“Wooden Crafts of India”

A
Project Report

Submitted by
Muskan Sharma
Nancy Jain
Pradeep Nayak
Prajwal Gupta

Under the guidance of

Mr. Bhaskar Banerjee

In partial fulfilment of the Post-Graduate degree

In
Fashion Management

Department of Fashion Management Studies

National Institute of Fashion Technology
Gandhinagar, Gujarat
December 2020
Table of Contents

Declaration 3

Certificate 4

Acknowledgement 5

Overview 6

Chapter 1: About the Craft 7-18

(i) Overview of the Indian Handicrafts

(ii) Wooden Handicraft
Chapter 2: Industry Profile 19-29

(i) Overview of the Indian Handicrafts

(ii) Wooden Handicraft Industry of India
Chapter 3: Company Profile: KARU 30-36

Chapter 4: Consumer Survey Results 37-43

Chapter 5: Relate with our business idea 44

Bibliography 45-46

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 Declaration
We hereby declare that this submission is our own work and that, to the best of our
knowledge and belief, it contains no material previously published or written by another
person nor material which has been accepted for the award of any other degree or diploma of
the university or other institute of higher learning, except where due acknowledgment has
been made in the text.

Date: 21.12.2020 Name: Muskan Sharma

Nancy Jain
Pradeep Nayak
Prajwal Gupta

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 Certificate
This is to certify that the document entitled “Wooden Crafts of India” done by Muskan
Sharma, Nancy Jain, Pradeep Nayak and Prajwal Gupta is an authentic work carried out by
them during their 1st semester under my guidance. This document is submitted in partial
fulfilment for the award of the Post Graduate degree in Fashion Management from National
Institute of Fashion Technology, Gandhinagar. The matter embodied in this document has not
been submitted earlier for award of any degree or diploma to the best of my knowledge and
belief.

Signature Of Supervisor:
Name of Supervisor: Mr. Bhaskar Banerjee
Designation: Associate Professor, Department of FMS, NIFT Gandhinagar
Date: 21 Dec. 20

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 Acknowledgement
This is a great opportunity to acknowledge and to thank all those persons without whom this
project would have been impossible. We are extremely grateful to Mr. Bhaskar Banerjee, for
his guidance, valuable suggestions, moral support, constant encouragement, and contribution
of time for the successful completion of assignment. We are very thankful to him, for
providing all the facilities needed.

Name of Students: Muskan Sharma

Nancy Jain
Pradeep Nayak
Prajwal Gupta

Date: 21 Dec. 20

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 Overview

This report is basically based on the study of wooden handicrafts in India and at last how we
amalgamated it with our business idea. First part of this report consists of the detailed
information about the craft, including its history, types, and different types of woods used to
make products. Second part of it describes the in and out of the handicraft industry and
furthermore, about the wooden craft industry and how the wooden craft industry contributes
to the handicraft industry in India, and how the trade in it can reconcile development and
conservation. Third part of it has the company details which deals in wood carving and we
also made our way to have a short interview with the founder. Fourth part consists of the
analysis of the survey which was done on the different people of India to get more
information about how much percentage of people is aware and what is their preferences
towards the wooden handicrafts of India. Last part of it is related to our business idea and
how we merge it with KARU.

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 Chapter 1: About the Craft
1.1. Overview of the Indian Handicrafts
The term ‘handicraft’ essentially entails processing raw materials manually, or with the help
of basic tools to create useful or decorative products from clay, rock, paper, stone, etc. which
are crafted by skilled craftsmen. The amount of skills, patience, precision, and hard work that
goes into making of them is commendable.
From time immemorial, India is known for its art and culture. And its handicrafts have been
loved and respected worldwide and have left everyone awestruck. India is blessed with an
affluent cultural heritage which is reflected within the intricacy of its crafts.

There is a plethora of crafts in India. Here is a list of some different handicrafts of India.

• Wooden handicrafts
• Clay & pottery
• Leather
• Jute
• Shell
• Metal handicrafts
• Bamboo & cane
• Stone
• Bone & horn
• Phulkari
• Zardozi and many more

1.2. Wooden Handicrafts

The wooden handicraft of India is draped with a vast cultural and ethnic diversity which is
applied to a range of themes, techniques, and crafts. The wooden handicrafts are unique in
their own style and are claimed to be an absolute personification of the Indian heritage.
In the rural areas of India, furniture and other household utensils are carved out of wood in
different shapes and styles. These simple objects are so uniquely blend that they in no way
look like daily use stuffs. Animal figures are also an excellent example of India's ethnic wood
craft. These wide-ranging exclusive styles adopted by the Indian wooden craft industry to
carve out various stupefying objects which are prepared in different parts of India.

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1.2.1. History
Wood Working is one of the oldest arts of humankind. Wooden spears from the Middle
Paleolithic reveals how humans have engaged in utilitarian woodwork for millennia (1911
Encyclopædia Britannica-Wood-Carving, n.d.).

Ancient Work before the Christian Era

The extreme dryness of the climate of Egypt accounts for the existence of several wood
carvings from this remote period. Some wood panels from the tomb of Hosui at Sakkarah are
of the III. dynasty (over 4000 B.C.). The carving consists of hieroglyphs and figures in low
relief, and the style is extremely delicate and fine (1911 Encyclopædia Britannica-Wood-
Carving, n.d.) (Craft Process).

They are to be found in the principal museums of Europe. Many Egyptian examples are
mummy cases of human beings with the face alone carved, animal mummy cases, sometimes
boxes, with the figure of a lizard, perhaps, carved in full Mummy relief standing on the lid.
Sometimes the animal would be carved in the round and its hollowed body used as the case
itself.

Western world/Europe
Great works of art were created in wood during the entire Middle Ages, e.g., in Cathedrals,
Abbeys and other Church connected sites. These works demonstrated both craftsmanship and
artistry.
First eleven centuries of CE
The doors are made up of many small square panels, each minutely carved with a scene or
figure from the Old or New Testament.

Gothic period (12th–15th centuries)

Towards the end of this epoch wood carving reached its culminating point. Gothic design
roughly divides itself into two classes:

1. the geometrical, i.e., tracery and diaper patterns, and

2. the foliage designs

The lines of foliage treatment, so common in the bands of the 15th-century rood screens and
the panel work especially of Germany, serve to illustrate the widely different motives of the
craftsmen of these two great epochs.

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An evidence of furniture is scarce saved for bulky chairs and tables made of Oak wood for
royal halls.

Renaissance period (16th–17th centuries)

the Renaissance designer as a rule made the two sides of the panel alike, the Gothic carver
seldom repeated a single detail. While his main lines and grouping corresponded, his detail
differed. Renaissance was the era when Four -poster or Canopy beds became popular. Large
elaborate chairs and wooden chests for storage were some of the other popular pieces of
woodwork during this period.

17th–18th Centuries
Then came the Colonial Era with a blend of East and West. Wood craft during this period
featured ornamental carvings, raised panels and woodturnings.

The mantelpieces of the 18th century were as a rule carved in pine and painted white Usually
the shelves were narrow and supported by pilasters often of flat elliptic plan, sometimes by
caryatids, and the frieze would consist of a raised centre panel carved with a classic scene in
relief, or with a mask alone, and on either side a swag of flowers, fruit and foliage.

Modern era

the Modern Era came in the 19th century, in which furniture from ornamental to functional
had started making. Modern designs sought to blend with functionality i.e., how the features
such as shape, size would conform to the human posture.

1.2.1.1. History of Wood Handicrafts in India

The history of Indian handicrafts goes back to almost 5000 years from now. From the Indus
valley civilization, we find a rich craft tradition and a high degree of technical excellence in
the field of pottery, sculpture (metal, stone and terracotta), jewelry, weaving etc. The
Harappan craftsmen not only catered to all the local needs but traded with the outside world
via sea routes. In the Vedic age (1500 B.C.), we find numerous references in the Vedas of
artisans involved in wood craft. The Rig Veda refers to a variety of pottery made from wood.
In the Mauryan age we find great development in the field of sculpture.
The Medieval period the handicraftsmen flourished in the field of wood carving. The Mughal
period was the golden period in the history of Indian art, craft, and culture. The Mughals

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brought with them a rich heritage. The Mughals introduced methods like inlay work, glass
engraving, enamelling, etc.

As time passed on, the handicraft got more refined. This art was literally inherited by the
artisans from all over the country.

1.2.2. Types of Wooden Handicrafts

1. Wood Carving
Woodcarving is an ancient craft practiced in India long before the age of ancient stone
sculptural age. It is the artistic practice of shaping and decorating wooden objects into
diverse utilitarian and decorative handicrafts items. The most common varieties of
wood used for this craft are teak,
sal, oak, ebony, mango,
sheesham, etc. Wood carving is a
time-consuming process. Small
items of carved wooden
handicrafts may take a week to
be made. Large items requiring
elaborate carving may take few
months for their manufacture.
Saharanpur, a city in Uttar Pradesh is world famous for its wood carving and is known
as “Sheesham Wood Village” or “Wood City” of India. Other important centers of
wood carving in India are Manipur, Bhopal, Nagpur, Chennai, Madurai, Mysore, etc.
Kashmir is famous for walnut wood carving (Craft Process).
Raw materials used for wood carving are wood, babul gond (gum), potassium
permanganate, chandras (lac grains in acid), harmach powder (for an antique finish),
wood preservative, varnish, materials for embossing, fevicol, zinc, colors.
2. Marquetry
Indian Wood Inlay/ Marquetry is the process of decorating the surface of wood by
setting in pieces of material such as ivory (traditionally), bone, plastic, shell, or wood
of different colors. Products with inlay include doors, jewelry boxes, plates, boxes,
bowls, cigarette cases, and figures of animals, especially elephants. This craft form
was brought to India from Persia in the 18th century. Mysore is home to heritage
structures beautifully adorned using wood carvings with inlay work. Royal Indian

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 processions, landscapes, pictures of Gods
and Goddesses, scenes from the
Mahabharata and Ramayana are depicted
using shade effects in this craft.
The craft is concentrated in Mysore and
Bengaluru in Karnataka. Other places
where this craft is practiced are Bijnor,
Punjab, Saharanpur (U.P.).
Maadi, lac, champa, yellow fanas, dark red rosewood along with plastic and bone, is
used for inlay work. Rosewood is sourced from auctions at Kushanagar, Tithimathi
and Dandeli. Fibre boards are also used to cut down on the cost. Different color
woods like white cedar, chill pine, rubber wood, red sandal, jackfruit wood etc. are
used to add multiple colors to the art piece. A mixture of wax and charcoal is used to
fill fine details (Craft Process).

3. Intarsia
Intarsia is a form of wood inlaying which is very much like marquetry. Intarsia is a
woodworking technique that uses varied shapes, sizes, and species of wood fitted
together to create a mosaic-like picture with an illusion of depth (Types of Wood
working, n.d.). Intarsia is created through the selection of different types of wood,
using their natural grain pattern and color (but can
involve the use of stains and dyes) to create variations
in the pattern. After selecting the specific woods to be
used within the pattern, each piece is then individually
cut, shaped, and finished. Sometimes areas of the
pattern are raised to create more depth. Once the
individual pieces are complete, they are fitted together
like a jig-saw puzzle and glued to wood backing which
is sometimes cut to the outline shape of the image. This
art became famous during the 17th century when Egypt came under Arab rule.

4. Wood Burning
Pyrography, wood burning, or pyrogravure is the art of decorating wood with burn
marks via a heated object. It is also known as pokerwork.
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 A large range of tones and shades can be
achieved. Varying the type of tip used, the
temperature, or the way the iron is applied to
the material all create different effects. After
the design is burned in, wooden objects are
often coloured. Light-coloured hardwoods
such as sycamore, basswood, beech and birch
are most commonly used, as their fine grain is not obtrusive. However, other woods,
such as maple, pine or oak, are also used.

5. Scroll Sawing
The freehand cutting of intricate shapes in relatively thin wood. The scroll saw uses
thin blades that allow cutting very small radius curves and delicate cuts, such as for
inlays. Works can range from flat, plaque style,
to elaborate 3-D structures (Types of Wood
working, n.d.).
Softer woods will tend to bend more under the
blade, will be harder to keep a pattern in and
will tend to be a little too flaky for detailed
patterns. Hard woods tend to be stronger and
more resilient – but this can lead to smoking or
chipping if you get the speed wrong. Of all
woods, Oak is the hardest to work but is also considered to be the best.

6. Carpentry
Wooden furniture is the biggest component of the Indian Carpentry market,
accounting for about 65% of the total
furniture manufactured in India. Although,
wooden furniture manufacturing activity is
spread across India.
Main centres are Guntur in Andhra Pradesh,
Delhi, Ahmedabad, Jamnagar, Surat, and
Vadodara in Gujarat, Srinagar in J&K,

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 Jalandhar in Punjab, Sikar in Rajasthan, Cooch Bihar in West Bengal, Bareilly and
Ghaziabad in UP.
Wood is the main raw material. Various types of woods are used with popular ones
being Walnut, Sandalwood, Teak, Sheesham, Mango, Deodar, Ebony, Redwood,
Rosewood, Red Cedar, and Sal. Teak account for 50% of the wooden furniture. Other
materials used are adhesives, nails, and finishing materials such as stains, basecoats,
glazers, and enamels (Craft Process).

1.2.3. Different Types of Woods Used

Wood is the most popular used material. Any type of wood can be used for making furniture
and other articles. But each wood has its unique characteristics designs, warmth, comfort,
finish type, shapes and that’s why different woods are chosen for making different furniture’s
as per their characteristics (Ojha, 2019).
There are different categories of woods used for making wooden handicrafts.

1. Hardwood
A hardwood is denser and is, therefore, more difficult to cut open. Moreover,
hardwoods consist of more textures, patterns, and color, and are therefore more
expensive.
2. Softwood
Softwood can be easily cut and are less expensive. They can be easily grown in tree
farms and have better availability than hardwood.
3. Manufactured Wood
Manufactured woods are fibreboard, Particleboard, plywood having different
densities.

Hardwood Softwood Manufactured wood

Ash Pine Fibrewood
Ebony Cedar Particleboard
Oak Rosewood Plywood
Mahogany
Teak
Walnut
Mango
Maple

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1.2.4. Different types of tools used

A block of wood is given life with the help of a set of tools. Some of the tools used to
make wooden products are: (Wood Craft Tools, n.d.)

• Work tables and work surfaces

• Chisels (these could be straight, skew, spoon bit, bent skew, allongee chisels)
• Gouge (these could be straight, bent, bent shallow, curved, allongee gouges)
• Veining tools
• Bent tools
• Straight ‘V' tools
• Saws
• Knives
• Blades
• Wood burning pens
• Wood glue
• Scrapers
• Gouge sharpeners
• Sharpening stones
• Wooden mallets
• Planes (these are shaping tools and are of various kinds, like joinery planes,
smoothing, plow, tongue and groove, rabbet, shaping, molding, combination, and
compass planes)

1.2.5. Wood Crafts in Different States of India

Each state of India reflects traditional workmanship pertaining to that region. Every state
offers something unique in woodwork to contribute to the industry.

1. Kashmir
Kashmir is famous for walnut wood. Kashmiri craftsmen make exquisite wooden
handicrafts with intricate carvings in walnut, and chinar wood which is locally
available. Walnut wood is a favourite of carvers here, since it is one of the strongest
varieties. Floral patterns on wood are chiselled with the greatest accuracy of detail.

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 Tables, fruit trays, bowls, chairs, cabinets,
candle stands etc. are replete with rich
carved patterns and decorative inlay work.
Skilled Kashmiri laborers also carve
beautiful furniture from rosewood
(Community, 2016).
In Kashmir, wooden handicrafts are an
integral part of Anantnag, Bijbihara,
Kupwara, Leh, and Srinagar, among others.
Walnut wood has an inherit sheen which surfaces on its own when polished with wax
or lacquer.

1. Arunachal Pradesh
Arunachal Pradesh has a rich tradition of carved wooden handicrafts. The trees which
are used in making wooden handicrafts are sal, teak, and
oak. The tribal sects of Arunachal Pradesh carve
exquisite wooden objects which are not only beautiful,
but also useful. Wood is carved to make dishes, bowls
and cups, and toys. Carved and painted masks,
miniature figurines, and statues of warriors are very
popular. Carved idols of cultural and religious value including those of Lord Buddha
are an instant favorite (McCraney, 2020).

2. Rajasthan
Rajasthan is also known as the 'treasure trove of Indian handicrafts'. Elegantly carved
tables, cabinets, chairs, tables, chests, windows, racks, chessboards etc. are produced
here. Figurines with ivory inlay work, jali or latticework in rosewood or sandalwood
with wonderful finishes are also instant favorites. Skilled artisans craft decorative and
utilitarian objects made from wood
that is obtained locally. Painted doors
depicting scenes from epics like
Ramayana and Mahabharata are
unique to Rajasthan. Household items,
furniture, and lamps are carved in

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 graceful designs with gentle shapes and are lacquered in soft shades. In Rajasthan,
carved wooden furniture, wood ware and puppets are available in Barmer, Bassi,
Chiru, Jodhpur, Jaisalmer and Jaipur among others (Why Rajasthani Woodwork Is In
Big Demand, 2011).

3. Gujarat
Gujarat is famous for wooden carving handicrafts. Exquisitely carved wooden
handicrafts from Gujarat like
wooden screens and furniture are
very popular throughout the world.
Artisans carve wooden sculptures,
toys, and other items of utility, and
then paint them in bright, beautiful
colours.
Gujarat is renowned for its elegantly
carved furniture, large wooden chests and ornate wooden screens. Craftsmen carve
decorative panels which are inlaid with ebony, redwood, tin etc. Wooden handicrafts
display delicate floral patterns chiselled to perfection (Mayuriba, n.d.).
In Gujarat, wooden handicrafts can be found aplenty in Ahmedabad, Bhavnagar,
Bhuj, Diu, Junagadh, Kutch, and Surat, among others.

4. Madhya Pradesh
Madhya Pradesh provides an assortment of wooden handicrafts on a platter. Carved
wooden handicrafts like wall panels, doors, window frames, idols and furniture are
crafted from sheesham, teak, dhudi, sal and kikar.
Various types of painted and lacquered wood
products such as masks, toys, boxes, flower vases
etc. are also popular. The experienced craftsmen of
Madhya Pradesh carve exotic wooden handicrafts
spanning all designs, shapes and sizes. In Madhya
Pradesh, wooden handicrafts are manufactured in
Bastar, Budhni, Bundelkhand, Gwalior, Malwa, Rewa, and Sheopur Kalan among
others.

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 5. West Bengal
West Bengal has an immortal inheritance of
wooden handicrafts. Carved wooden idols of gods
and goddesses, and traditional figures exhibit
craftsmanship exclusive to West Bengal. The wood
used for carving is mainly neem, mango, teak,
sheesham, and bel. Wooden platters and bowls
inlaid with brass are carved in interesting shapes.
The craftsmen of West Bengal are experienced in the art of carving wooden beams,
rafters and pillars. Painted wooden masks used in religious festivals depicting gods,
mythological heroes, and demons are also very popular. In West Bengal, wooden
handicrafts are produced mainly in Bankura, Birbhum, Burdwan, Darjeeling,
Hooghly, Jalpaiguri, Koochbehar, Midnapur, Murshidabad, Nadia, and Ramjibanpur
(Wood Carving of West Bengal, n.d.).

6. Tamil Nadu
Tamil Nadu has an ancient tradition of carved wooden handicrafts. Craftsmen carve
small wooden shrines for deities, low stools used in marriage
ceremonies, fans for deities, and other items of religious
significance. Cooking vessels, vermilion boxes, and toys made
of wood are also very popular. Wooden items of utility are
carved with intricate patterns. Tabletops with floral motifs or
parrots, and wooden panels with epic scenes are also very
popular. In Tamil Nadu, wooden handicrafts are produced in
Chingleput, Cuddalore, Kanyakumari, Karaikudi, Madurai, Nagercoil, Rameshwaram,
Thanjavur, Vellore, and Virudhunagar besides others (Tamil Nadu Wood Industry,
n.d.).

7. Uttar Pradesh
The people here are famously known for their wooden craft. Some of the places
where you will find woodcraft are Aligarh, Azamgarh, Nagina (Bijnor),
Bulandshahar, Ghazipur, Lucknow, Mathura, and Saharanpur. They have access to
raw materials which they can utilize by creating lots of beautiful handicrafts. his
quality of wood is what accounts for the stylish designs and long-lasting wooden
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 objects they produce. Most of their work is
ideal for gift items. They make trays, bowls,
and other interesting wooden objects which
are mostly lined with brass wire.
Nagina makes beautiful wood carvings
which are found in wood items like a table,
chairs, boxes, etc.
Saharanpur is well known for its perforated lacy craft. Items are made of sisam, dudhi
and sal. The woodcarvers create magic on the articles they prepare. The talent of
wood carving is passed from generations to generations. Furniture is designed in a
skilled manner having mehrab, jail and grapevine motifs. Carvers carve their
imaginations on these articles and sometimes the carving is beautified with the stone
inlay on ebony wood. The colour combinations used are attractive and present each
item in a very pleasant manner. (Wood Works and Carved Crafts, n.d.)

8. Goa
The contemporary aesthetic blend of Portuguese and Indian culture is the ultimate
fusion of woodcarvings which are speciality of Goa. Highlighting exquisite floral,
human figures and animal designs, Goa woodcrafts are a steal! (Bora, 2020)

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 Chapter 2: Industry Profile
2.1. Overview of the Handicraft Industry
The handicrafts sector is of key importance to the Indian economy as it is one of the largest
labour-intensive and employment generators which account for a significant share in the
country’s export. The state and regional clusters contribute significantly to handicrafts export.
The Indian handicrafts industry is fragmented with more than seven million regional artisans
and over 67,000 exporters/export houses promoting regional art and craftsmanship in the
domestic and global markets.
India’s contribution in world market is 1.2%. and the industry’s share in India’s exports is
1.51%. (INDIAN HANDICRAFT INDUSTRY, n.d.)

Handicraft exports from India increased by almost 2 per cent year-on-year to US$ 3.39
billion in FY20 (till February 2020) (Indian Handicrafts Industry & Exports, 2020).
The exports of handicrafts (other than hand knotted carpets) were merely Rs. 386.57 crores
during the year of establishment of the Council i.e., 1986-87 rose to level of 25270.14 Crores
in year 2019-20 as shown in graph. (Indian Handicrafts Industry & Exports, 2020)

Export of various segments during April–August 2020 (Indian Handicrafts Industry &
Exports, 2020) stood as below:
• Woodwares at US$ 165.95 million
• Embroidered & crocheted goods at US$ 127.95 million

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 • Miscellaneous handicrafts at US$ 236.68 million
• Handprinted textiles and scarves at US$ 70.85 million
• Imitation jewellery at US$ 50.73 million
• Art metal wares at US$ 103.75 million

Indian handicrafts are exported across geographies, with the top 10 destinations being the US,
the UK, the UAE, Germany, France, Latin American countries (LAC), Italy, the Netherlands,
Canada and Australia (Indian Handicrafts Industry & Exports, 2020).

2.1.1. Governments Initiatives for the development of Handicraft Industry

Government of India increased incentive rates under the Merchandise Export from India
scheme (MEIS) to 7% from 5% for handicraft items which will help exporters to recover the
input costs involved in the production of handicrafts and will lead to competitive pricing and
boost export (Indian Handicrafts Industry & Exports, 2020).
In the month of September 2020, fund of Rs. 2.8 crore (US$ 0.38 million) was approved for
the integrated project for development and promotion of handicrafts of Varanasi by the
Ministry of Textiles to overcome the COVID-19 crisis faced by the artisans (Indian
Handicrafts Industry & Exports, 2020).
To support the local artisans and weavers ahead of the festive season, Amazon.in has
announced Handicrafts Mela from September 26, 2020 to October 10, 2020, which will help
over 8 lakhs artisans and weavers in the countries (Indian Handicrafts Industry & Exports,
2020).
Government launched Ambedkar Hastshilp Vikas Yojna for the development in handicraft
sector (Schemes, 2020).

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The Ambedkar Hastshilp Vikas Yojana is a special scheme which intends to improve the
handicraft artisans in India for their overall development. Under this scheme the artisans are
provided training and exposed to bigger marketplaces for better sale (Schemes, 2020).
Ambedkar Hastshilp Vikas Yojana is implemented for typical handicraft artisans with a
purpose to empower and develop them into a well-organized market. The following are the
activities conducted by Ambedkar Hastshilp Vikas Yojana:

1. Public interventions is conducted to:

a. Conduct diagnostic survey to recognise the artisans especially female.
b. Categorising the artisans to high-tech self-help organisation
c. Provide identity card, life insurance and health insurance to the artisans.
2. Industrial interventions is offered to:
a. Provide training to develop the new designs on handicraft.
b. To distribute the new technology enabled tools and equipment to the artisans.
c. Organise seminars and workshops.
3. Marketing interventions is offered to:
a. Assess the market and product and conduct study tours for the artisans.
b. Organise sale or exhibitions.
c. Advertise the products through the electronic or print medium.
4. Financial interventions is offered to:
a. Provide wage to the artisans during the training period.
b. Provide guidance and assistance to get best skills.
c. Provide loan facility to artisans to get the best result out of the scheme.

2.2. Wooden Handicraft Industry of India

India Woodwork Industry is one of the fastest growing industries in India's economy. India
possesses around 1,00,000 registered wood ware units and more than 200,000 artisans along
with countless other woodworking related units in the sector.
Wood has always been a major part of Indian handicrafts and various beautiful things are
crafted out of it. India takes pride in manufacturing exquisite and handsome wooden
handicrafts in diverse motifs. The wooden handicraft of India is draped with a vast cultural
and ethnic diversity which is applied to a range of themes, techniques, and crafts. These
wooden handicrafts are unique in their own style and are claimed to be an absolute
personification of the Indian heritage.

21 | P a g e
India Woodwork Industry has not only specialized in serving architectural purpose but also
manufactures furniture both in traditional as well as ultramodern style. In the rural areas of
India, furniture and other household utensils are carved out of wood in different shapes and
styles. These simple objects are so uniquely blend that they in no way look like daily use
stuffs. Animal figures are also an excellent example of India's ethnic woodwork. These wide-
ranging exclusive styles adopted by the India woodwork industry to carve out various
stupefying objects are prepared in different parts of India.
Wood has approx. 54% share in India handicraft product market. Indian handicraft industries
share is about 43% in the country’s economy from other business.
In the global market, India is one of the chief exporters of wooden handicrafts. The factors
that have added to the increasing market of handicraft export from India are:

(i) Low capital investment and other resources.

(ii) Scope of employment.
(iii) Scope of earning for the womenfolk, who, constitute a large section of the
handicrafts industry

2.2.1. Wooden Handicraft Suppliers

Wooden handicrafts suppliers mainly have five categories of wood craft items:

1. Wooden statue and sculpture: Some of the wood craft coming in this category are
wooden god figure, lady figure, animals, birds, figurine, chess set, wooden
ambabari, wooden elephants, showpiece and many others.
2. Wooden utility: Wood carving in this category include wooden pen stand, wooden
coaster, clock, paper cutter, spoon, bowl, photo frame, key holder, mobile holder,
key chain, and many other utility items.
3. Wooden furniture: The category of furniture is comprised of wooden sofa set,
Almirah, Chowki, desk, table, dining table and many others wooden furniture.
4. Wooden gift item: wood carving, statue, god statue, wooden jarokhas, wooden
chowki, wooden figure, carving birds, coaster, photo frame, pen stand, letter
holder, key holder, flowerpot, vase, boxes etc…
5. Wooden corporate gift: Pen stand, coaster, photo frame, Asoka pillar, key chain,
paper cutter, clock, visiting card holder, paper weight, pen, pencil holder, mobile
stand, office set, lamp, ball pen etc.

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Wooden handicrafts are produced in different styles, patterns and carvings according to the
user requirement.

2.2.2. Trading And Exports

Trading and export is known for its connectivity in every corner of the world. Handicraft
business has explored several work opportunities for skilled and 9 unskilled labours. These
craftsmen are known to make exquisite articles in furniture, gift items, accessories, statues,
and many other useful items which attract local as well as the foreign consumers.
US, Europe, and France are the major continents where handicraft items are being exported in
large number. The values of export in percentage are 44.01% in US, 6.02% in UK and rest is
in New Zealand, Australia, Middle East, and Far East. Buyers’ from Germany, France,
Australia, Poland, Holland, New Zealand, and Spain have the biggest stake of export.
United States’ and Europe’s biggest Brand Retail Chain like Wall Mart, Target and Pier One
etc. are the valued customers, buying handicraft articles from wooden handicraft industry.
Indonesia and China are the biggest competitor of India in handicraft industry. Bali and
Thailand are far ahead in export to India.

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2.2.2.1. Status of Indian Wooden Handicrafts Export in other countries
Wooden Handicraft Exporters in India reflects the tradition and legacy of a particular place or
region. It often comprises tales dating back to thousands of years of the queens and the kings
and tells stories of a particular culture and the heritage associated with it. Indian wooden
handicrafts are made almost at all places across the country. The best part is, each part of the
country has a distinctive style of woodwork which helps in distinguishing the place where it
has been manufactured. Wooden handicraft export from India includes items such as wooden
cake stands and candle stands, wooden coasters and coffee mugs, wooden chopping boards,
wooden storage containers, chess sets, and other myriad items.
When one takes a close look at these pieces of woodwork, the true reflection and spirit of the
famed Indian craftsmanship, simultaneously with the perfect shades of traditional style and
beauty, become apparent. Such items are often used as gift articles because of their beautiful
appearance. Wooden handicraft exporters in India are renowned for their traditional and
ethnic designs. Wooden handicraft export from India is quite flourishing because of the vast
diversity and rich cultural heritage.
Besides wood, craftsmen in India use a variety of other materials to make exquisite
handicrafts. Every handicraft item export from India bears testimony to the quality of the
craftsmanship that the country is known for. It thus comes as no surprise when items of
Indian wooden handicrafts like candle stands, pen holders, vases and other items get exported
worldwide.
Each region of India comprises a unique style of handcrafting. It is that particular style that
renders exclusivity to that region. For instance, the southern states of Karnataka and Andhra

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Pradesh are known for their wooden carvings which have earned worldwide recognition.
Each year, several thousand wooden handicraft export from India get exported to the US, the
UK, France, Italy, and other European countries as well as to the Middle East. Wooden
handicraft exporters in India have an exhaustive range of wooden handicrafts collectibles and
each craftwork has a distinct individuality.

2.2.3. Growth
According to a study by the World Bank, India's organised furniture industry is expected to
grow 20% per annum over the next few years and is projected to cross USD 32 billion by
2019, while the luxury furniture market is expected to garner $27.01 billion by 2020,
registering a CAGR of 4.1% during the forecast period 2015-2020.
According to a report of the National Skill Development Council (NSDC), India's furniture
and furnishings industry will need 11.3 million skilled workers by the year 2022. The FFSC
is driven by the NSDC to a raft of training programmes and schemes toward meeting this
demand without diluting the expected quality standards (India's organised woodworking
industry projected to cross USD 32 billion in 2019, 2019)
2.2.3.1. Factors affecting growth

Though India is one of the chief suppliers of wooden handicrafts in the world market, its
share in world imports is insignificant. Mass existence of craftsmen combined with an
excellent production base have failed to aid India towards cashing on the existing
opportunities.
There are several factors that affect the growth of the Indian wooden handicraft sector.
They are:

• The Indian handicrafts industry is a decentralized one. As a result, the products are
not sufficiently remunerative. The artisans work on a part-time basis, while taking up
other means of alternate options of livelihood.

• Production of wooden handicrafts in India is chiefly dependent on the raw materials

available locally. Deforestation comes across as one of the main reasons for the
setback in production levels of wooden handicrafts.

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 • The wooden handicrafts sector is based in rural India where lack of proper
infrastructure and working capital is a major cause for concern. Weak infrastructure
leads to delay in delivery and affects the quality of finished products.

• The Indian wooden handicrafts sector is plagued by poor marketing strategies.

Craftsmen are not independent enough to resort to direct marketing of their own
products. As a result, they are unable to handle the threat to their industry from
machine-made products.

• Most of the craftsmen in the wooden handicraft sector live below the poverty line and
are illiterate. They are also ignorant of the benefits bestowed on them by the
Government.

• Wooden handicrafts are sold at least three to four times the price paid to the
craftsmen. Improper pricing mechanisms, and the intervention of middlemen
deprive the artisans from getting their due.

2.2.4. Sustainability & Wooden Handicraft Industry

India is a major exporter and a supplier of handicrafts and gift products currently in the world
market. The demand for handicraft exports has increased at a rate of 15% approximately in
the year 2019. Amongst the few popular handicrafts that are exported are, Wooden Crafts.
Wooden handcrafted products are popular across the globe due to the elegant and designs
reflected in Indian culture. Even every Indian household also has a good deal of wooden
handcrafted products, due to their intricate and unique designs. There has been an increased
rise in the demand of wooden products and one of the major reasons behind it is the
sustainable and increased procurement of environmentally friendly products.

Sustainability aims at avoiding depletion of natural resources in order to maintain ecological

balance. Wooden crafted products are durable and sustainable in nature. Rising awareness
amongst the people regarding sustainability nowadays have encouraged a lot of consumers to
shift their consumption to more eco-friendly products in order to contribute their bit to the
environment. A lot of people now a days have started at a minute level by replacing their
conventionally used products with biodegradable products. For example, As commonly
observed by us, people have tried to substitute their plastic spatulas with wooden ones.

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Although there is an ongoing trend of sustainability but still with the change in times, the
utility of wooden products was similar to trinkets, along with which the artisans had to adapt
their skills according to the times. As interviewed by THE WIRE, many artisans claim that
the most challenging part of their job is to keep up with changes in the market. There are fast
and growing changes in the market resulting in a short-term demand for a particular product.
They claim that it has become more difficult to compete in domestic market as compared to
the international market (Kidwai, 2019).

Advantages of wooden handicraft (Jowaheer, 2018)

• Reusable and Recyclable

The products made from wood are reusable. Reusable means that a product can be
used again and again. Reusability of a product makes it more economic to use.
Reusability also means lesser materials to be sent to landfills or being burned, which
result in lesser pollution. Recycled wood keeps the carbon footprint very low and
limits the used of freshly milled timber and negates the importing costs, thereby
preserving the use of timber for future use.
• Eco-Friendly Nature
The products made from wood are eco-friendly in nature. Wood products are made
from trees, which is a naturally renewable resource.
• Durability
Wood is light weight but strong and durable. If treated properly, wooden products can
last for more than a 100 years. The longer the wood lasts, lesser energy is used in
production of new products, which in turn makes the environment better.
• Absorbs Carbon dioxide
As trees absorb CO2 which lowers carbon footprint of wood. Using wood makes a
major difference when it comes to carbon storage.
• Great at Retaining Heat
The cellular makeup of wood means that it naturally retains heat more effectively than
other materials – in fact, it holds seven times more heat than ceramic tiles. Air
chambers within the wood itself absorb heat and create a naturally warmer home that
requires less energy to heat it, which is kinder to the environment.
• Biodegradability
There is very little waste when wooden products are made, whether it’s floorboards,
doors or windows, and any residual chippings can be burned as an energy source or
27 | P a g e
 used as sawdust during manufacture. The waste that is produced is 100 per cent
biodegradable, meaning that it eventually decomposes and breaks down back into
earth, making it better for the environment.

Wood comes with a lot of advantages and that is the reason why using wood for the
production of products makes it economic for the producers, consumers and the society as
well, provided it as a a sustainable product.

With the enormous advantages comes, there is one and only disadvantage of wood.
Attack of termites, insects and pesticides which results in decay of wood and consequently
the consumers have to look for an alternative solution, which may or may not be a sustainable
substitute.

2.2.4.1. Trade reconcile in development and conservation of wood carving

Woodcarving cases are often dealt with other non-timber forest products (NTFP) in literature.
Some of the recent studies involving NTFP (including woodcarving) suggest that NTFP trade
is unlikely to reconcile development and conservation of natural forests unless powerful
innovations are put in place. A recent study that forms part of the world's largest and most
comprehensive NTFP research is a case in point. Based on the analysis of 55 cases across
Asia, Africa and Latin America, the study team at Center for International Forestry Research
(CIFOR) concludes that commercial production of non-timber forest products is not likely to
reconcile the goals of conservation and development. "More of the one tends to mean less of
the other" - How can we link this knowledge to field and policy action related to
woodcarvings? Although specific studies in India are required, but it seems efforts to achieve
NTFP-based development need to create conditions that enable people to intensify forest
product management and production and improve their market access. But because these
same conditions tend to have negative impacts on natural forests, we may have to promote
tree-growing in agro ecosystems to solve the dilemma and craft win-win solution for
conservation and livelihoods. Governments and conservation and development organizations
working in this area need to understand these trade-offs before attempting the reconciliation
of development and conservation (Pandey, Garg, Malhotra, & Pandey).

2.2.4.2. Further opportunities for action research to strengthen livelihoods and

conservation
A comparatively much better policy and governance, good infrastructure and a growing

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tourism play vital role in supporting local artisans and entrepreneurs to use their traditional
knowledge for generating large household incomes. States desirous of promoting woodcraft
as a revenue earning and poverty reduction strategy will do well in addressing various issues.
Emergence of woodcarving as an important source of income to local artisans worldwide has
three other advantages too:

a. It facilitates long-term locking-up of carbon in carved wood coupled with creation of

new carbon sequestration potential through intensified tree-growing
b. Supports local knowledge on woodcarving and tree-growing, therefore, further
strengthens livelihoods.
c. It also helps in promoting local trade and industry as a revenue-earning activity for the
local governments.

Processes such as these are expected to enhance the ability of developing countries to
participate in the growing global economy. Although from some traditional knowledge on
woodcarving can support livelihoods improvement with suitable interventions robust studies
are urgently required. Studies are also required to find ways to integrate the woodcarving
enterprise with joint forest management (JFM). It has been pointed out that although JFM has
succeeded in arresting the forest degradation, its poverty reduction objective has not been
fulfilled. There is a possibility that collaboration of JFM committees and wood-based private
enterprise can contribute to the household income of rural people by using their knowledge to
add value to wood. Wood-carving industry offers a promise in this regard. Well-designed
action research will go a long way in providing insights that can both promote the livelihoods
of the poor people and link it through joint forest management for possible supply of raw
material to woodcarvers.
Promoting woodcarving is expected to encourage application of other forms of traditional
knowledge and skills such as tree-growing in agro ecosystems to supply raw material for
woodcarving enterprise. Because the species useful for woodcarving are often overexploited
in forests, tree-planting in agro ecosystems by local communities should be encouraged to
supply wood for making woodcarving and reduce pressure on the forests. Integration of
traditional knowledge with modern science and technology can bring new innovations.
Innovations with already existing skills and knowledge such as woodcarving— rather than
completely new interventions—may be a better option to concurrent efforts aimed at poverty
reduction, livelihoods improvement and biodiversity conservation.

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 Chapter 3: Company Profile
There is one such company in India, who creates luxurious wooden artifacts by carving them,
i.e., KARU

3.1. About KARU

It is a Kolkata based start-up which is established in 2018. KARU brings you exquisite
craftsmanship imbued with an indigenous spirit
representing stories and legends dating back to
thousands of years. At KARU, each object d’art
represents beauty, heritage, and the timeless
wisdom of India. KARU's luxury products, mostly
carved from wood and stone, are full of symbols
from Odisha.
While their vision is to create exclusive pieces of
handcrafted art for modern spaces, it is also their
mission to transform and support Indian craftsmen
and provide them with sustainable livelihoods to
enable them to keep traditional skill-sets alive in a modern context. That is what helps them
to deliver unique handmade items, that express the personality and creative expression of the
artisan (About Us, 2020).

3.2. About the Founder

Ishan Pattanaik, a designer from Kolkata - an avid history and
culture enthusiast, who is passionate about all Indian things. His
work is inspired by classical South Asian art, religious
iconography and Indic thought. He believes it is his life mission
to infuse the grace and wisdom of India's traditions and art forms
in his work. It is his constant endeavour to explore and develop a
design language that is contemporary, quirky and conveys the
timelessness of India. A voracious reader, he loves looking for facts in stories and stories in
facts. When not reading a book, he loves spending time scouting for art and antiques.

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3.3. Experience at KARU
They promise an unparalleled Quality across their creations. With a range of Bespoke luxury
boxes to fit individual product needs; every
box being unique in its form and function; the
coverings, trimmings being hand-finished and
out of unrivalled quality. Each KARU
product is packed as a gift ready to be handed
out. It comes complete with a product card
narrating the story of the product, a brand
card that talks about KARU and certificates
of authenticity (The KARU Experience, 2020).

3.4. Bespoke service at KARU

They also provide bespoke design services by tailoring their work to match customer’s
specific requirements. Their traditional craftsmen specialize in a range of materials. Guided
by experienced designers with modern sensibilities, their skilled artisans create unique
replicas, art installations, murals, furniture that can enliven any space, infusing every project
with warmth and grace.

3.5. KARU’S PRODUCTS

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3.5.1. Some of their Products (Wooden Handicraft)

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3.6. Interview with the Founder
There is lots of missing information related to KARU on Internet, i.e., its turnover, growth.
To get more information, we made our way to connect with the founder of KARU, Ishan
Pattanaik. And one of the team members interviewed him over call. Here are the questions
we planned to ask him, and the answers given by him.

Ques. 1- What is your professional background?

Mr. Ishan- I did Communication Design, specialising in Graphic Design, from Symbiosis
Institute of Design, Pune.

Ques. 2- What is the inspiration behind KARU?

Mr. Ishan- I felt that Indian art was not explored as much as I would like to have delved in it.

Ques. 3- How you make your products more appealing?

Mr. Ishan- What I do is try to insert an element of functionality. Like for the kamadhenu
(divine bovine goddess) bowl or the charbagh (a concept from the Quran which depicts

34 | P a g e
paradise as having four gates) cardholder. And even the Suka Pen Drive, with a depiction of a
parrot on it. One cannot get more functional than this!

Ques. 4- From where customers can get your products? And Do you export as well?
Mr. Ishan- We have retail partners, and our products can also be bought through a few
premium e-commerce websites. KARU retails out of about 14 Taj Hotels and we ship our
products to the USA as well.

Ques. 5- We have noticed the pricing of your products for the retail consumer, i.e., in
thousands. What is the reason behind this pricing?
Mr. Ishan- It is easier when the customer is made part of the process, show them how a
block of stone was converted into a sculpture so intricate. It also helps when we describe
the symbolism and make them see the pride in owning it.

Ques. 6- What measures do you take on the sustainability part the craft business?
Mr. Ishan- We hire artisans, make them attend workshops. We ensure employment to
artisans round the clock. When it comes to terms of payment, the workers keep on working
for us, even if the experiments fail, he will still be paid. We provide more direct employment
and assurance of income throughout the year. Also, we assist them in terms of financial and
emotional support, to make the artisans totally stress free.

At the same time, we ensure that the artisans must attend the workshops as each workshop
has a lead artisan and under him, we have apprentices, other juniors etc.

While working, we also make sure that the theme of the artifacts is not diverted from their
traditional knowledge skills and the main theme of KARU.

We have a balance of what the artisan already knows, and we also give him plenty of time to
know about the contemporary designs to merge with.

Ques 7- Talking about the negative aspect of sustainability, what would you say?

Mr. Ishan- Tough place, world is changing. People does not appreciate the value of
handicraft. We live in a much faster world, where cheap is much more valued than something
which is old, and which takes much time to create. Consumer’s preferences and tastes have
changed. It is more in the culture of consumption than reflection. It is very difficult to explain
the customers and make them understand that why it is so expensive.

35 | P a g e
Ques 8- From the time of your introduction to the market till now, what would you like
say about your company’s growth?
Mr. Ishan- I think it’s slow and steady, might be because of the pandemic too but yes, we are
growing.

3.7. KARU’s Details

Address: 3rd & 4th Floor, GRM Tech Building, New Town, Action Area-1, Kolkata 700156

Mail Id: concierge@karu.co.in

Website: https://www.karu.co.in/

Instagram: https://www.instagram.com/karu_india/

Facebook: https://www.facebook.com/karu.india/

36 | P a g e
 Chapter 4: Results of Consumer Survey
Consumer Survey is done on 42 respondents to get more information about how much
percentage of people is aware about the wooden handicrafts of India, which furthermore,
helps in analysing the preferences and perspective of the users and their interest, desirability
and purchase intent towards the wooden handicrafts.

Out of 42 respondents, 39 people (92.9%) are 18-27 years old;

2 people (4.8%) are 28-37 years old and;
1 people (2.4%) is 38-47 years old

Out of 42 respondents, 28 (66.7%) are females, and 14 people (33.3%) are males.

37 | P a g e
Out of 42 respondents, 20 people (47.6%) have no income;
11 people (26.2%) earn below Rs. 2,50,000;
5 people (11.9%) earn more than Rs. 10,00,000;
3 people (7.1%) earn Rs. 2,50,000-5,00,000;
2 people (4.8%) earn Rs.7,50,000- 10,00,000 and
1 people (2.4%) earn Rs. 5,00,000- 7,50,000.

Out of 42 respondents, 23 people (54.8%) think handicrafts are items made by hand and with
the use of simple tools;
whereas, 19 people (45.2%) think handicrafts are generally artistic and/or traditional in nature

38 | P a g e
Out of 42 respondents, 18 people (42.9%) are extremely interested;
18 people (42.9%) are moderately interested
6 people (14.3%) are sparsely interested

Out of 42 respondents, 38 people (90.5%) said yes;

4 people (9.5%) said no

39 | P a g e
On asking from 42 respondents, 9 people (21.4%) have already known about marquetry;
37 people (88.1%) have already known about wood carving;
8 people (19%) have already known about Intarsia;
27 people (64.3%) have already known about pyrography;
33 people (78.6%) have already known about Scroll Sawing;
38 people (78.6%) have already known about carpentry.

On asking from 42 respondents, 25 people (59.5%) like to purchase from craft fairs;
14 people (33.3%) like to purchase from e-commerce websites;
35 people (83.3%) like to purchase from local markets;
29 people (69%) like to purchase from craftsmen/artisans;
6 people (14.3%) like to purchase from online brands;

40 | P a g e
Out of 42 respondents, 20 people (42.6%) like to buy traditional designs;
16 people (38.1%) like to buy antique designs;
4 people (9.5%) like to buy minimalist designs;
2 people (4.8%) like to buy modern designs

On asking among 42 respondents, 10 people (23.8%) have wooden cutleries;

33 people (78.6%) have wooden home décor;
36 people (85.7%) have wooden furniture;
28 people (66.7%) have wooden utilities products;
1 people (2.4%) have no wooden products;
1 people (2.4%) have wooden gift items.

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On asking from 42 respondents, 18 people (42.9%) purchase wooden handicrafts for gifting
purpose;
42 people (100%) purchase wooden handicrafts for decorative purpose;
23 people (54.8%) purchase wooden handicrafts for functionality purpose

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Out of 42 respondents, 40 people (95.2%) would like to buy from individual artisans and
craftsman;
whereas 2 people (4.8%) would not like to buy from individual artisans and craftsman

Out of 42 respondents, 39 people (92.9%) would like to buy sustainable wooden handicrafts;
whereas 3 people (7.1%) would not like to buy sustainable wooden handicrafts

43 | P a g e
 Chapter 5: How we merge it up with our business idea?

Initially, we were planning to fill in a gap with a effort to bring all the travel related services
under one platform that connects one to our country with just a few clicks. Along with this,
we plan to provide basic lodging facilities along with some additional services like rental
services, virtual magazine, and restrooms services that would make us stand out in the
industry.
Now, we are planning to merge KARU with our business idea.

• We can tie up with KARU and ask them to give some special discount to our
customers, or else KARU can pay us some commissions for their promotion and we
can tell our customers about the company, the crafts and the sustainability aspect of
the company so that they are willing to buy.
• They can buy it as a souvenir, or a gift for their loved ones as KARU provides Gift
packs too.
• Sponsorship. In order to promote their sales and their idea KARU can sponsor a part
of our trip packages (the expensive ones) and in return we can give a product of
KARU as a souvenir to the travellers.
• We plan to put up a blog on our website where in we can put up an interview and
work of the artisans from north to south covering almost each state if they do a craft.
This would bring the artisans and the craft in existence.

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