ADAPTATION OF GOND MOTIFS FOR

DEVELOPMENT OF HOME FURNISHING

PRODUCTS USING HAND PAINTING

Dissertation
Submitted to the

J.M.B. INSTITUTE OF LIFE SCIENCES AND HIGHER EDUCATION, PILIBHIT

(AFFILATED TO MAHATMA JYOTIBA PHULE ROHILKHAND UNIVERSITY

BAREILLY, UTTAR PRADESH, INDIA)

BY

Anju Gautam
IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE
DEGREE OF

Master oF sCienCe
General (CLOTHING AND TEXTILE)

sePteMBer, 2022
 ACKNOWLEDGEMENT

My humble offering these flowers to the feet, Oh lord! Enjoing my mind to your feet
every efforts in this words comes to its fruitful culmination not because of sincere
work of one but only due to combined support and endeavor of many. Here I get a
great chance to express my taken of thanks to people who in away helped and
supported me to complete this record. First of all, I bow my head before almighty for
his boundless blessing, which accompanied me in all endeavors.
I would like to utilize this opportunity to express my heartiest regards to my
guide Priyanka Sagar, Assistant Professor of Home Science for her untiring help,
constant encouragement and timely support, which would remain ever cherish assets
to my memory. I wish to convey my heartiest appreciation for patience understanding
and help extended to me by members of my advisory committee Dr. Poonam, Head of
Department, Assistant professor Dr. Garima Pant, Miss Priyanka Sagar, Miss
Kanchan Gangwar, faculty of the Home Science for their suggestion and guidance.
I would like to pay sincere gratitude to Mr. Anchal Gupta, Managing Director,
Dr. Jyoti Bala, Wise Principal of JMB Institute, Pilibhit, who created a healthy and
technical environment for the successful completion. I am immensely thankful to all
the teachers of this college. I am also highly thankful to all faculty for her kind
cooperation and motivation during entire period of my stay in the department. The
library and computer facilities of the institute have been indispensable.
Nobody could ever thrive in life without the blessing of parents and elders. So,
I bow my head with profound respect before my father Mr. Shankar Lal and mother
Mrs. Jagdei, who laid the foundation of my education and always cherishes me, also
for their consultant encouragement and love. I am also thankful to my elder sister
Geeta Gautam and my whole family for their constant support and encouragement
which helped me a lot in acquiring my goal.
Appreciation is also extended to my friends Vanshika Saxena, Harsha Gupta,
Swati, Kirti Sharma and Sonam for their help and cooperation and encouragement
during my study period in college. I am also cannot forget the love, help and affection
shown towards me by all my juniors & seniors.

Pilibhit Anju Gautam

September, 2022 Authoress
 CertiFiCate

This is to certify that the Dissertation entitled “Adaption of Gond Motifs for

Development of Home Furnishing Products Using Hand Painting” submitted in

partial fulfillment of the requirement for the degree of Master of Science with major

in General (Clothing & Textile) Department of Home Science of the college J.M.B.

Institute of Life Sciences & Higher Education , Pilibhit is a record of bona fide

research carried out by Anju Gautam, Enrollment No. 17151713 under my

supervision and no part of the thesis has been submitted for any other degree or

diploma.

The assistance and help received during the course of the investigation and

source of literature have been duly acknowledged.

Pilibhit (Priyanka Sagar)

September, 2022 Chairperson
Advisory Committee
 CertiFiCate

We, the undersigned member of advisory committee of Ms. Anju Gautam,

Enrollment No. 17151713, a candidate for the degree of Master of Science with

major in General (Clothing and Textile ) Department of Home Science agrees that

the dissertation entitled “Adaption of Gond Motifs for Development of Home

Furnishing Products Using Hand Painting” may be submitted in partial fulfillment

of the requirement for degree.

( Priyanka Sagar)
Chairperson
Advisory Committee

(Poonam) (Garima Pant)

Assistant Professor & Head Member

(Anchal Gupta)
Ex-Officio Member
 CONTENTS

S.No. Chapters Page No.

1. INTRODUCTION

2. REVIEW OF LITERATURE

3. MATERIAL AND METHOD

4. RESULTS AND DISCUSSION

5. SUMMARY AND CONCLUSION

LITEARTURE CITED

APPENDICES

VITA

ABSTRACT
 LIST OF TABLES

Table No. Details of Tables Page No.

3.1 Codes were assigned for the adapted design

4.1 Demographic characteristics of the respondents

4.2 Preference of the respondents on the basis of principle of designs

4.3 Evaluation of prepared designs for cushion cover on the basis of

different parameters

4.5 Cost estimation of prepared samples of gond motifs

4.6 Consumer acceptability of gond motifs with on the basis of ranking

 LIST OF FIGURES

Figure No. Details of Figure Page No.

4.1.1 Distribution of respondents according to age

4.1.2 Distribution of respondents according to gender

4.1.3 Distribution of respondents according by their education

4.1.4 Distribution of respondents according by their occupation

4.1.5 Distribution of respondents according by their income

4.6.1 Data pertaining of motif- 1

4.6.2 Data pertaining of motif- 3

4.6.3 Consumer acceptability of motif- 1

4.6.4 Consumer acceptability of motif- 3

4.6.5 Overall acceptability of traditional gond motifs

 LIST OF PLATES

Plate No. Details of Plates Page No.

1. Collection of gond motifs of different designs

2. The prepared design sheet for cushion cover
3. Prepared cushion covers
Introduction
 INTRODUCTION

Gond or Koi or Koiture, the major tribe of Madhya Pradesh dated back to
thousands of years. The Gond word comes from gond means “green mountains” in
the Dravidian idiom. Gond art showed with the faith that “viewing a good image
begets good luck”. This hereditary faith directed the gond to beautify their houses
and the floors with traditional motifs and was believed to carry good luck.

Gond wall arts are distinguished for their effortless forms. Outside walls are
decorated with a border in yellow, red, black colours and on inside walls they make
reliefs. Rectangles and inverted triangles are geometrical patterns generally drawn in
this art. Gond art has a different range of creative styles, mainly related to particular
painters and their practices. One of the recognizing element is the practice of
‘signature pattern’ that is used to ‘infill’ the bigger arrangements on the canvas. These
infill arrangements are distinguishing recognizable symbols used by the gond artists
and every gond painter has established his or her own signature arrangement. The
community of gond tribal is slowly shrinking due to increase in urbanization sand
migration of younger generation to another place for better living options. There is an
absence of proper training and a fixed market which threatens to kill this attractive
tribal art. Commercialization of this art will create a new source of income to the
artists as this has achieved reputation in the national and international art market
(Bora, 2016).

Apparel is one of the media where this painting can be done either by hand or
can be done by block printing, digital printing, heat transfer printing or screen
printing. In order sustain the motifs of the Gond painting they have to be modified
according to technique that is being used. Government can also train the artisan in this
field to revive the painting which is slowly becoming extinct. In one study Gond
painting motifs were used in apparel by screen printing as one of the method to revive
the art. As apparel is one thing which people usually change very fast use by using
various motifs. Designing can be done on apparel in order to keep it alive (Patidat
and Raghuvanshi, 2014).
 Gond artists use patterns or in-fills for the outlines of objects and people in
their paintings. The different types of patterns used establish their signature style.
These patterns manifest in the form of dots, dashes, lines or fish scales.
It is this inherent belief that motivates the Gond to decorate their houses and
floors with traditional motifs. Traditionally, the creation of the paintings occurs
during a Hindu festival. Typical Hindu festivals when paintings are created include:
Karwa Chauth (where a wife prays for her husband's long life by fasting); Diwali (the
festival of lights which signifies the victory of Good over Evil); and, Nag Panchami
(celebration of the harvest of crops). (The Isha Foundation, 2014).

Painted with freehand, these paintings reflect the perception of life of Gond
Tribes, their faiths and beliefs and the happenings of their day to day lives. The first
Gond artist to gain national recognition was Jangarh Singh Shyam and the present
genre of Gond painting is called Janagarh Kalam after his pioneering style. He was
the first artist to paint on paper and canvas instead of directly on earth or walls of the
home. Gond Paintings are extremely popular in the Gondwana region and now they
have also gained international recognition and impressed the audiences at exhibitions
in Japan, France, Australia and other countries (Verma, 2015).

Gond art is basically linear art with a wide variety of lines and small dots.
Gond artists draw the outline with utmost care. Similarly the filling is also done with
thin and tiny strokes and dots. After the flat color application is completed then the
lines with other colors are added which totally transform the imagery with utmost
perfection. Eyes of the spectator harmoniously slip from one point to another with the
flowy movement of lines. Dots and dashes add minute details to art work. Bright and
vivid color scheme increase the beauty of folk lore. Earlier the colors were extracted
from natural objects, such as charcoal, colored soil, plant sap, leaves and cow dung;
especially yellow from chhui mitti and red from hibiscus flower. Gond paintings
preserve a remarkable resemblance with Aboriginal art from Australia as both styles
use dots and tiny lines to embellish the art work (Saxena, 2017).

Different motifs from Gond painting were adapted using computer aided
designing so that they can be used for screen printing. The design arrangement of
motif for apparel was selected. The apparels were printed using screen printing
method by selected colour combination for the motif. The designed apparel was
evaluated by the consumer for its acceptability and was highly appreciated and
accepted (Bora, 2017).

A good art work, weather it is painting, sculpture and clothing, all starts from
the design. The innovative use of design in art creates a masterpiece. The application
of design in fashion industry can be done by various techniques like printing,
weaving, dyeing, embroidery etc. The inspiration of designers can be anything from
their surroundings like nature, material, object, thoughts, folk paintings, folk stories,
tribal art and craft. Currently, lots of designers are focusing on the conservation and
revival of fading folk art and crafts (Arya et al., 2017).

Now a day, they are using synthetic colour instead of natural colour due to
availability of synthetic colours. Artisans also shifted their media from wall painting
to paper, canvas as they easy preserve compared to wall paintings from severe
weather conditions. In order to preserve and increase the income of the artisan
diversification in media on which painting is done should changed.

Now, the surfaces have changed from walls and floors to paper and canvas; so the
medium has also changed from natural pigments to acrylic colors. Painters have
become the story teller’s and the medium of expression is simply paintings which are
now widely celebrated. Selection of theme from folklore to the depiction of legend in
colors with line, dashes and dots to create a rich visual narrative is actually a treat to
eyes (Saxena, 2017).

Painting is one of the most delicate forms of art giving expression to human
thoughts and feelings, through the media of colors. Indian paintings imitate the
various culture and heritage of the country. Gond is one of the important tribal art of
Madhya Pradesh. The style of using many coloured dots and lines to construct up in a
form of picture. Gond painting is related with Gond tribe, which has different unique,
creative motifs, signature patterns, color combination. Traditionally Gond painting
was done on walls of the home to decorate them. It is one of the treasures of our
heritage which highlights the culture (Rao, 2018).
 So an effort was done to add another dimension in the application of Gond
Painting on textiles, the present study was planned entitled “Adaptation of Gond
Motifs for Development of Home Furnishing Products Using Hand Painting”
with the following objectives;

Objectives:

 To explore traditional motifs of Gond Painting of Madhya Pradesh for Hand

Painting
 Assessment of traditional motifs of Gond Painting regarding suitability with
product by principles of design
 Motif development for hand painting by using different style
 Evaluation of the design sheets using ranking method
 To develop different home furnishing products by using developed designs
 To determine acceptance of developed product by the consumers
 To determine the cost of the product and their marketability

Limitation

 The study was restricted only on Gond painting.

 The study was restricted only on development of home furnishing products
using hand painting.
 Review
Of
Literature
 REVIEW OF LITERATURE

A literature is an evaluative report of information found in the literature

related to your selected area of study. It should be summarized or a theoretical base
for the research and help the researcher to determine the nature of research. Literature
pertaining to any field forms the foundation upon which the future work is built.
Primary objective of reviewing literature is to understanding the previous work that
has been done on subject and to find out researcher with focus on the unexplored
problems. The review present an elaborate account of studies related directly or
indirectly with the present research work. It has been classified as follows;

2.1 History of Gond Painting of Madhya Pradesh

2.2 Style of Gond Art
2.3 Status of Gond paintings
2.4 Efforts made by Government for sustaining the traditional Gond Art

2.1 History of Gond Painting of Madhya Pradesh

Gond paintings are free hand expression of the Gond tribe in Madhya Pradesh.
Highly creative and imaginative, this community drives positive energy by
surrounding itself with colour and art inspired from nature and everyday living.
Characteristically these paintings are reflections of the tribe’s fantasies towards
nature, forest and trees. Use of stripes, dotes or any other geometric pattern to fill up
various forms, is another character typical to this style of free hand art. Most of these
paintings have multiple but very contrasting uses of bright and lovely colours
(Sharma and Jain, 2014).

The Pardhan Gonds were the illustrious story tellers of the Gond Tribal
community. Gond art in an almost literal sense then, is the translation of these songs
into images of good fortune. The Pardhan Gonds are musicians, genealogists and
story tellers. They plead and invoke the God Bada Dev under the Saja tree by playing
the musical instrument, the Bana and record the Gond patrons’ lineage in songs. They
are invited on all important occasions to sing and perform during marriage
ceremonies, births, deaths, and so on. According to Ain-e Akbari, there were four
separate Gond Kingdoms situated in the northern, central and southern parts of India.
With the advent of Mughal and company power in India, they were gradually
deprived of their kingdoms and their land and their existence was truly vulnerable.
The Pardhans’ practice of music and song was lost during Mughal rule and continued
to sink during the British rule when members of the Gond tribe clashed with British
colonialists. There was also an attempt to strip the tribal’s of their wealth with
stringent revenue taxes and land laws.

Gonds voiced their agony through their songs. Through their festivals and
rituals, songs and dances, they remained ingrained in their culture, but their young
men started moving out towards cities in search of livelihood. When the social
standing of the Gonds dwindled, the provisions they formerly made for the Pardhans
as the chroniclers of family histories and mythologists died out. The Pardhan
community gave up past bard traditions and had to unfortunately resort to manual and
menial labor in order to survive. The inherent belief "viewing a good image begets
good luck” the Gonds are decorating their houses and the floors with traditional
motifs. Digna and Bhittichitra are painted on grounds and earthworks of their houses.
These are not just adornments but also the instantaneous expressions of their
preconceived religious gushes and devotions. The grounds and walls become their
canvas and a unique biosphere originates taking form of countless decorative
paintings.

Themes of Gond paintings are based on the local festivals like Karwa Chauth,
Deepawali, Ahoi Ashtami, Nag Panchmi, Sanjhi etc. Horses, elephants, tigers, birds,
Gods, men and objects of daily life are painted in bright hues full of life. For every
occasion a new painting or Digna or Bhittichitra (frescos) is created.

In the last three decades, the voiced traditions of Gond iconography took
visual forms in vibrant hues and the legends Digna or Bhittichitra has been embodied
in modern context. Gond art is alive and echoes with stories from Gondi traditions
and mythology. One of the most endearing stories is that of Lord Shiva and his
encounter with the Mahua tree. Rupendra Shyam in his peerless style paints a
beautiful Mahua tree laden with fruit, crowned by a parrot and flanked by a
fabulously dynamic boar and tiger. As stated in Gond Chitrakala - tribal painting,
Handmade in India, Editors- Aditi Ranjan, M.P. Ranjan, Publisher- handicrafts
development corporations (COHANDS) New Delhi, Ministry of Textiles.

Village deities such as Marahi Devi, Phulvari Devi, (Goddess Kali),

Sanphadki snake, Phulchukki chiriya (bird), Sarpoti tree are the subjects of the
paintings. The paintings are votive in nature and celebrate the birth of Krishna,
venerate trees, birds and beasts, seek protection for the wellbeing of the family and
ward off evil. The predominant theme is veneration of nature and the symbiotic
relationship between birds and snakes, peacocks, beasts and trees.

Numerous Gods and Goddesses, strange and exotic birds, flying snakes, tigers,
dogs and cattle, breathtakingly beautiful trees and several other entities who inhabited
the age old songs of the Pardhans are few of the wonderful themes of Gond art. The
amazing thing is that all of these originally existed as notes and lyrics revealed in the
form of wonderful lines and dots patterns on surfaces (Saxena, 2017).

Art and Craft

The Gonds were expert in arts and crafts. They were also expert in beautiful
wall paintings and floral designs that depicted geometric designs and stylistic figures
of plants and animals on the walls of their houses. They were masters in the art of
personal decoration. Thus, those were of the values in Gond culture which were worth
preserving. The geometric and symbolic designs carved on wall and door on comb
and tobacco-case were thousands of years old going right back to the ancient
civilization of the Indus Valley. However a colourful drawing on walls is a fast
disappearing feature due to urban influence. Now the walls are decorated with framed
or unframed pictures of Hindu deities, national leaders, cinema stars, animals and
birds which are purchased from weekly market centers and towns.
Clothing and Ornaments

The male members of Gond society wore dhotis that came up to their knees a
vest and shawl over the shoulder and a turban on their head. They wore silver bangles
on their wrists, wearing bangles was a sign of good fortune a locket around their neck
and earrings. The women wore six to eight yard saris reaching to the knees and tied
with a belt. The women loved jewellery. The ornaments were not only meant for
aesthetic purpose but they were also protective gadgets. They also tattooed their
bodies.

Tattoos were seen as true jewellery that remained with the women even after
they died and were said to please the Gods. The women believed that tattooing
beautified the body as well as made it healthy. However the aesthetic, cultural and
magical values connected with the traditional dress, ornaments and tattoo marks, are
also fast disappearing due to the pervasive interaction with other cultural groups
through market centres, town and developmental activities. Partial nudism no longer
prevails, and the extensive use of ornaments and tattoo marks in place of clothing no
longer exists, as in the past. Now in place of lion-cloth, half-long cloth (lungi) to
cover the waist, old fashioned half-shirt, and backless bodice (choli) to cover the
torso, modern dresses purchased ready-made from weekly markets and towns are
worn. Males wear full-sized long-cloths and shirts and women wear coloured eight
yards of long cloth and blouses to cover most of themselves. The modern type of
coats, jackets, sweaters, mufflers and saris are worn as ceremonial dresses of
marriages, festivals and fairs. The women admire ornaments made of silver and gold
but wear them more sparsely than in the past. Tattooing is neither considered
important to decorate the body nor to express religious and magical values. Young
girls dislike large number of tattoo marks on their bodies and they get tattooed tribal
identification marks on their face and a few marks on their wrists etc. just to add to
their beauty – unlike the aged women on their bodies. Thus the aesthetic religious,
cultural and magical sense and values, the concepts of beauty and elegance in terms of
animism, and simple life, which used to be exhibited through clothing, ornaments and
tattooing, have faded from among the Gonds in the dynastic process of change.
(Shamrao, 2016).
Painting

After the success of Jangarh many youngster from the villages have started to
take painting as a profession to support their livelihood more and more pardhan of the
village and nearby villages are moving from farming to painting not only they get
recognition and respect they also have a freedom of expression and a means to
preserve collective memories which gives them inner peace and pleasure. Some of
them get training from hasta kala kendra while some go to Bhopal to their relatives
live there for few months do a kind of apprenticeship with senior artist and slowly
start practising their own art and develop Artists busy in their routine work . Their
own style some of them come back to village and work from there even though the
chances of getting work and earning is more in the city. All the artist of the village
know each other and their fellow/senior artist who live in bhopal, they keep going to
Bhopal for showing work learning new things and getting new work. It is not
uncommon in the village to find internationally acclaimed artist sitting outside their
house giving form to their ancestor’s stories in these colourful paintings.

Tools

Rotring pen – Earlier they used to make their own pen from a bamboo stick but now
they have started using rotring pen as most of the famous artists in Bhopal use it and it
doesn’t require to make everything from starch it is available in the market which they
get from Bhopal as they keep on going to Bhopal for selling their art work. These
rotring pen comes in different sizes which makes it easy for them to draw very
integrate detailing with a 0.1mm nib size as no other handmade tool can be used to get
very fine thin lines. The size of the nib may vary from 0.1mm to 1mm as the
requirement of the line width. Most of the artists use local rotring pen as it is much
cheaper than the actual pen, “although the quality is not that good and it sometimes
leaks also but it cost one tenth of original one that is why we use it”, said one artist.

Brushes – They use normal paint brush which they source from the cities like Bhopal,
Jabalpur or Dindori, most of the art supply they source from Bhopal, whenever they
go once in few months, sometimes one person get material for other colleagues. Big
brushes are used sometimes to paint the whole canvas first and then make drawing on
it. Small bruses are used for filling colors in patterns. (Samaiya, 2015).

The Gonds are the largest Adivasis community in India and are Dravidian’s
whose origin can be traced to the Pre-Aryan era. The recorded history of the Gond
people goes back to 1400 years. They inhabit in the area where Rock paintings dating
back to the Mesolithic period have been found. Many of the Gonds customs echo that
of their Mesolithic forebearers. An obvious example of this is the custom of
decorating the walls of their houses, which is an activity that may originate in cave
dwelling tradition of their ancestors. Most of their paintings are consistent to the
prehistoric painting. The Gond tribal paintings have been taught by one generation to
another depicting human cycles and the core of our existence. In certain unspoiled
parts of India such as Odisha in eastern India the continuing artistic tradition from the
Mesolithic period to the present day are evidenced in Meso-Chalcolithic rock art and
continued in the contemporary ritual tribal villages of Nuapada District. They bear the
stamp of the dependence of human perception on the natural environment and
communication between the human and natural worlds. The ritual mural art forms of
Gond community of Nuapada region with different forms of artistic, symbolic and
material expression, visibly connected with the prehistoric rock paintings and drawing
of the region first made by their ancestors.

2.2 Style of Gond Paintings :

Gond paintings and images are combinations of plants, animals, birds, nature,
folklore, along with in filling motifs of dash, dots, curves, etc. Colors are used in this
art traditionally prepared by are naturally, around their surroundings, black from soil,
yellow from the river banks and white from rock calcium. Charcoal and lime are
worked as mediums, especially when the walls of house are paint. The art begins with
the outline being made and black colors filling it up, once dried, patterns are created
in the art. Legendary art themes rotate around the Tree of Life. Many times themes
are showing the connection together between the tree of life and animals and other
motifs. The themes are more frequently connected with a story, like famous story of
the peacock with ugly feet. “The story tells us about how, though the peacock has
beautiful feathers, it is only complete with its small disproportionate feet. By the
tradition of Adivasi community Gond painting used to decorate walls of home.

Gond Represents Folk Art, Tradition and Culture :

In the Gond Literature which illustrate, art passed from generation to

generation on. It includes many stories about Gond legends and some myths such as
the popular love story of Jhitku Mitki, Folk tales of Gondwana, Gondwani (stories of
Gond Kings), Ramyani (Ram Katha) and Pandwani (Pandava Katha) etc. Gond
Paintings are painted with freehand these paintings reflect the observation of life of
Gond Tribes their faith and thinking, way to living. Gond Paintings are very popular
in the Gondwana region and now gain name and fame internationally. The Gonds also
express through different forms of song and dance most of Karma which are
performed during festivals. “Folk Songs and Dances such as Karma, Dadaria, Saila,
Rina, Dadra, Birha, and Karma can be performed any time of the year. When a guest
arrives, the family gathers do the Karma dance together. Usually these songs are
accompanied with instruments like gudum, timki, nagada. Manjira etc. In some
instances, such as with the Dandari dancers, dances retellevents from Gond
mythology”. It also includes pottery making, basket making, body tattooing and floor
paintings which imitate a culture.

Painting Process:

Previously to painting the wall and floor, they are carefully cleaned first
after that the wall and floor ready for the art. “Colors used for painting are made from
different kinds of soils and other organic things which are available in the village,
charred wood or wood coal is used for black color, chui soil or lime is used for white,
red color comes from a red colored soil called geru, dark red comes from the sap of
tinsak plant, yellow is from ramraj soil, dark green is obtained from sem leaves and
for light green, Gonds use cow dung”. A paste made up of straw, cow dung and soil is
used on the walls or floors which are to be painted after that paste dries, a unique type
of soil which known as pidor and it is made wet and applied on the whole painting
surface. Pidor soil is white in color and provides a nice and smooth white colored
background for painting. Pidor is naturally and widely available in the Gond regions.
The paintings created on the outer walls of the house.

Soul of Indian Heritage:

In India there are many forms of traditional art which helps to enrich our
heritage with various art forms. Folk art and tribal art have showing their historical
and mythological narratives, beliefs, with different aspects of art forms. Gond
paintings capture the essence of celebrations, rituals and man’s relationship with
nature. This is very pure and lovely which binds a relationship with culture through
art, Now a day’s folk art and tribal art using in our fashion world. It is a way to
explore heritage art among the people. Many designers promoted this heritage art in
costumes which reflects the beauty of art and craft. Tribal art is a valuable treasure in
our nation legacy. It is one of the ancient art which beautifying present. To preserve
Gond painting, Government of India is making efforts through various schemes under
different cultural institutions. At present the Gond painting occupies an important
position among the art lover people. Different institutions, centers were beautifying
their wall by the Gond painting. Gond art products such as Gond paintings on wood,
painted wooden trays and boxes have become extremely popular globally.

Training of women Gond artisan of Dindori District by National Institute of

Fashion Technology Bhopal:

A training workshop which was initiated and funded by Madhya Pradesh

Mahila Vitta Evam Vikas Nigam under Tejaswini Rural women empowerment
Programme and Technically organised by NIFT Bhopal who formulated the research,
analyzed the requirement, designed syllabus for the 15 day training programme and
conducted the same at Centre. This training was aimed to develop the range of
products, especially women apparels decorated with motifs of Traditional Gond
kalam, so that this languishing art can be preserved and the hard working artisans can
get livelihood in turn to their enormous efforts of creating a saga of colorful and
rhythmic song on surfaces. The idea behind this was to purely provide benefit to
artisans and to make them self-dependent in terms of livelihood. While painted
canvases are one time purchases, the range of apparels can easily secure their place in
todays’ aesthetically educated customer. Keeping in mind, the 15 days workshop was
planned and organized by NIFT, Bhopal at centre. These training modules
familiarized the participants with common and essential Fabric painting tools,
techniques, extracting motifs, preparing repeats, placing of motifs on fabric etc. It has
educate them to use pattern marking on unstitched fabric for apparels (Kurti, Scarf,
Stole, Crop Top, Skirt, Dupatta etc.) which will ultimately enhance their designing
skills and will help them making their product financially viable. Since this was the
first ever attempts by Gond artisans to prepare prototypes for commercial use, few
damages and wastages were also recorded. These can be accepted as experimentation
and trial of material, style and techniques. However, this was a great achievement to
shift the traditional artists from their inherent style and method to a totally new arena.

2.3 Status of Gond Art

Speaking about the Gond art, the well-known traditional Gond artist Venkat
shares, and this mystical art form is known for its style which is created by putting
together dots and lines. These imaginative uses of the lines impart a sense of
movement to the still images. In the eyes of a Gond artist everything is sacred and
intimately connected to nature - flora and fauna, humans and Gods.

Originally these paintings were done on the walls but we are rekindling the art
forms with their contemporary understanding. We are experimenting with the new
mediums with new thoughts while keeping the style intact. The legendary Jangarh
Singh Shyam experimented for the first time and started drawing potters, weavers and
basket sellers. He intermingled them in his own unique way with nature and wild life,
with snakes, peacocks, monkeys, lion, boar and a stag whose antlers matched the
spreading foliage of the trees with his distinctive style of tonal and divergent colour
blocks created with dotted sections. Modern Gond paintings are not painted on walls
and floors and are instead painted on canvas. Due to the scarcity of natural colors in
the current age, Gond artists have started to use poster colors. This combined with the
use of canvas has made modern Gond paintings much more vivid than its traditional
counterparts; but at the same time, the art is declining because the artisans are not able
to make their work commercial and functional. In last few years even after
Government’s huge efforts, the artists are not able to sale their product (paintings) as
they lose canvases or sheets which are intricately prepared and thus not affordable by
customer or a matter of one time purchase. Furthermore still lacking is proper training
and grooming and most importantly a steady market the lack of which threatens to kill
off a once flourishing art. Most of the villagers said that they are not exposed to the
market in comparison to some painters who went to bigger cities (Saxena, 2017).

The government should provide market. Our paintings are not selling. Earlier,
Tribal Co-operative Marketing Development Federation of India (TRIFED) used to
purchase our painting but for last nine months they have not purchased from us, said
by Ummed Singh a laborer and a painter (Jaffer, 2016).

Although their paintings have received worldwide exposure and acclaim and
adorn the walls and ceiling of prominent institutions in Madhya Pradesh and all over
India and abroad. Each region of Madhya Pradesh has a distinctive form of painting.
But then one must accept that at the end of the day it is a question of survival. As it
was realized that what is much needed at this juncture is sufficient Government and
institutional support to ensure that our folk and tribal art and other cultural practices
can be sustained and conserved (Saxena, 2017).

Background:

Thus imitation of earlier traditional chitras is the fundamental Gond painting.

The Pardhan Gonds are a clan of the large Gond tribe of Dravidian origin inhabiting
Central India. The word Gond originates from Kond, means Green mountains in
Dravidian folk lore. Gond, thus called themselves Koi or Koiture, but others call them
Gond for they are living in green mountains. The land surrounded by an untouched
absolute natural beauty which might had been the source of livelihood as well as
inspiration for all living beings. Gondi people ancestrally followed the non-canonical
art forms handed over to the generations through ritual, oral (stories/ kathas) being
discoursed occasionally. They traditionally served the larger tribal community as
musicians, bardic priests and keepers of genealogies and sacred myths. With declining
support for their traditional role Pardhan Gonds have adapted their oral traditions for
the visual medium has already been adapted from auspicious designs on the walls and
floors of mud huts for acrylic paintings on canvas, pen and ink drawings, illustration,
and large scale murals. The Gond people believe that perceiving a good image
precipitates good luck. This belief led the Gond people to decorate the walls as well as
the floor of their houses with traditional motifs.

Themes of Gond paintings:

Themes of Gond paintings are based on the local festivals like Karwa Chauth,
Deepawali, Ahoi Ashtami, Nag Panchmi, Sanjhi etc.Goddess such as Marahi Devi
and Phulvari Devi (Goddess Kali). Horses, elephants, tigers, birds, Gods, men and
objects of daily life are painted in bright and hues full of life. For every occasion a
new painting or Digna or Bhittichitra (frescos) is created. Figure 4.
Kaushalprasadtekam Figure 5. Acrylic on canvas by Durga Bai Figure 6. Jangarh
Singh Shyam However, in the last three decades, the voiced traditions of Gond
iconography took visual forms in vibrant hues and the legendsdigna or bhittichitra has
been embodied in modern context. Gond art is alive and echoes with stories from
Gondi traditions and mythology. One of their most endearing stories is that of Lord
Shiva and his encounter with the Mahua tree. Rupendra Shyam in his peerless style
paints a beautiful Mahua tree laden with fruit, crowned by a parrot and flanked by a
fabulously dynamic boar and tiger.

Current status- Trying to mark the position in global market:

Speaking about the Gond art, the well-known traditional Gond artist Venkat
shares, “This mystical art form is known for its style, which is created by putting
together dots and lines. These imaginative uses of the lines impart a sense of
movement to the still images. In the eyes of a Gond artist, everything is sacred and
intimately connected to nature - flora and fauna, humans and Gods.” “Originally these
paintings were done on the walls, but we are rekindling the art forms with their
contemporary understanding. We are experimenting with the new mediums with new
thoughts while keeping the style intact,” the artist adds (Ranjan, Aditi). The legendary
Jangarh Singh Shyam experimented for the first time and started drawing potters,
weavers and basket sellers. He intermingled them in his own unique way with nature
and wild life, with snakes, peacocks, monkeys, lion, boar and a stag whose antlers
matched the spreading foliage of the trees, with his distinctivestyle of tonal and
divergent colour blocks created with dotted sections. Modern Gond paintings are not
painted on walls and floors and are instead painted on canvas. Due to thescarcity of
natural colors in the current age, Gond artists have started to use poster colors. This
combined with the use of canvas has made modern Gond paintings much more vivid
than its traditional counterparts; but at the same time, the art is declining because the
artisans are not able make their work commercial and functional. In last few years,
even after Government’s huge efforts, the artists are not able to sale their product
(paintings) as they are loose canvases or sheets which are intricately prepared and
thus not affordable by customer or a matter of one time purchase. Furthermore, still
lacking is proper training and grooming and, most importantly, a steady market, the
lack of which threatens to kill off a onceflourishing art.Most of the villagers said they
are not exposed to the market in comparison to some painters who went to bigger
cities. "The government should provide us market. Our paintings are not selling.
Earlier, Tribal Co-operative Marketing Development Federation of India (TRIFED)
used to purchase our painting but for last nine months they have not purchased from
us," said Ummed Singh Patta, 33, a laborer and a painter (Jaffer, 2016). Although,
their paintings have received worldwide exposure and acclaim and adorn the walls
and ceiling of prominent institutions in Madhya Pradesh and all over India and
abroad, Each region of Madhya Pradesh has a distinctive form of painting. But then
one must accept that at the end of the day it is a question of survival. As It was
realized that, what is much needed at this juncture is sufficient government and
institutional support to ensure that our folk and tribal art and other cultural
practices/traditions can be sustained and conserved.

2.4 Efforts made by Government for sustaining the traditional Art

Gond
TRIFED (Tribal Cooperative Marketing Development Federation of India Ltd.)
under the Ministry of Tribal Affairs Government of India has collaborated with the
Government Museum and Art Gallery, Chandigarh Administration to present
Aadichitra - A Tribal Paintings and Arts of India Exhibition a unique collection of
Tribal Paintings and other tribal arts at Government museum and art gallery,
Chandigarh in 2015. The Tribal artists revealed their skill and techniques. The aim
was not only to bring tribal paintings from the swoon to the mainstream of art and
help tribal artists in earning their livelihoods, but also to restore, preserve and
reinforce the tribal art in its forte so that the traditional form, and its essence may
suffer least attenuation. This exhibition presents creative expressions of tribal artists
belonging to Gond. In 2001, Bhajju Shyam, a talented Pardhan Gond tribal artist was
invited to London to paint a mural in an upmarket London restaurant. He also
beautifully illustrated the Jungle Book that was inaugurated in the London Museum.
He has also made it to a radio program on the BBC.

Indian National Trust for Art and Cultural Heritage has been working with
designers and tribal artists in order to bring them together and to create awareness
towards the languishing crafts through contemporary designs (Virasat, 2017).

In New Delhi “Deep Dharohar” organized by the Ministry of Culture. A book

was released entitled ‘Living Traditions, Tribal and Folk Paintings of India’ published
under the matrix of “Ek Bharat Shreshtha Bharat” by the Cultural Mapping team of
Culture and Centre for Cultural Resources and Training (CCRT). This book rejoicly
speaks the living traditions of tribal and folk art of India and the lives of tribal and
rural people. Ministry of Culture organized the festival at the Indira Gandhi National
Centre for the Arts, New Delhi in October 2017. The festival was drawing upon the
rich fount of red, grey and black ware potters artisans, rural sculptors, weavers, and
Gondi people and their art.

A training workshop which was initiated and funded by Madhya Pradesh

Mahila Vitta Evam Vikas Nigam under Tejaswini Rural women empowerment
Programme and Technically organised by NIFT Bhopal who formulated the research,
analyzed the requirement, designed syllabus for the 15 day training programme and
conducted the same at Centre. This training was aimed to develop the range of
products, especially women apparels decorated with motifs of Traditional Gond
kalam, so that this languishing art can be preserved and the hard working artisans can
get livelihood in turn to their enormous efforts of creating a saga of colorful and
rhythmic song on surfaces. The idea behind this was to purely provide benefit to
artisans and to make them self-dependent in terms of livelihood. While painted
canvases are one time purchases, the range of apparels can easily secure their place in
today’s aesthetically educated customer. Keeping in mind, the 15 days workshop was
planned and organized by NIFT, Bhopal at centre. These training modules
familiarized the participants with common and essential Fabric painting tools,
techniques, extracting motifs, preparing repeated placing of motifs on fabric etc. It has
educate them to use pattern marking on unstitched fabric for apparels (Kurti, Scarf,
Stole, Crop Top, Skirt, Dupatta etc.) which will ultimately enhance their designing
skills and will help them making their product financially viable. Since this was the
first ever attempts by Gond artisans to prepare prototypes for commercial use, few
damages and wastages were also recorded. These can be accepted as experimentation
and trial of material, style and techniques. However, this was a great achievement to
shift the traditional artists from their inherent style and method to a totally new arena
(Saxena, 2017).
Materials
&
Methods
 MATERIAL AND METHOD

After reviewing the available literature related to the present study, scientific and
systematic procedure was developed and adopted to conduct the present investigation.
Therefore in order to achieve the goal of the study on “Adaptation of Gond Motifs for
Development of Home Furnishing Products using Hand Painting”, a detailed plan
of work and sequential procedure was adopted. This chapter is organized under the
following sub headings to depict the plan of work and sequential procedure;

3.1 Research Design

3.2 Selection of Sample
3.3 Development of Tools
3.4 Operational Definitions
3.5 Analysis of Data

3.1 Research design

Research design is the arrangement of conditions for collection and analysis of

data in a manner that aims to combine relevance to the research purpose with economy
in procedure. Research design is a plan that specifies the source and types of
information relevant to the research problem, approached for gathering and analysis of
data. Hence in the present study, experimental design was planned.

3.1.1 Experimental design

Experimental design was planned for collection of Gond motifs, development of

designs and development of home furnishing products.
3.1.2 Collection of Traditional Gond motifs

Traditional motifs (10) of Gond Art were collected (Plate-1) for the study from
various secondary sources like books, internet, research papers and magazines. After
that the motifs were selected then ranked and evaluated by the respondents on the basis
of the principles of design i.e. proportion, emphasis, harmony, balance and rhythm.
Then mean was calculated to find out the best two motifs for the further work.

3.1.3 Development of the design sheets

After evaluation of the traditional motifs the top two selected motifs were used
for the development of design sheets for hand painting without distorting the originality
of the basic designs. The investigator has developed 4 design sheets for each motif for
cushion cover. Therefore, a total 8 designs (Plate-2 & 3) by different kinds of
placements i.e., center design, border design, diagonal and corner design were
developed. The designs were developed keeping in mind their suitability for products.
Codes assigned for the adapted designs were shown in Table - 3.1.3.

Table -3.1.3: Codes were assigned for the adapted designs

Name of the product Design’s codes

Cushion cover C

3.1.4 Development of home furnishing products

The most preferred designs were ranked by the respondents and the most
preferred were chosen for the development of home furnishing products i.e. cushion
cover i.e hand painting from selected Gond motifs.
3.2 Selection of sample

This stage included locale of the study and selection of the respondents.

3.2.1 Locale of the study

The present study was conducted in JMB Institute of Life Sciences & Higher
Education, Pilibhit.

3.2.2 Selection of the respondents

Samples of twenty-five respondents (20-40 years) were selected randomly for taking
their preferences regarding developed design sheets and products.

3.3 Development of tool

Ranking scale was found to be an appropriate tool for data collection.

3.3.1 Construction of ranking scale for evaluation of traditional motifs of Gond

Art

Ranking scale was constructed for taking the preferences from the respondents
regarding adapted traditional motifs of Gond Art (Appendix-I). The selected traditional
motifs were shown to the respondents (faculty members of JMB Institute) for the
assessment on the basis of the principles of design (proportion, emphasis, harmony,
balance and rhythm). On the basis of the rank assigned to the motifs by the respondents
mean were calculated. The top two traditional motifs were selected and carry forward
for the further work.

3.3.2 Construction of ranking scale for evaluation of designs sheets

Ranking scale was constructed for taking the preferences from the respondents
regarding developed design sheets (Appendix-II). Design sheets (Plate-2 & 3) were
shown to the respondents (faculty members and Post Graduate Students of JMB
Institute) for assessing the acceptability of the developed design on the basis of different
attributes like: style of design, placement of design and suitability of design.

3.3.3 Construction of ranking scale for evaluation of developed home furnishing

product

After evaluation of design sheets, home furnishing product (Plate 4) were developed by
the investigator. After development of the products, ranking scale was constructed for
taking the preferences from the respondents regarding innovativeness, suitability of the
design, overall impact and cost effectiveness of the prepared products (Appendix-III).

For assessing the cost effectiveness of the prepared products, selling price was
calculated which include the cost of designing, raw materials used and labour involved.
Then, value of each product, known as Quote price, was computed by adding 5 per cent
profit for cushion cover. Opinion of the respondents regarding quoted price for buying
the particular product was taken. The average selling price for each product was
calculated to find the per cent profit.

Per cent profit = x 100

3.4 Operational definitions

Product – A product is the item offered for sale. A product can be a service or an
item. It can be physical or in virtual or cyber form. Every product is made at a cost
and each is sold at a price. The price that can be charged depends on the market, the
quality, the marketing and the segment that is targeted.

Motif – A motif is a literacy term that is an idea, object, or concept that repeats itself
throughout a text. A motif gives clues to theme or rein forces ideas an author wants to
emphasize. A motif generally rein forces the theme of the text. A motif must be
repeated throughout a text to be considered a motif.
Home Furnishing – Home furnishing regulations define requirements for the
resistance for domestic upholstery furnishing and other products containing
upholstery. These regulations are enforced by trading standards.

Cost price- Price that includes the cost of raw materials, the cost of designing used
and the labour involved in making it.

Colour – Colour, also spelled colours, the aspect of any object that may be described
in terms of hue, lightness, and saturation in physics, colour is associated specifically
with electromagnetic radiation of a certain range of wavelengths visible to the human
eyes.

3.5 Analysis of data

To achieve the objectives of the study the data were transferred, tabulated and
analyzed statistically.

3.5.1 Statistical Measures

3.5.2 Mean

The measure of central tendencies is used to describe data clusters around a central
value. The mean definition indicates a varied formula used to calculate the mean
depending on the data provided. The general formula to calculate the mean is as
follows:

𝐒𝐮𝐦 𝐨𝐟 𝐆𝐢𝐯𝐞𝐧 𝐝𝐚𝐭𝐚

Mean=
𝐓𝐨𝐭𝐚𝐥 𝐧𝐮𝐦𝐛𝐞𝐫 𝐨𝐟 𝐝𝐚𝐭𝐚

When using the Sigma (∑) notation, the mean formula is:

∑ni=1XiN∑i=1nXiN
Here,

N = it is the Total number provided in a given data set.

∑ Xi = Total sum of all the data values.

3.5.3 Frequency

It is used to find out the numbers of respondents in a particular cell.

Frequency=Sum of the responses (in numbers)

3.5.4 Percentage

It is used for making simple comparison

Percentage= x 100
.

3.5.5 Ranking

Opinion of the respondents about developed designs (panel of judges from

Pushp Institute) was recorded on separate Rating Performa. Total score obtained by
each product made from developed designs was ranked in order of acceptance.

3.5.6 Acceptability Index

To assess the percentage acceptability of the developed designs on home

furnishing products an acceptability index was formed

Total score of designs

A. I. = x 100
Maximum scores
 Results
&
Discussion
 RESULT AND DISCUSSION

This chapter dealt with the results of the present study conducted on
“Adaptation of Gond Motifs for Development of Home Furnishing Products
using Hand Painting”. The facts and findings pertaining to the present study were
coded, tabulated and analyzed statistically by using frequency and percentage which
has been presented in this chapter. The results of the study in concurrence with the set
objectives have been discussed under the following sub heads;

4.1 Demographic characteristics of the Respondents

4.2 Adaptation and evaluation of traditional Gond Motifs by principles of design
4.3 Evaluation of the prepared design sheets for cushion cover
4.4 Details of the prepared product
4.5 Estimated cost of prepared cushion cover of Gond painting
4.6 Consumer acceptability of Gond motifs

4.1 Demographic characteristics of the Respondents

Significant results of the selected respondent’s characteristics with respect to

the different personal variables are described under this section. Demographics
characteristics are the characteristics of a population which provide a platform for in
depth study of specific objectives. Watrs and Putz – Anderson (1997) stated that the
personal variables include, previous level of physical characteristics age, gender,
occupation, income and education may also affect the development of
musculoskeletal disorders.
Table -4.1.1: Demographic characteristics of respondents

S.NO. Demographic Characteristics Frequency Percentage (%)

Age
1. 20- 25 years 12 36.36
2. 25 – 30 years 13 39.39
3. 30 & above 8 24.25
Gender
1. Male 12 36.36
2. Female 21 63.64
Educational status
1. Intermediate 10 30.30
2. Graduation 15 45.45
3. Post graduation 8 24.25
Occupational status
1. Student 23 69.70
2. Private teacher 10 30.30
Income
1. Less than 5000 20 60.60
2. 5000-10000 11 33.34
3. More than 10,000 2 6.06

In present study, the personal characteristics with specific information related to

respondents were studied with respect to various parameters namely age, education,
occupational status etc.
1. Age:-

According to Jovancic N
N. (1999), in this study stated that,, when creating age
related demographic research questions, the answers ranges will different,
different based
on the age. Age determines the maturity of an individual and has bearing on the
thinking, experience and exposure of a person that are achieved at different stages
of life cycle. The ages of the respondents were categorized into 20-
20 25 years, 25-
30 years, 30 and above respectively. The data pertaining to age revealed that
among the total sample, 36.36 per cent of the respondent were of the age group
ranging from 20-25
25 years followed by the age group 25
25-30
30 years i.e. 39.39 per
cent, whereas, 24.25 per cent respondents were of age group 30 and above years
category.

AGE
45
30.30
40 36.36

35

30
24.25

25

20

15

10

0
20-25
25 Years 25-30 Years 30 & above

Fig-4.1.1:
4.1.1: Distribution of respondents according to Age
2. Gender:-

According to Psychology Association, “Gender

“Gender is cultural and the term to
use when referring to women and men as social groups”. Gender refers to an
individual’s perception of themselves as male or female gender. The
distribution of respondents according to gender. It could be seen that the
gender is balanced with 63.64 percent are female and 36.36 percent are
ar male.

GENDER
70

60 63.64

50

40

36.36
30

20

10

0
Male Female

Fig-4.1.2:
4.1.2: Distribution of respondents according to Gender
3. Educational Status:
Status:-

Jovencic N. (1999), I also be your leverage as segmenting your

respondents according to their level of education can uncover unique trends
that enable you target the right respondents. The data pertaining to educational
status revealed that 100 per cent of respondent were educated. The sample
respondents i.e. 30.30 percent were having intermediate. Graduation and Post
graduation had been reported by 45.45 percent and 24.25 percent respectively.

EDUCATIONAL STATUS
50 45.45

45

40

35 30.30

30
24.25
25

20

15

10

0
Intermediate Graduation Post Graduation

Fig-4.1.3:
4.1.3: Distribution of respondents by their education
4. Occupational status:
status:-

The data pertaining to occupation envisaged that the major occupation of

respondents includes private teachers. Among the total sample 30.30 percent
respondents
espondents belonged to priva
private jobs. 69.70 percent respondents are engaged
in study.

OCCUPATIONAL STATUS
80
69.70

70

60

50

40
30.30

30

20

10

0
Student Private Teacher

Fig-4.1.4: Distribution of respondents by their occupation

5. Income:-
Income of the respondents was also an important variable in the study.
With regard to monthly income from all sources it was categorized in four
categories. It revealed that 33.34 per cent of the total sample was having
monthly income of Rs. 5000 - 10,000. Nearly one- fourth of i.e. 60.60 per cent
reported to have monthly income up to Less than Rs. 5000, whereas, 6.06
percent reported to have the total monthly income of more than 10,000

INCOME

70
60.60

60

50

40 33.34

30

20

10 6.06

0
Less than 5000 5000-10000 More than 10000

Fig-4.1.5:
4.1.5: Distribution of respondents by their income
4.2 Adaptation and evaluation of traditional Gond Motifs by
principles of design

Total 10 traditional motifs of Gond Art were collected (Plate-1)

1) for the study
from various secondary sources like books, internet, research papers and magazines.
Collected traditional motifs of Gond Art were drawn by the investigator for the
assessment. Out of that two best designs were chosen by the respondents on the basis of
the principles of design (proportion, emphasis, harmony, balance and rhythm) and carry
forward for the further work. Data in Table 4.2.1 indicated that the motif 1 and 3 with
total acceptability 698 and 748 were found the most preferred motifs.

Plate-11 Collection of Gond motifs of different designs

S. No. Motif No. Preparation of motifs of Gond art

1) Motif No. - 1

2) Motif - 2
3) Motif – 3

4) Motif - 4

5) Motif - 5
6) Motif – 6

7) Motif - 7

8) Motif - 8
9) Motif - 9

10) Motif – 10
Table -4.2.1: Preferences of the respondents on the basis of principles of design

Motif No. Proportion Emphasis Harmony Balance Rhythm Overall

Acceptability

Motif – 1 147 133 141 140 137 698

Motif – 2 106 126 117 123 123 595

Motif – 3 151 152 150 150 145 748

Motif – 4 131 128 127 120 116 622

Motif – 5 126 127 123 121 124 621

Motif – 6 128 125 121 136 120 630

Motif – 7 126 119 116 115 118 594

Motif – 8 134 142 135 142 128 681

Motif – 9 135 130 137 124 139 665

Motif – 10 131 121 123 117 127 619

4.3 Evaluation of the prepared design sheets for cushion cover

The part of this chapter dealt with reference to the responses regarding prepared
design. Plate-2 for the coaster followed by design C1, C2, C3 and C4.
Plate – 2 The
he prepared Design sheets for Cushion cover

Motif – 1
S.No. Motif No. Prepared motifs of Gond art

1) Motif – C1

2) Motif – C2

3) Motif – C3
 4) Motif – C4

Motif – 2
S.No. Motif No. Prepared motifs of Gond art

1)
Motif – C1

2) Motif – C2

3) Motif – C3
 4) Motif – C4

Table -4.3.1:
4.3.1: Evaluation of prepared design for Cushion covers on the basis of
style of design, placement of design and suitability of design

Design sheets for Cushion Cover

Parameters Motif- 1 Motif-

Motif 3

C1 C2 C3 C4 C1 C2 C3 C4

Style of Design 135 133 139 123 138 142 156 127

Placement of Design 130 131 127 129 137 133 157 133

Suitability of Design 132 131 138 130 141 134 156 138

Overall Acceptability 397 395 404 382 416 409 469 398

Rank Ⅵ Ⅶ Ⅳ Ⅷ Ⅱ Ⅲ Ⅰ Ⅴ

Data in Table 4.3.1 indicated that design C3 for the motif

motif-3
3 was found the best as 469
respondents preferred it as the best for respectively style of design, placement of
design and the suitability of design.
4.4 Details of the prepared product

The investigator has develop

developed
ed the products using most suitable designs chosen by the
respondents for the home furnishing product. The details of the products have been
furnished as follows;

4.4.1 Techniques of Cushion cover

Cushion cover in square shape (12''x12'') was prepared from khadi cotton fabric.
Animal motif adapted by Gond art was placed on the corners of the cushion cover
using hand painting. By making a design on the drawing sheet tracing it on the tracing
paper with the help of carbon paper on the fabric trace the des
design
ign on the fabric, then
stitched the cushion cover after the hand painting on the fabric colour.

Fig – 4.4.1.1: Prepared Cushion Covers

4.5 Estimated cost of prepared cushion cover of Gond painting

Cost estimation was done for calculating approximate cost of the prepared cushion
cover including the expenses incurred, labour involved and profit margin (10-20%
(10 of
the total cost including labour). Semi skilled labour cost in India is Rs 211 per day (8
hours). The costs of prepared cushion cover of Gond pa
painting
inting were calculated and
cost of each parameter for the prepared cushion cover is given in Table -4.5.1: As
raw material (fabric, yarn, fabric colour and fixing agent etc.) used for making
product are totally hand painting.

Table -4.5.1: Cost estimation of prepared samples of Gond Motifs.

Material/ parameter Cost of product in Rs./- Price of

product in
Rs./-
1 m. Fabric 150/-
2 Reels of thread 10/-
Niddle 5/-
10 Fabric colour 250/-
4 Carbon paper 20/-
2 Brushes 50/-
Binder 30/-
Tracing paper 10/-
Making charges (labour cost) 50/-
Total cost 575/-
Profit (20% of total cost) 100/- 700/-

Price of sample 675/-

4.6 Consumer acceptability of Gond motifs

The designs of Gond motifs were assessed by the selected criteria of 33 respondents
on these five criteria namely, (A) Proportion (B) Emphasis (C) Harmony (D) Balance
(E) Rhythm.
4.6.1 Consumer acceptability of designs of Gond motifs

Motif – 1

The data pertaining of motif – 1 revealed that among the total sample, 57.57 per cent
of the respondent were response of Excellent followed of the response Very good i.e.
30.30 per cent, whereas, 12.13 per cent respondents were response of Goo
Good.

Motif - 1
70

57.57
60

50

40
30.30
30

20
12.13

10

0
Excellent Very Good Good

Fig - 4.6.1: Data pertaining of Motif-1

Motif – 3

The data pertaining of motif – 3 revealed that among the total sample, 72.73 per
cent of the respondent were response of Excellent followed of the response Very good
i.e. 12.12 per cent, whereas, 15.15 per cent respondents were response of Good.

Motif - 3
80 72.72

70

60

50

40

30

20 15.15
12.13

10

0
Excellent Very Good Good

Fig - 4.6.2: Data pertaining of Motif-3

4.6.2 Consumer acceptability of prepared motifs for cushion cover

The data pertaining of motif – 1 revealed that among the total sample, 27.27 per cent
of the respondent were response of style of design, followed of the response
placement of design i.e. 54.55 per cent, whereas, 18.18 per cent respondents were
response of suitability of design.

Motif - 1
60
54.55

50

40

27.27
30

18.18
20

10

0
Style of Design Placement of Design Suitability of Design

Fig -4.6.3:
4.6.3: Consumer acceptability of Motif-1
The data pertaining of motif – 3 revealed that among the total sample, 42.42 per cent
of the respondent were response of style of design, followed of the response
placement of design i.e. 12.13 per cent, whereas, 45.45 per cent respondents were
response of suitability
tability of design.

50
Motif - 3
45.45
42.42
45

40

35

30

25

20

15 12.13

10

0
Style of Design Placement of Design Suitability of Design

Fig -4.6.4:
4.6.4: Consumer acceptability of Motif-3
 Table - 4.6.1:
6.1: consumer acceptability of ggond
ond motifs with ranking

Motif No. Overall Acceptability Rank

Motif – 1 698 Ⅱ
Motif – 2 595 Ⅸ

Motif – 3 748 Ⅰ

Motif – 4 622 Ⅵ

Motif – 5 621 Ⅶ

Motif – 6 630 Ⅴ

Motif – 7 594 Ⅹ

Motif – 8 681 Ⅲ

Motif – 9 665 Ⅳ

Motif – 10 619 Ⅷ

Overall Acceptability
800 748
698 681
700 665
622 621 630 619
595 594
600
500
400
300
200
100
0

Fig -4.6.5:
4.6.5: Overall Acceptability of Traditional Gond Motifs

Among all motifs are most preferred designs got highest rank 748,
followed by second rank 698, third rank 681 and forth rank 665. However it was
observed that all motifs designs were appreciated but the most innovative and
creative design on the basis of pprinciple of design were motif-33 were selected
majority of the respondents.
 Summary
&
Conclusion
 SUMMARY AND CONCLUSION

A good art work, weather it is painting, sculpture and clothing, all starts
from the design. The innovative use of design in art creates a masterpiece. The
application of design in fashion industry can be done by various techniques like
printing, weaving, dyeing, embroidery etc. The inspiration of designers can be
anything from their surroundings like nature, material, object, thoughts, folk
paintings, folk stories, tribal art and craft. Currently, lots of designers are
focusing on the conservation and revival of fading folk art and crafts.

 The study was conducted in JMB Institute of life Sciences and Higher
Education, Pilibhit. Motifs were collected from various secondary sources like
books, internet, research papers and magazines. .
 In order sustain the motifs of the Gond painting they have to be modified
according to technique that is being used.
 In one study Gond painting motives were used in apparel by screen printing
as one of the method to revive the art.
 The collected motifs were used to develop design sheets for hand painting
work without distorting the originality of the basic designs.
 On the basis of different parameters, motif 1 and motif 3 were found the best
motifs.
 On the basis of ranking scale motif 3 was the most suitable design chosen by
the respondents for the home furnishing products. The respondents preferred it
as the best for style of design, placement of design and the suitability of
design.
 The design arrangement of motif for apparel was selected. The apparels were
printed using screen printing method by selected colour combination for the
motif.
 After development of the products, ranking scale was constructed for taking
the preference from the respondents regarding innovativeness, colour
combination, suitability of utility, overall impact and cost effectiveness of the
prepared products. Data were analyzed by using frequency and percentages.
  The design C3 were found the best as majority of the respondents preferred it
as the attractive style of design, placement of design and the suitability of
design.
Recommendations
 Gond design can be explored in other forms of designing like patch work,
painting etc.
 Other home furnishing products can also be prepared from this art such as
curtains, bed sheets, pillow cover, cushion cover, sofa covers etc.
Literature
Cited
 LITERATURE CITED

Arya, A.; Gahlot, M.; and Rani, A.2015. “Colours in Gond Tribal Art: An

Interpretation and Critical Evaluation of Colours in Gond Paintings of Madhya

Pradesh.” Inernational journal of Applied Research. Vol 3(7): Pp. 737-743.

Jaffer, A.2016. “Gond Art Finding its way, The Hansindia”Journal of The Hans

India. vol 2(3):pp. 256-726.

Jain, R.; Sharma, N.; and Jain, C. 2014. “Design and Product Development: Digital

Textile Printing Inspired by Gond Paintings of Madhya Pradesh”. Asian Resonance.

3(4):257-261.

Patidat, S.; and Raghuvanshi, B. 2014 “Changes in Culture and Architecture from

Vernacular to Modern: M.P., India. In: Ahmedabad”. International Plea Conference,

Ahmedabad, December Ahmedabad, CEPT University. Vol 8(20): Pp. 16-19.

Rao, S. A. 2018. “Tribal Painting Expressing the Essence of Indian Heritage.”

International Journal of Applied HomeScience Vol5(5-9):Pp. 973-977.

Samaiya, S. 2015. “ Painted Songs and Stories: The Hybrid Flowerings of

Contemporary Pardhan Gond Art”. Manohar Publishers 116 P.

Saxena, A.2017. “An account of Dots and Lines-the Gond Tribal Art of Madhya

Pradesh, their tradition, relevance and sustainability in contemporary Design domain.”

International Journal of Current Research. Vol 9(11):Pp. 61128-61135.

Shamrao, K. 2016. “ 'Socio-Cultural History of the Gond Tribes of Middle India'.

Ph.D. Dissertation, Nagpur University”. International Journal of Social Science

andHumanity, Vol. 6(4); Pp 123-155.

Shobha, B.; and Sakshi, B. 2016. “Knowledge of Gond Art in Mahakoshal Region”.

Indian journal of Arts.Vol 6(20);Pp. 158-165.

The Isha Foundation. 2014. “ Gond Art and Painting:Past, Present and

Future”Journal of The Isha Foundation.” 155 P.

Verma, P. 2015. “Preservation and promotion of Gond folklore and heritage through

intellectual property management”. Researchgate.net publication. Vol 6(11): Pp. 225-

420.

Virasat, P.; and Vasant, R. 2017. “A Newsletter of the Indian National Trust for

Art and Cultural Heritage”. Vol 2(9): pp. 660-690.

Appendices
 APPENDIX - Ⅰ

Objective – To identify the Motif - 1 design on the basis of preference of

order.

Preference Order Excellent Very Good Fair Poor

Good
Score / Marks 5 4 3 2 1

Criteria for Evaluation

Proportion
Motif – 1
Emphasis
Harmony
Balance
Rhythm

APPENDIX - Ⅱ

Objective – To identify the Motif – 3 design on the basis of preference

of order.

Preference Order Excellent Very Good Fair Poor

Good
Score / Marks 5 4 3 2 1

Criteria for Evaluation

Proportion
Motif – 3
Emphasis
Harmony
Balance
Rhythm
 APPENDIX -Ⅲ

Objective – To identify the best cushion design for Motif – 1 on the basis of
preference ranking order in the respondents.

Preference Order Excellent Very Good Fair Poor

Good
Score / Marks 5 4 3 2 1

Design sheets for Cushion Cover

Parameters
Motif- 1
C1 C2 C3 C4
Style of Design
Placement of Design
Suitability of Design

APPENDIX -Ⅳ

Objective – To identify the best cushion design for Motif – 3 on the basis of
preference ranking order in the respondents.

Preference Order Excellent Very Good Fair Poor

Good
Score / Marks 5 4 3 2 1

Design sheets for Cushion Cover

Parameters
Motif- 3
C1 C2 C3 C4
Style of Design
Placement of Design
Suitability of Design
 VITA

Anju Gautam, the authoress of this manuscript was born on 14 April 2000 at
Pilibhit, Uttar Pradesh. She had passed high school examination from Uttar Pradesh
board in the year 2015 and Inter mediate from Uttar Pradesh board in the year 2017.
She had completed her bachelor’s degree in Home Science JMB Institute of Life
Science & Higher Education, Pilibhit which is affiliated to Mahatma Jyotiba Phule
Rohilkhand University, in Bareilly Uttar Pradesh, in the 2020, She has joined M.Sc
Home Science with major in General (Clothing and Textile) in the Department of
Home Science in JMB Institute of Life Sciences and Higher Education, Pilibhit in the
2021, affiliated to Mahatma Jyotiba Phule Rohilkhand University, in Bareilly, Uttar
Pradesh.

Permanent Address:

Anju Gautam
D/O Shanker Lal
Rajiv Colony
City – Pilibhit
Dist. - Pilibhit (Uttar Pradesh)- 262001
Mobile No. – 9548402473
E- mail –anjugautam5943@gmail.com
 ABSTRACT

Name: Anju Gautam Enrollment No. - 17151713

Session of Admission: 2020 -2022 Degree: M.Sc. General
Department: Home Science (Clothing and Textile)
Advisor: Miss Priyanka Sagar

Dessertation Title: “ADAPTATION OF GOND MOTIFS FOR DEVELOPMENT OF

HOME FURNISHING PRODUCTS USING HAND PAINTING”

Painting is one of the most delicate forms of art giving expression to human thought
and feelings through the media of colours. Indian Paintings imitate the various culture
and heritage of the Country. Gond Art is one of the most important art of Madhya
Pradesh. The style of using many design, coloured, dots and lines to construct up in a
form of picture. The motifs are also being simplified and modernized carefully while
keeping the essence of this incredible art. It is one of the treasures of our cultural
heritage which highlights the culture and innovative technologies. These regions are
rich in cultural legacy and have distinctive art and craft. Gond art were used in apparel
design through screen printing as one of the method to prepared the sample.The
present study was mainly conducted to develop the Gond motifs on prepared
thecushion cover. On the basis of various design of sample 10 motifs were choosen
and one of the sample was used to design the gond painting on the cushion cover. The
C1 & C3 samples were the best sample choosen by the respondents with the giving
rank 1st for the motifs design.

(Miss Priyanka Saagar) (Anju Gautam)

Assistant Professor Authoress