KOTA DORIA materials, Furnishings in pure cotton or cotton + silk.

Kota

G.I. No.- 12 & 191 (logo) 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.

In Hadauti region of eastern Rajasthan, presently covering the
The 'khat' pattern of Kota Doria is unique and is the main
districts of Kota, Bundi and Baran, Kota Doria fabric originated
characteristic of the fabric. The ‘khat' is itself the uniqueness of
amongst local weaving communities around 13 or 15 century.
th th

the fabric. For example, in 300-khat pattern, there are 14 yarns

Kota Doria hand-woven fabric is famous for its unique
in a 'khat' wherein 8 are of cotton and 6 are of silk. This unique
recognizing factor “square-chquered pattern”. The main
feature owes its origin to the inherited traditional skills of the
distinguishing feature of Kota Doria fabric is presence of ‘khat’
weavers and the special finishing processes given to the yarn
patterns. The fabric is widely used in Sarees, Suits, Dress
during sizing.

1
 Kota Doria is also unique in the sense that it is perhaps The various steps involved in weaving the Kota Doria

the only fabric, which uses cotton as well as silk in predefined fabric are Winding, Warping, Dyeing, Sizing and Drafting-

proportions in the warp as well as weft of the fabric. This lends Denting-Placing.

the fabric a very unique kind of fall, gossamer feel and Kota Doria Development Hadauti Foundation, Registered

sheerness and yet a corded texture at the place where the cotton Proprietor, represents the interests of producers of Kota Doria.

yarns are crammed together. Even after use of silk with cotton, The GI is registered for ‘Handicraft’ in classes 24 & 25

the Kota Doria fabric is not brittle but long lasting.The upto 21/07/2024. Currently, there are 7 registered Authorized

uniqueness of Kota Doria fabric is such that the State of Users of Kota Doria GI.

Rajasthan used to stamp the products to certify their

genuineness.

2
 BLUE POTTERY OF JAIPUR Pottery of Jaipur. Maharaja's kite master was defeated by a

G.I. No.-66 & 540 potter called ‘Churamani’, who had coated his kite string with

glass dust of his blue green pottery. 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

Registered in the name of the Development
Devi of Jaipur, who widely promoted it, gave it a lifeline.
Commissioner (Handicrafts), Ministry of Textiles,
It can be said that the Blue Pottery of Jaipur has always
Government of India, the unique hand-painted Jaipur Blue
been recipient of royal patronage.
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

3
 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 uniqueness of the Blue Pottery is that it doesn’t
The recognizing feature of Blue Pottery is intricate
crack much. Being impervious, it is suitably hygienic for daily
designs of decorative motifs including jaalis and/or floral
use. Moreover, the colors and resultant finesse of the products
patterns filled entirely with pre-dominantly blue color created
does not fade with daily use. No red clay is used in the base.
from cobalt oxide.
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

4
truly hand-painted Blue Pottery product is very time

consuming and labour intensive.

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.

5
 MOLELA CLAY WORK process. The main raw material used is the red clay (geru

G.I. No.-21 & 539 mitti) found in nearby pond (talaab) located in the village

Molela. The most unique feature is the combination of flat

This art of making beautiful religious idols and votive base with raised image thereupon giving life-like impression.

plaques from clay takes their name from a small non-descript The other unique feature of the terracotta plaques is their light

village ‘Molela’ located in Rajsamand district of Rajasthan, weight compared to other three-dimensional terracotta

around 45-50 kms. north of world famous lake-city, Udaipur products, the reason being the flat slabs of clay are hand

and close to river Banas. moulded to give raised forms and the area underneath remains

hollow.

The uniqueness of terracotta idols/plaques is that each

unit is hand-made, not even potter’s wheel is used in the entire

6
 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.

The interesting ingredient is the donkey manure (leedh) When the potter replied that since he could not see it

mixed with the clay generally in one is to four ratio for clay was impossible for him to do so, Lord Deonarayan blessed

pliability and thereafter rice husk is added for strengthening. him with sight. When the potter asked how he would sell his

There is an interesting legend connected with this clay wares, he was told that the buyers would come to him, so he

work. Story goes like this: One night a blind Molela potter had need not worry on that count. From then onwards, the potters

a dream in which Lord Dharamraj/Deonarayan revealed of Molela have been making votive (presented to God as a

himself in the form of a shadow and instructed the potter to sign of thanks) plaques of local Gods and Goddesses like

make his image. Deonarayan, Dharamraj (who is caretaker of justice and keeps

an account of the 'karma' of a person).

7
 KATHPUTLIS OF RAJASTHAN

G.I. No.-68 & 541

Kathputlis or the Indian (Rajasthani) marionettes are the string

puppets (Putlis or Dolls) which are made from, as the name

Molela Clay Works is registered for ‘Handicraft’ in
suggests, Kath (wood).
class 21 upto 30/08/2026. Currently, there are 55 registered
This ancient art of puppetry is native to entire State of
Authorized Users of this GI art of reverential votive
Rajasthan, however, the major epicentres remain Jaipur,
plaques/idols.
Nagaur, Jodhpur and Udaipur with the focal point being

Nagaur district.

8
 Kathputli makers and performers traditionally belonged being performed. Moreover, the the hands of Kathputlis does

to hereditary bards or genealogists locally known as Bhats, not have joint like other puppet arts.

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, As is usually the case with Rajasthani Geographical

Kathputli art does not include control/cross bar for Indications, the Kathputlis, too, hold a religious significance.

manipulation/movement and all the strings are attached to the The Bhats believe that Kathputlis are manifestations of Devi

fingers of the puppeteer. Bhawani, Mother Goddess. Again, acting upon such belief,

The strings attached to Kathputlis vary from two (2) to Bhats apologise to the Kathputlis once they are made and offer

eight (8) depending upon size and/or agility of the character sweets like they offer to the gods. The reason behind is that

9
Kathputlis need to be hold with feets while they are made and characters. Nowadays, also, the stories or tales that feature in

as per Indian religious faiths, touching or holding anybody or Kathputlis with Dholaks and folk songs are related to romance

anything is derogatory. or chivalry.

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.

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.

In Rajasthan, the traditional Kathputli play of the heroic The male and female puppets bear a strong resemblance

tale of Amar Singh Rathore consists of as many as 52 to the Rajput miniature paintings of Rajasthan. The style of

10
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.

11
 SANGANERI HAND BLOCK PRINTING Maharaja Sawai Singh of then Jaipur state invited such

G.I. No.-147 craftsmen to Sanganer and helped them to settle there.

Shri Gulab Kothari, a renowned author, scholar, activist

The textile goods produced by Sanganeri Hand-Block Printing and editor-in-chief and chairman of newspaper Rajasthan

evolved in town/tehsil of Sanganer in the district Jaipur, Patrika, has written in great detail about Sanganeri Hand

located around 16 Kms. south of Jaipur city. Founded by Block printing in his seminal work titled “Colourful Textiles of

Kachchwaha prince Sangaji in 16th century, Sanganer became Rajasthan”. He writes that the French archaeologists while

centre of hand-block printing in early 18th century as per excavating at Al Fostar, old capital of Egypt, found dead

records of dastur-al-amal (1703 AD) and rangkhana (1727 bodies wrapped in coarse cotton fabric printed with bright

AD). colours. Motifs printed on these were exactly alike the motifs

According to the oral traditions, many communities of painted on the costumes in Jain miniature painting from

craftsmen from Gujarat and neighbouring areas, badly affected Western India; Rajasthan and Gujarat. Print with those motifs

by repeated invasions of Mughal Aurangzeb, migrated to is being printed even today. This finding brought tremendous

Rajputana for stable and secure livelihood. Then, it is said that change in ideas and scholars started believing that India was

producing colourful printed fabric in 14-15th Century. Which

12
was exported to European and African Countries? A number The uniqueness of the hand-block printing of

of headgear, safas aad pagaris and material printed in the l8th Sanganer is that the base cloth, cotton or silk or mixture, is

C. Sanganer are preserved in private and public collections". white in colour and the design forms on textiles are Buti, Buta,

As of date, this unique printing art is secured amongst Jhar and Border. The designs represent a variety of flowers

only one community known as Chhipa. The skill is being like Lotus, Rose, Poppy, Water-Lily, Sunflower, Marigold,

transferred from one generation to other through family Champa, Narcissus, etc. The design form are printed

working traditions. The Chhipas have laboriously preserved repetitively.

the dyeing and printing technique through their hereditary

craftsmanship and ingenuity.

This print style uses only hand blocks/stamps,

specifically made from wood ‘sheesham’, ‘mango’ and ‘teak’.

While printing the wooden hand-blocks are pressed onto a

13
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.’

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.

Calims 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.

14
 BIKANERI BHUJIA

G.I. No.- 142

It’s snack time, now! This G.I. is a traditional tasty mouth-

watering crispy delicacy right from the deserts of western The earliest known manufacturer of the savory, as

Rajasthan. Bikaner, a district and a bustling town bordering specified, was Mr. Tanshukh Dass Agarwal, who started

Pakistan in its west, is the origin of ‘BIKANERI BHUJIA’. 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.

At the inception ‘Bikaneri Bhujia’ was called, to

As described by its registered proprietor, ‘Bikaner
distinguish it from many others, ‘Dungarshahi Bhujia’ as the
Bhujia Udhyog Sangh’, this snack produced in the region has
same got wide patronage in late 1870s during the princely rule
‘distinctive and naturally occurring organoleptic
of Maharaja Shri Dungar Singh Ji.
characteristics of taste and aroma….’.
15
 The prominent ingredients of ‘Bhujia’ are Moth Dal use and utilise the advantages emanating from G.I.

[Dew Beans], Chana Dal [Gram Flour], Khane ka Tel (Edible registration.

Oil), Namak (Table Salt), Masale (Spices), etc. This delicious ready-to-eat Rajasthani savoury is

registered in class 30 for Food Stuffs upto 2028.

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.

All the producers, including newer ones manufacturing

through specified traditional process, establishing their

production unit within the district of Bikaner are permitted to

16
 BAGRU HAND BLOCK PRINT The Samiti claims to represent the interests of all the

G.I. No.- 183 artisans and stakeholders connected with Bagru Hand Block

Print.

Bagru Haath Thappa Chhapai Dastkar Sanrakshan Avvam The majority of small and medium sized dying and

Vikas Samiti (बगरू हाथ ठप्पा छपाई दस्तकार संरक्षण एवं विकास printing units related to Bagru Hand Block Print are based in

समिति), while applying for registration of this G.I., claimed Bagru municipality in Jaipur district and few are scattered in

that, “Bagru Hand Block Print is unique amongst printed nearby villages of Jahota, Jairampura and Kaladera.

textiles of India.” It further adds, “It has a history of more than Bagru is merely 30-35 kms away from another place

300 years.” renowned for another G.I registered Hand Block Prints, that is,

The G.I. has apparent backing from the Government of Sanganer.

Rajasthan through Rural Non-Farm Development Agency as While talking about Bagru Hand Block Print, no

well as the Industry through Rajasthan Chamber of Commerce discussion can be complete without stating about honest and

and Industry. consistent efforts of an artisan Shri Ram Kishore Chhipa, who

is also a recipient of Padam Shree award in year 2009. He, and

17
many other artisans, really took great pains to bring the Bagru The Samiti claims that the dye preparation is closely

Hand Block Print on the international map of textiles. guarded secret among the Chhipa community, something akin

The skill required for the ‘prints’ include coordination to concept of trade secret.

of eyes, hands and allied pressure on the ‘blocks’ while The unique and dominant geographic characteristic is

imprinting is claimed to be professionalized by the artisans, that dye is prepared from bark, flowers and roots of locally

almost all of whom belong to Chhipa community which is available trees, river water and available clay sand.

settled in and around Bagru town. The creation of rich and The G.I. is registered for Textiles and textile goods, not

wide range of print designs is a result of careful stamping by included in other classes, bed and table covers (class 24) and

wooden blocks. Turners locally known as Kharadiyes possess Clothing, footwear and headgear (class 25).

the skill of producing desired blocks using dried wood of THEWA ART WORK
plants like “shisham”, “gurjan”, “mango”, "teak" and "ardu'.
G.I. No.- 244
Thus, it is the skill of Chhipas and Kharadiyes that result in

production of well-known Bagru Prints.

‘Thewa Art Work’ is a “Gold Work on Glass” as defined by

its registered proprietor (Rajasthan Thewa Kala Sansthan)

18
while applying for registration as a Geographical Indication. on utility goods/products/articles like necklaces, jewellery

In local dialect, Thewa means ‘setting’. boxes, combs, hair pins, pendants, photo frames, cuff-links, et

The artwork, which is registered under ‘Handicraft’ cetera. Exclusively, the members of the registered proprietor,

category, and popularly called ‘Thewa’, comprises an intricate which is a society, are from Rajsoni clan.

artistry with figures/drawings carved with pointed objects on a Thewa traces its historical origins to later half of 18th

23-carat gold foil fused with a coloured glass sheet. 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 his

literary work ‘प्रतापगढ़ राज्य का इतिहास’ that, “…on green,

Solely, the male members of the ‘Rajsoni’ clan red, sky blue colour glass one type of golden beautiful work is

(traditional community of royal jewellers for erstwhile Royal made here (Pratapgarh) that is not made anywhere else in

families) are engaged in this precious artwork which is found

19
India…There are only four-five families that do this work and

they do not tell about this work to others…”.

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 The thickness of the gold foil remains less than 3 mm

(generally Belgian Glass) surface does not involve any pasting and that of glass sheet is between 1.5 mm to 2.5 mm. A frame

material and fusion is so smooth, meticulous and seamless that made of rectangular silver wire, called Vaada, is used as base

separate surfaces of glass and foil are not visible. The onto which the gold foil is clipped on one side to lessen the

technique involves repeated heating in open crucible and risk of damage. On other side of the ‘Vaada’, lac is filled

cooling to fuse gold foil into glass sheet surface. 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

20
Thewa art is time consuming and requires consistent flawless

craftsmanship to maintain the quality of each article.

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 The ‘Rajsoni’ family has been featured in LIMCA

intricate patterns in gold require such keen patience and yearbook of year 2011 because of eight (8) national awards in

concentration, that the art indeed becomes a true meditative one family including a Padam Shree to Mahesh Raj Soni.

bliss to the senses.” 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.

21
22
 MAKRANA MARBLE region in the Nagaur district of Rajasthan. Interestingly, it is

claimed that the Makrana Marble is in use since ‘Time

G.I. No.- 405
Immemorial’. However, Taj Mahal and Victoria Memorial

were constructed through this white stone from Makrana.

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’.
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.

Makrana Marble is a kind of calcitic crystalline

metamorphosed form of limestone excavated from Makrana

23
 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.

24
 desert temperatures, Pokaran, and the entire district of

POKARAN POTTERY Jaisalmer for that matter, is fortunate to receive the sunlight

for major part of year, sometimes, reaching as high as 50-51

G.I. No.- 519
degree Celsius and in the winter season, it touches 0-2 degree

Celsius.
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, for

which this town is popular, especially among art and craft

The clay, which is light pink in colour, is brought from
lovers. POTTERY.
an area known as Rin situated around 5 Kms from the town.

The rainwater gets collected here and after evaporation the soil
Pokaran Pottery is unique owing to its light-pinkish
attains a particular viscosity ideal for pottery.
colour and fine texture. The major role for this lovely craft is

the clay found in and around 5 Kms of town. Characteristic to

25
 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 praise and accolades. Moreover, the clay

products are fired at traditional organic kilns which uses

firewood, cow-dung cakes and the like to obtain the eye-

The Potters, descending from the Kumhar community
catching products.
largely, make two kinds of pottery viz. glazed and unglazed.
The manufactured products are not only beautiful to
The articles of manufacture and usually household items for
look at but durable as well. It is said that the grain silos of
everyday use like lamps, pots, statues as well as collectible
Pokaran Pottery have survived for centuries and are still in
items like decorative pen stands, vases, toys, pitchers,
regular use.
piggybanks (gullak) and others.

26
 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.

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.

27