Geographical Indications

Rajasthan

Info Book

JITENDRA BOHRA
 Copyright Free

The Author does not claim copyright in this

literary work. Readers can freely use the
contents of this Info Book in order to
spread the valuable and interesting
information in just manner. The Author
wishes the wide dissemination of this Info
Book as it is a tribute to indigenous
artisans and rich heritage of the state of
Rajasthan.
 CONTENTS

Geographical Indications – In a nutshell 1

Preface 5

Kota Doria 7

Blue Pottery of Jaipur 11

Molela Clay Work 17

Kathputlis of Rajasthan 22

Sanganeri Hand Block Printing 27

Bikaneri Bhujia 32

Bagru Hand Block Print 36

Thewa Art Work 41

Makrana Marble 47

Pokaran Pottery 50
Geographical Indications – In a nutshell

Prior to the trademarks begin calling the

shots regarding concept of “origin of
source”, the Geographical Indications in its
earlier avatars viz. “indication of source”
or “appellation of origin” were already in
vogue. For example, France tried to protect
its wines by bringing a legislation ‘French
appellation d’origine controlee’ in and
around year 1919.

Any name or representation or their

combination suggesting a particular
geographical origin (including
manufacturing) of any goods (agricultural,
natural or manufactured) upon which the
same is being applied, which further
conveys information regarding a given
quality, reputation or other characteristic
of such goods which is essentially
attributable to such geographical region,
are called Geographical Indications of
Goods.
1
Parliament of India enacted a comprehensive
legislation touching upon this unique Intellectual
Property called The Geographical Indication of
Goods (Registration and Protection) Act, 1999
primarily to protect the rights/interests of
producers of such goods and also out of
compulsion as a signatory to the Agreement on
Trade Related Aspects of Intellectual Property
Rights (TRIPS) to extend protection to goods
imported into India from other countries which
provide for such protection.

More often than not, atleast in India, a particular

product/goods (natural or manufactured)
becomes so popular (owing to some unique
features) amongst consumers that the same
establishes an impeccable association with the
place (geographical area, of course) of its origin.
Kashmiri Saffron, Makrana Marble, Darjeeling
Tea, Gir Kesar Mango, Bikaneri Bhujia, Nashik
Grapes or Malabar Pepper to name a few. The
most striking feature in the names of these
consumables (goods) is the ‘name of a
geographic place’ prepended to the
goods’/product’s name.
2
Geographical Indications as well as Trade Marks
functions as ‘source identifier’ of ‘goods’,
however, Trade Marks are owned by a person or
an enterprise and are used to differentiate
between the goods of one person/enterprise
from that of another whereas Geographical
Indications can be owned by ‘community’ and
used by all the members/users of that
‘community’. A community can be understood to
be an association of different persons dealing
with such goods in one way or other.

Interestingly, the concept of collective trade

marks is somewhat similar to the Geographical
Indications for the purpose of ‘ownership’ where
the actual owner of a collective trademark or a
Geographical Indication cannot claim monopoly
over said Intellectual Property rather all the
members of such collective or association
become entitled to use the same. Again, the
collective trademarks are different from
Geographical Indications inasmuch as the
former is not restrained to a particular defined
geographical region.India and the G.I.

3
The first Geographical Indication registered for
any Indian goods is for ‘Darjeeling Tea’ for
agricultural goods after the coming into force of
the Act, 1999.

‘Peruvian Pisco’, a kind of liquor from Peru is

the first G.I. which got registration in India.
Since the scope of this work is restricted to the
Geographical Indications belonging to the State
of Rajasthan, the first G.I which got protected
there is ‘Kota Doria’.

4
 PREFACE
Law relating to Intellectual Property has
gradually evolved in the West in the 20th
Century. However, Indian traders, authors and
inventors took it seriously only 3-4 decades after
independence. Awareness about Geographical
Indications, being part of IP laws, is slowly
picking up pace in India for some considerable
period of time now. Richness of India’s cultural
heritage is demonstrated by several
Geographical Indications from all parts and
directions of the country. The author is
fascinated from India’s varied Geographical
Indications which manifests centuries of labour
and craftsmanship of indigenous communities.
All the Geographical Indications has preserved
countless stories of earliest human techniques,
understanding of climate and geography of a
region and history of perseverance of nourishing
an idea in the form of a unique product. This
Info-Book, first in the series, is an honest
attempt by the author to share and propagate all
those riveting stories of Rajasthan’s recognized
Geographical Indications amongst readers.
5
Another, more compelling, reason to write and
publish this Info Book is prevailing lack of
awareness of India’s rich cultural heritage in the
form of handicrafts and traditional processes
and knowledge amongst fellow countrymen.
Rajasthan, the land of erstwhile numerous
princely states, is known for its handicrafts
which primarily developed under royal
patronage. This Info Book is prepared for joyful
reading and peeping into the world of colorful
and exciting GIs of Rajasthan. This Info Book is
free of cost. I sincerely hope that the readers
may find it interesting. Happy reading!

Disclaimer: The information contained in this

publication is not meant as a substitute for
professional legal advice. Its main purpose is
limited to providing basic information.

6
 KOTA DORIA
G.I. No.- 12 & 191

7
In Hadauti region of eastern Rajasthan,
presently covering the districts of Kota, Bundi
and Baran, Kota Doria fabric originated amongst
local weaving communities around 13th or 15th
century.

Kota Doria hand-woven fabric is famous for its

unique recognizing factor “square-chquered
pattern”. The main distinguishing feature of Kota
Doria fabric is presence of ‘khat’ patterns. The
fabric is widely used in Sarees, Suits, Dress
materials, Furnishings in pure cotton or cotton +
silk. Kota Doria Saree is also protected under
Handlooms Reservation Act, 1985.

Kota Doria is also called Kota Masuria because

of finely woven 350-400 ‘khat’ patterns wherein
‘checks’ resemble the ‘Masur’ lentil. Kota Doria
fabric has evolved with passing time starting
from pure cotton muslins to yarn combinations
of cotton and silk. 8
The 'khat' pattern of Kota Doria is unique and is
the main characteristic of the fabric. The ‘khat'
is itself the uniqueness of the fabric. For
example, in 300-khat pattern, there are 14 yarns
in a 'khat' wherein 8 are of cotton and 6 are of
silk. This unique feature owes its origin to the
inherited traditional skills of the weavers and
the special finishing processes given to the yarn
during sizing.

Kota Doria is also unique in the sense that it is

perhaps the only fabric, which uses cotton as
well as silk in predefined proportions in the
warp as well as weft of the fabric. This lends the
fabric a very unique kind of fall, gossamer feel
and sheerness and yet a corded texture at the
place where the cotton yarns are crammed
together.
9
Even after use of silk with cotton, the Kota
Doria fabric is not brittle but long lasting. The
uniqueness of Kota Doria fabric is such that
the State of Rajasthan used to stamp the
products to certify their genuineness.

The various steps involved in weaving the

Kota Doria fabric are Winding, Warping,
Dyeing, Sizing and Drafting-Denting-Placing.

Kota Doria Development Hadauti Foundation,

Registered Proprietor, represents the
interests of producers of Kota Doria.
The GI is registered for ‘Handicraft’ in
classes 24 & 25 upto 21/07/2024. Currently,
there are 7 registered Authorized Users of
Kota Doria GI.

10
BLUE POTTERY OF
JAIPUR
G.I. No.-66 & 540

11
Registered in the name of the Development
Commissioner (Handicrafts), Ministry of
Textiles, Government of India, the unique
hand-painted Jaipur Blue Pottery, which is
Turko-Persian in origin, is being practised by
local artisans of present day Jaipur district
and adjoining areas.

As described, there is a story/legend of

Maharaja Sawai Man Singh II of erstwhile
Jaipur state, who discovered two brothers
flying kite who were to re-invent the
turquoise Blue Pottery of Jaipur. Maharaja's
kite master was defeated by a potter called
‘Churamani’, who had coated his kite string
with glass dust of his blue green pottery.

12
The Maharaja asked to see the pottery which
impressed him so much that he asked the
potter to come and settle in Jaipur and to
head the pottery section of the proposed
School of Arts and Industries. In 1957, the
School that had started in 1866 was closed
by the Government of India after
independence; Maharani Gayatri Devi of
Jaipur, who widely promoted it, gave it a
lifeline.

It can be said that the Blue Pottery of Jaipur

has always been recipient of royal
patronage.

13
The Blue Pottery is the result of hand
painting upon ceramic body of quartz. Most
of the items/products in Blue Pottery art
are domestic kitchenware like cups, plates,
flower vases, tea pots, urns, tea coasters,
napkin holders, bread holder, table top
accessories, door knobs, pen stands, paper
weights, tiles, incense stick stands, candle
stands, bathroom fittings, flower pots, lamp
base, boxes, trays etc., which are
extremely light weight.

The recognizing feature of Blue Pottery is

intricate designs of decorative motifs
including jaalis and/or floral patterns filled
entirely with pre-dominantly blue color
created from cobalt oxide.

14
The uniqueness of the Blue Pottery is that
it doesn’t crack much. Being impervious, it
is suitably hygienic for daily use.
Moreover, the colors and resultant finesse
of the products does not fade with daily
use.
No red clay is used in the base.

Materials other than Quartz like Saaji

(Soda bicarbonate), Multani mitti (Fuller's
earth), Kaatira gond (natural resin), Safed
kaanch (glass), Glaze-Sindoor (red lead),
Suhaga (Borax powder), Crushed glass are
used. The process of making a truly hand-
painted Blue Pottery product is very time
consuming and labour intensive.

15
Blue Pottery of Jaipur is registered for
‘Handicraft’ in class 21 upto 13/08/2026.
Currently, there are 42 registered
Authorized Users of this GI art of beautiful
pottery.

The Blue Pottery of Jaipur resembles the

Delfware of The Netherlands in aesthetics,
however, the processes of both are quite
different.

16
MOLELA CLAY WORK
G.I. No.-21 & 539

17
This art of making beautiful religious idols
and votive plaques from clay takes their
name from a small non-descript village
‘Molela’ located in Rajsamand district of
Rajasthan, around 45-50 kms. north of
world famous lake-city, Udaipur and close
to river Banas.

The uniqueness of terracotta idols/plaques

is that each unit is hand-made, not even
potter’s wheel is used in the entire process.
The main raw material used is the red clay
(geru mitti) found in nearby pond (talaab)
located in the village Molela. The most
unique feature is the combination of flat
base with raised image thereupon giving
life-like impression.
18
The other unique feature of the terracotta
plaques is their light weight compared to other
three-dimensional terracotta products, the
reason being the flat slabs of clay are hand
moulded to give raised forms and the area
underneath remains hollow.

These unique votive clay idols/plaques are

made by local community of Maru potters,
mainly on demand for tribal consumers for
local shrines of tribal deities.

The clay plaques are painted in natural bright

stone and mineral colors obtained from
vegetable dyes mixed with gum (dawrigund)
from Babul trees.

19
The interesting ingredient is the donkey
manure (leedh) mixed with the clay generally
in one is to four ratio for clay pliability and
thereafter rice husk is added for
strengthening.

There is an interesting legend connected

with this clay work. Story goes like this: One
night a blind Molela potter had a dream in
whichLordDharamraj/Deonarayan revealed
himself in the form of a shadow and
instructed the potter to make his image.

20
When the potter replied that since he could not
see it was impossible for him to do so, Lord
Deonarayan blessed him with sight. When the
potter asked how he would sell his wares, he
was told that the buyers would come to him, so
he need not worry on that count.

From then onwards, the potters of Molela have

been making votive (presented to God as a
sign of thanks) plaques of local Gods and
Goddesses like Deonarayan, Dharamraj (who
is caretaker of justice and keeps an account of
the 'karma' of a person).

Molela Clay Works is registered for

‘Handicraft’ in class 21 upto 30/08/2026.
Currently, there are 55 registered Authorized
Users of this GI art of reverential votive
plaques/idols.

21
KATHPUTLIS OF
RAJASTHAN
G.I. No.-68 & 541

22
Kathputlis or the Indian (Rajasthani)
marionettes are the string puppets (Putlis or
Dolls) which are made from, as the name
suggests, Kath (wood).

This ancient art of puppetry is native to entire

State of Rajasthan, however, the major epicenters
remain Jaipur, Nagaur, Jodhpur and Udaipur with
the focal point being Nagaur district.

Kathputli makers and performers traditionally

belonged to hereditary bards or genealogists
locally known as Bhats, who are closely
associated with community of professional
performers called Nats.

The uniqueness of Rajasthani string puppets lies

in the fact that unlike other string puppets like
European marionettes, Kathputli art does not
include control/cross bar for
manipulation/movement and all the strings are
attached to the fingers of the puppeteer.

23
The strings attached to Kathputlis vary from two
(2) to eight (8) depending upon size and/or
agility of the character being performed.
Moreover, the the hands of Kathputlis does not
have joint like other puppet arts.

As is usually the case with Rajasthani

Geographical Indications, the Kathputlis, too,
hold a religious significance.

The Bhats believe that Kathputlis are

manifestations of Devi Bhawani, Mother
Goddess. Again, acting upon such belief, Bhats
apologize to the Kathputlis once they are made
and offer sweets like they offer to the gods.

The reason behind is that Kathputlis need to be

hold with feets while they are made and as per
Indian religious faiths, touching or holding
anybody or anything is derogatory.

24
To understand better, puppetry is an ancient
art of storytelling through theatre or
performance wherein humans remain behind
the stage and control the puppets on stage.

In Rajasthan, the traditional Kathputli play of

the heroic tale of Amar Singh Rathore consists
of as many as 52 characters. Nowadays, also,
the stories or tales that feature in Kathputlis
with Dholaks and folk songs are related to
romance or chivalry.

According to a legend, the very first Bhat

performed a Kathputli play with 32 puppets on
life and achievements of Raja Vikramaditya. It
will not be out of place to say that Kathputli art
performance is one of the oldest forms of
entertainment in India.

25
The male and female puppets bear a strong
resemblance to the Rajput miniature paintings
of Rajasthan.

The style of head dress, the shape of the eye,

the beard and moustache style are used to
suggest the character of the puppet.

Then, there are women characters, notably

dancers. And then there are many animals like
horse, camel, elephant, crocodile and snake.
The anatomy of the puppets is reduced to a
basic minimum but their dynamics matter.

The Development Commissioner (Handicrafts),

Ministry of Textiles, Government of India is the
Registered Proprietor; of this GI, registered in
class 28 for Handicrafts till 30/08/2026.

26
Sanganeri Hand Block Printing
G.I. No.- 147

27
The textile goods produced by Sanganeri Hand-
Block Printing evolved in town/tehsil of
Sanganer in the district Jaipur, located around
16 Kms. south of Jaipur city. Founded by
Kachchwaha prince Sangaji in 16th century,
Sanganer became centre of hand-block printing
in early 18th century as per records of dastur-
al-amal (1703 AD) and rangkhana (1727 AD).

According to the oral traditions, many

communities of craftsmen from Gujarat and
neighbouring areas, badly affected by repeated
invasions of Mughal Aurangzeb, migrated to
Rajputana for stable and secure livelihood.
Then, it is said that Maharaja Sawai Singh of
then Jaipur state invited such craftsmen to
Sanganer and helped them to settle there.

Shri Gulab Kothari, a renowned author, scholar,

activist and editor-in-chief and chairman of
newspaper Rajasthan Patrika, has written in
great detail about Sanganeri Hand Block
printing in his seminal work titled “Colourful
Textiles of Rajasthan”.
28
 28

He writes that the French archaeologists while

excavating at Al Fostar, old capital of Egypt,
found dead bodies wrapped in coarse cotton
fabric printed with bright colours. Motifs printed
on these were exactly alike the motifs painted
on the costumes in Jain miniature painting from
Western India; Rajasthan and Gujarat. Print
with those motifs is being printed even today.

This finding brought tremendous change in

ideas and scholars started believing that India
was producing colourful printed fabric in 14-
15th Century. Which was exported to European
and African Countries. A number of headgear,
safas and pagaris and material printed in the
18th C. Sanganer are preserved in private and
public collections".

As of date, this unique printing art is secured

amongst only one community known as Chhipa.
The skill is being transferred from one
generation to other through family working
traditions.

29
The Chhipas have laboriously preserved the
dyeing and printing technique through their
hereditary craftsmanship and ingenuity.he
uniqueness of the hand-block printing of
Sanganer is that the base cloth, cotton or silk
or mixture, is white in colour and the design
forms on textiles are Buti, Buta, Jhar and
Border. The designs represent a variety of
flowers like Lotus, Rose, Poppy, Water-Lily,
Sunflower, Marigold, Champa, Narcissus, etc.
The design forms are printed repetitively.

This print style uses only handblock/stamps

specifically made from wood ‘sheesham,
‘mango’ and ‘teak’. While printing the wooden
hand-blocks are pressed onto a thick cloth
pad immersed in the natural vegetable dye
and then carefully stamped onto the cloth
with high precision. As famous Indian
designer, Ritu Kumar, said in her literary
work titled "Costumes and Textiles of
Royal India” that ‘a high degree of skill is
required both for the placement of the
design and even application of the
pressure."
30
More than 1500 families are directly or
indirectly dependent on the Sanganeri Hand
Block printing for their livelihood. The Calico
Printers Co-operative Society Ltd. claims to
represent the rights of all the craftsmen
engaged in the art.

Registered in class 24 & 25 for Textiles,

Clothing and Headgear under ‘Handicrafts’
category upto 2028.

31
BIKANERI BHUJIA
G.I. No.- 142
32
It’s snack time, now! This G.I. is a traditional
tasty mouth-watering crispy delicacy right from
the deserts of western Rajasthan. Bikaner, a
district and a bustling town bordering Pakistan in
its west, is the origin of ‘BIKANERI BHUJIA’.

As described by its registered proprietor,

‘Bikaner Bhujia Udhyog Sangh’, this snack
produced in the region has ‘distinctive and
naturally occurring organoleptic characteristics
of taste and aroma….’.

The earliest known manufacturer of the savory,

as specified, was Mr. Tanshukh Dass Agarwal,
who started making it in the year 1869/1877
[claimed date of use is 1890]. His family
continued the tradition till date although many
new entrants have now occupied the space.
However, the Bhujia made by the ‘Agarwal
family’ under different brands have still held the
majority market share.

33
At the inception ‘Bikaneri Bhujia’ was called,
to distinguish it from many others,
‘Dungarshahi Bhujia’ as the same got wide
patronage in late 1870s during the princely
rule of Maharaja Shri Dungar Singh Ji.

The prominent ingredients of ‘Bhujia’ are Moth

Dal [Dew Beans], Chana Dal [Gram Flour],
Khane ka Tel (Edible Oil), Namak (Table Salt),
Masale (Spices), etc.

The uniqueness of taste and (light or lemon)

yellowish colour of snack is attributed to
peculiar climatic conditions like extreme dry
and arid climate with erratic rainfall and
surface water being saline and hard with high
chloride values.

34
All the producers, including newer ones
manufacturing through specified traditional
process, establishing their production unit within
the district of Bikaner are permitted to use and
utilise the advantages emanating from G.I.
registration.

This delicious ready-to-eat Rajasthani savoury

is registered in class 30 for Food Stuffs upto
2028.

35
BAGRU HAND BLOCK
PRINT
G.I. No.- 183

36
Bagru Haath Thappa Chhapai Dastkar
Sanrakshan Avvam Vikas Samiti (बग हा थ ठ पा
छ पा ई द त का र सं र ण ए वं व का स स म त ) , w h i l e
applying for registration of this G.I., claimed
that, “Bagru Hand Block Print is unique
amongst printed textiles of India.” It further
adds, “It has a history of more than 300 years.”

The G.I. has apparent backing from the

Government of Rajasthan through Rural Non-
Farm Development Agency as well as the
Industry through Rajasthan Chamber of
Commerce and Industry.

The Samiti claims to represent the interests of

all the artisans and stakeholders connected
with Bagru Hand Block Print.

37
The majority of small and medium sized dying
and printing units related to Bagru Hand Block
Print are based in Bagru municipality in Jaipur
district and few are scattered in nearby
villages of Jahota, Jairampura and Kaladera.

Bagru is merely 30-35 kms away from another

place renowned for another G.I registered
Hand Block Prints, that is, Sanganer.

While talking about Bagru Hand Block Print, no

discussion can be complete without stating
about honest and consistent efforts of an
artisan Shri Ram Kishore Chhipa, who is also
a recipient of Padam Shree award in year
2009. He, and many other artisans, really took
great pains to bring the Bagru Hand Block
Print on the international map of textiles.

38
The skill required for the ‘prints’ include
coordination of eyes, hands and allied
pressure on the ‘blocks’ while imprinting is
claimed to be professionalized by the
artisans, almost all of whom belong to
Chhipa community which is settled in and
around Bagru town.

The creation of rich and wide range of print

designs is a result of careful stamping by
wooden blocks. Turners locally known as
Kharadiyes possess the skill of producing
desired blocks using dried wood of plants
like “shisham”, “gurjan”, “mango”, "teak" and
"ardu'. Thus, it is the skill of Chhipas and
Kharadiyes that result in production of well-
known Bagru Prints.

39
The Samiti claims that the dye preparation is
closely guarded secret among the Chhipa
community, something akin to concept of trade
secret.

The unique and dominant geographic

characteristic is that dye is prepared from bark,
flowers and roots of locally available trees,
river water and available clay sand.
The G.I. is registered for Textiles and textile
goods, not included in other classes, bed and
table covers (class 24) and Clothing, footwear
and headgear (class 25).

40
THEWA ART WORK
G.I. No.- 244

41
‘Thewa Art Work’ is a “Gold Work on Glass” as
defined by its registered proprietor (Rajasthan
Thewa Kala Sansthan) while applying for
registration as a Geographical Indication. In
local dialect, Thewa means ‘setting’.

The artwork, which is registered under

‘Handicraft’ category, and popularly called
‘Thewa’, comprises an intricate artistry with
figures/drawings carved with pointed objects on
a 23-carat gold foil fused with a coloured glass
sheet.

Solely, the male members of the ‘Rajsoni’ clan

(traditional community of royal jewellers for
erstwhile Royal families) are engaged in this
precious artwork which is found on utility
goods/products/articles like necklaces,
jewellery boxes, combs, hair pins, pendants,
photo frames, cuff-links, et cetera.

42
Exclusively, the members of the registered
proprietor, which is a society, are from Rajsoni
clan.

Thewa traces its historical origins to later half

of 18th century (Year 1767 to be precise) at the
time of reign of Maharawat Samant Singh of
erstwhile Pratapgarh princely state. The Rajsoni
clan claims that their forefather Nathuji
Sonewalla ‘invented’ this art at Devgarh
(Rajsoni clan was based there) which is around
17 Kms from Pratapgarh town.

Dr. Gori Shankar Hirachand Ojha has written in

h i s l i t e r a r y w o r k ‘ ता प ग ढ़ रा य का इ त हा स ’ t h a t , “ …
on green, red, sky blue colour glass one type of
golden beautiful work is made here (Pratapgarh)
that is not made anywhere else in India…There
are only four-five families that do this work and
they do not tell about this work to others…”.

43
Further, as mentioned in the application, the
art of fusing gold foil with surface of the
coloured glass is secret and is known only to
the members of ‘Rajsoni’ clan.

This technique of uniting the hand-carved gold

foil with glass (generally Belgian Glass)
surface does not involve any pasting material
and fusion is so smooth, meticulous and
seamless that separate surfaces of glass and
foil are not visible. The technique involves
repeated heating in open crucible and cooling
to fuse gold foil into glass sheet surface.

44
The thickness of the gold foil remains less
than 3 mm and that of glass sheet is between
1.5 mm to 2.5 mm. A frame made of
rectangular silver wire, called Vaada, is used
as base onto which the gold foil is clipped on
one side to lessen the risk of damage. On
other side of the ‘Vaada’, lac is filled before
designs are carved on the clipped gold foil.

The scenes of hunting, portrait of gods and

goddesses, narrations/stories from Maru
Gurjar paintings are generally carved on gold
foil. Many a times, a single article of Thewa
may take upto a month to complete. It can be
discerned that Thewa art is time consuming
and requires consistent flawless craftsmanship
to maintain the quality of each article.

45
The website of the Commissioner, Industries,
Government of Rajasthan writes in detail
about the artwork in so inspiring words that ‘…
the beauty of this art lies in the fact that even
though the amount of gold used is minimal the
eventual product gives an impression of gold-
rich heavily ornamented piece.’ It further
adds, “…fine nuances of creating intricate
patterns in gold require such keen patience
and concentration, that the art indeed
becomes a true meditative bliss to the
senses.”

The ‘Rajsoni’ family has been featured in

LIMCA yearbook of year 2011 because of
eight (8) national awards in one family
including a Padam Shree to Mahesh Raj Soni.
Government of India recognized the
importance of Thewa by publishing an
impressive postal stamp in 2002 felicitating
the centuries of intricate hard work of the
generations of community enriching the
artwork through their sheer labour.
46
MAKRANA MARBLE
G.I. No.- 405

47
This is the only Geographical Indication in
Rajasthan, as of date, which is granted
registration under ‘Natural Goods’ category.
The name of the good, as claimed by the
applicant ‘Makrana RIICO Area Marble
Association’, is ‘Sangemarmar Makrana
Marble’ or ‘Sangemarmar Marble’ or ‘Makrana
Marble’.

Makrana Marble is a kind of calcitic crystalline

metamorphosed form of limestone excavated
from Makrana region in the Nagaur district of
Rajasthan. Interestingly, it is claimed that the
Makrana Marble is in use since ‘Time
Immemorial’. However, Taj Mahal and Victoria
Memorial were constructed through this white
stone from Makrana.

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The uniqueness of this ‘Natural Goods’ is its
shine (whiteness) owing to the presence of
calcium carbonate (upto 98%) and close
interlocking of grains. Moreover, the Makrana
Marble is harder and less porous than marble
stones imported from Greece and Italy.

Barring Makrana Marble and Sirohi Marble

which are calcitic in composition, all other
marbles in Rajasthan are dolomitic. Makrana
Marble, as opposed to Sirohi Marble, does not
loose its shine over long period of time
because of impurities like Silicon Di-oxide and
Ferric Oxide. In fact, on the contrary, it is
claimed that the shine (whiteness) of the
Makrana Marble increases with use.

The Makrana region includes the Makrana and

Parbatsar Tehsils in the district of Nagaur.

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.
POKARAN POTTERY
G.I. No.- 519

50
 Located in the midst of Thar desert in the
western most district of the State, there
situate a ‘sleepy’ town called Pokharan or
Pokaran. Better known and remembered for
the ‘Nuclear’ strides taken by the country
here. There’s one more reason, equally
exciting if not more than the Nuclear tests,
f o r w. h i c h t h i s t o w n i s p o p u l a r , e s p e c i a l l y
among art and craft lovers. POTTERY.

Pokaran Pottery is unique owing to its light-

pinkish colour and fine texture. The major
role for this lovely craft is the clay found in
and around 5 Kms of town. Characteristic to
desert temperatures, Pokaran, and the entire
district of Jaisalmer for that matter, is
fortunate to receive the sunlight for major
part of year, sometimes, reaching as high as
50-51 degree Celsius and in the winter
season, it touches 0-2 degree Celsius.

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The clay, which is light pink in colour, is
brought from an area known as Rin situated
around 5 Kms from the town. The rainwater
gets collected here and after evaporation the
soil attains a particular viscosity ideal for
pottery.

T h e P. o t t e r s , d e s c e n d i n g f r o m t h e K u m h a r
community largely, make two kinds of pottery
viz. glazed and unglazed. The articles of
manufacture and usually household items for
everyday use like lamps, pots, statues as well
as collectible items like decorative pen stands,
vases, toys, pitchers, piggybanks (gullak) and
others.

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Years of expertise and in dealing with the clay
or preparing the clay in correct texture and
colour prior to manufacturing process is the
key in getting such beautiful goods worthy of
p r a i s. e a n d a c c o l a d e s . M o r e o v e r , t h e c l a y
products are fired at traditional organic kilns
which uses firewood, cow-dung cakes and the
like to obtain the eye-catching products.

The manufactured products are not only

beautiful to look at but durable as well. It is
said that the grain silos of Pokaran Pottery
have survived for centuries and are still in
regular use.

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The process of preparing the clay for making
Pottery includes repeated beating the clay
through legs and ground for getting required
texture. Thereafter, the clay is filtered through
special sieve to check for the finer particle
appropriate to get the requisite output.
The State Government’s ‘Rural Non-Farm
Development Agency’ facilitated the applicant
.
‘Kumbhkar Hastkala Vikas Samiti’ in getting
the registration of the Geographical Indication.

It is also encouraging to note that

resort/desert camp like ‘Manvar’ is actively
promoting this dying craft through what can be
said as art/craft tourism.

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 ABOUT THE AUTHOR
Jitendra Bohra is a practicing Advocate before
Courts and Tribunals in India. He ordinarily
practices in the State of Rajasthan. His practice,
under the name and style of RLP Legal, spans
almost all facets of law with a keen focus on
Intellectual Property & Arbitration. After
completing his B.E. (Electronics &
Communications) and LL.B., he commenced his
career in law with erstwhile Solomon & Roy
Intellectual Property Services (now rechristened
as Royzz & Co.) situated in Mumbai. Later, he
got an opportunity to assist senior lawyer Dr.
Ashok Soni in his chambers at Jodhpur. Jitendra
regularly delivers talks and conducts IPR
awareness workshops in collaboration with
Department of Science & Technology, Govt. of
Rajasthan. He is an avid reader of law,
technology and history. Jitendra may be
contacted at jitendra.bohra@gmail.com.

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