National Institue of Fashion Technology

NATIONAL INSTITUE OF FASHION TECHNOLOGY, MUMBAI
BACHELOR IN TEXTILE DESIGN

BATCH 2012-16
CERTIFICATE
This is to certify that this research work entitled
‘Role of E-Commerce For Craft Producers of Gujarat:
A Help Or Another Way of Exploitation’
is a bonafide work of Neha Yadav towards the partial fulfilment of the
Bachelor of Textile Design Degree of 2016, NIFT Mumbai
Under the Guidance of:

Dr. Bhawana Chanana
(MFM Department)
NIFT Mumbai
ABSTRACT
The study is done to help understand the increase in e-commerce due to the wide range od
e-retail business that has come up as a very successful business in the running time. It helps in
understanding how the world has become like a small store where getting something is just a few
clicks away and also what all varieties does e-retail offers. How a garment manufactured in any
part of the world has become rechable like the grocery from a nearby shop. It also tries to find out
how the craft producers of Gujarat can take advantage of the Internet and e-commerce portals
to sell their craft-working and benefit themselves while promoting their craft-forms. E-commerce
role in reaching the national and international market and making a place for the handicrafts of
Gujarat in the global market. The research aimed to focus whether e-commerce is something that
can boom the handicraft sector of Gujarat. The result is analyzed on the basis of secondary, primary
and analytical method of research. The result explains how Government is working in the field of
finding ways to promote the crafts in their state, they have done so by launching e-commerce
portals for the crafts to reach out to the crafts to reach out to the craft lovers through internet. The
research also showed how e-commerce is working in the benefit of the craft producers of Gujarat.
Keywords: Handicraft, Craftsmen, E-Commerce, Online portals, Benefits, Promotion,

Encouragement, Backdrops, Government involvement.
CONTENT
Chapter 1 Introduction
1.1. Popularising Regional, Traditional Garments and Handicraft
1.2. Wider Target Audience
Significance
Objective
Chapter 2 Review of Literature
2.1. Craft of Kuchchh
2.1.1. Clay relief work
2.1.2. Painted terracotta
2.1.3. Rogan Painting
2.1.4. Kachchhi Embroidery
2.1.5. Bandhani-Tie-Resist-Dyeing
2.1.6. Applique
2.1.7. Namda-Felted Rugs
2.1.8. Leather Work
2.1.9. Wood and Lac Turnery
2.1.10. Wood Carving
2.1.11. Ajrakh Printing
2.1.12. Silver Work
2.1.13. Bell Making
2.2. Craft of Rajkot
2.2.1. Bullock Cart Making
2.2.2. Wood with metal embossing
2.2.3. Pathar kaam/Sampura kaam-stone carving
2.3. Craft of Ahmedabad
2.3.1. Kite Making
2.3.2. Block Making
2.3.3. Mata ni pachedi - Ritual cloth painting
2.3.4. Patola Weaving
2.3.5. Mashru Weaving
2.3.6. Ari Embroidery
2.3.7. Bohra Caps
2.3.8. Silver Ornaments
2.4. Craft of Vadodara
2.4.1. Sankheda Furniture
2.4.2. Pithora Painting
2.4.4. Agate Stone Work
2.4.5. Bead Work
2.4.6. Terracotta and Pottery
2.3.7. Bohra Caps
2.5. Crafts of Surat
2.5.1. Marquetry
2.5.2. Mask Making
2.5.3. Patku Weaving
2.5.4. Sujni Weaving
2.5.5. Vaaskaam-bamboo crafts
2.5.6. Devru embossed metal
2.6. E-commerce boom: Handicraft exporters join hands to tap
domestic market
2.7. How e-commerce is boosting handicraft industry in India?
2.7.1. Social Media based Marketing of handicraft
2.8. Emerging trends: Handicrafts Industry
2.8.1. E-commerce can be divided into primarily these categories
2.9. Garvi-Gurjari: Gujarat State Handloom & Handicrafts
Development Corporation Ltd.
2.9.1. Gujarat govt ties up with eBay to boost sales
2.10. Crafts of Gujarat - Online Portal
2.10.1. How is this portal unique?
Chapter 3 Research Methodology

3.1. Selection of Topic
3.2. Sample Selection and Size for Primary Data Collection
3.2.1. Tools for data collection used for primary data collection
3.3. Telephone interview with senior GSHHDC officer Mr. B
Venkateswarlu
3.3.1. Tools of data collection used for telephonic interview
3.4. Secondary Data Collection - craftsofgujarat.in
3.4.1. Features
3.4.2. Services Offered
3.5. Barriers to B2C e-commerce
3.5.1. You can see, but you cannot touch, feel and smell
3.5.2. Digital Photographs are not colour accurate
3.5.3. Consumers expect high service standards
3.5.4. Trusting the company/brand
3.5.5. Financial Security
3.5.6. B2B(business to business opportunities)
Chapter 4 Result and Discussion

Chapter 5 Bibliography
Appendix - I-II
CHAPTER-1
INTRODUCTION
E-commerce is a system that allows online movements, buying , selling goods, services, and information.
The concepts of e-commerce and e-marketplace have revolutionised the fashion industry in more than
one way. Not only can one shop from the convenience of the home, one can ensure that favoured brands
will still find a way into one’s wardrobe.
Research has proved that apparel sales on e-commerce portals have soared beyond the expectation
while surpassing the sales of all other categories. B2C growth analysis reports from around the world,
especially India, have shown that the influence of the Internet in dictating purchases and shaping sales
patterns has increased significantly.
In fact, a study concluded that apparel and accessories are among the highest grossing sales categories
in northern America, western Europe and developed Asian countries. The global share of online product
purchasers, especially in apparel fashion is more in these countries than in other parts of the world.
Many times this figure beats other popular categories such as books and video games. The conclusion
that we can draw from these reports is that the apparel fashion industry in countries such as India is
seeing a boom due to the presence of online shopping portals.
1.1 Popularising Regional, Traditional Garments and Handicrafts
In India, e-commerce portals have boosted sales of regional apparel. Right from special variants of
ethnic wedding dresses to hand-crafted goods, the onset of shopping in the digital age has brought
India’s handicraft heritage into the limelight.
There are many traditional garments in the country whose sales were originally limited to the
geographical area where the weaving community was located. However, nowadays even small and
medium enterprises can get an e-commerce portal built and offer their products to a larger audience.
The rise of e-commerce is one of the biggest reasons for traditional and regional apparel becoming
trendy. For instance, a Bhagalpuri silk sari was once appreciated by only a select few. However, when it is
marketed on an e-commerce portal, a visitor is bound to come across the name, even if it is by accident,
thereby increasing the level of awareness among the populace about this kind of sari. Awareness means
that there is a potential customer base that can be tapped if needed.
1.2. Wider Target Audience
The role that e-commerce plays in popularising apparel fashion cannot be limited to a state or even a
country’s borders. One of the biggest contributions of the e-commerce revolution to apparel fashion
is that it has brought the world a lot closer and bound it together in yarns and weaves, literally and
figuratively.
A garment that was once indigenous to only one country, like Indian sarees, has now become accessible
to fashion centres across the globe. Right from Milan and Paris to the glamorous red carpet events in
the United States of America, elements of foreign fashion are no longer foreign. Irrespective of whether
the apparel falls on the traditional side of the spectrum or modern; the number of takers have increased
manifold through ecommerce. While a lot depends on miscellaneous factors on how online marketing
works, the fact is that the potential exists.
SIGNIFICANCE
It is absolutely incredible how e-commerce sites can be used to turn visitors into consumers of
Handicrafts. Today’s clients appreciate the value of time and they put it at the forefront of anything
else and want to be able to follow up business in the best time of their convenience, it is through Web
sites that customers can place orders any time they want. The customer can shop24 hours a day and
throughout the year. It has significantly helped in reducing the stress for getting something and putting
the effort of travelling. E-Trade offers multiple options for the consumer because the Internet contain
endless number of different topics and locations, services and users can access throughout the world.
It thus allows rationalization of the decisions taken by consumers due to its large number of sites and
the flow of information in a timely and coordinated and accurate manner, allowing easy comparison
between products and services. Both in terms of price or quality or method of payment, and the time
required to receive the required item or service and electronic commerce is particularly important for
consumer in developing countries, where it can overcome the traditional barriers of distance and lack
of information.
OBJECTIVE
1.3.(i) To study the Handicrafts found in Gujarat region-wise.

1.3.(ii) To understand the importance of e-commerce and online portals for the crafts producers of
Gujarat and its role in reaching the national and international audience.
CHAPTER 2 - REVIEW OF LITERATURE
(Book: Handmade in India - An Encyclopedia on Crafts of India; Page - 408 - 441) The modern state of
Gujarat may be seen as an amalgam of three regions - the industrial mainland of Gujarat,Kathiawad in the
Saurashtra peninsula,and the deserts and marshlands of Kachchh.Kachchh is populated predominantly
by nomadic and pastoral communities whose material culture is supported by complex sartorial codes
and each community’s customs are related to rites of passage, dowry and marriage. Though new materials
and processes have superseded the older ones the indent has remained much the same, thus preserving
relatively unbroken craft traditions. The coastal region’s history of maritime and seafaring TRADE has
resulted in a legacy of boat building skills at Mandvi and veraval.The proximity of ports,such as those at
Surat and Porbandar, facilitated exports of patola,mochi embroidery,mashru and block printed fabrics
to the Far East and Europe. Gujarat has been exposed to a succession of outside influences through
trade,conquest and immigration. These various interactions are perhaps evidenced most clearly in
the region’s culture and its assimilation of elements of the cultures of the various communities who
arrived on its shores-the Arabs, Portugues ,Dutch,Mughals and British,as well as the Parsis who arrived
in Gujarat fleeing their native Iran.
Gujarat’s rich architecture includes ancient archaeological sites as well as numerous superbly executed
Jain, Hindu and Islamic structures. The last are particularly valuable as they are some of the chief examples
of the Indo-Islamic style that combines the exuberance of the Hindu sculptural tradition with the spatial
concepts and motifs of Islamic art. Simultaneous to such religious edifices, Gujarat also possesses a
distinct vocabulary of vernacular architecture typified in the carved wooden havelis, mansions, of the
trade communities and the stepwells scattered throughout the region.
Festivals: Physical Features: Biodiversity

Makar Sankranti Gulf of Kachchh Mangrove
Muharram Ran of Kachchh Coral reef
Navratri Saurashtra Peninsula Dang forests
Dussehra Gulf of Khambhat Grasslands
Sharad Purnima Hills Flora:
Fairs: Alluvial plains Neem, Cotton, Mango,
Major Rivers: Harda(Myrobalam)
Dangs Durbar
Fauna:
Pavagadh Fair Narmada, Sabarmati,
Tapi, Mahi Asiatic lions, Sheep,
Dwarka Fair Peacock, Parrots,
Somnath Fair Camels, Horses
Tarnetar Fair Pavagadh Fair
Dwarka Fair
Somnath Fair
Tarnetar Fair
2.1. Craft of Kuchchh
Kachchh derives it’s name from the Kachchho or tortoise-like form of its seawater surrounded lands. The
landscape exhibits an unusual degree of eco-diversity due to its inclusion of arable plains,grasslands,
marshes,mangrove forests and desertsd as well as the salts flats,coral reefs and creeks of the Little Rann
and the Gulf of Kachchh. This complex geography is inhabited by several pastoral communities, many
of them semi nomadic herders of camel and sheep,who migrated from Sindh,Baluchistan and even as
far as Afganistan to this region nearly five centuries ago. The crafts of Kachchh are deeply integrated
into the lifestyle of the communities who practice and utilize them;in addition to serving as a means of
earning and employment,they are also a creative expression of each community’s distinct cultural life
and identity. Many of the utilitan products are transformed into visual identity. Many of the utilitarian
products are transformed into visuals signifiers of caste, occupation, age, gender and marital status
through the incorporatin of motifs of specific deities, shrines, festivals and animal or vegetal forms that
are exclusively associated with a particular group of peoples.
Crafts of Kachchh Subclusters of Kachchh

Clay relief work kachchh district:
Painted terracotta Abdasa, Anjar
Kachchhi embroidery Bachau, Banni
Rogan painting Bhadarvi, Bhuj
Bandhani-tie-resist- Dhamadka, Dhorda
dyeing Dinara, Dumado
Applique
Gagodar, Gorewali
Namda-felt making
Hodko, Khavdae
Leather work
Lakhpat, Lodai village
Wood and lac turnery
Ludiya, Mandvi
Wood carving
Mundra, Maringna
Arakh printing
Nakhatrana, Todia
Silver work Nirona village
Rapar, Zura village
2.1.1. Clay relief work
Bhunga, The circular huts prevalent throughout Kachchh,are made of clay alone or bamboo chips
plastered with lipan,a mixture of clay and dung, and have wood based thatched roofs. The lipan on
the walls, partitions, doorways,lintels, niche,and the floors of the bhunga sport elaborate bas relief
decorations that consist of okli-textures created by the impressions of fingers and palms-and sculptedd
forms that are inlaid with mirrors. These patterns are usually made by the women of the house while
the men perform the task of diggingd the clay and carrying it from its source to the worksite or storage
hut. After the preparation of the surface and of the lipan mixture ,bamboo sticks are cut,bent and tied
to create an infrastructure that once plastered with a thick bonding mixture serves as a long lasting
foundation. Then strips and pinches of finer tectured clay are sculpted into intricately detailed floral and
geometric shapes that may be inlaid with small circles of mirror to create an overall effect similar to that
seen in the local embroideries.
Inset The clay relief is moulded with the thumb and index finger;the sculpting process begins at the
centre of the pattern and is usually marked with a circular motif ornamented with an embedded mirror.
1. Detail of a clay relief work studded with mirrors.

2. A clay relief worked window.
3. The sanjiro,clay worked storage units with doors are used to hold the family valuables.
Products Production Clusters

Kathola-large storage granaries Ludiya, Gorewali, Banni,
Sanjiro-large store valuables and Baniari
clothes
kothi-cylindrical grain storage
Dhadablo-seat for babies Tools
Utroni-clay stand Brushes made from branches of
the baval tree
Chula-portable hearth
Paniyara-clay platforms
Pedlo-platforms on which the
storage bins are placed
Decoration on:
Walls, Alcovers, Plinths
Shelves, Windows
2.1.2. Painted terracotta
Despite possessing a continuous visual identity that may be traced to the pottery of the various sites
of Indus Valley Civilizatin in the region, the tradition of hand painted terracotta is practiced today by
only a few artisans in Kachchh and Surendranagar. Locally available clay is thrown on the wheel to
create pots of various sizes and shapes while an extensive array of toys are created from the same
material technique of hand moulding. The ornamentation of these forms is then executed by the women
communities. A dark terracotta coloured slip of watered down geru,red clay,is applied as a bomboo stick
brushes are then utilized to create dramatic patterns in black and white clay based colours end product
is deceptively simple, the craft process requires extreme dexterity and skill as the artisan is required to
manipulate the pot with one hand while painting it with the other.
The patterns are generally based on either geometric forms or stylized motifs that represent humans,
birds, animals, plants and flowers. The shape of the vessel and the design painted is determined by the
community for whom the pot is intended.
1. Painted water pot from Hodko.

2. Painted terracotta ware.
3. A craftswoman selling an assortment of terracotta products in Bhuj.
Production Cluster Products

Bhuj Maati-water pots
Lodai village Gallo-money boxes
khavda Pots
2.1.3. Rogan Painting
Rogani Kaam, now practiced in the village of Nirona by a single family, is an unusal surface embellishment
technique that involves painting fabrics with a thick paste obtained from castor oil. This paste is developed
by purifying castor oil and mixing the desired colour into it; the thick fumes that are a byproduct of
this process make rogani kaam harmful to the artisan’s health.Following the preparation of the paste,a
kalam or an iron stick is used to draw the outlined of the desired form on a fabric;the fabric thus painted
upon is then pressed against another fabric or a folded section of the same fabric in order to achieve a
mirror image of the intially drawn outline.Inexpensive substitutes for embroidered textiles, the rogan.
1. The outline of the desired pattern is drawn on the base fabric with the aid of a kalam.
2. After the completion of the outline, another fabric is placed on the previously patterned surface and
pressure is applied. When the second fabric is removed, the mirror image of the originally drawn pattern
is obtained.
3. A detail of an antique bed sheet ornamented with a combination of rogan work and Ahir embroidery.
4. A detail of a rogan textile showing the characteristic sangara or four-leaf pattern with the chakri or
floral form in the centre.
Production Cluster Products

Nirona Ghaghara-skirt fabric
Ochad-covering
Toran-door hangings
Pillow covers
Wall hanging
2.1.4. Kachchhi Embroidery
History recounts the patronage received by the Mochi, the community of Shoemakers, to undertake ari
work on the royal textiles and decorative objects of the courts of Kachchh and Kathiawad. The fine,regular
chain stitch the use of motifs of Mughal derivation and of colour schemes that are typically graded from
red to pink,indigo to blue and dark green to parrot green distinguish these silk - on - silk embroideries.
Rural peoples throughout Kachchh interpret this patronized style using their own traditional skills
and materials. These rural renditions have becomes styles in their own right,characterized by varying
degrees of stylizaion of conventional motifs, the additon have become styles in their own right,
characterized by varying degrees of stylization of conventional motifs, the addition of contemporary
motifs, and the expansion of the stitch and colour repertoire.The variatin in the permutation of
materials, motifs and techniques employed differ from community to community, thus creating a
number of distinct and coherent visual identities unique to each clan or community. Irrespective of the
embroidery’s provenance-be it Rabari, Ahir,Bhanushali,Meghwal,Sodha Rajput,Mochi,Jat or Mutwa-the
context remains much the same;stitched embellishment severs as a tangible marker of dowry,rites of
passage,group identity,martial status,function(of the them itself) and also as a testament to the skill
of the makers. In addition to performing such utilitarian functions, the embroideries may also give
evocative accounts of aspects of the maker’s daily existence and the cultural and economic interactions
of his or her communityd with other Kachchhi communities.For instance,although the embroidered
elements of the dramatic daily attire of the Rabari,predominatly tie-dyed black wool,are recognizably
ethnic, the ground fabric illustrates the symbiotic relation Rabaris maintain with artisans of other
communities. The woollen shawls are locally woven by Marwada Meghwal Harijans,given to khatri
craftspeople for tie-dyeing and then embroidered by the Rabari themselves.Similarly,the embroidered
kanjari of the Meghwals is executed on mashru,vividly coloured lustrous fabric(cotton and silk blend),
while that on the bags,pounches,skirts and quilts is rendered on patchworked and appliqued fabrics.
The workmanship of the Muslim Jat community is characterized by the dense coverage of its embroidery
executed on plain fabric while that of the Mutwas,a Muslim community of cattle grazers,uses intricate
chain stitches, tiny mirrors and geometric motifs.
1. The kothlo or dowry bag made and used by the Memon Muslims of northeast Kachchh and Sindh.
Silk floss is used to embroider forms delineated in the kharek or kacho,satin stitch;the outlines of
the rendered forms are created in double running stitch. The edges of the bag are finished with tiny
cowries,beads and tassels.
2. A detail of the jild, envelope bag,of the Meghwal community is created by folding three edges of a
square fabric;the sides are joined with the khilani stitch i.r.,a combination of several chain stitches
flanked by blanket stitches. The ground is ornamented with kabira or double running stitch, executed
by counting the warp and the weft threads of the cloth.
3. A Rabari dowry bag form Anjar, denselyd embroidered with open chain stitch,herringborne
stitch,mirror work and running stitch.The edges of the bag are embellished with cloth tassels.
4. A kanjiri worn by Mutwa women;the embroidery of this community is distinguished by the fineness of
work, use of small mirrors,floral motifs rendered in pakko using double buttonhole stitch and outlined
with a fine white back stitch.
5. An ochad,or quilt covering,ornamented with Ahir embroidery.
6. A detail of a Rabari kediyu worn by boys.The delicated and linear embroidery is done with back stitch
and running stitch.
7. Shown here is the lower section of the embroidered,daily wear kanchali or blouse of the Sodha Rajputs.
The border is embroidered with mirrors and bavaliyo or haramji,interlaced stitch. The ground has floral
and peacock motifs and mirror work.
8. A detail of a ghaghra, skirt,created for a bride from the Bhanushali community of western Kachchh.The
fabric woven with handspun yarn has motifs outlined with chain stitch and filled in with herringbone
stitch.
Production Clusters Products Tools
Kachchh district: Kanjari-blouses Needles
Bhuj Choli-blouses Scissors
Sumrasar Sheikh Buchki-pouches
Banni Region: Animal trappings
Hodka Toran-door hangings
Dhroda, Gorewali Chakla-square cloths
Ludiya, Khavda
2.1.5. Bandhani-Tie-Resist-Dyeing
The terms bandhani refers to the techniques of creating patterned textiles by resisting parts of
a fabrics by knots on it before it is dyed. This anicent craft is believed to have travelled from Sindh
to Gujarat via Rajasthan, from Gujarat further on to Madhya Pradesh and Tamil Nadu. The Kachchhi
bandhani,traditionally practiced by the khatri community,is renowned for its extremely fine dots and
sophisticated sense of composition. The execution of a bandhani piece begins with the demarcation
of the border and then progresses to the pattern of the central fiedld and the smaller filler motifs that
surround it .Although many different sizes of dots be employed in a single textile;the quality of the
craftsmanship can be judged by the contours or kaff of dots formed, as well as by the uniformity of their
size and spacing. An apprentice proceeds from learning h to tie the pabbad or chakheri,large dots, to
the tying of the naani bindis,or the finer dots;irrespective of sin square dot is considered preferable
to a roundd or irregularly shaped one.The tying is generally undertaken women while the dyeing is
done by men.Bandhani forms both everyday and ceremonial clothing of a num of communities;the
social, economic and cultural connotations of a particular bandhini is determined by base fabric(gajji
silk,fine cotton,muslin or wool), the design and its associations with festivals and rites of p sage such as
marriages and death.For instance, the red bridal gharcholu odhni comprises bandhani on ag silk textile
with a gold border at one end, which was worn over the panetar,a white sari with an orangeborder.
Khatri brides wear a black background with the central moon-shaped medallion that gives the tile its
name,chandrokhani;the motif on this bridal textile is believed to create a visual anology between moon
and the bride’s beauty.The chandrakhani is worn along with the abho,a loose shirt-like silk gown a
salwar with specially tie-dyed patterns outlined with gold embroidery;this garment has now been ada
to resemble the urban tunic and leg wear.Other traditional bandhani include the bavanbagh(the52
gard and the rasamandali(associated with Raas, the traditional dance form of Gujarat),both of which
have patter red backgrounds teames with contrasting borders,and the intricate all-over pattern of the
amba dal(ma branches)with peacocks,elephants and women dancing with raised hands.The Rabari
women wear woo bandhani odhni or veils embellished with embroidery;they also create exquisite bags,
blouses,quilts and hangings using old or damaged pieces.Due to the skilled labour and time involved,
bandhani has always joyed an elevated status;consequently block printed imitations were made for the
use of communities could not afford bandhani.
1 Cotton with zari checked gharcholu has been dyed in yellow and tied to have patterns inside squares.
Some squares have been spot dyed in green and tied to retain colour. The sari will then be discharged to
remove yellow and green the untied areas and dyed in a red.
2 A craftswoman smearing dye on specifically localized areas of the tied fabric;known as tikadi,spot
dyeing,this p facilitates the controlled application of a number of colours in very small sections of fabric.
3 A bride from the Lohana community of TRADERS wearing the mandatory gharcholu.
4 A cotton bandhani textile traditionall worn by the Bhanushali community.
5 A silk khombi or veil with the circular motifs that are also used in the chandrokhani design worn by
the khatri.
6 The pattern of this intricately patterned bandhani textilde indicates that it was made for the Jain
community.
7 The rare bandhani design made for the women of the Parsi community is distinguished by its pink
tinged dots ar use of badla, the technique of ornamenting textiles with wound strips of metal.

Bhuj Odhani-veils Stencils
Mundra Abho-garments Wooden blocks
Mandvi Rumal-square cloths Nakhani-pointed rings
Nakhatrana taluka Sari, Yardage Dye vats
Moti Virani Stoles, Shawls Stoles, Shawls
Abdasa Taluka Shawls and kameez-tunic Salwar and kameez-tunic
and loose pants and loose pants
Tera
Barad
Naliya
Anjar Taluka:
Anjar
Dhamadka
Bachau Taluka:
Manfara
Chaoubar
2.1.6. Applique
Katab, The kachchh name for both direct and reverse applique, traditionally involved the recycling of old
pieces of cloth through patchwork.Squares called chitkis,triangular pieces and rectangular strips are sewn
together in several compositions to construct fabrics sufficiently large for use as quilts,canopies,hangings
and long decorative friezes. The quilts constituted an important dowry item among the Meghwal,Mutwa,
Sodhi Rajput, Halepotra, Jat and Rabri communities;every bride was expected to have a minimum of
three applique pieces as part of her trousseau as a display of her ability to be a good homemaker. While
the applique serves to sufficiently extiles with wound strips of metal. strengthen the pieces of reused
fabrics to withstand further usage, the selective employment of patterned textiles of Gujarat such as
mashru,bandhani and ajrakh in the applique manifests are pieced together and overdyed to form the
ground. Various flowers,animals and birds are depicted with vitality, thus adding an element of coloure
to many a domestic structure of Kachchh.Brightly coloured pieces of fabric are often cut out of fresh
bolts of cloth in order to produce quilts for dowry and commercial use alike.
1. Patchworked and finely embroidered dhaki or quilts such as this constitute a crucial element of the
dowry textiles of Mutwa community.
2. A detail of a patchworked and appliqued Meghwal quilt;the tiny stitches serve to restrict the move-
ment of the cotton fibres stuffed between the two layers of cotton cloth.
3. His detail of a Rabari kothla,bag, displays its intricately appliqued and embroidered surface. Although
the fine curvillinear forms may seem embroidered at first glance, they are in fact created by stitching
strips of coloured fabric onto the base fabric of the bag.
4. Ochad,the covering draped over the pile of quilts stacked on the manji,a rectangular stool,are made
by the Sodha Rajputs. The tree of life motif has triangles replacing leaves and prominent branches. The
sun, moon and swastika motifs,symbolize the Rajput community.
5. Meghwal quilt with katab-applique on the central field and patchworked border. The dhaki is lined
with a single colour and quilted with running stitches.
6. Detail of the square motif done in katab,reverse applique,and the kungri, row of triangles, that is
ingeniously made by snipping a ribbon of fabric,folding and stitching.
7. Meghwal patchwork quilt-chitki ni dhaki.Several coloured pieces are sewn together to make a large
pattern which is lined with a plain or printed and overdyed fabric and the two layers are stitched through
with stitches.
8. The lower part of Rabari kothlo,dowry bag, done with applique and embroidery.
9. Mutwa kothrie, patch worked and embroidered dowry bag with colourful bead work edging made
by the girls. Their embroidery skills and the earning potential of these skills are important consider-
ation in marraige negotiations. Their border is characterized by the patchwork of seven sacred colours
of the Muslim.

Bhuj Quilts, Cushions, Bags Scissors
Khavda, Kuran Pouches, Bedspreads Needle
Hodka Cusion cover
Gandhi Nu Gaam Wedding masks veil
Sumrasar sheikh Toran-door hangings
Naktatrana Taluka: Bullock cart cover
Nani Aral Camel saddles
Jadai
Jurah
Anjar
Dhamadka
Bachau taluka:
Manfara
Chaoubar
2.1.7. Namda-Felted Rugs
The Pinjara and Mansuri communities of eastern Kachchh create felted namda,or floor coverings well as
daddi or horse and camel saddles for the use of the Darbar communities of Saurashtra. These products
are created through a unique variation of the applique technique, wherein unlike the conventional
method of stitching various coloured forms onto a basic fabric, the pattern of coloured wool is laid first
and the ground is fused on top, utilizing the natural matting and compression properties of wool.The
entire family is involved the different stages of production with the women mainly under-taking tasks
such as the preparation of diffrent forms of slivers by pressing,rolling and coiling the wool fibres by
hand; the fibres interlock loosely to create basic forms that are later used in patterning the namda and
daddi.
The most predominant forms thus made are the bel,the roving formed on a inverted terracotta pot by
simultaneously rubbing and rolling open wool fibres; the bidi or small beads of wool ,used with a sliver
locally known as challas;the gani,a pattern simulating braiding and the tikidi,a flat cake-like felt form.
In addition to participating in the labour intensive processes of felting, the men are also involved in the
addition of finishing details of the products;dyed wool nc teased aligned parallel and rolled between
the palms to form tubular rolls that are strung together to create a variety of tassels,locally known
as the kumda, the golda and the tesam. Inset a detail of a felt saddle; and tassel and tricoloured felt
embellishments are sewn onto the surface.
1. A namda maker placing the coloured slivers of wool as per the desired pattern;these slivers will the
with the base fabric to create the patterned namda.
2. A craftsman undertaking the finishing of a felt saddle.The triangular forms as the uppermost are
created by resisting the edges of the upper layer during the felting process with the aid of a cotton
separate side layer thus formed is slashed with a scissor and then further cut into small triangles.
3. Circular namda or floor coverings, Gagodar.

Kachchh district: Rugs Wooden rods
Todia Floor coverings Mats/Jute cloth
Gagodar Horse and camel saddles Vessels for dyeing fibres
Mundra Toran-door hangings Pinjara-bow-like tool used
Caps for opening wool fibres
Needle and thread
Camel saddles
camel saddles
2.1.8. Leather Work
The Marwadi Meghwals, a community believed to have migrated from the Marwar region of Rajasthan,are
famous for their leather work and unusually bold patchwork.Adept at crafting leather work and wool
weaving, they live and work closely with the Maldhari Muslim cattle herders from whom they obtain
the hide of dead animals. The men undertake the construction of leather products while the women
embellish these objecs with the embroidery executed with multicoloured threads. In addition to the
footwear made of camel hide, the craftsmen also make mirror frames and panels in goat hide;these
are ornamented with patterns created by backing a leather surface punched with variously shaped
hand-held punches against coloured fabrics. The design vocabulary of the leather artisans and the bas-
relief forms they render, display a striking similarity with other local craft techniques such as reversde
applique and felt making.
1. A contemporary embroidered mojari from Nirona village.

2. Majori, such as this ari worked sample from Hodko,were traditionally given as gifts to the bride.
3. A toran or door hanging executed in punched leather backed with mutlicoloured fabrics.
Kachchh district: Chadda-keather ropes Krapli-makrking tools
Bhirindiara, Dhorbo Paagrakha-footwear Karpa-scrapers
Kuran, Khavda Chappal-slipers rampi-scraping knives
Hodko, Kunari Mojari-shoes Moti ari-large awls
Dumado, Dinara Toran-decorative door Soi-needles
hangings Cutters, Pliers
Gorewali
Hand fans
Dhoka-wood
Horse saddles
Kalbut-lasts
Mogri-iron beetles
Hathodi-hammers
Kol-buffalo horns
Salari-stone slabs
Punches
2.1.9. Wood and Lac Turnery
In addition to carving wooden objects, the Wadha Kohlis, a semi-nomadic community of lathe turner
and carpenters, the Neghwals and Maniars, also undertake wood and lac turnery. The wood is shaped
on an indigenous lathe made of two iron rods with chisels and varying degrees of pressure aiding in
creating of the desired shape. After the object is thus formed, its surface is smoothened on the a crumpled
piece of coarse cloth dipped in oil. A mixture of vegetable colours and lac is then app object. Although
this genre of woodwork is also practiced in Sindh using the identical materials and there is a marked
difference in the appearance of the products from the two regions. Unlike the Hala Sindh(the term is
derived from the name of the principal centre of this craft), that of Kachchh sports pattern of a marbled
colours. Turned wood vase;the body of the vase is striped with bands of colour neck is ornamented with
the leher pattern achieved by manipulating the lac stick during the turning process.
1. Lac treated turned wooden dandia sticks.

2. Velan,or rolling pins,are available in a number of colours and designs.
3. A lac-coated turned wood container.
4. Heer parnau, embroidery thread wrappers.
5. An array of ladles and spatulas; each is characterized by the typically Kachchhi manner of combining
wood with coloured and lacquered surfaces.

Kachchh district: Kharni dasto-mortar and Kulhadi-axe
pestle Neu-to clean wood
Nakhatrana
Boxes, Cradles
Nirona, Lakhpat chisels
Velan-rolling pins
Bachau, Ludiya Sanghado-wooden axle
Legs of tables and cots and lathe
Dhamadka, Rapar
Windows, Pillars Siriy-iron bar support
Charpai-cots
2.1.10. Wood Carving
The furniture items produced in northern Kachchh are distinguished by their combination of colourful
lathe turned elements and shallow relief carved patterns. The intricately carved backrests and frames of
the indigeneous charpoys,cots,and low chairs are teamed with multicoloured lathe turned legs. Carved
geometric and floral parts are created through the use of forms such as the quarter foil and six-petalled
flowers. The facets, trenches,and lions are cut so that the raised portions cast harmonious shadows on
their depressed symmetrical counterpar creating an interesting play of light and shade.
1. The design repertoire of folk painting, specifically the conjoining of triangular forms to create squares
been extended to the painted ornamentation of this door panel at Ludiya.
2. A collage of different sizes, depths and styles of squares form this traditional pattern, usually seen on
wooden.
3. Turned wooden paayo,or charpoy,cot legs further ornamented with carved details.

Kachchh district: Manji-carved stands for Gol katni-compass
quilts Kuniya-right angles
Gandhi Nu Gaan
Kath-cots
Hodko Kuada-axes
Pinkan-cradles
Khavda Chisels:
Sanjira-cupboards
Chorsi-flat
Pattiyo ki patia-trunk
Vinjani-small
stands
Pankheda-camel saddles Hathoda-hammer
Danthari-rakes Ravath-files
Sentha-pitchforks Randoh-planers
Ghanti-grinding mills Hansaro-saw bucks
Manh mandhi-butter-milk Karvat-saws
churners Kanus-files
Hand fans Sanghado-hand turned
lathes.
2.1.11. Ajrakh Printing
Printed on both sides in the dominant shades of indigo and madder, and characterized by their use
of mordanting and mutiple dyeing techniques, the ajrakh textiles derive their name from the Arabic
word azrak, meaning blue. The richly printed surface of ajrakh fabrics is achieved through a highly
evolved process of scouring, mordanting, printing, lime resist printing, multiple dyeing in indigo and
majistha(red)and washing. This elaborate procedure facilitated selective dyeing with the aid of resists
and an exploration of the potential permutations created through the reaction of the mordants with
natural colours. Dyed and printed with vegetable and mineral colours, the properties of the cloth
exceed the merely aesthetic; the colours of the ajrakh are believed to be such that they are cooling in
the heat and warming in the cold.considered an essential element of the Kachchhi Muslim Maldhari
community's sartorial identity, ajrakh was traditional worn as a lungi(the men's lower garment), sofa(a
head covering) or as malir(the skirt fabri) for women.
While royal patronage and good natural resources launched the craft of ajrakh block printing at
Dhamadka,it has been sustained by a certain resilience on the part of the Khatris, the artisans specializing
in the creation of these textiles. The craft has embraced new materials and new opportunities at various
junctures of its history;the adoption of synthetic dyes in the 1950s, the resurgence of vegetable dyed
fabrics in 1975 that caters to a largely overseas market, and the introducton of spraying as a means of
applying colour evenly are but a few instances of the same.
1. An ajrakh cotton stole dyed in alizarin and indigo.

2. Fabric left to dry on the sand after having been indigo dyed and rigorously washed.
3. After the dye laden block is placed correctly on the fabric it is firmly pressed down with the first to
ensure that the patten is fully transferred on to the fabric.
4. Details of an indigo and majistha dyed ajrakh textile.
6. The por or blocks employed; the one on the right is the rekh or outline block while the one on the left
is the gad no daatla or filler block.
7. Detail a rekha or outline block;the taveez motif represented is commonly used on the borders of the
textiles produced.

Dhamadka Turbans Rekh-outline
Ajrakhpur Shawls Datlo-filler block
Khavda Lungis-men’s sarong Kaat mavi-additional filler
Odhani-veil block
Gadh-background block
Charpai cover
Patiyo and Mej-printing
Curtains
tables
Floor spreads Aadapatharo-cloth-bed
Bed covers Ghodi-sidetable for colour
tray
Chopta/chotko-shallow
wooden trans for the
printing paste
Chappri-bamboo lattice
Lad-jute/cotton cloth
Bhatti-furnace
Kun-earthe dyeing vats
Brushes
2.1.12. Silver Work
The jewellery of Kachchh and Saurahtra, famed for its incorporation of relief, filigree and enamel working
concentrated in the cities of Rajkot, Jamnagar, Bhuj, Anjar and Mandvi due to the presencde of many
member of the Lohar and Soni community, the traditional silver and goldsmiths. Custom dictates that
silver objects and GOLD jewellery are presented to a woman at the time of marriage(aanu) and on the
occasion of the birth of her children(jeeyanu). Such gifts constituted an integral part of the streedhan, a
woman’s personal wealth given by her family,and was highly valued.
The aanu usually consists of betel nut boxes and dry-fruit containers that are prominently displayed
in the front rooms of the houses and used as hospitality obiects while the jeep anu is comprised of
lota(jugs), glasses, trays, mouth teether, ghughro(rattles)and shankh(feeders). Silver is also crafted into
furniture for the local deities; for instance, sinhasan(thrones) parnu(cribs), asan(seats) are made for
the worship of the child god Krishna in individual homes while repousse embellished silver sheet metal
bod covers or kavacha are made for statues of the Jain Tirthankara.
1. Repousse worked silver objects are polished by scrubbing them w water,dariya ni reti or sand from
the sea,and areetha seeds.
2. A silver lota or water container.
3. A thali or dining plate with the requiste accompanying bowls.
4. The mukhwas no dabbo or container for mouth fresheners such as cloves and cardamon.
5. A silver jug patterned with a floral trellis.

Bhuj Attardani-perfume sprin- Hammer, Furnaces
kles Punches, Files
Gulabdani-rose water
Pliers, Tweezers
sprinklers
Flower vases
Jewellery boxes
Powder boxes
Ashtrays, Trays
Utensils, Plates
Betel nut boxes
Dry fruit containers
Lota-jugs
Glasses
Mouth teether
Ghunghroo-rattles
Shankh-feeders
Sinhasan-thrones
Parnu-cribs
Asan-seats
Kavacha-sheet metal body
covers
2.1.13. Bell Making
ALTHOUGH THE TRADITION OF making copper-coated bells originated in the Sindh region, the craft is
today practiced by the community of Muslim Lohars in the Nirona and Zura villages of Banni.The entire
family is involved in the craft process with the male members performing the critical tasks of shaping
the bell and selling the sound with the aid of an instrument known as the ekalavai.
The sound that emanates from each bell essentially depends on three factors:the shape of the wooden
strip hanging with the bell;and the form and curvature of the bottom rim of the bell. The bells may be
made in 14 sizes that vary in height from 2 cm to over 30 cm or as a combination of bells in a jhumar,
single frame;this range of products caters to the indigenous pastoral communities of Kachchh.
1. An engraved copper bell from Nirona village.

2. Bells of various sizes from Nirona village.
3. Bells displayed outside a shop at the market in Bhuj.

Zura Bells Tarka-compas
Nirona Dholan
Pokkad-pliers
2.2. Crafts of Rajkot
Rajkot metacluster comprising Surendranagar, Rajkot, Bhavnagar, Amreli, Junagadh and Jamnagar
districts, is located in the Saurashtra peninsula. At the end of the 7th century, Saurashtra was inhabitat
by settlements of the Jethwa, Chaora, Wala, Ahir, Rabari,Mer,Bhil and Koli tribes. During the colonial
period, the area was divided into 14 states, most of which were ruled by members of the four major
Rajput clans-the Jhalas ruled over Jhalawad, the Gohils over Gohilwad, the jadejas over jamnagar and
Kathis over Kathiawad-while a few were Jhalawad, the Gohils over Gohilwad, the jadejas over Jamnagar
and Kathis or members of the four major Rajput clans-the Jhalas ruled over ruled by Muslim Nawabs. The
eclectic melange of Saurashtra’s population and their cultural practises is visible in the contemporary
material culture and in the diversity of the region’s sacred architecture. Dwarka, dedicated to Lord
Krishna, is a major pilgrimage for the pastoral communities such as the Ahirs and Bharwads who trace
their lineage to the deity; Somnath is dedicated to shiva while Palitana is renowed for its extraordinary
cluster of 863 Jain Temples. Saurashtra’s economic significance also owes and their contribution to the
nationwide trade in precious materials. Mochi embroidery sophisticated chain stitch work done on silk
satin reflected the tastes of Kathi rulers. Embroidered and appliqued animals trappings and canopies
were made by the postaral communities. Brass household utensiles are a Shihor, Wadhwan, Rajkot and
Surendranagar.Jamnagar and Kachchh districts have been prominen mies for traditional bandhani,tie-
resist-dyeing practiced by Muslim Khatris,a traditional communities of ayers and printers and Hindu
Kshatriya. Shipbuilding skills in wood are found in Veraval owing to the coastline and Gujarat’s maritime
trade and wooden bullock carts are made in Mangrol, Junagadh district.
1. At a ship-making yard at Veraval, artisans affix the curved sal wood planks onto the skeleton with the
aid of khilla, large nails. This is not a permanent fixture for the planks;wedges are used to tighten the
gaps between the planks and the planks are finally bolted onto the rakia, the main skeleton members.
2. A silversmith.engraving the bhandaro,the trunk used in Jain temples for collecting funds from
devotees,is made of silver sheet metal,Palitana.
3. A craftsman executed the figurative narratives inset in the roundels of this pillar from his perch top it.
4. Bhedus,brass water pots made from flat sheet into forged components,are assembled together by
brazing. After polishing, the surface is given the characteristic beaten texture.Brass utensils like pots,
plate, bowl and dish are essential dowry given to the bride. These products made in Surendranagar,are
valued for their craftsmanship,durability and utility.
5. Jotar,animal trappings are crafted from rope and colourful threads,made by craftsmen in Mangrol,
Junagadh district.Seen here is a bullock wearing jotar and leather trapping.
6. With the growing market demand for bandhani textiles, the craftsmen have begun to employ plastic
stencils to trace the pattern onto the fabric.
Subclusters of RAJKOT Crafts of RAJKOT

Rajkot district: Bullock cart making
Rajkot Wool and metal
embossing
Junagadh district:
Stone carving
Mangrol
Bhavnagar district:
Palitana, Shihor, Mahuva,
Bhavnagar
Surendranagar district:
Dhrangadhra, Wadhwan,
Halvad, Surendranagar
Jamnagar district:
Jamnagar
Amreli district:
Amreli
2.2.1. Bullock Cart Making
The bullock cart is a dynamic structure that require advanced carpentry skills to assemble and maintain.
Although primarily used for agricultural purposeds and transportation, bullock carts may also be
ornamented to serve as a vehicle during marriages. The decorative elements usually consist of detailed
brass work and cast joinery or forms carved in relief on the wooden structure of the cart. Traditionally,
the craftsmen engaged in this craft executed both the wood and metal work;a single craftsman thus
undertakes the entire craft process-the making of the frame,the kathodo or container, and the wheel
and the joining of these components. The laboriously handcrafted metal joineries and decorative pieces
seen in the old carts have now been replaced by industrial metal products that are both efficient and
cheaper;intricately carved carts with brass worked motifs resembling the brass ornamentation seen ont
the doors of the havelis of the region are now increasingly becoming a rarity.
1. A detail of a cart embellishment with decorative metal elements.

2. Elaborately carved carts such as this one seen at Porbander,are now rare.
3. The rear of the cart may be opened thus creating an extension of the cart’s space.
4. The carts of the Mangrol area of Jungadh are distinguished by their employment of both wood and
brass work.
Junagadh district: Bullock carts Saws
Mangol Hammers
Maktupur Darwaja Chisels
Planers
2.2.2. Wood With Metal Embossing
The technique of applying metal embossing on wooden objects has been sustained and developed in
Palitana and Amreli essentially due to its role in the embellishment of temples and in the creatin of
objects used in religious ceremonies. The process begins with the crafting of each section of the wooden
object along with the required joinery details. The rough design is then drafted onto the metal sheet with
various etching tools and the patterns are punched on using metal dies. The embellished sheets are cut
according to the component on which they are to be mounted and secured with the aid of nails. Over a
period of time, this ancestral craft form has undergone a number of changes;for instance, the craftsmen
originally used to prepare the sheets for embossing by beating the metal while today readymade metal
sheets are used.
1. A craftsman holds a metal sheet firmly between his toes while punching a pattern onto the sheet’s
surface as per the guidelines previously engraved.
2. The paatlo, the platform used to roll chapatis,flat-bread,on was previously used as a pedestal for local
deities.
3. The ghado or water container is now mostly used as a show piece. Dabbo, a container, used to store
flour.

Bhavnagar district: Patara-storage chests Hammers, Saws
Palitana Miniature shrines Pliers, Chisels, Files
Amreli Town Patla or bajot-small stools
Rajkot City Furniture, cases
2.2.3. Pathar kaam/Sampura kaam-stone carving
Due to it’s links with the Bhakti Movement, the stone carving practice of this region received an impetus
that resulted in the evolutin of a distinctive architectural vocabulary based on the nagara style of north
India The stone masons working in Saurashtra are either of the Sompura caste of artisans who were
traditionally involved with temple building,ro sculptors from Orissa who have migrated to the region in
search of work. Although the majority of the commissions received by the craftsmen are for pratima,idols,and
the ornamentation of temples,craftsmen have also begun to produce benches and statues in gardens.The craft
process begins with the making of a master drawing by the master craftsmen;once this drawing is approved by
the clientit is transferred onto the stone and the form is blocked out with the aid of chisels known as the gutahdi
and the paniyu.
The details are then engraved with small slender chisels such as the takno,aniyu and chainu.
Finally, the product is polished and then finished by the master craftsman himself.
1. After the form is conceptualized on paper, the drawing is transferred on stone with the aid of carbon
paper.
2. A stone carver in his studio, Surendranagar.
3. A contemporary fountain with an ornately carved pedestral.
4. A carved stone figurines of a mahout riding an elephant.
5. A contemporary fountains base,its form derived from an adaption of the lotus motif.
6. A darbari or place guard carved in stone,on either sides of the city gate at Dhrangadhra Surendranagar
distinct.
7. A carved jharoka or balcony of the Hawa Mahal at Wadhwan,which was left incomplete.
8. Exquistely carved floral ornamentation on the pillared parapet of the Hawa Mahal,Wadhwan;each
element of the pillar's form is articulated through patterns of different stylized flowers.

Surendranagar district: Idols Gutahdi or Paniyu-large
chisels
Halvad, Dhrangadhra, Garden Objects
Wadhwan Takno, Aniyu, chainu-fine
Statues
chisels
Bhavnagar district:
Figurines Hammers
Palitana
Carbon paper
2.3. Crafts of Ahmedabad
The metacluster comprising the districts of Ahmedabad, Gandhinagar, Mahesana, Patan, Banaskantha
and Sabarkantha, extend from the central to northern part of Gujarat. Ahmedabad, the city named after
Sultan Ahmed Shah and situated on the banks of the River Sabarmati, was the state capital until 1970. The
city is in many respects a study in contrasts and contradictions: the spectacualr architectural heritage
set within the old quarters of the city where even today merchants and skilled craftspersons live in the
quaint houses with carved wooden entrances that are characteristic of the pols, the quarters located
in winding lanes and alleys in terspersed with chowks. On the other hand, the new city of Ahmedabad
is a bustling commerical and industrial area that was once famous for its history of commerce in
textiles and textiles manufacturing and processing in dustries. Today, it is renowned for its institutions
of culture,heritage and education such as the Calico Museum of Textiles, the Shreyas Folk Museum
and the Gandhi relevance to the city as Gandhi launched his movement for truth and non-violence,
the satyagraha at Ahmedabad. The Gandhi Ashram's handmade paper-making unit and Khadi Prayog
Samiti,an institution for science and technology research; Self Employed Womens Association(SEWA),
are few people-centred initiatives that use craft as a resource repository of ornamentation in wood
carving-figurative, floral and geometrical motifs, in relief, lattice and sculpted form. The exquiste wood
carving skills extend to the textile hand-block printing industry, which has block carving in Pethapur
and Ahmedabad, two traditional textile exporting centres. Stone carving is widely practiced in Ambaji,
Patan, Mahesana, Himmatnagar, Ahmendabad and Koteshwar.
1. Beaten metal utensils being sold at Manek chowk,old city of Ahmedabad.

2. An elderly lady sitting on the doorstep of her home at the Lambapada ne Pol;the stucco worked mural
on her right is a representation of the mohalla mata or 'goddess of the colony'.
Subclusters of AHMEDABAD Crafts of AHMEDABAD
Ahmedabad district: Kite making
Ahmedabad Block making
Viramagam Mata ni pachedi - Ritual cloth
Gandhinagar district: painting
Patola weaving
Pethapur
Mashru weaving
Mahesana district:
Ari embroidery
Mehasana
Bohra caps
Visnagar
Wood carving
Patan district:
Silver ornaments
Patan, Siddhpur, Sami, Harji,
Radhanpur
Sabarkantha district:
Himmatnagar, Shamlaji, Sanali,
Idar, Poshina
Banaskantha district:
Ambaji
Danta
Palanpur
2.3.1. Kite Making
On January 14 every year, Ahmedabad celebrates the festival of MAkar Sankranti with impromptu kite
contests that commemorate the skills of both making and flying kites. On this day the skies over the city
are liberally dotted with colourful soaring forms;the kites are made in several sizes to suit child and
adult, amateur and professional alike and the decoration ranges from the extremely plain to the highly
elaborate.In spite of this variety,all kites share the same dominant structural design-the square body of
the kite has a vertical diagonal held by a straight bamboo split while the horizontal diagonal holds the
arched bamboo split.Both splits are firmly anchored to the paper square with small paper stickers;the
boundary string which holds the bamboo and the paper strengthens the paper edge when it catches the
wind as the flier tugs at the string while manoeuuvring the kite.Manja, the kite flying string,is made of
cotton thread that is covered by starch and glass powder in order to grant the string strenght as well as
enable the kite flyer to successfully cut the string of an opponent's kite. Bamboo splits are sourced from
Assam and craftsmen travel all the way from Uttar Pradesh and Bihar to Ahmedanad for the kite making
Season.
1. The application of a mixture of glass powder and coloured starch on kite string stretched across two
poles; the craftsman spreads the threads over his fingers to ensure that each thread is evenly coated.
2. A young boy spooling the kite string.
3. Spools of kite strings stacked in readiness for sale.
4 The chand-daar kite, literally the moon kite.
Ahmedabad city: Manja-kite thread Kattar-scissors
Jamalpur Firki-thread roll
Shahpur Kites
Paldi
2.3.2. Block Making
The block printers of the western region of India hold the skills of the block carvers of Pethapur in very
high esteem due to the latter’s expertise in the making of colour separations of the design,registration
marks,intricate relief carving and air vents at the back of the block.The saag wood used for the block
is seasoned and prepared; a chalk like paste is applied to the upper surface and allowed to dry. The
pattern, whether based on geometric forms or comprising of motifs derived from leaves,flowers,fruits
and figures of animals,gods and goddessess is traced on to the wood. The negative space is then carved
out with chisels especially made by the craftsman for this purpose. The pattern is then raised in deep
relief by further scooping out the negative areas with the aid of a manually operated hand drill.Teh
karigars were originally of the Suthar or carpenter caste and they made furniture,doors,windows as
well as blocks for printing. In the early 19th century, the craft received a great impetus due to Gujarat’s
flourishing exports of the Saudagiri textiles to Thailand;the still extant samples of these printed fabrics
are a testimony to the excellence of the state’s block making tradition.Since then, the court of 300 kari-
gars in Pethapur has drastically reduced due to the advent of screen-printing. The few craftsmen that
still practice their hereditary occupation mainly supply blocks to private designers and organizaton in
Ahmedabad, Mumbai ,Delhi and Kolkata.
1. A saudagiri block,a relic from the heyda of Gujarat’s trade in block printed textiles with the Far East.
2. The negative area having previously been carved out the pattern is revealed on the block’s surface.
3. The negative areas of the pattern are usually deeply recessed to ensure that the pattern to be printed
is thrown into high relief; the recessions are achieved by creating deep perforation with the aid of a
fiddle drill and then removing the intermediate walls of the bored sections.through careful chiselling.

Gandhinagar district: Printing blocks: Prakar-compass
Pethapur Gadh-background block Hathodi-hammer
Rekh-outline block Guchyu-drawing tools
Datta-filler block Tichaniyu-impression
Mashru weaving tools
Ghasaniyu-testing tools
Ari embroidery
Thapadi mallet
Bohra caps
Carving chisels:
Wood carving
Kalami, Golputhiya
Silver ornaments
Gala kathavanu
Katni choras, Thaso
2.3.3. Mata ni pachedi - Ritual cloth painting
Although the technique of making the block printed and painted shrine cloths known as the mata pachedi
or the mata no chandarvo is now practiced only by a handful of Vaghri families settled in Ahmedaba
and in Kheda district,the craft was previously prevalent in the region of Aghar and Dholka as well. In
addition to catering to the commissions received from a number of ethnic communities such as the
Bharwad,th Koli, the Rawal, the Vaghri,the Rabari and the Deviputar,the craftsmen also practiced direct
selling by visiting places such as Dholka,Dhanduka, Barda, Limdi, Rajkot and Bhavnagar during Navratri.
The pachedi have a distinct visual identity that is developed through the used of strong bold forms and
re-enforced by the application of stark colours-blood red, black and white. The central feature of the
shrine cloth is invariably the comman ing presence of the mother goddess; the goddess is believed to have
a hundred forms and is consequently picted in each of these along with the appropriate iconographic
details and attributes.
The pachedis are essentially an expression of the divine cosmic energy of the mother goddess and the
unified manifestation of the creative and the destructive principles in her person.Pachedi is used as a
canopy that forms a shrine,or is spread over altars or worn by the shaman while worshipping or in a
trance.
1. A contemporary mata ni pachedi.

A detail of the hand-painted pachedi depicting the Goddess as Mata Vahanvati, riding a vahan,ship. The
craftsman has elected to draw each pictorial element rather than use the conventional block printing
and has explored a new colour palette derived from indigo, ferrous sulphate, turmeric and ponegranate
powder, alizarin, iron filings and the mordant alum.
2. A printing block, the figure represented is that of the purvaj or ancestor.
3. Imprints of the various blocks commonly featured in the pachedi: a. Paniharin,women carrying pots
of water. b. Fulwani malan,a gardener holding flowers. c. Mor or peacock. d. Rann ki devi, the goddess of
the desert.
4. A craftsperson painting in the red areas of the cloth as per the previously block printed outlines.
5. Traditionally, the pictoral space of the temple cloths are divided into various registers,each of which is
defined with the aid of borders patterned with the aid of borders patterned withd geometric motifs,floral
forms and figurative representations;Lord Krishna, the paniharin(women bearing water pots), the
purvaj (ancestor) and mor (peacock).

Ahmedabad city: Temple cloth paintings Wooden blocks
Vasna Rumal-handkerchiefs Twigs
Mirzapur Bed covers
Yardage
2.3.4. Patola weaving
Patola, The textiles woven of selectively dyed warp and weft threads are characterized by their distinctive
geometric,floral and figurative double ikat patterns. Of these, the textiles with geometric patterns
and tiger and elephant motifs constituted a significant luxury good that was exported to southeast
Asia,especially Indonesia, in the 17th and 18th centuries. The floral and geometric patterns were worn
largely by the Bohra community while a patola sari with figures of danceing women,elephants or parrots
is traditionally presented to pregnant women during the srimant,the ritual held during the seventh
month of pregnancy.
The silk warp and weft threads of the patola are tied separately with cotton thread and then dipped in
coloured so that only the open threads may absorb the dye. The area that have been coloured are then
tied and the threads are immersed in the second colour, so that once again only the untied areas may
be coloured. The process is repeated depending upon the number of colours desired and after all the
colours appear on both sides of warp and weft the cotton threads are loosened. The process of colour-
ing the threads itself takes nearly 75 days, even with three craftsmen participating in the activity. The
weaving requires two craftsmen to work simultaneously on the same loom. At the most. 10 inches of
cloth can be woven in a day and it takes about 25 days to complete the weaving and finishing of a sari.
1. A craftsman at Patan painstakingly straightening the threads of a patola textile while it is still on the
loom .
2. Dyed blue except for the areas that have been tied, these threads shall now be retied and dyed in an-
other colour.
3. The border of a silk patola sari.
4. The border of a silk patola sari patterned with the peacock and elephant motifs.

Patan district: Sari, Sacrves Loom
Patan Border Kamthi-bamboo Poles
Tokaru-bamboo shed pole
Vi-wooden sword or
beater
Katar-temple
Tor-Cloth beam
Nali-shuttle
Porcupine quills
Vessels for dyeing
2.3.5. Mashru Weaving
The term Mashru refers to a mixed fabric that was woven with a silk warp and cotton weft textile and
was used by Muslim men who were prohibited by a hadith,rule, to wear pure silk fabric. As the silk
yarns were on the outer side while the cotton yarns were worn close to the body, these textiles were
considered dervied ‘lawful and permitted by sacred law' or mashru;this Arabic word therefore came to
be the name of the textile The satin weave used in the fabric's construction gives it a luxurious sheen,an
appearance further augmented in textiles with multicoloured stripes of ikat or tie-resist-dyed yarns. In
addition to being exported as a con veted item of men's clothing in Turkey and the Middle East,mashru
was also used by the Folk communities of Kachchh to stitch garments for their dowry.Due to a decline
in the export market, the silk was soon replaced by a cheaper substitute,rayon.Although once woven in
many areas of the Indian subcontinent, the tradition of weaving mashru today survives only in Patan,
north Gujarat and Mandvi in Kachchh district,both places in needed of revitalization.
1. Mashru fabrics are effectively teamed with embroidered cotton textiles to create the festive apparel
of the Rabaris of Kachchh.Seen on the left is a bridal ghagharo,or skirt.
Patan district: Stripes Shaal-pit loom
Patan Khajuria-chevron Puchado-small brushes
Kankani-pattern of dotted Shuttles, Yarn winders
lines
Danedar-pattern of dotted
lines
Danedar-pattern with
floats of cotton weft
Khanjari-wavy lines in
ikat
2.3.6. Ari Embroidery
Although today the embroidery is chiefly done on textiles, the techniques's origin lies in the Mochi
community tradition of embellishing leather footwear with intricate patterns executed in chain stitch.
while male artisan undertake the stitching of the objects, the women embroider them with a variety of
floral forms accompanie by animal and human figures. The base cloth is first printed and the area to be
embroidered is put on a ring ensure that it remains taut while the embroidery is done. The thread is
held with a finger at the reverse of th fabric and the ari,an awl-like needle with a sharp point, is held on
the top.The ari is pierced through the clo and the thread is brought to the upper side and used to secure
the previous stitch.This process is repeated un the desired form is created on the surface of the fabric.
1. An antique chaupad, dice game,made from gajji silk, with ari embroidery using floss silk threads.
These were made for the Jain and Jadeja Rajput communities in Kachchh.
2. Detail of a silk embroidered executed skirt worn by the Bhanushali community of Kachchh; the
border has Mochi work executed with an ari. Stylized floral forms, peacock, parrots and animal motifs
characterize Mochi embroidery.
3. Details of an antique chokla, a square cloth used to cover valuable gifts, or offerings or used to
decorate the walls, executed with an ari, is an example of very fine Mochi work of Kachchh. Some of these
were made as gifts European visitos of the courts. The motifs of the hound and the foliage resemble the
hunting tapestries noland. Ari embroidery done by professional craftsmen(such as the Mochi)had made
Gujarat an important centre for embroidery in the 19th century.

Ahmedabad district: Chakla-wall pieces Ari-hook
Ahmedabad city Toran-door hangings Scissors
Patan district: Chaupad-game Chaupad-game
Patan File covers, Letter holders,
Purses
Bedspreads
Cushion
Shoe uppers
Long skirts, Blouses
2.3.7. Bohra caps
The Bohra caps derives its name from its exclusive use by the men of the Dawoodi Bohra community.
Worn on various religious occasions in combination with the male attire of the jabbho and ijar, this
kasab(core yarn warpped with gold strip), ornamented cap serves to create a distinct sartorial code that
identifies the Bohras amidst the larger Islamic society. Using a crochet technique wherein the surface
is constructed by looping a single thread, these caps are made by the Bohra women of all areas for
the men of their family. Using an aluminium vessel as a base, the crochet is begun at the centre and
proceeds in a spiral form from the core to the outer edge. Once the initial six lines are crocheted, kasab
may be introduced. Although the basic stitch remains the same,both geometric and floral patterns may
be created with the aid of readily available pattern books. The speed and neatness of the workmanship
depends on the interest of the women and their experience.
1. Most Bohra caps are made in a combination of white cotton thread and kasab though the ratio of these
two materials is variable.
2. This cap with its peaked tip is made for the use of the Sheikh,Bohri priest;this is the only Bohra cap in
which red, green and black threads may also be used.
3. A craftsperson embellishing the rim of a cap with kasab or goldd plaited cotton thread.
4. While the caps are being made, the crocheterd utilizers a metal bowl as a die to ensure that a consistent
shape is achieved.
5. Two caps, their patterns created through a combination of stylized floral and geometric forms.

Ahmedabad district: Bohra caps Kanto-crochet hook
Ahmedabad city Aluminium vessels
Patan district: Dye
Radhanpur
Vadodara district:
Vadodara
Surat district:
Surat
In the pastoral communities of rural Gujarat, silver jewellery is worn by the men and women alike;
in combination with the traditional costumes the jewellery serves as a flamboyant display of identity.
Jewellery also functions as a significant form of portable wealth, a phenomenon obviated by the popularty
of solid, heavy items with littel or no carving. Vigorous geometric forms and the use of spherical form-
either as gola (hollow balls) or goli(solid granules)-dominate the design vocabulary of the indigenous
ornament that are crafted through the techniques of metal cutting, forming, stamping, repousse and
granulation. The silver working traditions of this region of Gujarat are concentrated in Radhanpur
and Patan, two cents an individual styles catering to the jewellery requirements of the Thakur, Rabari,
Bharwad, Ahir, Kanbl, Tonya, Mutu, and Patel communities.
1. Such silver neck ornaments are made of a single continuous wire spiral torque and are worn by the
Muslim
2. Mutwa and Jat,and Hindu Meghwal and Rabari women,Kachchh.
3. Silver anklets made in Bharthad, Jamnagar district.
4. Silver anklets known as the kambiyo.
5. Bracelet ornamented with bunched hollow balls,Patan.
6. A pair of anklets made from sheet metal which has been formed by beating, Bharthad.
7. Seen here, the angular kambiyo,worn below close fitting anklets.
8. The kadala or anklet made of solid silver and engraved with minute patterns here worn by a Mutwa
woman
9. These anklets are also given by the groom's family at the time of engagement and consequently, they
are an important marker of status within the Dhebaria Rabari community, Kachchh.
Production Clusters Products For women:

Patan district Radhanpur: Mathadi-anklets
Kachchh district Oasadai-necklaces Langar patto-anklets
Rajkot district Wadhalo-heavy necklaces Paag na sakala-anklets
worn by the Rabaris and
Jamnagar district Chaudi-bangles
the thakurs
Kambi-anklets
Kambiyo-anklet worn by
Patan: the thakurs
Tools For men: Thosiya/ookhaniyu-ear-
rings
Bhatti-furnace Kadu-bangles worn by the
Bharwads Bajariyu-thick anklets
Hammer
Gokharu-earrings Aathado-simple anklets
Files
Jhola-earring support Hansadi-rigid necklaces
Pliers chain Jhumanu-coin nacklaces
Tongs Doyanu-earring support
chain
Kinder-chains worn by the
Bharwads
Dodi-gold pendants
2.4. Crafts of Vadodara
The metacluster comprising Anand, Kheda, Vadodara,Panchmahal and Dahod districts,is located in
the eastern part of Gujarat. Vadodara, previously known as Baroda, is situated on the banks of River
Vishwamitri. Once the capital of the erstwhile state of the Gaekwad rulers; the city owes much of its
splendour to Gaekwad III(1875-1939), a former ruler who strove to transform his principality into a
progressive centre of culture, education, industry and commerce. The Laxmi Vilas Palace still used as
the royal residence, and the buildings of the Maharaja Sayajirao University are prime example of the
Indo-Saracenic architectural style. The Maharaja Fateh Singh Museum, set within the palace grounds
contains a rare collection of painting by Raja Ravi Varma while the Vadodara Museum and Picture
Gallery exhibits a diverse collection of Mughal miniatures, European oil paintings, textiles, carved doors
from and bronzes from Akota, a centre of Jain culture in the 5th Century. The city is today an important
hub for textile chemical and oil industries; Vadodara is also renowned for the contribution made by the
Faculty of Fine Arts at the Maharaja Sayajirao University to the development of contemporary Indian
art.
The famous Amul Dairy in Anand, a symbol of the success of the cooperative movement in India is
located 38 km from Vadodara.Khambhat in Anant district has been an ancient source of hardstones like
agates and a centre for bead making.Bhil, Rathwa, Nayak, Gamit and Tadwi tribes live in Panchmahal and
Vadodara districts. Bhasha, a non-government organization has setup a tribal training institute based
on a conviction that tribal languages, oral literature art and their material culture need to be nurtured.
1. At Panchmahal,a tribal wearing a drapped turban, a cotton wrap and a vest, the metal buttons of
which are embellished with tassels of tiny bells.
2. A craftsman weaving large grain storage baskets locally known as pohra at Nadhelav, Panchmahal
district.
3. A craftsman stocks garbho, mud pots, in his verandah at home, where he works.
4. At Tejgadh,a potter inserts cylindrical legs into especially gouged holes made in the wheel thrown
body of an unbaked votive horse that is made for tribals.
Crafts of Vadodara Subclusters of Vadodara

Sankheda furniture Vadodara district:
Pithora painting Vadodara
Silver ornaments Sankheda, Ambala
Agate stone work Chota Udaipur
Bead work Bodeli, Tejgadh
Terracotta and pottery Dabhoi, Kawanth
Brass and copperware Naswadi, Panvad
kadalu-anklets worn by Anand district:
the Vaghris and Thakurs Khambhat
Hansadi-rigid necklaces
Nadiad
Jhumanu-coin necklaces
Panchmahal district:
Godhra
Nandhelav
Jambughoda
Halol
Dahol district:
Devgarh Baria
Dhanpur
Limkheda
Garbada
2.4.1. Sankheda furniture
Sankheda furniture derives it’s name from the monopoly on lac-coated turned wood furniture enjoyed
by the town of Sankheda and its kharadi artisans. The craft process essentially involves five stages-the
making of individual teakwood elements on a pedhi or lathe, the painting of designs in tin on these
pieces, the application of a coat of lac, the polishing of the lac with kevda leaf and groundnut oil, and
finally the assen bling of these sections into a single furniture piece. The tin-painted patterns change
colour once heated and lined with lac. Due to the limitations imposed by the technique and the materials
used, the finished product have a fixed range of colours of which the combination of brown and orange
is perhaps the most common unique process of tin metal placed within the folds of a leather pouch, is
pounded repeatedly till it produces fine powder. This powder is mixed in a solvent and applied on the
wood with a brush.The tin paint thus prepared does not get tarnished with age once it is covered with
clear lacquer that is applied on the lathe using lal sticks.
1. A craftsman at Sankheda demonstrates the process of applying tin lacquer on the surface of wood.
2. A craftsman forming the turned wood elements that will eventually be painted and then assembled
to create a chair.
3. A peti(wooden chest)and an assortment of furniture legs painted with silver paint and varnished so
ast simulate the lacquered finish of the traditional Sankheda furniture.
4. A pair of semi-finished chairs showing extensive embellishments on round members that are typical
of the
5. Sankheda traditional motifs are seamlessly mapped over the members which requires both skill and
geometric precision.
6. A sofa leg;each individual element of the structure is treated and finished and the parts are then
joined together.
Production Clusters Products Rolling pins

Vadodara district: Chairs Tools
Sankheda Dining tables Vidhnu-flat edged tools
Center tables Lelo-flat edge with semi-
Mirror frames circular section
Veraki-tool with a pointed
Swings
edge
Corner tables Panu- screwdrivers
Bangle stands Ghodi-stands
Cupboard doors Bangle stands
Cradles Cupboard doors
Cradles
2.4.2. Pithora Painting
Among the rathwa bhils, a tribal community of Gujarat, it is common practive to install a deity in the
house in the form of a ritual wall painting. These painted deities preside over all auspicious celebrations
the family from their vantage point on a sacred enclosure on the wall between the courtyard and the
kitchen. Although known as Pithora paintings after their primary subject, Pithoro, the god of foodgrains;
the painting also depict other local divinities such as the gods Gamdev and Khetarpal, as well as the sun
and moon. The family desirous of acquiring a Pithora painting commission a group of male painters.
The process of pain may start only when it is commanded by the badva, oracle. The act of painting the
wall is a ritual compris narration, singing and drumming the period when the painting is being executed,
the painters are expecte be served food by the unmarried girls and boys of the family. Once the painting
is completed the badva identifies each character, gives life and meaning to each member of the painting,
and connects the mythical past present. Finally, goats are sacrificed and the night ends with a feast.
Detail of a painting depicting the myth of Pithora painted inside the sacred enclose indicated by a border
of triangles. The wedding procession of the Venerated God Pithoro and his bride Pithori are seen riding
on horses. Animals, birds, insects, a row of musicians, farmers, king riding an elephant are part of the
procession. Two vaghda, tigers, guard the enclosure. The house of ammunition and a grain storage
symbolize royalty.

Panchmahal district Wall paintings Cotton string
Dahod district Dahod district Bamboo sticks
Vadodara district Arrowheads
Wooden stencils
Unlike the other tribal jewellery traditions of India, that of Gujarat closely resembles the local peasant
jewellery. This phenomenon is perhaps due to the proximity of tribal communities to residential areas
or the presence of common trade markets. The tribal jewellery comprises chains, beads, amulet stamps
or boxes and dozens of small clusters of bells with thorny seeds, cereals, nuts, berries and coins forming
an important element of the design repertoire. The heaviest jewellery item worn is the solid silver an-
klet, variously known as the kadla, bedi and damgi; made in two parts these are held together by a pech
or screw. A modified version of the same, the toda or kalla is ornamented with punched patterns and
has heavily stylizedd makara or crocodile heads. The skirts worn by the men of pastoral communities
are ornamented with chain linked silver studs called the hare,camp and ser while those worn by the
Bhil, Rathea and other tribal communities sport beaded tassels. The unique arm ornaments worn by the
women are conical in shape and made of sheet silver. Several bangles may also be combined to create
a two-part cuff bracelet of up to five inches with a hinged joint.The ivory bracelets, known as the danti
chudo or danti buluyan, have grooved surfaces in which embossed strips of silver or gold are inserted.
After the recent ban on ivory, these bangles have been substituted with wood and plastic bangles.In Da-
hod, the Soni community creates these silver ornaments. Silver is melted in the Bhatti and poured into
a cast to obtain a thick circular wire that is then hammered or bent on a wooden rod into the desired
shape. After this process, known as the Ghadavanu,the ornament is polished by washing it in a solution
of soap nut powder.
1. The ghughriwala toda, the anklets embellished with bell-like silver balls.
2. A key ring.
3. The leaf-shaped pendant locally known as the sankali no paan.
4. The kamarpatto or kandoro, the belt worn by men of the Bharwad community.
5. Detail of the Kamarpatto,waist belt.
6. The Mathiya,bracelet worn by Bharwad men.
7. A detail of the fastening of the chudo worn by the Bhil community.
8. The Rahasthani chudo commonly worn by Rabari women in Gujarat Production clusters Products
Dahod district: Balliya-bangle worn by Bhatti-furnaces
Bharwad women Hammers
Limkheda
Kamarpatto-waist
Dahod Files
ornament worn by
Garbada Bharwad men Pliers
Dhanpur hansadi-torque Tongs
Devgarh Baria Sankali-necklaces
Vadodara district: Chudo-cuff bracelet
Bodeli Toda anklets
Pachmahal district: Vedhana-ornaments
Godhra
Jambughoda
2.4.4. Agate Stone Work
The semi-precious agate stone is used in the construction of many jewellery forms, most of which
previously created primarily for export purposes as the jewellery tradition of India is largely based on
gold and silver work. Recently however, the changing lifestyle of India's burgeoning urban population
has led to the creation of an indigenous market for agate stone jewellery.The increasing popularity of
agate for use as person ornamentation is also due to the belief in the stone's healing properties and
its ability to rectify the imbalance, energies of a specific place or person. The town of Khambhat is the
chief production centre for agate stone was with many of its resident artisans specializing in a specific
stage of the craft process such as in stone cutting shaping, polishing, drilling and the making of the final
product. The technique utilized varies as per the density of each stone.Soft stones like crystal and rose
quartz, for example,require gentle handling while carnelian needs to be heated and dried because of its
characteristics moistness. The pale yellow stone is broken,shaped and into small terracotta pots topped
with matti. These pots are then put in the bhatti along with the wood waste and burnt; as a result of this
heating process, the stone turns red.
1. Shaped and polished clear quartz beads.

2. Rounded, convex rhomboidal beads made from banded agate.
3. Polished (right)and unpolished (left)cat's eye stone;these stones are extremely popular, especially
with Mus lim tourists, supposedly due to their resemblance to a moon in eclipse. Beads shaped from
stones with a natural eye form are used as protective amulets in West Asia.
4. The tasbih dana, or 100 bead rosary of red agate is popular among Muslim customers because of its
religiou significance.
5. Necklace made from agate stone beads. The colour of the carnelian(red agate)is proportionate to the
heat iti given,making it possible to have a range of warm colours from light orange to deep red.
6. Lathe turned and polished a bowl made from camelian (red-orange agate)stone.
7. A semi-finished bowl made from agate stone.
8. A finished bowl made from agate stone.
Products Production Clusters Tools
Mala-necklaces Anand district: Singodi-buffalo-horn
Khambhat headed hammer
Paperweights
Drilling machine
Toys
Lampshades
Nameplate
Photoframes
Ritual objects
Imitation Jewellery
Idols
Sculptures
Statues
Displaying objects
2.4.5. Bead work
Colorful beaded ornaments are widely used by the tribal communities of this region. These ornaments
are the preferred means of personal ornamentation as they serve as an inexpensive alternative to sille
while displaying a unique local aesthetic. Red, green, white, black, yellow and blue beads,known as
moths, are usually bought at Chhota Udaipur. The bead work, executed with nylon threads is usually
undertaken by tribal women in leisure hours. Woollen threads are selected for use in the remainder of
the ornament due their availability in a wide range of colours.
1. Although practiced primarily in the tribal region, bead work is also executed in other regions of
Gujarat such as in the district of Mahesana where the typical products have include beaded pot resets
or indhoni.
2. Kedchula,a beaded tribal jewellery item used either as a keychain or worn on the girdle.
3. A tribal necklace made of blue and white beads, Tejgadh.
4. A beaded Kathiawadi hand fan from the Saurashtra region.

Vadodara district: Haar-necklaces Thread and needle
Tejgadh Payal-anklets
Chota Udaipur Butti-earring
Keddchulo-waist belts
Haath ni patti-bracelets
2.5. Crafts of Surat
Situated on the banks of the River Tapti,Surat was a major port on the maritime seafaring route. The
East India Company established its first warehouses in the city in 1612. In addition to Sir Thomas
Roe's landing at Surat on his mission as king James Ambassador to the Court of the Emperor Jehangir,
Surat also played a significant purpose during the Mughal period by serving as the main departure
point for pilgrims sailing to Mecca. Although once famed for its fine silks,exquisite brocades and
trade in spice, Surah lost its commercial prominence due to political and climatic problems as well as
the rapidly growing importance of Mumbai. Today, Surat is a major industrial area known primarily
for its textile industry and diamond-cutting centres Surat contains numerous Hindu, Jain. Parsi and
Islamic sacred structures as well as some architectural remnants of its cosmopolitan part-Surat castle,
The English,Dutch and Armenian cemeteries to name a few.An outbreak of plague in 1994 prompted
the city's regeneration, thus aiding in its revival as a prosperous commercial center. The metacluster
comprises districts of Narmada, Bharuch, Surat, Navsari, Valsad and Dangs located in south Gujarat.
Bharuch has marble resource and Surat, Valsad ana Dangs have forests with teaks, haldu, sheesham and
manvel trees. Dangs,thickly forested area is inhabited by Bhil, Kokna, Warli and Gamit tribes, choudhary
and Dubla tribes reside in surat and valsad districts. These tribes offer terracotta votives sculpted by
kumbhars, potters in a great variety of animal figures and sizes. The offerings are made at sanctuaries
or shrines that are located beneath trees,on barren hills or on their summit.
Subclusters of Surat Crafts of Surat

Surat district: Marquetry
Mandvi Mask making
Surat Patku weaving
Valsad district: Sujuni weaving
Amba jungle Vaaskaam-bamboo crafts
Dharampur Devru-embossed metal
ware
Virakshetra
Bot-liquor containers
Bharuch district:
Bharuch
Dang district:
Ahwa, Dungarda
Ambapada, Waghai
Narmada district:
Jharnawadi
Hathakundi
Dediapada
2.5.1 Marquetry
This technique consists of creating a patchwork of thin slices of wood called veneer and acrylic mosaic
on wooden surfaces. The process involves three basic activities-the making of the wooden object to
be ornamented, the creation of the composite sections from which the slices are obtained, and the
application of these slices to decorate the wooden surface. Having originated in Iran, the craft arrived
in Surat 150 years ago when the Parsi community migrated here. As a result, the patterns display
an Iranian influence while the mosaic is constructed using basic geometric shapes such as the square,
rectangle and triangle. The craftsmen are mostly carpenters, gifted with the precision and patience
required to undertake this time-consuming craft.
1. A jewellery box with various compartments the entire surface embellishment is executed in the
marquetry technique.
2. A marquetry border teamed with a carved sandalwood panel.Originally ivory and rosewood were
used for such work.
3. A crafted piece that will now be sliced to obtain slim wafer-like pieces that may be applied on the
wooden surface.
4. A slice of a marquetry piece wherein individual triangular pieces are stuck together to create a single
form.

Surat district Jewellery boxes Chisels
Surat Photo frames Cutters
Display frames Measuring scales
Side tables Right angles
Wooden mallets
2.5.2. Mask Making
CRAFTSMEN OF THE Warli tribe create wooden masks that are worn by performers representing the
tribal deities during ritual dances and festivals. Locally available soft woods such as pangaro or savar
are used to facilitate easy carving;thus although a mask may be made in four hours, the unfinished soft
woods used are prone to rapid decay and the masks must therefore be replaced annually.The Kokana
tribe however,is renowned for its papier-mache masks that are made exclusively during the fifteen days
preceding the festival Bhavada, which falls on the akha trij after the day of Holi. Considered to contain
religious significance, these masks are not made for sale but specifically commissioned by a group of
villagers. In addition to the funds collected by the villagers, the person who is designated to carry the
mask at the festival also makes a monetary contribution to the craftsman. The craftsman usually takes
around eight days to make four masks.
1. A wooden mask from Mandwa.

2. Detail of an unpainted mask.
3. A human figure executed in papier-mache.
4. A papier-mache mask of the monkey god Hanuman,made in Virakshetra.
5. A papier-mache mask of the elephant god Ganesha.
Valsad district: Ritual maks Axes
Amba village Knives
Bamboo sticks
Grinders
2.5.3. Patku weaving
The hindu khatri and muslim weaver communities of surat create a simple weft ikat or tie-dyed and
handwoven cotton cloth known as patku. Approximately 260cm long and 78 cm wide, these traditional
textiles are woven from pure handspun cotton with a tie-resist-dyed weft.This cloth with its boldly
striped edges is worn as an unstitched, draped garment by the women of the Choudhary tribe of mandvi,
Vyala, Valod and Bardoli during weddings and death rituals. The stripped cloth is presented to the bride
when she is brought to the groom's house; it may also be worn as turban,ambalu, or simply thrown
over the head as an odhan. The textile may also be worn as a loin cloth while farming. Although sturdy
enough to last for around one or two years, the traditional users of these textiles have evidenced a
marked preference for screen-printed, mill made fabric. The decrease in demand in combination with
yarn shortage and high production expenses is causing many weaving.
1. The dhoti worn by tribal men.

2. An adivasi sari called patku worn by women of the Bhil and Dang tribes.
3. Due to changing tastes and the availability of cheaper alternatives, the tribals have ceased wearing the
traditional patku. Consequently, craftswomen have taken to weaving lace as an alternative to weaving
patku.

Surat district: Cloths known locally as Handloom/pit loom
salla/sadia and kabra/ Lakadia-shuttles
Surat
tarap
Falko-turnstile
Hatho-guiding comb
Dhingla/salia-bobbin
Charkha-spinning wheels
Tapela-dye vats
Tokru-large stick for
washing
Dandaku-sticks for
prodding the yarn while
dyeing
Otha measuring stick
2.5.4. Sujni weaving
Sujni are double weave fabrics in which cotton is filled in between the two layers during the weaving
process itself. The sujuni make effective and highly durable blankets,as the trapped cotton serves to
retain body heat while the technique of the filling does not allow the cotton to be easily displaced. This
traditional craft may use various combinations of materials such as cotton and rayon or cotton and
wool, as well as golden thread. Despite the multiple materials used, the basic pattern of alternating
rectangles remains constant. At present, there are approximately 35 craftspersons in Bharuch who are
engaged in this craft. It takes three crafts men to produce a single blanket in one day.
1. Detail showing the manner in which the threads are tied on the loom.
2. Detail of a finished sujuni blankets.
3. A craftsman demonstrating the procedure of stuffing cotton in between the threads of two layers.

Bharuch district: Quilts Loom
Bharuch Blankets Warp winding drums
Yarn winders
Bamboo sticks
Shuttles
2.5.5. Devru Embossed Metal
Created by artisans who migrated from Maharashtra,devru are small, embossed silver idols of gods and
goddesses that are worshipped by the adivasi or tribal communities of the surrounding villages and
purchase during the harvest season and auspicious occasions.Silver is rolled in machines to form thin
sheets that are then hammered onto caste called farma.Hot lacquer is filled in the embossed area and
the reverse of the silver idol is sealed with a copper plate. Finally, the silver and copper is polished with
ambali,tamarind;the entire process of making a single devru takes approximately an hour and half.
1. At dharampur, a devru in which the sun, the moon and a cow feature as primary pictorial characters.
2. The thin silver foil at the left is pressed in farma or mould to obtain the sculpted image. The foil treated
thus is then filled with lac and finally stuck onto a copper sheet which serves as the base of the devru.

Valsad district: Devru-embossed silver Farma-dies
ritual objects Hathodi-hammers
Dharampur
Pakkad-pliers
Katar-scissors
2.6. E-commerce boom: Handicraft exporters join hands to tap domestic market
(Newspaper: THE ECONOMIC TIMES - NEW DELHI; Article: E-commerce boom: Handicraft export join
hands to tap domestic market; Published on: Feb 17, 2015, 02.12PM IST)
Eyeing a pie of the growing e-commerce sector in the country, handicraft exporters are joining hands
with : portals to tap the domestic market.
“There is a huge demand for handicraft products in India and e-commerce portals are the best medium
to those consumers. Several of the handicraft players are joining hands with e-commerce companies,”
Exp Promotion Council for Handicrafts (EPCH) Vice-Chairman Rajesh Kumar Jain told PTI here. He said
21.) time when the global economic situation is not in a healthy state, the domestic market offers huge
opportunities for exporters.
Fkipkart and Snapdeal are good platforms where we can sell our goods in India,” he said.
India's handicraft exports declined by about 10 per cent year-on-year in January to USD 120 million.
Today, India is one of the fastest-growing e-commerce markets in Asia-Pacific along with China. With
increase in Internet penetration, adoption of smartphones and lower data rates are completely changing
the way In. dia shops. Furthermore, favoured demographics and growing Internet user base helped in
aiding the growth. But as per estimates, the sector's market size in the country is around USD 5 billion
annually. Jain added that as handicraft is a labour intensive sector, these platforms would also help in
further creation of job opportunities.
The major product categories which can be sold on these platforms include house-ware, home textiles,
furniture, glassware, bamboo goods, fashion jewellery and lamp & lighting, he said. Analysts say online
shopping space in India is expanding at a massive scale and the journey is not yet over.
Further talking about the councils' expectations from the forthcoming Budget, Jain said the government
will have to take several steps in order to boost the sector's growth domestically and in the global
markets also.
“We are aiming to double our share in the global market from the current three per cent and for that we
need help in skill development, enhancing quality and standards of our products and help in exploring
new markets," he said. Jain added that the sector is facing challenges in terms of skilled manpower."We
are trying our best to impart the best of the skills. But we need an institution like we have FDDI for the
footwear sector. We are expecting some major steps to be announced in the Budget for our sector," he
said.
The country's annual handicraft exports ranges between USD 3 billion to USD 4 billion. The sector
employs about 70 lakh people directly and indirectly.
2.7. How is ecommerce boosting the handicraft industry in India?
(http://www.mapsofindia.com/; Article by Ramandeep Kaur; Published by: April 7, 2014) Handicraft

reflects the culture and skill of the local population and hence the country. India is one of the most
sought after destinations for handicraft due to variation in culture and people who produce varied
kinds of handicraft. Different places in India are famous for different handicrafts like Saharanpur for
its wooden articles, the North Western state of Rajasthan for Jaipuri quilts, Gujarat for embroidered
stuff, Narsapur for lace and lace material, Punjab for Phulkari, Jodhpur for wrought iron product etc.
Handicraft industry is one of the biggest employers in rural India.
Nearly 13 million artisans, mostly women and people from weaker sections of the society get jobs
in this industry. Many artisans work full time and man produce these goods with their hands. Low
initial investment, potential for export and foreign earning are few of the factors which are helping this
industry to grow further. But Indian handicraft industry is highly decentralized.
Handicraft market in India is growing at a very steady pace. It is almost doubling every five years. In the
handmade products India enjoys 2% of share at global level. Because of weak market forces and fake
products near about 7-10 people leave this job to explore other opportunities.
Handicraft export promotion in India is handled by the Export Promotion Council for Handicrafts
(EPCH). Industry experts believe that global trade now depends upon more on e-commerce along with
traditional medium for trading.
Though there is no standard definition of e-commerce but the OECD (Organization for Economic Co-
operation and Development) defines e-commerce transactions – “the sale or purchase of goods or
services, whether between businesses, households, individuals, governments, and other public or private
organisations, conducted over computer-mediated networks. The goods and services are ordered over
those networks, but the payment and the ultimate delivery of the goods or service may be conducted on
or off-line.”
India is one of the largest users of the Internet across the world and expected to cross us in the coming
years. Hence e-commerce has huge hidden and untapped opportunities for the businesses as well as
local artisans. It has changed the way business is done and transacted by providing a global marketplace.
E-commerce presents a great marketing platform to the domestically produced products. It also provides
scope for the expansion to the exporters.
The much widened gap between artisanal clusters in India and the potential market is covered by
e-commerce websites.
Business to Consumer (B2C) - Here an enterprise sells handicrafts directly to the consumer.
Business to Business (B2B) - Here enterprises increase the sale of their wholesale products and such
B2B websites are for manufacturers and suppliers of different products. Business to government
(B2G) - Here business houses directly deal with government offices. India’s cultural diversity provides
remarkable art and craft products. Total worth of the Indian handicraft industry across the globe is US
$ 100 billion. In the world’s handicraft, the market share of India is 1.2%. Carpets, woodware, bamboo
products, marble sculpture, bronze sculpture, leather products, paintings, zari goods, embroidered
goods and jewelry are few of the most desired handicraft products from India.
Rising demand of Indian handicrafts in us, Britain, Canada, Germany, Italy etc provides great opportunities.
Each industry needs handicraft such as fashion industry, real estate, home décor etc.
For Internet tech savvy buyers online is the easiest way to find and shop for various handicrafts. Also
e-commerce is one of the most promising channels in today’s marketing scenario for selling handicrafts.
It makes sure easy availability of goods at global level.
2.7.1. Social media based marketing of Handicraft
People use social media by engaging, communicating, sharing and exchanging information and creating
highly interactive communities. It has also been found out that Internet users spend most of their time
on social media. Seeing so much potential of this untapped world, firms are coming up with innovative
ways to capture the mood of people on social media.
According to the Internet and Mobile Association of India (IAMAI) online retailing is just 8% of India's
total e-commerce market but it is developing very quickly. Soon it will attain a very big status in India.
Consumers get cheap and attractive deals. They can compare various products online As per 2012 data,
most of the ecommerce companies in India are yet to begin making money. Most of the companies need
to work on the security front because of payment involved. But increasing broadband and 3G Internet,
increasing standard of living, changing lifestyle, and more online marketplaces are giving boost to online
handicraft industry in India.
2.8. Emerging trends: Handicrafts Industry
(http://www.fibre2fashion.com/ Article: Emerging trends: Handicrafts Industry by Deepak Singh(National

Designer/ Consultant)
Electronic commerce (e-commerce) is increasingly discussed and written about in today’s knowledge-
ban economies. Although there are currently no internationally agreed-upon definitions of e-commerce,
the OEM (Organization for Economic Co-operation and Development) defines e-commerce transactions
as: the sale, purchase of goods or services, whether between businesses, households, individuals,
governments, and other public or private organisations, conducted over computer-mediated networks.
The goods and services are dered over those networks, but the payment and the ultimate delivery of the
good or service may be conducted on or off-line. The concept of e-commerce extends into communications,
promotion, customer service, statistics, and usage patterns. However, often overlooked when examining
e-commerce acceptance or failure is the social and cultural impact of conducting conventional business
transactions over the Internet.
The absence of an agreed-upon definition for e-commerce creates a challenge when comparing
e-commerce modalities in different countries. For some people, e-commerce is limited to credit card
transactions that take. place over the Internet. For others, e-commerce means using any electronic device
to purchase goods or services. The entire e-commerce process is complex and requires meticulous and
well-informed planning to succeed. Businesses need to look beyond issues such as what products and
services to offer, how to design and maintain a portal, and how to handle security issues. They must
closely examine less tangible, but equally important issues, such as social and cultural norms in the
region; sustainable funding strategies, and the formation of strategic partnerships.
2.8.1. E-commerce can be divided into primarily three categories:
Business to Consumer (B2C): where enterprises sell directly to the consumer, often cutting out
(disintermediating) wholesalers or bricks and mortar retail outlets. B2C is the most commonly
understood forma Internet business as typified by the on-line retailers such as the bookseller and
general retailer Amazon (www. amazon.com) ,whom some credit with inventing e-commerce. The most
successful B2C trading has been with standard products such as cds, books, software, downloadable
music etc. Many high-profile companies such as Amazon and Yahoo! however have yet to make a profit,
even in the USA, where e-commerce is most advanced.
Business to Business (B2B): where enterprises use ICT22 and the Internet to enhance the whole
range of business to business activities. This includes procurement of raw materials and supplies,
liaison with contractors and sales channels, servicing customers collaborating with partners, integrated
management of data am knowledge, etc. B2B activities can take place across both public networks
(such as the Internet) and priva systems. Because companies purchase in much greater quantities than
consumers, B2B is expected to be the fastest growing sector of e-commerce, accounting for 80% by
2005.
Business-to-government (B2G): where Businesses trade directly with government offices and agencies
for public procurement (eg supplies for hospitals, schools and other government contracts).
India: Direct Marketing of Artisanal Products for example Indiasocial.org uses information and
commune tions technologies (ICTs) to create a bridge between artisanal clusters in India and their
potential markets. These previously isolated groups can now build on local knowledge and use ICTs to
develop a comprehensive, cost-effective way to market their products globally. Four clusters of artisans
participated in this pilot project.
2.9. Garvi-Gurjari: Gujarat State Handloom & Handicrafts Development Corporation Ltd.
(http://www.gurjari.co.in/; Introduction) Gujarat State Handloom & Handicrafts Development

Corporation Ltd., (GSHHDC), an undertaking of the Government of Gujarat was established in 1973
with the main objective identification, revival, development of handicrafts and handlooms of Gujarat.
With the advent of GSHHDC, it has been possible to develop handloom and handicraft products and
a continuous process of providing design in to make the products having more utilitarian value and
suitable for contemporary life style without alno the traditional values of craftsmanship. Thousands
of artisans/weavers, who are inhabited in rural, urban and even remote areas of Gujarat, are covered
under its various schemes of training and designs development.
Their products have received acclamation not only across the country but in overseas countries too. Our
activities have helped in creating sustainable employment opportunities and income generation to the
artisans working in the area of handloom and handicrafts, which is a non farming sector of our Indian
economy. With a view that ample marketing opportunities are available to these artisans/weavers, the
Corporation markets their products through its garvi-gurjari chain of emporia across the country and
supply to exporters, which has created its market in overseas countries
Gujarat has an array of a rich variety of crafts. Its embroidery, bead work, wood crafts, printed and
woven clothes, pottery and tribal art are expressions of the folklore and festivals. The exclusive range of
these works of craftsmen and woven imbued with the social and cultural hue of the region from where
they have sprung are original in nature and craftsmanship. Today far moved from the hut or the village
of the craftsman, pieces of handicrafts come to adorn the houses of the elite, the five star hotels both at
home and abroad.
2.9.1. Gujarat govt ties up with eBay to boost sales of handicraft items
(http://www.business-standard.com/; Published by: Press trust of India; in: Gandhinagar February 12,
2015)
Gujarat State Handloom & Handicraft Development Corporation Ltd (GSHHDCL) has signed an
agreement with e-commerce shopping portal eBay to expand sales of products in domestic market as
well as overseas.
The announcement was made by state FINANCE and Cottage Industries minister Saurabh Patel here
today.
GSHHDCL with a pan-India network of 23 emporia sells handicrafts products made by artisans of Gujarat
under brand name ‘Garvi Gurjari’.
“Collaborating with eBay, handicraft items will be in reach of more than 150 million customers of
eBay across 203 countries. Online presence of ‘Garvi Gurjari’ products is expected to boost sales and
ultimately benefit artisans.”
2.10. Craft of Gujarat - Online Portal - craftofgujarat.gujarat.gov.in
(An e-Governance Bulletin from GUJARAT INFORMATICS LTD.; Vol.8 | No. 3 Sept-Oct, 2011)
INDEXT-C(Industrial Extension Cottage - A Govt. of Gujarat Organisation) envisaged a web portal to
connect rural craftsmen to consumers across the globe. The project was started with the idea of giving
opportunities to all the artisans of Gujarat to exhibit their talent to a large section of potential customers
& art connoisseurs across the world. The thought eventually took shape as www.craftofgujarat.com
and created a platform that allows a consumer to navigate to craftsmen products through various craft
forms, product categories, and geographical location, and connect with artisan directly.
Since this being an online portal, it is beneficial to artisans in terms of cost saving, in setting up physical
stores and selling their art products. The portal also provides a holistic exposure to artists whose talent
was hidden behind fairs and exhibitions only.
2.10.1. How is this portal unique?

The website has been developed and currently maintained by M/s. Cybersurf (India) Pvt. Ltd. The
uniquen of this project lies in the fact that it gives strong online presence to the people, who are in no
way connected to the information technology advancements. Forget about web 2.o, these people are
completely unaware about the reach and effectiveness of a web presence. And still, with the platform,
they are reaping benefits of the wa and now the whole world has become their market place. The
inquiries from interested customers are sent to the artisans directly by means of SMS.
Currently, the portal has around 300 registered artisans and more than 900 products are listed on the
platform.
The portal has been developed after extensive research of the various types of handicrafts and artisans
in Gujarat. Currently, the portal showcases 62 types of different types of craft. The structure of the site
is designed in such a way that it offers the visitor various ways of exploring the portal. The visitor can
search the portal either by the craft form, product category or by the geographical listing.
The portal offers crafts forms like Appliqué/ Patchwork, Bamboo Craft, Bandhani (Tie & Dye), Beads
Flair Hand Painting, Carved Wooden Treasure, Embroideries, Hand Block Printing, Handloom Weaving,
Hand Painted Textiles, Namdah, puppetries, Coir, Leather Craft, Metal Craft, Embellished Wooden Crafts,
Ston: Finesse and Clay Dexterity. All these craft forms are covered under various product categories
like Decorative Textile- Apparels, Textile-Shawls/ Stoles, Textile- Home Furnishing, Fashion Accessories,
Costume Jewelry Furniture, Toys and Puppets, Terracotta & Ceramics, Religious/Ritualistic Products
and Earthen Articles.
More interestingly and unlike other online shopping portals, this portal connects the visitor, who is
exploring a particular product, with a short profile of the artisan who has crafted that specific piece.
Thus it lends completely human touch to the whole experience. The visitor also has an option to explore
all the products crafted by a particular artisan. The structure caters to the needs of diverse visitors from
across the globe, ranging from art-loving individuals to artefact collectors and dealers.
CHAPTER - 3
RESEARCH METHODOLOGY
3.1 Selection of Topic
The topic 'Role of E-commerce for the craft producers of Gujarat' is selected because the various art-
forms which are a very important part of our culture is getting replenished due to the lack of good
means of communication, less or no knowledge about the market strategies, cheaper, similar or new
products in the market, no means to reach the people and make them understand about the importance
of the craft. So many crafts have already died and a lot more are on the verge of dying as there is no
means of earning livelihood with what the craftsmen are making. That is the reason why they are
shifting to different means of earning other than what they were doing traditionally, which is making
the crafts more vulnerable.There is a need for a change that can help them reach their customers easily
while keeping the craft alive. Exhibitions are helping them but not making it available to the public on
a regular basis which is why there is a need for a platform which doesn't require paying electricity bills
and property rent, still reaching a very small section of society. E-commerce is something which can
solve their problem and can create a platform to reach national as well as international market.
3.2. Sample Selection and Size for Primary Data Collection
The sample selection was done on the basis of belonging to people from Gujarat or if they are staying in
Gujarat. The survey was sent through E-mail and Social media sites like facebook, Google+.
The sample size was 30-40 people out of which 27 replies were obtained.
The results gave an overview of people’s knowledge about the crafts around the place of their living.
50% of people knows only about 3-4 crafts while the rest 50% either knows more than 5 or less than 2,
in a state where more than 40 handicraft forms are made.Also, 54% were not aware of handicrafts being
sold online and they didn’t had much knowledge about what all sites are selling the craft forms while the
rest of the 46% knew about them being sold online on E-commerce govt. and private E-commerce sites.
The price for crafts that people are ready to pay is on the basis of finishing, detailing and technique used
for its making. The price range for 68% for people was 500-1000/- and for the 24% it was 100-500 and
for the rest 8% it ranged from 1000-3000/- in Indian rupees. According to most people E-commerce is
a good option for selling handicraft and reaching out to bigger markets with its awareness for the craft
producers of Gujarat.
3.2.1 Tools of data collection used for primary data collection
The questionnaire had closed ended as well as open ended questions. Total number of questions was 10.
Questionnaire was based on the following areas of information -
a) General questions about the crafts found in Gujarat.
b) Do they have any knowledge about the crafts found in Gujarat.
c) Would they like to buy the handicrafts if sold through E-commerce sites.
d) At what price they would prefer to buy the products if put Online.
e) Do they think that putting the crafts online will benefit the the Craft Producers and will also improve
their living economy.
f) Are the craft producer getting the benefit out of what they are selling through E-commerce site.
3.3. Telephone interview with senior GSHHDC officer Mr. B Venkateswarlu
GSHHDC, a Gujarat government undertaking which owns ‘Garvi-Gurjari' stores across the country, has
signed an MoU with global e-commerce giant eBay and plans to tie-up with domestic e-commerce ma
Flipkart and Snapdeal, he said.
Under the brand ‘Garvi-Gurjari’, their own website launched on April 2015 so that products can be sold
the online platform. The objective to expand sales base (from retail shop sales) to online market is to
incre market share of handloom and handicraft products of Gujarat, he said, adding, “online market is
increasi ou percent, looking at the potentiality of this market we have launched our own website.”
They have already tied up with e-bay now they are planning to tie themselves with online shopping sites
Flipkart and Snapdeal sometime. GSHHDC is targeting an increase in sales not only in domestic buta
overseas through its online marketing initiatives.
Initially, 1,000 products are launched online. Moreover, these products will be put with all necessary
details enable online shoppers to know their (products) uniqueness,” he said.
Initially, 1,000 products are launched online. Moreover, these products will be put with all necessary
details enable online shoppers to know their (products) uniqueness,” he said. Apart from our web portal
for online marketing, we are going in for brand promotion separately. There will be logo redesigning
and once it is completed, we will go for wide publicity on brand promotion at national international
level,” he added. On foreign markets, he said, “Overseas buyers have specific requirements like pure
cotton quality, hand-Wome environment friendly colours, among others, and to cater such demands, we
will ensure that all necessary measures are taken in this regard.”
He said Gujarat enjoys 30 per cent share in exports of handicrafts from the country. GSHHDC works
for promotion of Gujarat’s traditional handicrafts, identifying and revising important dying crafts,
their adoption for contemporary usage and generation of employment and income for rural and urban
craftsmen. The money obtained once a product is sold, 75% goes to the weaver who created it.
3.3.1. Tools of data collection used for telephonic interview
Questionnaire was based on the following areas of information -

a) General questions about their idea of launching the website garvi-gurjari.
b) How are they going to get ahead with it.
c) Are they planning to connect with more sites other than ebay.
d) How many products are available online.
e) What is going to be their marketing strategy.
f) Is it benefiting the craftsperson.
g) Are they getting recognition for their work.
3.4. Secondary Data Collection on - craftsofgujarat.in
The website has been developed and currently maintained by M/s. Cybersurf (India) Pvt. Ltd. The
uniqueness of this project lies in the fact that it gives strong online presence to the people, who are in
no way connected to the information technology advancements. Forget about web 2.o, these people are
completely unaware of the reach and effectiveness of a web presence.
And still, with the platform, they are reaping benefits of and now the whole world has become their
market place. The inquiries from interested customers are the artisans directly by means of SMS.
The portal offers crafts forms like a Hand like Appliqué/ Patchwork, Bamboo Craft, Bandhani (Tie &
Dye), Beads Flair, painting Carved Wooden Treasure, Embroideries, Hand Block Printing, Handloom
Weaving, Hand of Textiles. Namdah, puppetries, Coir, Leather Craft, Metal Craft, Embellished Wooden
Crafts, Stone ce and Clay Dexterity. All these craft forms are covered under various product categories
like Decorative, Textile-Apparels, Textile-Shawls/ Stoles, Textile- Home Furnishing, Fashion Accessories,
Costume Jewelry, Furniture, Toys and Puppets, Terracotta & Ceramics, Religious/Ritualistic Products
and Earthen Articles.
More interestingly and unlike other online shopping portals, this portal connects the visitor, who is
exploring a particular product, with a short profile of the artisan who has crafted that specific piece.
Thus it lends completely human touch to the whole experience. The visitor also has an option to explore
all the products crafted by a particular artisan. The structure caters to the needs of diverse visitors
from across the globe, ranging from art-loving individuals to artefact collectors and dealers. A key
interesting feature of the website is the artisan search engine wherein artists can be searched based on
a combination of different factors like name, type of craft and location.
3.4.1. Features
-Platform Initiative - SMS
- Comprehensive Design
- Seamless Structure & Navigation
- SEO Optimized Content
- Search Engine
- Artisan
3.4.2. Services offered

- Artisan Search
- Comprehensive Catalogue Browsing
- Expression of Interest via SMS
- Detailed product guide with image gallery
- Description about various art forms of the state
- State wise guide about practiced art forms
3.5. Barriers to B2C e-commerce

The research identifies a number of barriers that producers face in trying to sell direct to the consumer:
3.5.1. ‘You can see, but you cannot touch, feel and smell’
The Internet is good at displaying colour images of handicrafts items in an online catalogue or web
page (with mpanying specifications, product history and stories of artisans and their communities), but
cannot do any buyer almost instinctively does in a retail shop, or when examining a sample: handle the
merchant to examine its weight, quality, finish, colour, smell, texture etc.
3.5.2. Digital photographs are not colour accurate
By the nature of the way digital images are compressed and viewed, digital photographs are not colour
accurate. While this is a factor for consumers, it is even more critical for retail buyers (B2B), who are
unlikely to place a major order on the strength of digital images alone, but who may order a sample for
fun investigation.
3.5.3. Consumers expect high service standards
Consumers expect high standards of service from retailers in the High Street, and by extension, on-
line retailers. This can present a formidable barrier to artisans in developing countries hoping to sell
direct to indivial consumers in the West. Consumers will expect B2C businesses to offer rapid delivery,
effective means refund(if the product is faulty, the customer wants an easy way of returning it and
getting a replacement or refund), efficient back up service, and high quality of workmanship.
3.5.4. Trusting the company/brand
Customers are increasingly wary of ordering from companies or shops unknown to them at home’,
especially since it can be hard to measure a company’s worth or effectiveness from a web site alone.
3.5.5. Financial security
Consumers have legitimate concerns about using their credit/debit cards to make on-line payments -
especially internationally.
3.5.6. B2B (business to business opportunities)
The research identifies that e-commerce, the Internet and related technologies (such as email) offer
potentially significant opportunities for craft producers. These are not, as some producers first hoped, a
new business model: rather enhancements that can improve the effectiveness and efficiency at different
stages of the existing supply chain.
CHAPTER - 4
RESULT AND DISCUSSION
Objective I - To study the Handicrafts found in Gujarat region-wise.
The region-wise study of the handicrafts is done to understand what are the crafts being practiced
in Gujarat. The craft clusters that still practise the craft in rural as well as urban areas. The quality
parameters and key features that are there in the specific crafts. A variety of crafts are being produced
from terracotta to Jewellery, Furniture to Fabric. Gujarat has explored different varieties of art-forms
from the very beginning. Studying its handicraft is itself a challenge because they are more than you can
imagine. Every small or big segment of their society is doing or making something beautiful as a gift for
the society which is unique and splendid. With their richness in color and boldness in design element.
The art forms are being revived by the designers in terms of its contemporization while keeping its
essence. This way the craft producers are getting to know new ways to reach the public and show their
skills to the consumers.
Objective II - To understand the importance of e-commerce and online portals for the crafts
producers of Gujarat and its role in reaching the national and international audience.
- Holistic exposure for artisans whose talent was hidden behind fairs and exhibitions only.
- Global platform for artisans, their art-forms and related products from all across Gujarat.
Considering the rapidly changing IT scene and changing usage patterns, various next steps are under
consideration for the portal. To keep pace with rapidly changing trends, the website can be modelled
on an E-commerce platform in order to facilitate online buying. Online marketing campaigns can be
created to target potential customers on relevant keywords across search networks.
Government Artisans Buyers

Platform for weaker section No middleman Cost effective
Large scale employment Global exposure of unique art Location independence
opportunities
Chance to revive old and Shop never closes 24x7 availability
dying
art forms
Direct deals Product reliability
Chances of large scale orders Trustworthy & Genuine

Platform
Recognition of talent
CONCLUSION
We can conclude that every other state like Gujarat has a potential of marketing their crafts through
establishing websites, blogs, columns and also by connecting with other sites just the way Gujarat is doing.
Even though the craftsmen don't know anything about internet but Government made organisations like
GSHHDC should help the craftsmen to reach the internet. Understanding the importance and keeping
the crafts alive is what is needed today. Sole dependence on fairs and exhibitions is not going to help
and improve the economic condition of the craftsmen. There is a need for a bigger platform for them to
showcase their work and to instead of always being side-lined because of lack of facility and knowledge.
This way of marketing is giving hope to the craftsmen that they too have the opportunities like every
other job has. SMS, Telephonic conversations, and the internet are the mediums for the craftsmen today.
Knowledge about these mediums for marketing their coming generation will improve their economic
condition. It will spread awareness about the good organic material they are making. And also it will
knowledge people that they should go for handicrafts instead of the machine made, non-organic things
they are buying from the market at almost equal or more price will also help in handicraft export to the
international market giving them the opportunities not only in India but also outside. An exposure that
they can get like never before.
BIBLIOGRAPHY
i) BookHandmade in India - An Encyclopedia on Crafts of India; Page - 408 - 441
ii) Newspaper: THE ECONOMIC TIMES - NEW DELHI, Article: E-commerce boom: Handicraft ex-
porters join hands to tap domestic market; Published on: Feb 17, 2015, 02.12PM IST - http://arti-
cles. economictimes.indiatimes.com/2015-02-17/news/59232463_1_handicraft-e-commerce-sec-
tor-domestic-market
iii) http://www.mapsofindia.com/; Article by Ramandeep Kaur; Published by: April 7, 2014 -

http:// www.mapsofindia.com/my-india/india/how-ecommerce-is-boosting-handicraft-indus-
try-in-india
iv) http://www.fibre2fashion.com/ Artcle: Emrging trends: Handicrafts Industry by Deepak Sing-

h(National Designer/ Consultant
v) http://www.gurjari.co.in/; Introduction - http://www.gurjari.co.in/about-us)
vi) http://www.business-standard.com/; Published by: Press trust of India; in: Gandhinagar Feb-
ruary 12, 2015
vii) http://www.business-standard.com/article/current-affairs/gujarat-govt-ties-up-with-ebay-
to-boost-sales-ofhandicraft-items-115021201759_1.html
APPENDIX-I
Questionairre used for Online Survey to obtain statistical information.
Ques 1. Do you know about the crafts found in Gujarat?
Ques 2. Out of the crafts you know or heard about, how many belongs to Gujarat?
Ques 3. Would you like to buy any of those handicraft item if available through e-retail store?
Ques 4. Have you heard or seen any online site that sell handicraft items online?
Ques 5. Do you think e-commerce is a good option for the craftman to sell their product?
Ques 6. What price you would like to pay for a handmade product available on e-retail site?
Ques 7. On what basis you would like to pay for the handicraft item?
Ques 8. Do you think that the money you pay for the handmade item reaches the craftman?
Ques 9. Do you think that selling handicraft items online woul help in changing the lifestyle of
the craftsman?
Ques 10. How much share do you think the e-retail sites would be paying to the craftman
according to you?
APPENDIX-II
Questionairre used for Telephonic interview with senior GSHHDC officer Mr. B
Venkateswarlu.
1. What made you think of launching the website garvi-gurjari?

2. When did the site launched and what are the objectives of the brand on the online platform?
3. Are you planning to connect with more e-retail sites?
4. How many craft products are available online?
5. What is going to be their marketing strategy?
6. Have they thought of promoting their website?
7. Will it affect in the increase of international export of the handicraft products?
8. Are the craftsman getting recognized for their work?
9. How much commission is paid to the craftsman. When does their payment given?

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NATIONAL INSTITUE OF FASHION TECHNOLOGY, MUMBAI

BACHELOR IN TEXTILE DESIGN

This is to certify that this research work entitled

‘Role of E-Commerce For Craft Producers of Gujarat:

A Help Or Another Way of Exploitation’

is a bonafide work of Neha Yadav towards the partial fulfilment of the

Bachelor of Textile Design Degree of 2016, NIFT Mumbai

Under the Guidance of:

Keywords: Handicraft, Craftsmen, E-Commerce, Online portals, Benefits, Promotion,

Chapter 3 Research Methodology

Chapter 4 Result and Discussion

1.1 Popularising Regional, Traditional Garments and Handicrafts

1.2. Wider Target Audience

1.3.(i) To study the Handicrafts found in Gujarat region-wise.

Festivals: Physical Features: Biodiversity

Crafts of Kachchh Subclusters of Kachchh

1. Detail of a clay relief work studded with mirrors.

Products Production Clusters

1. Painted water pot from Hodko.

Production Cluster Products

2.1.3. Rogan Painting

Production Cluster Products

Production Clusters Products Tools

Production Clusters Products Tools

2.1.7. Namda-Felted Rugs

Production Clusters Products Tools

2.1.8. Leather Work

1. A contemporary embroidered mojari from Nirona village.

2.1.9. Wood and Lac Turnery

1. Lac treated turned wooden dandia sticks.

Production Clusters Products Tools

Production Clusters Products Tools

2.1.11. Ajrakh Printing

1. An ajrakh cotton stole dyed in alizarin and indigo.

Production Clusters Products Tools

2.1.12. Silver Work

Production Clusters Products Tools

2.1.13. Bell Making

1. An engraved copper bell from Nirona village.

Production Clusters Products Tools

2.2. Crafts of Rajkot

Subclusters of RAJKOT Crafts of RAJKOT

2.2.1. Bullock Cart Making

1. A detail of a cart embellishment with decorative metal elements.

2.2.2. Wood With Metal Embossing

Production Clusters Products Tools

2.2.3. Pathar kaam/Sampura kaam-stone carving

Production Clusters Products Tools

2.3. Crafts of Ahmedabad

1. Beaten metal utensils being sold at Manek chowk,old city of Ahmedabad.

2.3.1. Kite Making

2.3.2. Block Making

Production Clusters Products Tools

1. A contemporary mata ni pachedi.

Production Clusters Products Tools

2.3.4. Patola weaving

Production Clusters Products Tools

2.3.5. Mashru Weaving

2.3.6. Ari Embroidery

Production Clusters Products Tools

Production Clusters Products Tools

2.3.8. Silver Ornaments

Production Clusters Products For women: