting

- Parijat
- Vanity
- Lighting
- Gende ka phool
- Tabletop accessory
- Burans
- Bathroom accessory
 ABOUT
BAGESHWAR - UTTARAKHAND
 INTRODUCTION
1,004 m above sea level lies the holy township of Bageshwar. Situated
at the confluence of rivers Saryu, Gomti and latent Bhagirathi in
Uttarakhand, which is often referred to as the Devbhumi due to the
spirituality, mysticism and pristine nature found throughout the stat
 DEMOGRAPHICS

As per the 2017 survey, Bageshwar has a population of about 2,59,898; out of
which 1,24,326 are males and1,35,572 are females.
The overall literacy rate is 80.01%; 92.33% men and 69.03% women.Hinduism
is practiced by the majority of the popula- tion. Although other religions exist
in a very small percentage, they are Islam, Sikhism, Christianity, Buddhism
and Jainism.Kumaoni is spoken majorly in Bageshwar. Garhwali, Hindi, and
English are also spoken by a small number of people.
 CRAFTS

People of bhageshwar celebrate varied festivals like Uttaraini

festival, Nanda Asthami, Harela etc.
Utraini mela is one of the most famous fairs which is held for a
week in January, wherein sellers and traders come and sell their
products.

Makarsakranti is also celebrated where they make garlands of flour

and gud for children.

Ghi Sankranti is celebrated in the month of bhadau (July and

August), on this day the child's head is nourished and massaged
with pure ghee. Vishuvati is another important festival where the
main part is preparation of various delicacies and food items special
to the city(sweetmeat, Bara etc).
 02

TAMTA

The craft of Tamta is mainly practiced in Almora and

Bageshwar in Uttarakhand. It creates copperware that
mimics the surface texture of copper sheets initially made
by the constant beating of an ingot. This technique
developed was called mathaar and evolved to be a
decorative feature and signature of the Tamta copperware.
It further strengthens the material and gives the product
shine and finish.
RAW MATERIAL AND
PROCESS

PRIMARY
Copper sheet

SECONDARY
tanka - Powdered mixture of 5 materials - peetal,
jasta,ranga, passa, tamba - very strong mixture
Chird wood - Block and Shavings
Masala
Rivets - Handmade and Market Sulphuric acid

TERTIARY
Lemon juice
 CUTTING AND SHAPING
The first step is to make shapes and markings with the help of prakaar on the copper
sheet. Then a pathar with a carved hemispherical dent is used as a negative die in which
metal is hammered to get the curve and thus add depth to the sheet. After the sheet is
curved, it is cut into the required shape. Shavings of Chird tree is used to cover the metal
piece and it is then exposed to the direct heat in the charki for the process of
annealing.Different elements of the product are joined through rivets, which sometimes
is made by the craftsmen themselves. A small sheet is placed between the hole and the
rivet so that there is no leakage. The welding is done through a mixture of five materials;
peetal, jasta,ranga, passa, and tamba, and is known as tanka.
 CLEANING

The product is then dipped in a diluted, heated solution of sulphuric acid (Gandak
Tezaab) for cleaning the product and giving it lustre. Lemon juice is also used as there is
an abundance of citrus trees in the area. Earlier, lemon juice was used extensively rather
than sulphuric acid. Sulphuric acid is weak and is thus heated to be used in the process.
 FINISHING AND
MAINTENANCE

The copper piece is struck with a hammer that is rubbed with masala (buffing
polish) to give the dotted texture on the product. This technique is called
mathaar. Hammer heads of varying sizes produce different impressions on the
piece.
The mathaar is for aesthetic purposes and to strengthen the product. The blow is
consistent with less force. The density of impressions can determine pricing.The
motif is carved using a chiselThe joined piece is rubbed with a sand paper of 500
gauge to smoothen it out. The piece is then heated over direct flame and left in
an acid bath for a while.Pitambari powder can be used for cleaning. It does not
require daily maintenance.
 TOOLS

Tools used for creating mathaar.

Kainchi (Scissor) - used to cut the copper sheet
Aina(Anvil) - An Iron block used as a support for metals during hammering
Prakaar - used for measuring and marking the designs on the copper sheet
Chaini (chisel) - used for creating the designs
Sinati - Tongs used for holding hot metal
Chakri - used to anneal the sheet
Kharaat and Sabal - used to give shape to the product and do mathar Pathar
- used as a negative die in which metal is hammered to get the curve.Usually,
all the tools are bought from the market except for a few, which they make
themselves.

CHAINI HATHODA
 PRAKAAR
CHAKRI

PATHAR
KHARAT & SABAL

KAINCHI AINA SINATI

 DESIGN PHENOMENON
AND MOTIFS
The utensils and traditional products are
beautifully embellished with embossed
work. The motifs include Zig-zag
patterns,leaf, flower and straight line
patterns.Heavy elaborated work depicting
flowers,petals, curved stem creepers and
images of deities can be seen.
Few traditional motifs like small circular
dots are made on the outer surface of the
prod- uct by beating with hammer, the
beating also helps in making the base of
the product stronger. The dot pattern in
well known in traditional prod- ucts and
have been seen from ancient times and
still continued.Apart from these designs,
if someone gives them naksha (map) of a
design, they will make it on the product.
The artisans are told to make certain
motifs that are in high demand which
customers want to see on the products,
hence they don’t want to be
experimental and have been using the
similar shapes and motifs on the
products. Usually, the artisans are not
experimental with new motifs as they are
not sure if customers will accept them
and if they will sell in the market
eventually. Also, it takes more time and
energy to make experiment with different
motifs, but they don’t get enough money
for it.The Artisans mostly derive
inspiration for the motifs from elements
of nature around them.
As they are surrounded by lush greenery
and majestic mountains the most
prominent motifs are of leaves and
flowers.Most floral motifs have been seen
on Tamta products since the initial years
of the craft, and the same have been in
use ever since.
 PRODUCT RANGE

KITCHEN UTENSILSParath - Utensil mostly used for kneading

doughTauli: A rice-making utensil
Jug : For storing potable water
Water bottle : For storing potable water during commute.
Lota - Another utensil to store potable water.
Glass - Used to drink/store water
Donga - Utensil used for storing
Kadhai - Utensil used for cooking
Choti patili - A smaller utensil used for cooking
Ghada, 5 - 32 inches - Utensil used for storing potable water
Gagar - Utensil used for storing potable water
Instruments
Ransingha - Instrument used mostly in battles or to signify
inauguration.
Garjan bhonkar - An instrument used during Arti
Tuti bheri - Instrument used in weddings or other auspicious
events.
Nagphani - Instrument used in weddings or other auspicious
events.
Jhajjar - Instrument used during kirtans
Mijuri - An instrument used in welcome ceremony
Majri - A vadya-yantra
Dhol - A percussion instrument played during ceremonies.
Nagada - A percussion instrument played during ceremonies.
Hudka
Damroo - A musical instrument of Lord ShivaJEWELLERYKada -
A traditional bracelet of anklet Chain - A neck jewellery
Baaliya - Ear ornaments
Angoothi - RingsPOOJADiya is the most used product ; There
were different types of dias, where they had Dia stands with 3 or
5 dias, single small and large diya pieces.
 Shree Ganesh - God for the purpose of worship AartiShiva
Aarg - used to store holy water to be devoted to God
Kalash - for sthapana during pooja, along withKundi - used to store
stuff for pooja
Aachmani - used to store the drink before pooja Big and small bhokar
(shank) - long, straight instrument, used during aarti
Panash (more diyas)
Chatr - A holy umbrella like structure for the deity Pooja ki Thali -
plate to keep pooja ka bhog Murti - Sculpture of a deity
 ARTISAN'S DETAILS

Name - Shiv Lal Tamta

Age - 61
Address - Bor Gaon, Bhageshwar
Sex - Male
Occupation: Tamta craft, agriculture

His products are sold in the local markets of

Bhageshwar and Almora, and at places like Delhi and
Dehradun.

Shiv Lal and his sons have been a part of exhibitions in

Lucknow, Delhi, Birmingham (England) etc. He is the
President of the NGOs - Chirag and Ajiva, a member of
Jila Kendriya Udyog and received training from
Government Training Programme.

Name - Ashok Lal Tamta

Age - 36
Address - Bor Gaon, Bhageshwar
Sex - Male
Occupation: Tamta craft, agriculture

Ashok Lal Tamta didn’t complete his schooling and

joined the family business of Tamta craft.

He knows the well and practices it regularly, but he

wishes to have continued his education further
instead of having taken up the family business. Has a
separate area for performing the process and all the
facilities and tools are there.
 Name - Pyare Lal Tamta
Age - 79
Address - Jhulla gaon, Bhageshwar
Sex - Male
Occupation: Tamta craft

Pyare Lal Tamta as been doing the craft since he was

15 years old and initially made large ghade. His
family comprise of his wife, son and daughter (both
married). His son is employed in a factory for tamta
work.

He is the 4th generation artisan in his lineage.They

initially used to work at the bottom of the hill with
other craft people but later he shifted his house to
be able to work in peace for his craft.

Name - Sundar Lal Tamta

Age - 68
Address - Chaugha Cheena, Bageshwar
Sex - Male

Lives in the neighboring house to Sagar chand with his

wife and daughter. He usually works together with Sagar
Chand and acts like a support system for him. He has a
Design book for reference, from which he takes motifs and
traces it onto the copper vessels using carbon paper.

Despite having been recognised for his craft, he doesn’t

have a good standard of life.He believes that artisans cant
compete with machine made products as they don't have
sufficient savings.
Name - Sagar Chand Tamta
Age - 53
Address - Chauga Cheena, Bageshwar
Sex - Male
Occupation: Tamta craft, agriculture

He has learnt the craft of Tamta from his father and has
developed the expertise to tell the purity of the metal just
by looking at it. His wife aids him in sourcing the raw
materials and carrying it on her head.

Sagar Chand understands the market and tries to maintain

the balance between his work and current demand. Some of
his work demands change in shape change in motifs change
in thickness. According to him handmade Tamta always
boasts a superior quality and is always more substantial
than its machine made counterparts.
 WORKPLACE REQUIREMENT

A workspace with ample sunlight, air, and ventilation is required. The heating and
cleaning process requires space for air to flow so that it doesn't suffocate the
craftsmen, Moreover proper space for disposal of acid should be present. Space is
required to store raw material in bulk and the final products. An adequate and well
ventilated space needs to be assigned for the machinery.
 SWOT ANALYSIS

The texture of mathaar done by

hand is unique and cannot be
imitated by any machinery.
The post production scrap material
can be reused. STRENGTH
High demand in International
market can be attributed to the
interesting forms.

There could be more exploration in

the mathaar finish in terms of size,
shape, density etc.
The range of products could be
expanded to include more product. OPPORTUNITIES
More exposure to domestic and
international market could widen
market and provide scope for
expansion and awareness

The cleaning of the product is a

tedious process and thus high
maintenance.
The use and disposal of sulphuric acid
WEAKNESSES is not done responsibly.
The process is time consuming and
labour intensive

Industrialized products result in

economies of scale, thereby reducing the
sale of handmade products.
Irresponsible disposal of the acid is
THREATS harmful to the environment and craft
person.
It is also a health hazard to vision and and
lungs There is an unnecessary loss of
metal through corrosion.
 SCOPE OF
INTERVENTION
SCRAP METAL - While making a product a lot of metal trimmings, known as scraps, are
left. The scraps are later melted down to reuse in the form of metal sheets. Instead of
melting down the scraps pieces, they can be used for making a few elements of other
products.

PRODUCT LINE - Tamta as a metal has many benefits and can thus be used in making
different products. The product range can include household or personal use products
rather than just traditional once.

DISPOSAL OF SULPHURIC ACID- The disposal of sulphuric acid is done in a very

unsustainable way. It is unhealthy for the artisan as well as the environment. There can
be better measures, or cleaning equipments which help in curbing the issue at hand.
 STRATEGY

WHAT
To design table top accessories with tamta technique

HOW
Understanding and incorporating designs from
their surrounding flora

WHY
To uplift the business opportunity for artisans and
promote tamta.
 BRIEF
To design a collection of Tamta crafted copperware
home products inspired by prominent local flora of
Bageshwar to strengthen the craft identity, create
value and upsell products crafted by the skilled
artisans
MOOD BOARD

COPPER

Minimalist | Earthy | Organic |Traditional

 BHRAMA KAMAL

It is a large pure white star-like flowers with lovely fragrance to help their pollinators
locate the blossoms by moon or star light. Brahma Kamal, named after Brahma, the
God of Creation, probably blooms only for one night in the entire year, somewhere
between July and September

People believed to be lucky enough who see it bloom. Brahma Kamal is named after
Brahma the creator of Universe and so it is also called as “King of Himalayan Flowers”.
HOW DOES A BELL
WORK?

the particle of the medium starts to vibrate when

the bell is hit physically or mechanically. As the
particles start to vibrate, there is a disturbance
caused in the waves. when the bell moves forward,
it pushes the air particles in the front creating a
region of high pressure

TYPES OF CLAPPER
MATERIAL

metal like brass and iron

wood
small pebbles
pottery/clay
 60mm
100mm

Material: Copper
Texture: Plain
Handle thickness:
8mm-15mm

Material: Copper
Texture: Mathaar
Wing length:
16mm

Material: Copper
35mm Texture: Mathaar
pattern
Petal length :
18mm

Material: Copper
Texture: Plain
Bell lip : 35mm
 35mm
Incense Stick Holder
70mm

Small planters

35mm
PENCIL HOLDER
(INDIVIDUAL)
TABLE TOP
CONTAINER
FOR
STATIONARY
WALL MOUNTED
ENVELOPE TRAY
PAPER CLIPS
DIMENSION : 6*6 cm
SMALL STORAGE BOXES
TECHNICAL SHEET

Product name - Tabletop Planter

Description - A tabletop planter to keep indoor plants.
Material - Copper and nakashi of flower (hammered with chisel)
Finish: Glossy with mathar impressions.
Dimensions: 20×20×20 cm
TECHNICAL SHEET

Product name - Candle Stand

Description - Copper candle stand for keeping candles.
Material - Copper.
Finish: Glossy with mathar impressions.
Dimensions: 16×10×10cm
TECHNICAL SHEET

Product name - Tea Coasters.

Description - 5 tea coasters withstand.
Material - Copper and nakashi of flower (hammered with chisel)
Finish: Glossy with mathar impressions.
Dimensions: 10×8×8 cm
 COASTER

PLANTER

CANDLE HOLDER
CANDLE HOLDER MOCKUPS

Material of mockup - Shilpkar

Desired texture and material - mathaar on copper
CANDLEHOLDER PROTOTYPE

TOP HOLDER
Material: Copper Material: Copper
Texture: Mathar Impression Texture: Mathar
Dimensions : 50mm x 50 mm Thickness : 2mm
Color: Copper
Care : Wipe clean with a soft moist cloth.
 Material: Copper
Texture: Plain
Thickness of
candle holder : 1.5
mm

Detachable
Bottom holder
thickness : 2
mm
Petal Length : 16
mm
 GUDHAL KA PHOOL (HIBISCUS)
Hibiscus is often viewed as one of important
ornamentation for the worshipped idols. Its delicate
flowers are known for the feminine beauty and is
mythologically symbolic to goddess Parvati and Kaali.

Apart from the spiritual significance it has, gudhal flowers

are known for their medicinal and culinary properties.
They become an important ingredient for spices, tea etc.
Parts of the plant have their individual properties to heal
wounds and ailments.
 TECHNICAL SHEETS AND MOCKUPS

Product name -Diya Stand

Description - An elevated platform for diya (or candle) for ambient lighting.
Measurements - 130mm x 60mm (max dimensions)
Material - Copper with Mathar impression and soldered wave pattern.
Diya base with hibiscus petals

Product name -Candle Holder with Lid

Description - A bowl with lid used for candles. Lid allows safe long term storage.
Measurements - 73mm x 80mm (max dimensions)
Material - Copper with Mathar impression and soldered wave pattern
Lid with hibiscus petals and pistil shaped notch

Product name - Bulb Shade

Description - A bulb shade to be fixed on vertical bulbs for ornamentation..
Measurements - 200mm x 120mm (Outer dimensions)
Material - Copper with Mathar impression and soldered wave pattern
VIRTUAL PROTOTYPES

DIYA STAND

CANDLE HOLDER

BULB SHADE
PARIJAT PLANT ( NIGHTJASMINE)
The tree stands tall as evidence of the strong cultural
backdrop India has.
Parijat is also known in India as the ornament of the
Gods. It is therefore the only flower that can be
offered to the Gods after picking it up from the
ground. It is also said that it has beneficial properties
for the mind and body.
PRODUCT 1- CHANDAN & Mockup

KUMKUM DIBBI
 Final
PRODUCT SPECIFICATIONS

Product name - Sindoor ki dibbi

Description - A sindoor ki dibbi made with copper
Measurements - 40mm x 40mm
Material - Copper
Colour - Copper
Care - Wipe clean with a moist soft cloth

_____________________________
2.5___________________

___________________________________
17.5

_____________________________
___________________ _____________________________

30

_____________________________
___________________________
40

All measurements are in mm

PRODUCT 2 - CHANDAN & Mockup

KUMKUM DIBBI
 Final
Product Specifications

Product name - Chandan and kumkum dibbi

Description - A chandan and roli dibbi made with copper
Measurements - 80mm x 550mm
Material - Copper
Colour - Copper
Care - Wipe clean with a moist soft cloth

____________________________________________
___________________________

______________________________________________
__________________________________

20
__________________________________

__________________________________

______________________________________________
________________________________

________________________________

80
20
______________________________________________

15
______________________________________________

______________________________________________
20 40 20

All measurements are in mm

PRODUCT 3 - CHANDAN DIBBI Mockup
 Final
Product Specifications

Product name - Chandan and kumkum dibbi

Description - A chandan and roli dibbi made with copper
Measurements - 50mm x 60mm
Material - Copper
Colour - Copper
Care - Wipe clean with a moist soft cloth

______________________________
__________________________________

15
______________________________
_____________________________

35

______________________________
10
______________________________
______________________________
50

All measurements are in mm

PRODUCT 1 - TEA LIGHT Mockup
Product Specifications Final

Product name - Tea light

Description - A copper table lamp for your everyday use
Measurements - 100mm x 100mm
Material - Copper
Colour - Copper
Care - Wipe clean with a moist soft cloth

___________________
___________________________

________________________________
________________________________

75
________________________

________________________

___________________
25
___________________
_____________________________
50
100 _______

All measurements are in mm

PRODUCT 2 - PENDANT LIGHT Mockup
Product Specifications
Final

Product name -Pendant light

Description - A copper pendant lighting to give that extra aesthetic
to any room
Measurements - 150mm x 685mm
Material - Copper
Colour - Copper
Care - Wipe clean with a moist soft cloth

100
______________
_______

_______
_____________________________
_____________________________

558

______________
127
______________

150

All measurements are in mm

PRODUCT 3 - TABLE LAMP Mockup
PRODUCT 3 - TABLE LAMP

Product Specifications

Product name - Table lamp

Description - A copper table lamp for your everyday use
Measurements - 100mm x 100mm
Material - Copper
Colour - Copper
Care - Wipe clean with a moist soft cloth

_____________________________

2.5 INCH
_____________________________

4 INCH

_____________________________

10.5 INCH

_____________________________
1 INCH

3 INCH

All measurements are in mm

 GENDE KA PHOOL (MARIGOLD)
Marigold flower has a very important and prominent place on any
occasion of celebration, either it's the welcome of some important
person, the marriage ceremony, a festival celebration , a pooja of a diety
or any function. It's being elegantly, prominently colorful, it's presence
makes an occasion not only beautiful, but vibrant and energetic too. And
most importantly, it's availability is in abundance, it's grown and found in
India almost in every state, every place.
PRODUCT 1 -
TABLE TOP ACCESSORY 1
PRODUCT 2 -
TABLE TOP ACCESSORY 2
PRODUCT 3 -
TABLE TOP ACCESSORY 3
 BURANS
Burans ( Rhododendron Arboreum) is the state tree of Uttarakhand
and the striking cluster of flowers of this tree is an inspiration.
The scarlet red flowers are used as an offering to deities in a religious
setting and are consumed in the forms of pakodas, parathas,
chutneys, pickles, juice, tea and for medicinal uses. The Burans
Mahotsav in Kausani marks the onset of spring and celebrates the
blooming of the flowers and the bounty of the mountains natural
world.

The flowers are thus of socio-cultural and economic importance in

the hills of Garhwal and Kumaon and using them as inspiration
strengthens the connection between craft, artisan and context.
When an offering, they are often used in the same context as some
tamta products and are thus linked. Forms of the individual Burans
flower and the cluster they grow to form is interesting.
 7cm

Dimensions
8cm 11cm

6 cm

Dimensions

7cm 7cm
 JAL NETI POT

Jal Neti is a technique of cleansing your nasal path to remove the mucous and blockages, if any. It involves
pouring water in one nostril and flushing it out from the other nostril helping you keep the nasal passage
clean.This Jal Neti pot is similar to the soap dish in that it is inspired by the cluster formed by the flowers

SOAP DISH

The soap dish is equipped to drain excess water and has a cover. The form of the cover is
inspired by flower clusters where each dented surface represents an individual flower.
The form plays with the sheen of the material and surface finish the craft provides.
 TOOTHBRUSH HOLDER

The toothbrush holder is designed to hold the brush bristle-side-down. The bottom
of the holder has holes to drain excess water. The intention is to keep the bristle
portion as clean and hygienic as possible. Coppers antibacterial properties play a
role and the long portion serves as a handle rest.