JHOLA vs POLYBAG

Polybag or plastic bags have today become the part of our daily necessity. We use these polybags in different sizes, colours without paying attention towards their adverse effects on our health and environment. I exactly don’t know from where these plastic bags came and now woven over daily life like a spider’s web. We use them proudly Ignoring all the harmful effects and considering only there comfort and convenience. Sometimes I really feel do we really need them. The bags add to a big problem that exists everywhere we go. There were the times when we used to see lush green crops standing and waving at us as we pass across the fields and now we could only see plastic bags blowing across open spaces and see them entangled in fences, bushes, flowers, trees, electric lines and everywhere else.

I still remember one of my childhood memories when I used to go to a local vegetable market with my    grandfather and his patented “old cotton fabric Thela”. He always use his custom made thelas to do shopping and other essential things of daily life and used to keep all his essential items, bills, medicines, documents and many more things in his different fabric thelas only. Those thelas were like mini world to him. One of those thelas is still kept safely by my grandmother as one of his few memories. Such types of things don’t exist anymore. Instead the overall scenario has been changed.

We all use polythene shopping bags and goods without noticing any negative change on our environment and it leads to nothing but making animals, aquatic species die a slow painful death. Plastic bags have been discovered to affect our environment in many ways. These bags are not considered to have the capabilities to decompose in a rapid manner. It is estimated the time for that process can be anywhere from 500 to a 1,000 years. Using plastic bags not only creates health issues but also choking our cities sewage system thus causing water logging. Moreover what I think about the present condition of our capital due to monsoons - plastic bag accumulation is one of the prime reasons. This problem continues so on to different cities, to whole country and world.

I don’t think in Indian context, plastic bags are much of a necessary thing. One of already available and effective replacement of plastic bags is “jhola or thela” made of cloth. In India, we have till very recently, used these reusable cloth bags to carry our shopping. So why did we give up this wonderful practice for these ugly plastic bags. The best part about carrying a jhola or thela is that its culture oriented, practical and trendy at the same time. In earlier times also people use these jholas, thela and potli in their day today life and travelling miles across with them and were equally happy. Taking the present scenario into consideration these products are very suitable as they are made up of cloth thus will decompose easily and there will be less chances of environmental pollution. Some other solutions of materials are wool, wood, food scraps and paper.

Bags made out of these materials are very easy to care and handle, are strong and can be purchased at quite reasonable prices. A person, if inclined to do can even sew some for themselves. For several years we have used this type of bag, as Tote Bags. They can be available in decorative designs and colours.

Some bookshops and high end shops already provide bags made from recycled paper to its customers but that is a very small step in this direction. I think it is time now to give back jhola or thelas its lost identity and pride .

INDIAN TRADITIONAL PRODUCT - IMAM DASTA

Abstract: Indian is vast...So are the cuisine of here and some traditional utensils which have a special importance and identity.

Image 01: Brass Imam Dasta

Introduction :

Working with the right materials would yield to a right and successful work. This saying is also true in cooking. This means that when you have the right cooking utensils, you’ll most probably end up with a nice and delectable food. This goes for all cuisines, including the Indian cuisine. In India, utensils are simply not only used for preparation of food. They are used in prayer services and also make excellent gifting solutions for Indian marriages - it's one way to helping someone set up their home. India has a huge body of beliefs about the effects of various metals and minerals on the body and it was naturally felt that food cooked in various metals absorbed certain trace minerals and elements beneficial to health. The kitchen was, and still is the central part of a woman's life but the amount of time spent in the kitchen has reduced remarkably over the years. Indeed one feels the dying of a leisurely way of life, most, in the context of the kitchen. There are many kitchen utensils used in India which has a strong impact on our style of cuisines and delicacies. Indian cuisine has been known around the world because of its exceptional flavour. That’s why, people around the world, not necessarily from India, are becoming fond of knowing how to cook Indian recipe. But before doing so, one should bear in mind that firstly have to have the weapons to win the battle, that is, the correct Indian cooking utensils and one of them is “Imam Dasta".

Image 02: Spice Pondering

Image 03: Stone Imam Dasta

  

Why the product is chosen? : I choose this product for the explanation of an Indian traditional product because it is used in every Indian traditional kitchen and having a very strong presence from the past. And I personally think that it is one of the most suitable Indian traditional products. Although the word “Imam Dasta” is a Turkish word whose origin and adaptation in India is still unknown but the word is completely absorbed here and the existence of this product in this country backs thousands of years. This product has many uses. From making masala chai (Indian tea) to Bhang thandai (festive drink of India during Holi) this product has a very unique purpose and identity of itself. Even our mothers, grandmothers are using this product and seen her great grandmothers pondering dry chillies and turmeric in it during day hours. Image 04:  Traditional Brass Imam Dasta          Preparation of wet spice mixture for daily routine food was somewhere incomplete without this product and still is in use in certain regions of the country. It is traditional in various Hindu ceremonies (such as weddings) to crush turmeric in these mortars. Moreover preparation of medicines, oils in Ayurveda is somewhere unimaginable without Imam Dasta. In India, it's used extensively to make spice mixtures for various delicacies as well as day to day dishes. Does the product identify spirit of Indian Design? This product is being used from ages and still existing without any major change in the appearance. A favourite in every Indian kitchen, a Imam-Dasta is generally known as mortar-pestle, is perfect for pulverizing and grinding herbs and spices into seasoning pastes and spice mixtures. An Imam-Dasta unlike a food processor which only shreds and tears ingredients, allows fragrances and flavours to be beautifully blended.                 Image 05:  Marble Imam Dasta            The origin of Indian spices dates back to thousands of years. From time immemorial spices have played an important role in Indian cooking, imparting amazing flavours to extensive Indian dishes and so is the use of this Indian product from that particular time period. As per its design is concerned it is still available in the same antique design and form. Usually Imam-Dasta's is made up of brass and wood. As Steel is now most commonly material used for domestic purposes. So it has now given way to steel and also to ceramic ones. The traditional style and the design of this product are still maintained properly. Image 06:      Ancient stone Imam Dasta

Form and Function

As per form of Imam Dasta is concerned it is still exists in same peculiar shapes and form. Since Indian spices can be bought in most supermarkets and what can’t be had there is always available in specialist Indian or Asian grocery stores. So in today’s modern times people are not in much use of this product and have technologically refined food processors and grinders at their home and have a perception that indian food does not require special cooking utensils like Imam Dasta. “Form follows function” the statement totally suitable on this product and this is the main reasons for the existence of Imam Dasta in this era in same form and design.

Image 07:  Traditional Brass Imam Dasta         

Representative of Indian design Taking all the aspects qualities and relevance of this product in our culture and cuisine it can be said that it is one of the true representative of Indian design. Although Imam-Dasta is not only used in India but also in some of the Asian countries. But the bonding which it has with the Indian cuisine is inseparable especially with mughal and southindian cuisine. It is still handcrafted by craftsmen and made by skilled workmen in small scale industries of India in various materials like wood, brass, stone, marble that too specifically for specific purposes. In a way it also gives employment to workmen. Image 08:  Ceramic Imam Dasta

The importance of this product in Indian kitchens and also during festivals of India is enormous… and it can be said that it is one of the finest example of pure Indian traditional products.

Bibliography: Journals and Articles: Demystifying Indian cuisine  Websites: www.indianfood.about.com                   www.kitchensofindia.com                   www.indianfood-recipes.com

MARBLE HANDICRAFT INDUSTRY - AGRA

Abstract: The history of Indian handicrafts goes back to almost 5000 years from now and it is the most effective way to understand ancient Indian design journey and one of the most impressive path is through the handicrafts of Agra i.e, marble handicrafts and inlay work which completely tells us the story of the condition of handicrafts in India.

Introduction :  Agra

Agra has been immortalized as the City of the Taj. Yet, it doesn’t take much for the roving eye to discover that there's more to Agra than just the fabled TajMahal. The city is a virtual gateway to a world of discovery. Agra was known as Agraban in ancient times, is one of the oldest cities of India. The fascination for stone has transcended all times and ages.A freeze-frame from a resplendent era that's long since gone by. In the great epic 'Mahabharata' the region of Agra is described as 'Agraban' (an integral part of the BrijBhumi or the land of Lord Krishna).The latter part of Indian history outlines the origins of Agra to 1475A.D. However, Agra came into limelight during the rule of Afghan King Sikandar Lodhi who had made it the capital of his empire. Later in 1526 A.D., the Mughal Emperor Babar took upon himself the task for rendering Agra, a unique character and beauty of its own.

Image 01: Shahjahan and  Mumtaj Mahal

Image 02: Marble work 

The visionary that he was and a great patron of the arts, Emperor Babar brought in a in the culture and life-style among the people of Agra, which then brought forth some of the finest craftsmen, artists, statesmen, warriors and nobility, this part of India had ever witnessed. The golden age of Agra's history, thus began to set in.

Image 03: handicraft showroom near Gokulpura

The fascination for stone has transcended all times and ages, but this craft in Uttar Pradesh reached artistic heights of excellence during the Mughal period when TajMahal was created. It is believed that the first master craftsmen came from Iran and Afghanistan when the Tajmahal was made. They settled in Agra and taught the skill of the marble carving to mostly Muslim community, and it continues to other communities later on.Apart from Florence in Italy, Agra is the only place in the world where all kinds of marble inlay work is being done professionally.

Image 04: Artisan(Gokulpura)

There are around 3,000-4,000 marble carvers or inlay craftsmen in Agra or even more than that who continue to live around the Tajmahal in slum colonies in the Nai ki Mandi, Gokulpura area.About 4,000 artisans, the living force behind this age-old tradition, can be found creating wonders from stone in these areas.

Category : 

While basic cutting and carving aided by machines is done by skilled sadakars, exclusive inlay work, requiring expertise similar to cutting and polishing of jewellery stones using chisels and grinding stones is done by experienced pachikars.There are two categories of karigars, known as sadakars and  pachikars.

Image 05: marble products for export

Image 06: One worker need one day to cut this flower out of gem stones.  

While basic cutting and carving aided by machines is done by skilled sadakars, exclusive inlay work, requiring expertise similar to cutting and polishing of jewellery stones using chisels and grinding stones is done by experienced pachikars.

The main markets for shopping for marble artefacts in Agra are near the Taj Mahal complex, Sadar Bazaar, Kinari Bazaar and Munro Road. The UP State Emporium called Gangotri at the Taj Mahal Complex, offers a range of marble handicrafts at economic prices.

Foreigners are especially big buyers. All the shops allow tourists to visit their factories, which are behind the shops, for an inlay demonstration by the karigars, and to watch the craftsmen cut and carve the marble.

the artwork on stone is a combination of carving, inlaying engraving, sculpture and undercut (art of making multi layered decorative items out of one single piece of stone, hollowed from inside).

Image 07: my guide for the visit artisan and exporter shri jagdeesh prakash sharma

Designs are made by cutting the stone and varying fine patterns on it. In fact, stonecutters and sculptors work hand in hand. The base material of work is

Marble, Gorara soapstone and occasionally Cuddapah.

Image 08: Artisans doing inlay work (Nai ki mandi)

Outstanding creations :

 

The 72-year-old National Award winner for marble carving, Hafiz Ahmed had recently made a 12-feet model of the Taj, weighing five tonnes replicating the finest details of the original and the jewelled inlay work. It is hard work, says Imtiaz, where skill up gradation is necessary. Knowledge of geometry, drawing, tracing and exact calculations is important.

Image 09: Award winning replica of tajmahal

"I am particularly keen that art traditions of Agra should be kept alive and, for this, I am willing to teach even my enemies," says Fazal Mohammed, who has been awarded a Padma Shri."The slicing of marble, the inlay work, the stone cutting, the correct placement of semi-precious stones, everything demands absolute and total concentration. Nothing should go wrong even by a millimetre," says Imtiaz. His colleague — another maestro, Fazal Mohammed, 72, collaborated with two others for three years to make a Taj Mahal replica valued at Rs 3 lakh.

Image 10: soamibagh samadhi

  Presently, the most important work by the marble carvers of Agra is being carried out at Soamibagh, 15 km from Agra, and houses the samadhi of the founder of Radha Swami sect. The 110 ft. high structure is built in pure white marble and nearly 100 marble karigars have been working on this mausoleum since 1904.

At present, this work is limited and enjoys an exclusive foreign demand.

References:

1.www.up-tourism.com

2.Personal visit to the place 

Bibliography:

Journals and Articles:

 The tribune – spectrum (Sunday, July 27, 2008 )

Websites:

 crafts.indianetzone.com

www.india-crafts.com

www.up-tourism.com

INDIAN DESIGN IDENTITY

Introduction

India in 2010 stands as one of the world’s largest democracy and with its innumerable cultures, a mini-world in itself, is fast detaching the core of its old identities and struggling to wear new ones. We stand on the doorstep of the next golden chapter of our history where our country promises to lead the world in the next few decades. Globalization and technology has shrunk the world to the size of our chat windows. At this junction it would be interesting to examine the soul of this country within and its true identity.

India and its Design Identity

A national identity may be a short-lived thing. But what remains when nothing else exist, is an Indian sensibility. This is woven in each and every shade of life that an Indian sees around himself. From sharing the additional sense of the every colour to the understanding of the mechanics of living within a society, the fact is that this knowledge exists within the framework of Indian values. This understanding that is uniquely called an Indian “sensibility” is what defines India.

Design in India is evolving every day. It’s on the level of development. Which is why when a lot of foreign brands began coming to India, they ended up increasing the risk in terms of design, making every company realize the importance of design, which is still ineffective. Design in India and designers with Indian flare are truly evolving. Indian design in all its forms from tools to machinery , from pins to computers, from brands to movies have had a spicy content that has been truly unique in them and the difference has to be felt and ionized rather than blamed..
In every market there is up and down trends and new industries and technology shifts.
The growing consumerism in India in its wake has brought about a remarkable challenge, opportunities and change with new behaviors, exposure to global brands, packaging and products. But what is still lacking is upbringing of real Indian designs and products.

Study

According to a study by word press Indian by Design and National Council of Educational Research and Training many organizations in India who have started their design and development division are facing the problems of not being able to managing design innovation and creativity yet the ideas, innovations and practices are innumerable. No design school/ management school in India offers formal training in managing design. The National Institute of Design (NID) describes the traditional practices but somewhere professionals indulge and prefer to practice overseas rather than working for their own country. Like there is an urgent need for the upbringing in handicraft sector and betterment in the lives of skilled people of this country .This overall thing has a lot of potential in it, but the government itself do not have time to look upon it.

Cause

Indian craft and its millions of practicing craftspeople are a huge and important resource of traditional knowledge and indigenous technologies. A common charge against Indians is that we have a great ability to visualize dreams but not the corresponding capacity to actually realize them and to implement that in progressive direction.

In the face of receiving Western influences and those that are more uncontrolled, Indian designers struggle with a sense of identities, the familiar and vernacular forms that described their identity are under attack by more powerful forces. At one side there is lack in positive sensibilities of modern designs and on the other already existing design sector i.e. handicrafts are deprived of any importance and that is main reason for Design outsourcing in our country and even consumption of products for e.g. here people are more interested in buying and consuming products from other countries rather than those manufactured in India only .the basic reason might be quality and whole aesthetic appearance of the product.

The problem is not just about the education but also process, culture and organization structure. Use of calligraphy, distinctive composition, use of space, simplicity, detail, discipline and sense of colour work in a way which actually make people want to buy things. So be it manufactured products or electronic products, design can cost money, yet add value so much so that the consumer is motivated to buy the product. And that what happens here.

Conclusion

Unfortunately, an Indian design doesn’t have its own identity in the world market till now and it has never recognized as inspirational design aspect for products. In saying that Indian designers have had an unprocessed deal is also incorrect but woken up to the mainstream design world seems to be a total wrong statement.

If somehow Indian designers and professional indulged in these sectors manages to get over this problem the future of Indian design is bright as the sun.