2011 Cluster Documentation

Fashion & Lifestyle Accessories DepartmentSemester-V

Documented by:

Anurag RaroliyaApril R. ThompsonNeetu Susan George

PratyakshaSonam KumariVijay Kumar

National Institute Of Fashion Technology,Chennai

ThanjavurThanjavur Painting and Veena Construction

Contents• Preface …………………………………….....…..…………..............

• Acknowledgements …………………………................………….…

• Thanjavur Distrct…….…………………………..............……..…….

• About Thanjavur ……….…………………..…………..............…… • Map of Thanjavur • History of Thanjavur and Chola Dynasty • Modern Thanjavur

• Crafts Bowl of the Thanjavur District .…………………............…… • UNESCO • Thanjavur Handicrafts • Brief Description of Thanjavur Crafts • Root Carving • Pith Work • Icon Craft • Thalayatti Bommai (Thanjavur Dolls) • Metal Casting Craft • Thanjavur Art Plates • Veena craft • Thanjavur Painting

• Thanjavur Paintings …………………………………….............. • Royal Family Maintaining the Tradition • Basic Characteristics of Thanjavur Painting • List of Tools and Materials including Souring • List of Employees including name and Job Title • Steps of the Process • Canvas Preparation • Chalk Paste and Kundan Stone Application • Gold Foiling • Painting • Framing • Marketing and Cost of Product • Our Thanjavur Painting • S.W.O.T. Analysis of Thanjavur Painting

• Veena Manufacturing ……………………………….............…… • Religious Significance • Aim of Playing Veena and Science in Veena • Basic Characteristics of a Veena • List of Tools and Materials used including Sourcing • List of Employees including name and Job Title • Steps of the Process • Wood Sourcing and Carving Initial Shape • Carving Resonator, Neck and Head of Veena • Filing and adding Carved Embellishment • Assembly • Finishing • Tuning • Process Chart of Veena Making

• Marketing and Cost of Product • Our Veena Model • S.W.O.T. Analysis of Veena • Learning Outcome

• Travelogue ……………………......……………………………... • Climate • Lodging • Transportation • Food • Sites Visited

• Bibliography ……………………………………………………..

Preface

Craft documentation is the study of the craft of a particular region. This book is a compilation of information on the Thanjavur Craft Cluster Bowl and general history on Thanjavur/ Tamil Nadu, a documentation of both Thanjavur paintings

and Veena Manufacturing and a narrative of our stay in Thanjavur for 15 days. We have collected the basic history of Tamil Nadu, focusing on the Chola Dynasty, of which Thanjavur was the capital, and Nayak Dynasty, from which the Thanjavur Royal family descends. Along with this, we have a brief description of life in ancient and modern Thanjavur, including our own time spent in Thanjavur.

Thanjavur is known as the art capital of Tamil Nadu and that can be seen within its rich history of bronzes, paintings and temples. We have done a basic research on the primary handicrafts of Thanjavur, along with a in-depth description of the history, production process and marketing of the two crafts we chose for our main focus: the famous Thanjavur Paintings and Veena manufacturing. For our cluster documentation we studied the art, craft and history of Thanjavur. After which we made minor alterations to the traditional craft to make it more appealing to a larger market. Finally, we took inspiration from the production process, as well as the historical and religious significance of our chosen craft, to create a modern product unrelated to the traditional art form.

The beautiful handicrafts of Thanjavur reflect is its strong cultural heritage. These crafts bear testimony to the areas rich past along with the culminations of skills, techniques and refinement handed down from one generation to another. Herewithin is an attempt to an ordered recollection of our memories, a gathering of endless pages of disjointed, hurried notes and a selection of enthusiastic photography. This document may be called a basic study of art in the Thanjavur region where traditions and values have remained predominately unchanged by the influence of modernism.

Acknowledgement

we would like to thank the department of Fashion & Lifestyle Accessories,NIFT,Chennai, for giving us the oppurtunity to have a cluster study and also for the support of the department during our trip. We extend our gratitude to Mr. Sambaji

Bhonsle of the Thanjavur Royal family for his gracious support and his generousite in teaching us the ancient art of Thanjavur Painting. During our time learning the Veena manufacturing process we received help from Mr. Narayan , we thank him for his readiness to share his knowledge and letting us work along side his crafts men.

Thanjavur District

Tamil Nadu’s Rice Bowl

The Thanjavur District consists of Thanjavur itself along with Kumbakonam, Natchiarkoil and Swami Malai. The district is grouped into the Thanjavur craft cluster, and all crafts are sold in the city of Thanjavur. The most notable city in the

district beside Thanjavur its self, Thirty-six kms north of Thanjavur and about 70 kms south-west of Chidambaram is, Kumbakonam on the banks of the River Kaveri, one of the oldest cities in south India. The quite and dreamy town is noted for it magnificent temple sculpture, jewellery, religious festival and the betel leaf. Once every 12 years a festival is held here at Mahamakkam sacred Tank, which devotees in thousands flock to the city to have a holy dip. Thanjavur is Tamil Nadu’s rice bowl and is most known as a tourist city for its Brihadeshwara Temple, which dominates the skyline nsylandscape. The strong arts history in the city as led to it being the center of the District.

About Thanjavur

Map of Thanjavur

History of Thanjavur and Chola Dynasty

Thanjavur, also known as Tanjore or Tanjavur, was the capital of the prosperous Chola Empire. It is today a small town, but still the ‘Art Capital of South India.’ The art traditions originated here a millennium ago, are still continued. The bronzes

made here are still the best, and in January every year a great music festival is held when master musicians in Carnatic music assemble here. The temple, fort and palaces of Thanjavur have been silent witness to the great cultural and artistic awakening that once it had experienced. Then it was also a great centre of trade and commerce and is rightly called the rice bowl of South India because of its agricultural prominence.

Tamil Nadu is flanked in the east by the Costal plains of the Bay of Bengal and bounded by Kerala in the vast and by Andhra Pradesh and Karnataka in the north. Kaveri is the main river that drains through Tamil Nadu before it merges into the seas with its wide delta. Territory south of rivers Krishna and Tungabhadra extending up to Cape Comorin is known as South India. South India is divided into three kingdoms namely Cholas, the Chera and the Pandyas of which Cholas was the most famous kingdom. The Cholas occupied present Thanjavur and the Trincnopoly districts with some adjoining areas. Thanjavur, an important city during the Vijayanagar, Maratha and Bristish period, was placed under one of the three Nayakships during the Pandyas kingdom, with two others at Madurai and Gingee. Until eight century the Chola kingdom was very small but gained importance from the ninth century onwards. The Chola dynasty placed its capital in modern day Thanjavur. The most important ruler of Chola was Rajaraja I. He was one of the greatest kings of the South India and was known as ‘Rajaraja the Great.’ Rajaraja I. Rajaraja defeated the eastern Chalukyas of Vegi, the Pandyas of Madurai and the Ganges of Mysore. His kingdom extended from Cape in the north to Comorin in the south. He conquered Sri Lanka, the Maldive Islands and Sumatra and other places in Malay Peninsula. He was not only an able administrator but also a great builder. He built a magnificent temple in Thanjavur that is in his namesake, Rajarajestwar. Brihadeshwara Temple, which dominates the entire landscape, was built by the Chola King Rajaraja. The 6.5 meter high tower of the temple marks the crowning glory of the Chola architecture. Dedicated to Lord Shiva this masterpiece of Dravidian art has its Viman crowned with a dome of monolithic rock granite weighing over 81.5 tons. This was hauled up inch by inch along an eastern ramp especially built for this purpose, and which extended 6 kms in length.

His son, Rejendra Chola, was also an able ruler like his father. He even went up to Bengal. He was victorious up to the Banks of Ganges. He assumed the title of the Victor of the Ganges. On his way he built a new capital called Gangaikondacholapuram and was the only Chola ruler to move the capital from Thanjavur. During his reign the kingdom was called the ‘Golden Age of Cholas.’After his death the capital was moved back to Thanjavur but the Chola kingdom began to decline. His successors were weak and so the kingdom started disintegrating. It is Serfoji II who was ruler in Thanjavur during the eighteenth century, after the Thanjavur Nayakship lost it’s royal authority, that the current Royal family of Thanjavur descends. Thanjavur is roughly split in two by the east west Grand Anicut Canal. The old town north of the canal was once entirely enclosed by a fortified wall. None of the Nayak secular buildings survive, but the Royal Palace Compound is still maintained by the Thanjavur Royal family. Work on the palace began in the mid sixteenth century under Sevappa Nayak, the founder of the Nayak kingdom of Thanjavur; the Marathas made additions from the end of the seventeenth century onwards. Around the compound are several reminders of Thanjavur’s past under these two dynasties, including an exhibition of oriental manuscripts and a superlative museum of Chola bronzes. Unfortunately, many of the palace buildings remain in a sorry state, despite various promises of funds for renovation.

Modern Thanjavur

The name Tanjavur is believed to have been derived from Tanjan, an asurain Hindu mythology, who is believed to have to have been killed at this spot by the Hindu god Vishnu. Also the name is believed to have been derived from Than-sei-oor,

it means the place is surrounded by rivers and green paddy fields but is mostly made up mostly of barren uplands sloping towards the east. Like many Tamil Nadu cities, Thanjavurs limits are fixed and marked by some temple which housed the ‘boundary deity’ The city, which is the eleventh largest city in Tamil Nadu, has a population of a 2,90,732 as of 2011 and is well-connected by roads and railways with other with cities and towns in Tamil Nadu along with the rest of India. The nearest airport is Tiruchirapalli International Airportlocated at a distance of 56 kilometres. The nearest seaport is Nagapattinamwhich is 84 kms from Thanjavur. The town sits at an elevation of 77 metres about sea level and has a landmass of 36 square kms. The average high temperature in the summer is 40°C with a slight decline to 38°C in the winter.

Thanjavur’s economy is mainly agro-based. The city acts as a focal point for food grains transported from the adjoining areas of the Cauvery Delta. Agricultural Cultivation has been the major occupation of the local inhabitants of Thanjavur as the land is ideal for growing crops like Rice. Organic farming is gradually being known to the farmers of Thanjavur. In order to maximize agricultural produce organic farming is being implemented. The city is known as the rice bowl of Tamil Nadu. The major crops other than paddy include blackgram, banana, coconut, gingelly, ragi, red gram, green gram, sugarcane and maize.

The Indian Institute of Crop Processing Technology (IICPT) is located in Thanjavur. The Institute tests a variety of Food Processing Technologies that suit cultivation of the crops and Consumers. The institute conducts many training programs and also delivers training to Research Scholars every year. In fact Thanjavur is well-known for its education. The Tamil University is based in Thanjavur and is a home to the Saraswati Mahal Library which dates back to the end of the 16th century and contains over 30,000 rare manuscripts. The Thanjavur Medical College was established in 1959. The Paddy Processing Research Centre (PPRC) later became the Indian Institute of Crop Processing Technology (IICPT) in 2008 has made Thanjavur a food processing hub. The St. Peter’s school at Thanjavur was established by Rev. C F Schwartz and was the first school in South India which taught English to the local populace. Christian Missionaries have played a prominent role in promoting education in Thanjavur.

Craft Bowl of the Thanjavur District

World Heritage Government Certification

The United Nations Educational, Scientific and Cultural Organization (UNESCO) seeks to encourage the identification, protection and preservation of cultural and natural heritage around the world considered to be of outstanding value to

humanity. This is embodied in an international treaty called the Convention concerning the Protection of the World Cultural and Natural Heritage, adopted by UNESCO in 1972. UNESCO’s World Heritage mission is to help each State Party to safeguard World Heritage properties by providing technical assistance and professional training, provide emergency assistance for World Heritage sites in immediate danger, create public awareness building activities for World Heritage conservation, encourage participation of the local population in the preservation of their cultural and natural heritage and to encourage international cooperation in the conservation of our world’s cultural and natural heritage. The Thanjavur Brihadishwara Temple falls under the UNESCO initiative, along with many of the Thanjavur crafts. This certification helps preserve the crafts of the area and our world’s history.

Thanjavur Handicrafts

The office of the Development Commissioner (Handicrafts), Ministry of Textiles, Government of India under their ‘Baba Saheb Ambedkar Hatashilp Vikas Yojana (B.A.H.V.Y.) scheme has promoted cluster via the pith work and root carving craft, metal casting/iron craft, Thalayattii Bomani (Thanjavur dolls) craft, bell metal craft, Thanjavur art plates craft, musical instruments craft and the Thanjavur painting craft. This scheme is implemented through the Small Industries Product Promotion Organization (SIPPO) which assists in organizing skill training, design development, exhibitions and other market promotional activities for these crafts, helping the cluster to operate successfully.

After the intervention of the B.A.H.V.Y. scheme, the local artisans are given input on manufacturing of customer oriented items and fusion of design of all works. The artisans have capacity to execute bulk orders of their particular craft. Beyond this initiative, the Thanjavur Handicraft Society has also been formed among the artisans of this cluster. Within this society, awards are given and the selling of each craft within a large craft showroom is coordinated.

Brief Description of Thanjavur Crafts

Root Carving

Based in Kumbakonam, root carving features Erikammbu root wood carved into figures of Lord Ganesha. The outer skin is peeled out by using a sharp knife to uncover the roots natural white colour. The root is shaped and designed with a simple

tool knife. The figure is left as such without colouring.

Pith Work

Under the same production as root carving in Kumbakonam, pith work features the soft and pliable weed that grows underwater (mainly rivers, lakes and ponds) shaped into creative designs. Pith work was traditionally used to decorate

palace walls. Popularly known as ‘Chola Pith’ in West Bengal and Netti or Thakkai in Tamil Nadu, this wood is used for making miniatures of real life architectures or monuments, chariots, churches and temple carts. The craft as also been used by developers to make miniatures for production planning. Production of a smaller work is only a day and pricing varies from Rs 300-2,000. This craft is a seasonal craft with most production occurring during the summer because the monsoon season makes the wood too damp to work on.

Contact Information:Thiru K. A. Chokkalingam, Prakasam Pithwork

(OPP) Head Post OfficeHead Post Office Road,

KumbakonamTel: 0435-2421807

Icon Craft

One of the ancient traditions of Swami Malai in Tamil Nadu is the craft of making icon craft bronze icons made in the Chola style. This craft has attained its supremacy during the rule of the Guptas. The images of gods and goddesses in different

postures are made by a wax process of casting. In the casting process, the icon first made of bee wax and then covered with a mud mixture (plaster of paris will be used if the order is rushed, otherwise the workers prefer the primitive mud mixture). After baking, bronze or brass is poured into the mud mold. Hollow bronze/brass icons take more work than solid icons. The largest icon made is a 3 ton horse that takes four months in production costing Rs 25,00,000. The general cost of the brass is Rs700 with the metal work production at Rs 15,000 per piece.

Contact Information:Swamimalai Icon Indl. Coop. Society

North East RajaveedhiSwami Malai

Tel: 0435-2454433

Thalayati Bommai (Thanjavur Dolls)

Thanjavur is known for its dancing dolls as much as the dancing dolls are known for Thanjavur, a craft that has been practiced since 1776 B.C. These dolls earn their name from the prominent swaying heads of the dolls that are balanced

from the pointed neck. The dolls are made from Kaliman (clay) and then coloured. This craft requires a high degree of skill and product only occurs in the summer since the clay cannot properly dry during the rainy season. For that reason we were not able to visit the craft during the cluster trip.

Contact Information:Thiru Boopathy

Saliya Street,Mariamman Koil

Metal Casting Craft

The metal casting craft, traditional to Natchiarkoli of the Thanjavur district, is used to primarily cast Anna Vilakku lamps (pooja lamps). These lamps are considered auspicious and are used regularly in pooja rooms and in all religious festivals.

These lamps are available in various designs and sizes. Apart from lamps, many utility oriented items, such as bells, are being manufactured.

Contact Information:Natchiarkoil Bell Metal Works

Kamalar Street,Natchiarkoil

Tel: 0435-2466470

Contact Information:Thiru Gamesan

Nanayakara Chetty Street,Thanjavur

Tel: 93-4460230

Thanjavur Art Plates

The Thanjavur art place is the art of engraving and embossing beautiful figures and images of different sizes and shapes on metal, mainly silver, and fixing them on brass or copper plates. Made popular by Sarbhoji Raja but found 200 years later

for a Maratha King, this is a traditional art work handed down by generations. The designs follow a theme, mythological or non-religious, and occasionally have special motifs, such as company logos, on request. The metal sheets are heated up and hammered onto a mold. After, wax is poured on the backside of the metal sheet so maintain impression. The various pieces of metal sheets are attached with rivets and polished with a brass brush, karithol powder and drinking water for a good finish. Generally the art plates are generally round and mounted on a wooded frame. The plate production is privately run by Gamesan in Thanjavur, but is part of a cooperative society.

Veena Craft

A Veena is a traditional stringed musical instrument used during religious ceremonies and festivals. Jackfruit wood is carved into a belly, neck and head shape, and then connected to form the 6-7 kg instrument. Popular in Chennai and Kochi, the

Veena has a detailed, carved surface and is handed tuned. The production is spread across several groups of artisans, often making the instrument in their own homes.

Contact Information:Musical Instrument Workers

Ind. Coop. SocietySouth Main Street,

ThanjavurTel: 0436-2237213

Thanjavur Paintings

The term Thanjavur painting refers to a certain style of painting which reached a characteristic form in the Thanjavur area during the Maratha period. The paintings take the name of their place of origin, and generally are of Hindi deities

ornamented with gold foil on an embossed surface. The painting’s colours are strong and vivid applied with a flat bush stroke. The tradition is now maintained by the fifth generation of the Marathan King Sefoji II.

Contact Information:Thiru Sambaji

Palace Compound,East Raja Veedhi,

Thanjavur

Thanjavur Paintings

Thanjavur Paintings

Royal Family Maintaining the Tradition

The Thanjavur style of paintings started to gain popularity under the reign of the Marathas during the sixteenth and seventeenth century, but the style originates from the Chola dynasty during the ninth century; a dynasty that strongly

promoted art and literature. Today most of the product is handled by Sambhaji Raja Bhonsle, a fifth generation descendant of the Marathas Serfoji II of the Bhonsle clan. Serfoji ruled Thanjavur from 1798-1832 until his death and first popularized the paintings. Sambhaji has taken the craft that was merely a hobby for his ancestors, including his father and grandfather, then made a business out of the painting production. He has taken one section of the Royal palace, where the Royal family still resides, and dedicated it solely to painting production. Sambhaji himself, who has been in business for twenty-five years, learned the craft under the palace painters at a young age. He holds a Tamil Nadu State Award for one of his paintings, a masterpiece weighing 750 kg worth over Rs 25 lakhs, along with the Tamil Nadu Chief Minister Award and a Chandigarh Chief Minister Award. The paintings are exported to Singapore, Malaysia, the United States and many European countries at buyer’s demand. In order to prevent the extinction of the craft, ten government selected students have been chosen to receive painting production training free of cost.

Example of early Thanjavur Paintings Another early Thanjavur painting

Members of the Thanjavur Royal Family

Basic Characteristics

Thanjavur paintings are known for their elegance, rich colours and attention to detail. The themes for most of these paintings are Hindu gods and goddesses and sense from Hindu mythology. The main feature of the paintings is the

elaborate 24 carat gold foil pasted over textured detail (usually more floral motifs) made with a chalk powder mixture along with sparkling Kundhan stones in various colours. The early paintings were embedded with real diamonds, rubies and other precious stones; but as the paintings become more popular, the use of semi-precious and artificial stones became more common. Most paintings have a glass mirror border bordering the main image. A typical painting has one main figure, most often a deity, with a rounded body and almond shaped eyes. The background of most paintings is red, a distinctive mark of Thanjavur paintings, with the main figure depicted in white, yellow, green and blue. The deity is often surrounded by an arch or curtains covered in the gold foil. The gold foil is also used to highlight certain aspects of the painting like dresses, ornaments and jewellery worn by the deity. Each painting is framed before being sold.

Sambaji’s Gallery

List of Tools and Materials including Sourcing

Name Information Sourcing

Arabic Glue/Gum This herbal glue protects the wooden board and the painting from termites

Purchased from a nearby Medical Shop

Carbon Paper Used to trace sketch on canvas Purchased from a nearby ShopChalk paste Mixed with Arabic Glue to create chalk paste, used

for painting detailing and canvas smootheningPurchased from a local shop

Glass Mirror Cut into rectangles and placed as a border on the canvas

Purchased from local shops

Herbal Solution Crushed Chukkan (a hard rock) mixed with Tamarin seed glue

Purchased from a nearby shop

Kundhan Stones Sized from 2mm-8mm Purchased from local shops at Rs 1-10Mirror Cutter A small sharp point with handle used to cut glass Purchased from local shopsPaint Brushes Size # 0,1,2,3,4,5,6 Purchased from a nearby Stationary ShopPoster Paint Used to create a matte finish Purchased from a nearby stationary shopSandpaper Used to polish canvas surface Purchased from a nearby shopTweezers Used to help lay gold foil Purchased from a nearby shopWooden Board Originally Jackfruit wood, now plywood is used. Purchased locally from any wood working store. 24 Carat Gold Foil Glued onto a thin paper before application on the

paintingPurchased from Jaipur at Rs 20,000 for 160 sheets

Arabic Glue/Gum Chalk Paste

Materials

Gold Foil

Kundhan Stones

Tools

Glass Cutter

Tweezers

Paint Brushes

List of Employees including Job Title

For practice in this painting, at least two years of training is need. Three trained craftsmen head the production with some additional assistant in gold foiling from less trained workers. Ragahavan is in charge of the overall production. Each of

them earns Rs 10,000 monthly wage. As help to Karthi with the gold foiling work, two other working work along side, each of them earning Rs 4,000 monthly wage.

Name Job TitleBhaskar Embossing and Design WorkKarthi Gold FoilingRaghavan Painting/Colouring

Bhaskar

Karthi Raghavan

Steps of the Process

The process of making a Thanjavur painting involves many stages. Before the painting begins, the chalk paste is prepared days in advance. Chalk powder is put in water and kept aside for two days. Then Arabic glue is added, mixed and filtered.

The batter is used for embossing has more water whereas the detailing work is a thicker mixture.

1. Canvas Preparation

The plywood is covered with a chalk paste-soaked cotton cloth and again layered with the chalk paste mixture. The board is covered with two layers of this cloth. Next, two layers of an herbal solution are applied on the canvas to preserve the wooden base and cotton cloth covering. To polish and smooth this surface, granite stone is rubbed on the canvas. After surface is polished, a detailed sketch is traced onto the canvas using a carbon sheet.

Prepared Boards Initial sketch showing plywood backsidePhotocopy of sketch that will be traced onto board

2. Chalk Paste and Kundan Stone Application

In select points on the painting, usually on the border, jewellery and pots Kundhan stones in various colours (usually red, green or white) are glued to the board. After the stone application, the chalk paste is applied as embossing on the decorative borders, arches, dresses, thrones, curtains, jewellery, pots, weapons or any furniture in the initial sketch. The chalk paste is applied in two layers. The first layer is a thinner chalk paste that creates a slightly elevated surface. Sandpaper is used to polish this layer after it has dried. The second layer of chalk paste is thicker and used to create minute detailing. Once both layers have dried, the surface is rubbed with a damp cloth to remove any cracks.

Kundhan stone application First layer of chalk paste

Chalk paste embossing

Finished Detailing

3. Gold Foiling

After the applied chalk paste dries, gold foiling is applied. Originally, the thin gold foil sheets were delicately applied. In order to make this process for comfortable for the craftsmen, the gold foil is glued onto thin paper so that the foil is less prone to ripping. First an impression is made of the detail on the gold foil by plane the foil sheet of the detail and gently pressing with a cloth. That shape is cut out and Arabic glue (called herbal glue by Karthi) is applied to the back of the foil. The foil is applied by gently pressing with a cloth. A thin razor blade is used to clean the edges. A pen is used to highlight minute detailing. Finally, black paint is used to draw small lines on the gold paper to further show highlight the details.

Creating initial impression

Cleaning edges with thin razor

Deepening impression with pen

Applying black lines to highlight details

4. Painting

Paint is applied in three steps. The first step is a light base to create initial color, mainly the background. The second base is added texture and shadowing. The third base is for detailing. In each step, the poster paint is diluted with water so that as it dries smooth and without visable paint strokes. In the past, artists used natural colors like vegetable dyes, but poster paint is now preferred since it proves brighter shade contrast.

First layer of paint

After adding shadow

5. Framing

At this point, the painting is completed. Two types of teak wood frames are used: plain style and the Chettinad style that has more ornamental design details.

Example of framing

Process Chart of Painting Making

Current contact information for purchasing or inquiry:

B. Sambaji Bhonsle, Director of Painting ProductionPalace Compound, East Raja Veedhi, Thanjavur

Tel: 0436-2273127

Thanjavur Showroom,Railway Station Road, Thanjavur – 613 302

Tel: 04362-230060

Chennai Showroom, 108, Anna Salai, Chennai 600 – 002

Tel: 044-28520624, 28550157

Marketing and Cost of Production

Although the paintings have a rich royal history, they now hang in offices and homes. Some do seek the paintings for their original religious purpose; as an ornate decoration of puja rooms. The paintings are sold at several show rooms in

Thanjavur but can also be found in nearby cities such as Mamallapuram, Ooty, Salem, Tirunelevi and Chennai. Works commissioned can be purchased by contacting Sambaji at the Royal Palace compound directly. The paintings size varies from a small ‘post card’ size to a three by four meter masterpiece. Most of the painting sales are between Rs 5,000-Rs 1,00,000.

Our Thanjavur Painting

Our Thanjavur Painting

During our trip, we made one painting to better understand the manufacturing process, the image of baby Krishna, and another as a slight variation of the traditional technique. In our variation, we maintain the traditional embellishments with

the chalk paste, but also added the paste to all parts of the main image as to take advantage of the paintings unique raised surface. We maintain the bright colours characteristic of Thanjavur paintings, but slightly changed the paintings main subject away from its usual religious context. In relation to Krishna, we choose a peacock. Within the peacock design, we echoed the floral motifs in the chalk paste embellishment to keep the main spirit of the Thanjavur paintings.

S.W.O.T. Analysis of Thanjavur Painting

Strengths • World renowned painting since the eighteenth century • The paintings three dimensional texture and unique technique of gold foiling • Easy availability and handling of raw materials • Low capital investment and minimal man power required at initial stages • Easy establishment and development of production centres • High value added products

Weakness • Low-quality paint used in painting • Lack of skilled labour due to low interest • Still confined to rural areas • Lack of promotion and marketing of the product

Opportunities • Rise in demand for the craft • Promotional activities such as the national and state award events for the paintings • Training young students free of cost to preserve the craft

Threat • Religious subject inhibits marketing to non-Hindu’s

Veena Manufacturing

Veena Manufacturing

Religious Significance and History

If there is any instrument that has earned the status close to godliness and managed to mesmerize the audience with its soothing melodies, it has to be the Veena. Veena is a popular Carnatic music instrument that is said to be many centuries old. Western music scholars believe that the instrument has many characteristics that belong to European style lute. The Veena has many discrepancies in sound and shape it has been customized and improvised over the decades to create a unique style from the lute. This 1.5 meter long instrument has two drones on both the side to give it an even balance and is connected with four different strings along with frets that give different harmonics than any other music device. Veena being an age-old musical instrument holds religious importance and also symbolizes ancient culture and heritage in southern India. Today, this art form is almost on the verge of being extinct, despite efforts to revive it.

The history of Veena dates back to the Vedic period, which is about 1500 BCE. The legend states that it all began when a hunter first discovered a different sound from his bow when it began to vibrate. The curious hunter tried various grass roots and animal fiber to create music, which in turn gave birth to the formation of Veena. Once the basic structure of the Veena was formed, further changes took place to bring about a distinctive sound. In the olden days this instrument had very few frets but today the Sarswathi Veena is said to have 24 frets on it. Besides this, the instrument also has religious association, as it has been described in many sacred texts that as goddess Sarawati playing this instrument. She is also represented as the Goddess of Knowledge. One who masters the art of playing this musical device is said to attain deliverance from the cycle of birth

The Veena performance in the ancient times used to be accompanied during the chants of the Yagya as a way to please to the gods and goddess. It soon became an important source of entertainment as many musicians where seen playing them in royal courts and in temples. With growing globalization, the influences of western music diminished its importance in the country. Today however you can find several musical festivals such as the National Veena Festival in India and the Thayagraja Concert in Chicago and in Thanjavur to promote and encourage aspiring musicians. The music concert does not only help retain an ancient culture but also cater to a global audience.

Aim of Playing Veena and Science in Veena

The musical instrument (Veena) represents the spinal cord important in physical, emotional and spiritual aspects of life.The Sarva Raga Mela Veena of Raghunatha Bhoopala is today’s Saraswati Veena. Prior to Saraswathi Veena, the Veenas

which were used were not as convenient as Saraswathi Veena. The production of Saraswathi Veena is the result of many experiments conducted by sages and vanikas.

The 4 strings bear the Suddha Satvaguna. The 24 frets get their importance by the nada produced from them and not because of the metal used.As we see in the universe the three states viz., creation, sustenance and merger (Srusti, Shiti and Laya) even in Nada we see the same three states. Likewise, the 24 frets representing 12 Sruthees in two octaves (24) indicate the 24 letters (Aksharas) of GAA Y A THRI MANTHRA.“TAT SAVITUR VARENYAMBHARGO DEVASYA DHEEMAHIDHIYO YONAH PRACHODAYAT”.The importance of various chakras in spiritual path is well known. Below, the productions of various seed-sounds in relation to various chakras starting from Mooladhara at the base are shown. The Vedic representation of the human spinal cord as the musical instrument (Veena) is shown in the next figure. The 24 frets of the instrument are analogous to the 24 cartilages in the spinal cord. as we seen above the number 24 also relates to the 24 syllables in the Vedic Gayatri mantra.

Veena has been compared to human body. The human back-bone (Spinal Chord) stands straight from the Mooladhara (the seat of the body) up to the head. In the top of the head exists the Brahma Randhra. Just like the 24 frets of the Veena, human back bone has 24 divisions.According to the anatomy, the back bone has 7 cervicles, 12 thorasic and 5 lumbar vertibrays.In Veena the distance between each fret is broad in the lower octaves and becomes less while proceeding towards the higher octaves.Similarly the back bone is thick at the Mooladhara and the distance between each ring becomes less while proceeding towards the Brahma randhra.This shows the resemblance between the Daivi Veena and man made Veena. So it is definite that to attain Moksha nada yoga is a correct path, and for practising nada yoga Veena is an appropriate instrument.Hence Veena is considered to be Moksha dayaka liberating instrument. Many Gods have played many instruments but only Veena has been given such Godly sacred position.

Basic Characteristics of a Veena

It's a known fact that the Veena is an ancient instrument that has undergone several changes. Every Veena has the basic shape of a Kuddam, neck and head along with some carving detailing and musical strings and 24 frets. There have been

many versions of the Veena. To begin with, most of us are familiar with the Saraswati Veena which is commonly played in many events even today. Rudra Veena which is said to be an instrument played by Lord Shiva according to scholars is now completely declined. Vichitra Veena like the name suggests is a distinctive kind of veena that does not have any frets and looks similar to the Gottuvadhyam. Kolkata craftsmen have been well known for creating the best Saraswati Veena and Thanjavur artisans are famous for producing some of the finest Rudra Veena and Vichitra Veena in the world. However, until date, Veena continues to undergo various changes. There are many modern day versions to it such as Ranjan Veena and Mohan Veena. While the former looks similar to the sitar, the latter has a close resemblance to the guitar.

Components of Veena

List of Tools and Materials including Sourcing

Local Name Description/FunctionAdi Gol ScaleArak Glue heated up and then used to attach plastic sheetsAram FilerBitt Used to make decorate holes on the sidesBlade Hacksaw bladeBrush For touch upsChinna Sutti Small HammerKatti The metal pieces on the Veena; 24 pieces for 24 tonesKuthusi Needle at the end of the Tamra KuduMadal Uli Steel tool used to make the inside of the Veena hollowMadu Used for hammeringMani Pearle-esque material used to decorate the VeenaMuppat Aaram Used to sharpen toolsOna Koradu Used to tighten stringsPatta Sali Emery sheet sand paper used for wood and metalPose Kambi Cycle Spokes used to attach strings onto VeenaPudi Vetti Scissor device used for cuttingPudichiravi Clamp used to hold wood and metal pieces when cutting or filingRambam Saw used to cut woodRambatule Mixed with Fevicol, plaster of paris, manjal and kaaram; used to cover gaps on the resonator Rojanam Plastic colour stick that is heated applied to the Veena for decorationSaanakkallu Oil stone-esque material used for sharpening tools

Sathuram Handle made of dear horns (maan kombala Paliu)Solution A rubber mixture that is used to stick plastic sheets onto the VeenaSutti HammerTamru Kudu & Villi Kadi

Manual wood driller

Varuvu Katta Used to mark straight linesVettu Koradu Used to cut wire strings affixed to VeenaYala Padi Grater used to flatten and smooth surface

List of Employees and Job Title

Within the group of craftsmen that we visited each had followed the same line of work as their father and had learned most of their skills in a family setting. Of the workers we met, the following did the majority of the work.

Name Experience JobM. Narayanan 40 years Owner of Veena manufacturingMuthu Kumar 25 years Veena manufactoring (head craftsmen) R. Rayar 30 years Sources wood for Veena and thabal a MeruthalamSandep Kumar 7 years Wood carving and Veena constuctionShekhar 28 years Wood carving and filingV. Shanker 7 years Tools management

Skekhar, Anurag Raroliya, Muthu Kumar, Vijay Kumar, V. Shanker

Carving initial shape Jackfruit wood before carving begins

Steps of the Process

1. Wood Sourcing and Carving Initial Shape

The Saraswati Veena is one of the most ancient and revered of south Indian instruments. It is attractive and the highest quality Veenas have the entire body carved out of a single block of jackfruit wood. The ordinary style is made of three sections; kuddam, neck and head. The Veena carving is a road side venture under a shady tree right outside a local park. The open space allows room for the craftsmen to carve the log into the initial Veena Shape. No molds are used for the carving, just years of experience.

Yali Carved by Villi Kadi’s

Chiseling in process One piece Veena after chiseling

2. Chiseling the Kudam, Neck and Head

In a small workshop, the surface of the initial Venna shape is smoothed and given a definite shape. Even the smaller parts like the vallarm, gaddi sakai and dandi are given detailed chiseling. There are no guides for the work, only skill gained through years of experience

3. Colouring, Filing and adding Carved Embellishment

Before the grooves are carved on the Kuddam, it is scraped to make the surface even. Filers are used to make the surface even smoother. The filers used are of different shapes, sizes and textures for each particular use. Groves in the Veena for decorative embellishment are made by a needle and hammer. The groves have no set width. Some Veenas have embellishment of melted colours, rojnam, onto a strip of mani glued to the Veena.

Carved detail Melting colours into plastic strips

4. Repair of Any Defects

Small pieces of rambatule are melted and stuck together on one end of a wooden stick. As this gum keeps melting, more pieces are stuck until a large lump is formed. After kneading, the glue is left in water to cool. Meanwhile, one and half inch strips of cardboard are cut with a sharp chisel to create bandages. When the rambatule melts, the bandage is place on any cracks and pressed quickly. When a natural defeat is too large to fix with a bandage, another piece of wood is affixed with a joint with Fevicol.Majal and kava is also used to hide any cracks and given additional finish.

Kava (marron) and majal (yellow)

Assembly Nearly completed Veena

5. Assembly

All the joints are stuck by a natural tree gum. The gum is heated and applied between the two parts, then allowed to cool for a strong joint. The strips are nailed inside the dandi. The gaddi sakai (the part of the instrument that holds the frets) is fixed into the dandi by nails which fall over the wooden strip.

6. Finishing

After the assembly of all the parts, the Veena surface is given a final smoothening with sandpaper, making the surface very soft and smooth. Due to the nature of a natural material like wood, there are different coloured areas of the wood. Sawdust is mixed with Fevicol and applied to the wood to create a even coloured surface. Then dark strokes are applied to mimic the appearance of wood grain. Finally the surface is rubbed with a fine powder that gives the surface an even, natural look.

Smooth Finish

7. Tuning

At this point the Veena construction is complete. Honey comb wax is melted and fixed on the gaddi sakkai. At this point the 24 frets are pressed into the wax at particular places determined by the ear of a highly trained craftsmen and correct distances.

Heating coal to soften wax

Tuning

Process Chart of Veena Making

Marketing and Cost of Production

This is evident from the innumerable treatises on music in ancient India and famous sculptures in ancient places of worship depicting musicians. Gods and Goddesses are often depicted playing various instruments; particularly the Goddess of

learning and the arts, the Goddess Saraswati, whose image is never seen without a Veena. The Veena still maintains its religious function and is often used for religious events and festivals across India. Its main attraction is the mellow tonal quality, which is capable of evoking a meditativeatmosphere. Thanjavur veenas are manufactured in great numbers, while many still remain rural and a small-scale industry. There are around 30 families in the town dependent on making this musical instrument for their livelihood. Assembled Veena’s can be purchased at several local Thanjavur crafts stores in the district. Pricing is from Rs 12,000-15,000.

Musical Instrument Workers Ind. Coop. SocietySouth Main Street,

ThanjavurTel: 0436-2237213

Thanjavur Showroom,Railway Station Road, Thanjavur – 613 302

Tel: 04362-230060

Chennai Showroom, 108, Anna Salai, Chennai 600 – 002

Tel: 044-28520624, 28550157

Contact Information:

Our Veena Model

Because of the highly labor intensive nature of the Veena, we were unable to construct one for the cluster documentation. With our own improvisation, we created a small Veena model using a coconut shell and spare wood. As a variation of the

original shape, we replaced the Yali with a spiral like design and added one additional engraving for oil. We hoped that changing the Yali would give a modern touch to an ancient instrument so that music lovers could play it without the religious context. Adding the extra groove would give space for oil, an essential tool for playing the Veena.

Constructing our Veena model

SWOT Analysis Of VeenaStrengths • Strong devotional and spiritual context • Low labour cost resulting in a competitive price • High value added product • Potential source of foreign revenue because of high export (ex. high sales in Singapore) • Low capital investment • No reliance on electricty for any step in manufacturing • No excess pollution during the manufacturing process

Weakness • Lengthly production time (10-15 days) • Due to vast deforestation, low availability of whole piece jackfruit tree (as a result multiple pieces of wood are joined together, reduing Veena lifespan and quality) • No advertisement or promotional activities (i.e. mass marketing) • Little knowledge of origin and purpose by both the craftsmen and consumer

Opportunities • Rising demand for craft in developed countries • Inclusion in goverment school syllabus, education potiental customers • No competition

Threats • Inadequate knowledge about the new technologies • Lack of interest in learning the craft • Still confined to rural areas • Youth less interested in religious music (tending toward western-style music)

This cluster initiative was an opportunity for us to observe the art and beauty of the Tanjauvr craft while gaining knowledge of the craft techniques. The crafts of the area require years of experience, and because of this we learned more about the

process and history of the crafts rather the acquiring the craft’s skill. The twelve days spent Thanjavur gave us exposure to the origin and art of the district’s craft cluster. Thanjavur is peaceful and serene. The Big Temple is a truely awesome example of the Chola dynasty’s craftsmanship. It is an example of intricate work and construction without modern technique and tools. The art of Thanjavur is produced with the same techniques and in the same spiritual context used by its ancient craftsmen. Modern man’s thought is often clouded by new technology and profit and is therefore unable to make the Thanjavur are in the same spiritual context with the same quality. The delicious food of Thanjavur, presented on a banana leaf and completed with betel leaves, of Thanjavur, is not only impressive but gives both physical and mental rejuvenation. Although serving plates are abundant in Thanjavur, people prefer eating on banana leaves. This customs is a result a belief in conserving the natural, God-given resources by using natural, abundant materials rather than sparse, made-man materials. During our cluster we learned the general skills of the Thanjavur paintings and Veena manufacturing. The unique techniques’ in Thanjavur paintings we had a chance to learn include gold foiling on embossed detailing, the delicate application of chalk paste and the flat application of paint. Each required practice and patience. While our efforts were genuine, it became obvious we needed more experience and a proper mindset to reach the skill level required for the paintings. Veena manufacturing gave exposure to both wood working and construction of musical instruments; including note placement and string tuning in which we had no previous musical knowledge. Again, both required years of practice and the patience of a spiritual mind.

This cluster initiative taught us how to communicate without knowledge of the regional language. This also gave us a chance to work as a group; patiently considering the opinion of others, making group decisions and acclimating to the regional environment.

Learning Outcome

Travelogue

Climate

Thanjavur is well known as one of the hottest cities in Tamil Nadu. During our visit to Thanjavur the city remained dry and dusty with a desert like sun. While Thanjavur was hot, we escaped some of the heat in the Royal Palace compound. The

palace’s construction was mainly thick stone that acts a natural air conditioning. Thanks to the central organization of the city, we stayed only a short distance from both the Palace compound and the Veena manufacturing. In order to respectfully blend into the towns culture, as a group, we dressed in ethnic wear which provided some relief from the heat because of the loose fit and dupatas covering the girls head from the glaring sun.

Lodging

Most of Thanjavur’s hotels are concentrated in the newer part of town, within striking distance of the railway station. They tend to charge higher rates than you’d pay elsewhere in the state, and there’s very little choice at tvhe bottom

of the market. We did experience some trouble finding a room, considering how popular the city is for filming Tamil movies. Immediately after arriving in Thanjavur, we rushed to Ashoka lodge just down the street from the bus station. We managed to book two rooms in the lodge equipped with fans, a television and two beds each.

Ashoka Lodge93, Abraham Pandithar Road,

Thanjavur 613 001Tel: 04362-230022

Transportation

Some buses from Chennai and Puducherry pull in at the old-long distance State bus stand, opposite the City Bus Stand, in the south of the old town. Other services from Madurai, Tiruchirapalli and Kumbakonam, stop at the New Bus Stand,

inconveniently located 4 km southwest of the center, in the middle of nowhere. Taxis into town here cost Rs 100, or you can jump on one of the 74 buses that shuttle to and from the center every few minutes. The railway station, just south of the centre, has a computerized system for booking trains to Chennai, Tiruchirapalli and Rameshwaram. During our stay we strongly relied on the close proximity of the town and mostly walked with the occasional late night auto. Thanjavur is an important railway junction of the Southern Railways. Thanjavur is connected by rail with most important cities and towns in India. We took a sleeper train to Thanjavur from Chennai that took roughly seven hours.

Food

All meals during the trip were eaten at local restaurants with most our lunch being a typical south India meal. The meals are characterized by banana leafs laid on Thali’s with cups of different gravies and sweet pongal. Rice was given in a heaping

scoop with popards served to at crunch to the lunch. Most of our meals ended with paan that was completely edible. That mixed with endless pack of biscuits and aloo bhujya was our main diet during the trip.

Sites Visited

During our stay we had the chance to visit the Brihadeshwara Temple. The first day we got to Thanjavur we immediately visited the temple. In the sanctum of this temple, under the superb tower, is enshrined a huge Shiva Lingam. The temple

stands encircled by a huge courtyard with cloisters. Before the sanctum lays the Nandi Bull, the second largest of its kind, made of a single block of black granite. The thirteen story tower is covered with fine sculptures including those depicting the one-hundred and eighty poses of Natyam enumerated in Bharat’s classical Natya Shashtra. The inner walls are decorated with excellent paintings and frescoes reminiscent of Ajanta cave paintings.

Biblography

• Jacobson, Doranne. ‘India: Land of Dreams and Fantasy.’ Korea: New Line Books Limited 2006

• Kandpal, Pawan. ‘Indian Culture and Civilization.’ Jaipur (Rajasthan): ABD Publishers, 2007

• Kishore, B. R. ‘A Travel Guide.’ New Delhi: Fusion Books, 2008

• Mehta, Arun. ‘History of Ancient India.’ Jaipur (Rajasthan): ABD Publishers, 2004

• Subrahmanian, N. ‘Tamil Society History (Volume II).’ Chennai: Institute of Asian Studies, 1998

• Thanjavur Government. http://www.helloindiatravel.com/gifs/thanjavur-map.gif. Nov. 22nd 2011

• UNESCO ‘http://whc.unesco.org/en/list/250.’ Accessed at 10:55 a.m. Nov. 20th, 2011.