P. SANJAI GA.

IIDIII
GOVT. PLEADER OTT'ICE.
AI}DL. GOVT PLEADER
HIGH COURT MADRAS 6OOIU
I ellectud Prop€rty Rigbts CELLNO.9El'M22474
Attorrcy

Date:15.12.2017

Tq
The Registar of Geographical Indications.
Intellectual Property Office Building,
G.S.T Road, Guindy,
Chennai - 600 032

Respected Ma'am/Sir,

due respect, I hereby enclose.Geographical Indication apprication

lvith for.?uttapaka Telia
Rumal" under the Geographical Indication ofGoods (Registration
& protection) Aci 1999 and
Rules, 2002 on the behalfofrhe consortium ofputtapaka Handloom
cruster -IHDS, for the
oonsideration of Geographical Indication.

Demand Draft ofRs. 5000/- only is annexed thereto.

Details of the Demand Draft are as follows: No. 53g072 dated,

17 /tl /2017.

Kindly acknowledge the application.

It is hereby informed that the following documents are enclosed:

i) Forn GI- I (A).
ii) Form of Authorisation.
iir) Affidavit filed by Applicant.
iv) Annexures I, II, n, IV, V, VI, V[ VIII, D(.
v) CedificateofRegistration.
 nuuilililruuJil

THE GEOGRAPHICAL INDICATIONS OF GOODS

REGISTRATTON & PROTECTION) ACT, 1999

(To be filled in triplicate along with the Statement ofcase accompanied by five additional
repres€ntation of the geographical indication)

One rcpresentation to be fixed within the space and five others to be sent separately.

FORMGI-l (A)

Application for the registration of Geographical Indication in Part-A of the Register

Section 1 I (l), Rule 23(2).

Application is hereby made by The Consortium of Puttrapaka Handloom Clusters- IHDS

H.No.6-135, Puttapaka(Vl; Narayanapur (m), Nalgonda DistricL Andhra hadesh for
registation in Part A of the Registrar of the accompanying geographical indication
ftmishing the following particulars.

A. NAME OF THE APPLICANT:

The Consortium of Puttapaka Handloom Cluster -IHDS, under the Andhra Pradesh,
A.P. Societies Registration Act 2001.

B. ADDRESS:
H.No.6-l 35, Puttapaka(Vl) Narayanapur (m),
Yadadri Bhongir District Andhra hadesh
Rep. by Sri. P. Sanjai Gandhi,

Addl. Govt. Pleader & G.I. Attomey,

YMIA Building, No.49 Moore Street,

G.T.. Chennai - 1.

Page No,1ofl5
C. LIST OF ASSOCIATION OF PERSONS/ PRODUCERS/ ORGAIIIZATION/
AUTIIORITY:
To be provided on request.

D. (D CLASS : 24
(ii) TYPE OF GOOD : Textiles

E. SPECIFICATION
Puttapaka Telia Rumal uses a very old and traditional recipe for its production. It includes
gingelly oil and natural vegetable dye which gives it a distinct and unique quality in the
form of its texture and smell. The process involves a number of intricate handmade work
with cotton loom displaying a variety of design and motifs in 3 particular colours (Red,
Black & White).

I . Loom: They are woven on pitJooms, the measurement of which is Tfeet width, 2l
feet lenglh and 5 feet height with pit size of2 feet width, 4 feet length and 2 % feet

depth occupying an area ofabout 150 sq.ft.

2. Material: The material is made from pure cotton

3. Colours: All the Puttapaka Telia Rumal are in three colours only; White, Black
and Red.

4. Designs/l\{otifs: All the designs and motifs are derived from the traditional
geometrical pattems which represent flower and leaves, half-moon designs, wall
clock, aeroplane, check and square designs.

5. The special characteristics of Puttapaka Telia Rumal designs are that they are
hand woven and there are no prints on the handloom materials

6. Purpose: Meant generally for hot climate. These pure cotton Puttapaka Telia
Rumal absorb sweat and is refreshine to wear in coastal areas. The fishermen wear

Pate No.2of16
 the Puttapaka Telia Rumal lungis as they are dyed with gingelly oil that does not
allow the salt to irritate them.

7. Use: The Puttapaka Telia Rumal technique is in use for all varieties of handloom
items like Scarves, Stoles, turbans and lungies.

8. Dyes: Vegetable Dyes, Naphthol Dyes and Vat Dyes and Reactive Dyes.

F. NAME OF' GEOGRAPHICAL INDICATION

PUTTAPAKA TELIA RUMAL

G. DESCRIPTION OF GOODS

The pattems in the Puttapaka Telia Rumal consist ofa variety of images, based around the

sub-divisions of a square. These include the dot, square, cross, chevron, rectangle and
various stepping motifs. The initial pattems used were strictly geometric but Puttapaka
Telia Rumals made after 1930s incorporated figurative designs such as lions, elephants,
birds, even clock and aero planes, which required higher weaving skills. The traditional
Puttapaka Telia Rumal is restricted to only 3 colours, viz. red (an)'thing from crimson to

orange red, brown red and maroonish red), natural colour (white) and black (black or
brown), sometimes with a hint of yellow to orange or pink. If the pattemed centre field is
predominantly dark, i.e., black or brown, then the plain outer border will be red. If the

centre- field is predominantly red, the outer border will be dark. These plain borders have

delicate white lines which cross at the corners ofthe kerchief, to form a fine grid which is
created by the Ikat process.

H, GEOGRAPHICAL AREA OF PRODUCTION AIID MAP

The main area in which Puttapaka Telia Rumal is produced is Puttapaka village
Narayanpur Mandal, Yadadri Bhongir District, Telangana State. The Puttapaka village is
at a distance of 7.7 km far from Mandal Main Town Narayanapur. Puttapaka is located
35.7 km distance from its District Main City Nalgonda. It is located 56 km from

Page No,3of15
Hyderabad ofTelangana Region in Andhra Pradesh. The GI producing region lies between
17 6' 54" North Latitude and 78 56' 9" East Loneitude.

I. PROOF OF ORIGIN/ HISTORICAL RECORDS:

Puttapaka Telia Rumals are eminent throughout the world for its elegant design and

pattems and for its natural dyeing methods. A classical l9s or early 20s century Puttapaka
Telia Rumal is a square cotton cloth dyed in a harmonious colour scheme of deeply
saturated red and brownish black with a creamy white background a shade which is the
result of the pre-treatment of the cotton yam. In fact, the name Puttapaka Telia Rumal oil
refers to the oily touch ofthe cloth. Later pieces, especially those made after independence
have a rather harsh colour scheme of synthetic red, purple or violet and black.

The Gajam family has been producing the Puttapaka Telia Rumal for more than 75 years
in its original traditional methods. They have also been imparting the knowledge of this
intricate craft to local weavers to ensure sustenance ofthe same. The have also conducted
training programs and workshops which has been duly recognized by the government of
India. Puttapaka Telia Rumals and Ikat handloom industry has made the Village renowned
not only in India but throughout the world.

In the year 1983, Shri Gajam Govardhana was commissioned to showcase Puttapaka Telia
Rumal in the festival of India in London. The intricate designs in red, black and white
became popular and the designs were also displayed at the festival of France, Tokyo and
the US. Ikat fabric from here gets exported to Spain, Italy and Japan. Apart from this
orders are placed from Malaysia, Thialand and Indonesia. (Amexure I )

Page No.4of16
In the field handloom weaving and the production of Puttupaka Telia Rumal, the family
run business of Gajam Govardhan has come a long way. Coming from a small village
called Pattupaka in the Nalgonda district of the south Indian State of Telangana, paxt of
former Andhra Pradesh he represents the weavers of Puttupaka and heads the Padmashali
family which keeps the Puttapaka Telia Rumal tradition alive and providing employment.
He has been awarded the National Award in 1983, the Shilpa Guru Award in the year
2007 and has been honoured by the UNESCO for his work in 2002. The Govemment of
India honoured him with a Padma Shri his work in 201l. (Armexure II)

The tradition of double Ikat textiles in Andhra Pradesh date back to the late l9th century.
Some of the earliest varieties of telia rumals are simple in design, but skilful in
application, with the weft, warp and double Ikat technique and geometric designs. Much
of these telia fabrics were used by Muslim nobles in Hyderabad. These Rumals were also
called Asia Rumal, and thousands of these telia rumals have been exported to Persian
Gulf, Middle East, Aden, East Africa, Singapore and Burma. Until 1930's these telia
rumals with geometric pattem were woven in Chirala and the surrounding villages in
Guntur. While the traditional designs kept to the squares within squares formats which
later evolved and now incorporates a number of figurative designs made of geometric
pattems. (Annexure III)

The entire Padmashali community has been recognised for their efforts in encapsulating
years of ancient culture in their pieces of (art) work. Furthermore, they were also highly
involved in the product in question gaining intemational reputation as they exported it to
Gulfcountries. The rich sheiks residing there are regular customers ofthe product and also
help in spreading awareness about the technique in the Arab nations. The technique has
also been the subject of certain motion pictures in India which serve to highlight the
intricate technique employed by the skilled artisans and the troubles they face in procuring
the required natural products in today's fast paced world. (Annexure IV)

Page No.5of16
Padma Shri Gajam Govardhana who is the master proprietor ofthe art and the head ofthe
weaving community has also held the post of a Member of the Office of the Development
Commissioner of Handlooms under the Ministry of Textiles. This serves to highlight the
importance given to the unique art of weaving even by our nation's govemment in
developing such traditions which contribute to the enhancement of our nation's art and
culture. (Annexure V)

It is an undisputed fact that Puttapaka Telia Rumal is a dying art whose knowledge is
confined to the small village of Puttapaka. The only hope of survival for this traditional
art form using only vegetable dyes is the Integrated Handloom Cluster Development
Programme sponsored by the Ministry of Textiles. As the conversation revolves around
the 'Telia Rumal' Saris making a comeback, one can only wonder about the grandeur of
the Puttapaka Telia Rumal in the olden times. Puttapaka Telia Rumal is now hailed as a
mere relic from the past, but in the times of its grandeur it was adomed by people from the

Middle East as well. (Annexure VI)

Noted for his experiments in Ikat dyeing and weaving, hs carved a niche for himself in
making the Puttapaka Telia Rumal, an oiled square cloth produced by his family for the
last eight decades He served at the Weavers Service Centre for 23 years. His works were

displayed at various intemational exhibition festivals held in London, New York, Tokyo,
Moscow and Sweden to promote. Tie and Dye handloom products of Andhra Pradesh.
(Annexure VII)

The history of Puttapaka Telia Rumal is very vast. It has been in existence since time
immemorial, and it is only because of the efforts ofsome famous designers and some hard
working artisans that Puttapaka Telia Rumal is getting intemational acclaim. Its
importance as an art form can be understood from the fact that an Australian University
has introduced a course on it. (Annexure VIII)

During the Nizam's dynasty, Puttapaka a small backward village of Telangana region of
Andhara Pradesh had about 20 families engaged in handloom weaving who were

Paae No.5of15
patronized by the rich Muslim families, damsthanams & Nizam rulers. The officers
working in the court of the Nizam used to wear Chituki Telia Rumal as a symbolic
representation of status and even the village heads used to adom these Rumals.

Traditionally, Telia Rumals have been the cloth offered at the dargah of Ajmer Sharif in
Rajasthan with some devotees offering fifty or even hundred cloths. Telia Rumals were
wom as veil by princesses at the erstwhile court ofthe Nizam of Hyderabad; as a turban
cloth by Arabs in the Middle East; and continue to be wom as a lungi by fishermen in
coastal Andhra Pradesh. The rurnals were exported in large numbers to Myanmar, West
Asia and East Africa in the l9n and early 20s centuries. (Amexure- IX)

The Gajam family has been practicing this Craft for the last 75 years in Puttapaka village
and now only this family knows the technique of natural dyeing to create a traditional
Puttapaka Telia Rumal. There are literature and publications available to prove the
creation of Puttapaka Telia Rumal for generations in Puttapaka village. The innate beauty
of historical and contemporary Puttapaka Telia Rumal illustrates how traditional method
of hand weaving evolved and matured, with limited means and resources and has been
passed on over the generations.

(lquqes:http://www.thehindu.com/todays-paper/tp-nationaVWeaving-a-Puttapaka-

tradition/article l 5 364033.ece
http://www.textiletravels.com/India/india_text/telia.html)

J. METHOD OFPRODUCTION
Dyes and Raw material to be used in the production process are the following:

{. Cotton yam (2180s-2/120s)

* Sheep dung
..'. Castrol seed pods are bumed to create ash for mordanting ofthe cotton yam
* Gingili Oil
{. Recycled Cycle Tubes
.i. Twine

PageNo.7of15
 .!. Graph paper
.!. Steel rods
.l Vessels

* Fire wood
.i. Dyes (Alizarin, Alum, Erakasu)

* Mud tubs
.3 Wooden sticks
.!. Hand Gloves
* Sketches

* Loom
.3 Loom accessories
* Wooden stand (x shape)
* Charka

NATIJRAL COLOT]R DYING PROCESS OF PUTTAPAKA TELIA RIJMAL

Natural alizarin dyeing is a mordant style of dyeing and is used to produce the traditional
red colour, and in combination with erakasu it gives black colour which requires pre-
treatment of yam. It takes 15-16 days before the yam is ready for dyeing.

PRE-TREATMENT OF YARN
The yam is steeped for 24 hours in the solution prepared with sheep dung. Then, any
remaining foreign matter is removed by twitching the yam. Apart from that, castor-seed
shells are bumt to get ash which is further mixed with gingelly oil, to get a thick solution.

The yam which has been treated with the sheep dung solution, will then be Tesoaked in
the above solution in small quantities and washed for about 15 min, squeezed and
sundried. Thereafter, the whole process is repeated, in the sun, for 16 days, before washing

and drying. Now, the yam is ready for preparation of warp and weft. This process makes

the yam completely saturated and soft. The castor seed pod-ash contains alumina which
ensures richer, deeper and intense red colour, when dyed with alizarin. This yarn develops
a peculiar oily-smell due to use of oil in yam featment which leads to terming of this
square Rumals as Puttapaka Telia Rumal.

Page No.8otl6
PRE-DYE TR-EATMENT
2/80s and 2/120s count cotton yam divided in l0 bundles. Fresh sheep dung water with
castor seed powder ash mixed with water and Gingili oil (added to the ash water ) Liquid
divided into l0 equal parts to treat the l0 bundles

INGREDIENTS FOR RED COLOUR

Alizarin
Alum
INGREDIENTS FOR BLACK COLOT]R
Alizarin with Erakasu
Alum
The yarn for these Rumals requiie 'mordanting', a treatment that facilitates bonding ofdye
to the cotton fibre cellulose. The Telia name refers to steps in the mordant treaffnent that
impart an oily nature to the fabric. The first part of the treatment requires the yams, having
been soaked ovemight in water, to be washed by hand in a bath made from fresh sheep

dung. After washing very thoroughly, the yam is squeezed out and hung in the sun for 24

hours. Meanwhile pods from the castor plant are burnt and the ash is mixed well with
water. After soaking for several hours, castor oil is added to the liquid and the mixture is
dried in the sun. When it tums slightly white, it is ready to use. The top liquid is decanted
and water is added to the residue put aside for subsequent treatments.

The yam treated with dung is submerged in the oil-ash mixture, washed well for 15

minutes, then squeezed out and stored ovemight. In the moming it is kept in the sun. In the
evening t}te oil treatrnent is repeated and continued for sixteen days. If the time is short,
the treatment can be hastened by giving two oil treafrnents daily for eight days.

The yam is then wound onto cones or cylinders in preparation for making the warp. The
yarn is taken to the paddugu adda (warping machine), a large wheel that enables the
correct length to be wound quickly. A mechanism on the wheel creates crosses ofthe yarn
at strategic places, enabling the sequence of yam to be kept in order. After winding, yam
markers are tied around the crosses, helping the person counting threads to keep them in
the correct sequential order.

Page No.gofl6
PRODUCT PREPARATION
Puttapaka Telia Rumal is a very intricate and laborious double ikat weave. As the name
suggests the yam is treated with oil. The products used for the treatment of the yam are

sheep dung, castor pod ashes and oil. The treated yam which is used for the warp (length)
and weft (width) is tied and dyed in accordance with a predetermined geometrical design.
Each ofthe warp and weft threads are individually positioned on the loom prior to beating

the slay, hence it's crucial for the weaver to ensure perfection. Only 3 colors are

traditionally used - red black and white in geometrical designs. Weaving a Telia Rumal
needs a great amount of practice and perfection for the warp and weft to be meticulously

converted to an artistic design. The number of motifs makes it more complex and difficult
to dye the colours in the predetermined places on the fibre.

Warp:-
The Yam is then wound onto cones or cylinders in preparation for making the warp. The
yam is taken to the paddugu adda (warping machine), a large wheel that enables the
correct length to be wound quickly. A mechanism on the sequence of yarn to be kept in
order. After winding yam markers are tied around the crosses, helping the person counting
threads to keep them in the correct sequential order.

The designs which are already prepared on a graph is drawn on the warp, Then the wrap is
folded for design purpose. This warp will be openly spread and will be colored from light

to dark shade. After tying with rubber it is dyed in the light shades and dried and the same
process will go on for light colour to dark shade. After completion of the dying process
rubbers are removed and the warp is opened in the full length and then the design warp is

placed. Then the warp is taken out in the street and is spread wide open to avoid
disturbance in the design for every metered lengih is tied with twines in sections and then
the wam is taken on to the loom and continues to weave with required weft.

Page No.10of16
 Weftr
The weft is taken to the "ASU" (local term) an apparatus having one side one peg and
other side several pegs. These pegs are pegged on a wooden frame which is in the shape of
an arc. The distance between the two pegs is equal to the width ofthe fabric the number of
pegs used depending upon the design and the remaining process is same as in the case of
warp. After completion of total tie & dye process of weft, the entire yam which is on the
"ASU" is wounded on "parivattam" then it is wound on the "pims" the pims will be in
serial order, The weavers will weave the fabric

Weavingi
The weaving process is operated by pulling a cord in the center of the loom. When
weaving the plain fabric borders, this can go extremely fast but with the double Ikat
central design, each throw of the shuttle has to be carefully checked to ensure precise
design intersection. However there is always an unavoidable slight movement ofyam that
crcates a' feathered' edge to the motifs. At this beginning stage adjustments are made to
any imperfections of alignment by tightening or loosening the heddles to loosen any yams

that are twisted or stuck together. A master weaver can weave the full length of eight
Rumals in 4 or 5 days, however the average weaver could take several weeks to complete
the piece.

The weaving continues until all Rumals have been completed. When finished, the fabric is
starched. When dry, the product is inspected for any flaws that are then mended. This
finishes the length process. Because the greatest time is taken with the creation ofthe tie &
dyed warp and weft, more tlan one set of threads is normally prepared at one time. The
amount will vary depending on tlle number of repeats across a design and also how many
threads are in each unit of the design. Too large a bundle of threads should be avoided.
Some fine curved designs have many units but very few threads in each group, helping to

create smooth curving lines rather than sharply stepped outlines. As a consequence, more

duplicate warps could be tied at one time in such groups. On average, eight warps
containing eight Rumals each would be prepared together. An equal amount of weft is

Page No.11of15
prepared to complete the weaving of the warps, helping to rationalize the time spent in
preparation.

DESIGN SKETCIIES FOR MASTER PIECES

The process of tie & dye design requires the fixing of the designs and pattems before the
warp and weft and coloured the threads forming the design tied and dyed repeatedly to
bring in the right colour at the right place and the interlacement ofthe threads produces the
design on the fabric. The dyeing over the warp and weft are spread out for weaving on a
loom, As patterns and designs emerge, the impact impart elegance and beauty to the
woven fabric. Tie and Dye techniques may be applied on the warp threads (Warp Ikkat )
or the weft threads (weft Ikkat)either of which is called single ikkat or they may be

applied on warp and weft threads in such a way that the designs overlap each other called

Double ikkat .in single as well as double ikkat ,warp and weft Threads which are tied and
dyed as per design should not only be positioned accurately in proper sequences in
weaving as required by the design and its colour scheme but also should be accurately

secured to prevented shifting, displacing or entangling 'with this highly sophisticated

ikkat technique complicated motifs appear exactly the same on either side of the fabric.

(Soltsg$http:/heww.fbre2fashion.com/industry'orticle/7561/telia-rumal-reliclo'
c onte mpor ary - i kat ?p age : I
htt p : i/ imp re s a. i rY te I ia - rumal i )

IC I,'NIQUEI{ESS
The process of creating a Puttapaka Telia Rumal is a very intricate and laborious double
Ikat weave. Uniqueness of the dyeing and weaving cluster is based on the usage of the
following natural materials:
i) Natural alizarin dyeing.
ii) Sheep dung.

iii) Casoral seed pod ash.

iv) Gingely oil.

Page No.12of16
 A triumvirate of traditionally used colours, namely: red, black (earakasu) and white are
used in the traditional process of producing Rumal. The fabric ussd in the creation of
Putapakka Telia Rumal is 100% cotton as no other fabric can support the traditional
process used in its production. The unique feature of putapakka Telia Rumal is that when

it is wom as a turban in summer it keeps the head cool and when it is wom in winter It
keeps the head warm.

Another unique feature of Rumal is that when it is wom as a lungi by the fishermen the
smell ofthe fabric attracts fish while the nature of the fabric keeps the salt away flom the
fabric so the lungi does not get wet and become uncomfortable for the wearer. This yam
develops a distinct oily-smell due to the use of oil in yam treatment which lingers even
after the creation ofRumal thereby adding on to the uniqueness ofthe product. putapakka
Telia Rumal can only be created using traditional handloom process and by not any other
mechanical means as otherwise the very quality of Rumal will be lost.

The special characteristics of Putapakka Telia Rumal designs are only woven and there
will be no prints on the handloom materials. The traditional vegetable dyes used in the
production of Putapakka Telia Rumal have huge number of medicinal benefits. Unlike
chemical dyes vegetable dyes do not contain carcinogen. After each wash the vegetable
dye enables the fabric to retain its colour and not fade. In fact Telia Rumal becomes
brighter after each wash because ofthe presence ofoil in it.

The makeup ofPutapakka Telia Rumal includes geometric designs namely:

Maddikaya, Omkaram, Padava, Chandrudu, Hastam, pachees, Bhucharakam, Swastik,

Vimanam, Simham, Chillaka, Gadiyaram, Muggu, Suryrdu, pakshulu, Mallepuwu,

Page No.13of16
 L. INSPECTIONBODY:
The inspection body witl be formed which may be constituted by the below mentioned
persons to keep the check upon the quality ofthe products.

l. Craft Council ofTelangana

2. Craft Council of India

This inspection body formed by the appricant will be acting independently to

ensure the
quality check upon the goods and the applicant also undertakes that the
inspection body
will keep the check on the quality, manufacturing and mechanism ofthe goods. The above
mention persons may constitute the inspection bodv.

M. OTHERS:
The handloom industry has a lot of significance in the economy of our country
as it
provides livelihood to the large craftsmen population. As such, it underlines
the imperative
need on the part of the central and state Govemments to devise ways and means, both
long ferm as well as short term, to help identis, preserve, nurture and grow the otherwise
getting-extinct traditional Indian arts and crafts, puttopaka telia rumal being one
such
craft.

Tracking through the historical joumey in the contemporary times, marketing becomes
the
key to the much'needed puttapaka telia ruma|s tum around, especially by dovetailing
intemationally-recognized eco-friendly dyes.

considering the peculiar socio-economic pararneters of its weaver community, doubre

ikat
puttapdka telia rumals shall do well ifthere is long-term and coherent policy
in place to
address their educational, occupational and financial requirements in a comprehensive

manner, while providing for marketing-linkages for its locar, domestic and exDort
potential.

Page No.14of16
As it is, there are Govemment schemes under Development Commissioners (Handlooms
and Handicrafts), meant for them. In this era of modemity and innovation, we are losing
the basic essence of traditional chitiku weaving practices which is reflection of art and
culture ofnative people. We are looking for simple and quicker solutions,

There has been paradigm shift from dottble ikat weaving to single r'ftat and slowly, the
craft of double ikat werning of Andhra is getting fast extinct. The old alizarin dyeing is
being replaced by synthetic dyes which tend to decrease the dyeing time besides resulting
in quicker and higher production rate but it is not a sustainable solution and this craft is
likely to fade away with passing time.

The work ofthe Puttapaka Telia Rumal community has been recognized globally and has
received various accolades from places of international repute which include UNESCO,
Cheonglu International Craft Biennale Award and also the Shilpguru Award as well as the
National Master Weaver Award.

Along with the statement ofcase in classes - and- in respect of Puttapaka Telia Rumal in
the name ofThe Consortium of Puuapaka Handloom Cluster - IHDS are producers ofthe
said goods to which the geographical indication relates and which is in continuous use
since time immemorial in respect of the said goods.

l. The application shall include such other particulars called for in Rule 32(l) in the
Statement of case (Enclosed)

2. All communications relating to this application may be sent to the following

address in India; Mr. P. Sanjai Gandhi, Advocate, YMIA Building, l't floor, New
No.49, Moore Street, offSecond Line Beach Road, G.T., Chennai 600001.

3. In the case of an application from a convention country the following additional

particulars shall also be fumished.

Page No.15of16
t

Not Applicable
a. Designation ofthe country of origin of the geographical indication
Not Applicable
b. Evidence as to the existing protection ofthe geographical indication
in its country of origin, such as the title and the date of the relevant
legislative or administrative provisions, the judicial decisions or the
date and number of the registration, and copies, of such
documentation.

t
--$,.r^" o-U--s-:: ,
ISignature] OA,,IM GOI'ARDIIAIA ISignature]
P?68ldent
For Applicant Cdtr&n tult.trlo l|||aloo ffi P. Sanjai Gandhi
PSTTAPAXA - 5OA 25:I
Chairperson, llalgonda Dlst. Addl. Govt. Pleader & IP Attomev
The Consortium of Puttapaka Handloom lJls. 76 md,lJlr.f O, Ct ecl t S9S
Cluster - IHDS

rage t{o.160116
ffi
ds
Geographical indications Registry
Intellectual Property Building,
G.S.T. Road, Guindy, Chennai - 600 032
Os>
lrt
INTELLECTUAL
lrtr*r gtri Phone: 044-22502091 &92 Fax: O4a-225O2O9O PROPERTY INDIA
E-mail: gir-ipo@nic.in

Receipt
CBR NO:3384 Dal€:1511212O17

TO cenerated by
:RATHIMEENA
MR. P. SANJAI GANDHI AODL. GOW. PLEADER & G.I. ATTORNEY,
YMIA BUILDING, NO.49 MOORE STREET, GT.,,
CHENNAI,
TAMIL NADU,
600001,
INDIA

CBRDetails:
Application No Form No Class No of Class Name of GI Goods Tlpe Amount Calculated
599 GI-1A 24 Puttaoaka Telia Rumal Textiles 5000
Payment Details :

Payment Cheque/DD Cheque/DD/Postal Amount Amount

Bank Name
Mode /PostalNO Date Calculated Paid
Karur Vysya
DD 538072 Bank l7/12/20t7 5000 5000
Total Calculated Amount in words : Rupees Five Thousand only
Total Received Amount in words : Rupees Five Thousand only

*** This is electronically generated receipt,hence no signature required **x

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