Architectural Intervention in Conserving and Protecting Bidri Craft

Dr. Madhura Rathod1, and Ar. Harpreet Kaur Saggu2,

1Associate Professor, Smt. Manoramabai Mundle College of Architecture, Nagpur, Maharashtra, India
2Assistant Professor, Smt. Manoramabai Mundle College of Architecture, Nagpur, Maharashtra, India

Corresponding Author:

Dr. Madhura Rathod,

Email: rathodmadhura@gmail.com
Contact: +91-932561620

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 ARCHITECTURAL INTERVENTION IN CONSERVING AND PROTECTING BIDRI CRAFT
Dr. Madhura Rathod and Ar. Harpreet Kaur Saggu

Abstract
Art and Crafts are an integral part of any culture or tradition around the world. Every craft
component has its own core identity. The art aspect can be learned but skill in any craft has to be
transferred through hands-on. Among various crafts in India, Bidri art is one such art that is
diminishing because of the economic and social conditions of the artisans. This art is a heritage art of
Karnataka. Most of the Indians are unaware of Bidriware and its beauty. To preserve our heritage,
scientific and technical study of Bidriware is the need of the time.
The young blooming artisans can be encouraged to preserve and conserve this art form. The schools
of art, the NGOs, and authoritative bodies can be motivated to carry on the tradition of Bidriware for
future generations.
This paper focuses on Bidriware, its introduction, production procedure, and scientific importance of
the study. It emphasizes the designing aspect, new technology, selection of materials, marketing in
India and abroad, and employment opportunities.
Keywords: Bidri artisans, Bidar, Bidriware, Bahamani period, Metal craft

Introduction
“The craftsmen of India have always shown an exceptional skill of engraving, chasing and
ornamenting of gold and silver articles in everyday and decorative use”(Pal, Bhisham H. ,1984).Metal
wares are mainly used for necessity, religious and ritualistic purpose. Bidri ware is unique metal ware
with sparkle of silver designs on black background; originates from the township of Bidar which was
the part of Hyderabad and now in Karnataka State(Imperial Gazetteer of India, Vol III Pg 240). Bidar is
known for its Bidriware. Bidriware brought name and fame to Karnataka. This Bidriware is an art form
since Bahamani period till today. Many Bidri artisans brought name to Bidar for demonstrating Bidri
articles in India and abroad. Many Bidri artisans have received several National and State awards
given by the government of India. Bidri art is diminishing now-a-days because of the economic and
social conditions of the artisans. To preserve our heritage, scientific and technical study of Bidriware
is the need of the time. To prepare Bidriware a particular type of soil is used. Till date no scientific
study of the soil is done. Furthermore, weight of Bidriware articles is another problem. As they are
heavy, the foreigners and tourist do not buy these heavy weight articles. To make it small and
beautiful and elegant these articles must be produced in a different way. This paper will focus on
Bidriware, its brief introduction, production methods and scientific importance of the study. There
are very few books available about Bidriware. As a result, even most of the Indians are unaware of
Bidriware and its beauty. Technical study of the same is also untouched. New technology in Bidriware
production, material used, its designs, and marketing requires immediate attention.

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Historical Background
Bidar (Figure 1) district is the home of the Bidriware industry which is a famous handicraft.The very
name Bidri is derived from Bidar. Among the wide range of Indian Islamic metalware, Bidiriware is an
important class of work produced from early 17th century till today. Bidriware objects have been
fashioned in different shapes and adorned with a variety of techniques. They were earlier used by the
Deccani, Mughal nobility, by the princess and affluent people of Rajasthan.Its use is still found at the
states of Punjab, Bengal, Bihar, Madhaya Pradesh and Western India.

Figure 1: Bidar district location

The Technique and Material

‘Bidri’ describes metal work produced by a technique only in India. Objects are cast from an alloy in
which zinc predominates but which may include small amounts of lead as well as copper and tin. The
surface of the objects is made smooth and a solution of copper sulphate darkens it temporarily for
the next stage of engraving. The engraving tools cut the design into metal, which is then lighter in
colour then the darkened surface and enables the pattern to be seen more clearly. The engraver’s
work having been completed; the piece is passed on to the layer. The inlay may be of silver or brass,
the brass often have a gold-like appearance due to its high zinc content. Rarely gold has been used as
an inlay, as has gilt silver. The inlay may be of wire or sheet metal and some of the finest pieces have
a design cut out of sheet silver so that it appears silhouetted against the body of the object. This is
usually known as ‘Aftabi’. The final state, after the inlay has been burnished, is to blacken the surface
of the piece so that the inlay stands out against it. This is done by applying a paste of ammonium
chloride, potassium nitrate, sodium choride, copper sulphate and mud, which darkens the body while
having no effect on the inlay. The paste is washed off and finally oil is rubbed into the piece to
deepen the matt black ground.

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Mainly six techniques are used for ornamentation they are: Aftabi (cut out design in metal overlay),
Koftgiri, Tehnishan (inlay of sheet metal), Zarbuland (pattern in high relief), Munabatkari and Tarkashi
(inlay of wire). Aftabi and Munnabatkari have slightly raised levels patterns of designs from the level.
Tarkashi is metal wire inley work. Zarbuland and Tehnishan have deep grooves(Pandey 2016).

The Bidriware is solid. It does not dent or break unless struk or hurled with great force. It does not
rust either. The entire process of manufacture of Bidriware is carried on with great expertise and
celerity by different sections of the people(Waghmare 2018).

Manufacturing Process
The main basic materials required in this industry are zinc, copper, silver and a particular type of
earth (Figure 2). The other subsidiary raw materials needed are lead, tin, copper, sulphate,
ammonium, chloride, wax, ground oil castor oil, resin etc. The process of production may be divided
into four main stages viz, casting, engraving, inlaying and oxidsing(Figure 3).

ZINC COPPER SILVER

SOIL FROM FORT ALUMINIUM CHLORIDE

Figure 2: Raw material for bidriware

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Figure 3: Process of Bidri Craft

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Unique Feature
A unique aspect of the Bidriware craft is the soil used to ornament the art objects. This soil, which has
not received rain or sunlight for centuries, is collected by artisans from the inner areas of the Bidar
fort. The soil contains ingredients that give a lustrous black colour to Bidriware (Waghmare 2018).

Designs
“Man had discovered geometry and the sacred nature of the abstract, and had evolved simple tools
for the measurement of angles: this enabled him to build with precision and accuracy (pupule 1987).”
The major motifs are influenced by Mughal motifs; Geometrical and floral patterns are also included
in these motifs. The artisan inlays new design, but the traditional designs are more in demand. The
designs influenced with Persian pattern are circular flower with five petals, angles, lines, dots, spirals,
creepers, chequer, fish scales etc. In Hindu patterns Swastik, lotus, human figures can be seen. Birds,
animals, fishes are also depicted. Some vessels have illustrative scenes or inscription. As the designs
are freehand so it requires more perfection and skill.

Bidri Artisans’
As in case of many other arts and crafts of India, the technique was usually tranfered from one
generation to another and strict secrecy was maintained. We find majority of Muslim artists involved
in this art(Waghmare 2018). The reason behind this is that the Hyderabad Karanataka region in South
India was ruled by Mohammedans for about five hundred years. A Bidri artisan’s job is tough, and
even some of them suffer from eyesight problems after spending endless hours etching intricate
designs. About 350 artisans in Bidar and more than 100 of them in Hyderabad are involved in
preparing Bidriware articles including female and children. Bidri colony and chowbara road are the
attractive areas of Bidri productions having showrooms and Karkhanas. Some artisans are working
with self-help group, some with self investment, and some are working on daily wage on government
projects.

Description of Problem
At present the Bidriartisans’ are living their artistic work as it does not pay them well. Their socio-
economic condition is very poor. New scientific and technological techniques may help the artisans to
improve their economic status and preserve the dying Bidriware (Waghmare 2018). Indepth research is
required in suggesting new scientific techniques for Bidriware production and preservation.
Government should frame the guidelines to enhance their earning through this artwork.

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Connection to Heritage
• The Bidricraft will bring cash and glory to India as a result of the Bahamani and Nizam amount was
extremely dominated by metal craft of Bidriware. it absolutely was patronised by several rulers. the
wonder and magnificence of Bidriware has brought name and fame to nation. this could be revived
on the premise of recent technology.
• Scientific analysis and Development can facilitate in preserving the heritage of Bidriware. This
includes presentation techniques, intervention of recent material, technologies and method for
restoration.
• There may be a have to be compelled to safeguard the employment and application of recent
symbols and styles into innovative forms.
• Bidriware may be a fusion of major religions and culture of India, as rulers have patronised it from
time to time. Thus, each culture had its influence on the craft. One will decision it a fusion of cultures
and it needs an opportunity for international exposure.
• the standard data and techniques may be clubbed with fashionable technology to involve native
communities, creator teams, and a few master artists within the wide production.

Proposals
In India, design has invariably been additional of a craft than engineering which is however it ought to
be to bring artistic significance to the terribly purpose of building. within the past it evolved as a craft
reflective of the socio-cultural environment and therefore the context within which it absolutely was
created. Deeply stock-still in basic principles of kind, shape, proportion and scale, design was terribly
humble and respectful to its position in society and was a mirrored image of cooperative efforts of all.
whereas men of wealth provided the money patronage, the artists gave the artistic vision and
therefore the artisans infused soul in them with their craft. This resulted in several little and medium
scale craft-oriented occupation and provided keep for an outsized population. The communities
began to be revered and better-known for by craft they adopted. Few suggestions are:
1. produce a wholesome expertise for the tourists through providing them a sense of vernacular
culture of the state.
2. Attract additional footfalls, encourage extended stays.
3. produce an area and setting to preserve the standard art and craft of the state for the tourists.
4. Promote the wealthy ethnic inheritance of the town and develop Bidar as a hub of Kanarese art
and craft activity.
5. Promote the skills of native artists, artisans and craftsmen by giving them a platform to exhibit
their painting, art – work and piece of craft via exhibition, studio, out-of-doors theatres and stalls.
6. Encourage entrepreneurship and keep opportunities for the locals.
7. Encourage and promote non-public Sector Participation within the development of commercial
enterprise sector. Developing a centre for promoting the native art, craft and culture

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Conclusion
1. The handicraft sector plays a major and necessary role within the country’s economy. It provides
employment to a massive section of crafts person in rural & semi urban areas and generates
substantial exchange for the country, whereas protective its cultural heritage. Handicrafts have nice
potential, as they hold the key for sustaining not solely the prevailing set of innumerable artisans
adjoin length and breadth of the country, however conjointly for the progressively sizable amount of
recent entrants within the crafts activity. Presently, handicrafts contribute well to employment
generation, and exports.
2. Recently cooperative workshops, & house industries area unit being opened. Cluster program has
been organized by the govt. and NGO’s. The province Government has created assist teams of
artisans, they get sponsored material, and different privileges.

3. The importance of crafts within the Indian context is indispensible, and so needs correct
documentation and review in its current standing and existence, therefore on produce awareness
and info for future preservation of theories and processes. The inter-connection of culture, tradition
and crafts area unit established, to clarify the importance of identity of crafts and therefore the
stakeholders related to it. the foremost supposed craft of Bidri desires sincere attention. the standard
of the skill is deteriorating, the sooner style of skillful work isn't seen these days.

References

 Dr. Anjali Pandey, “BIDRI WARE: A UNIQUE METAL CRAFT OF INDIA” International Journal of Research –
Granthaalayah, Vol. 4, No. 3 (2016): 170-175.

 Pandey Anjali, “BIDRI WARE: A UNIQUE METAL CRAFT OF INDIA” International Journal of Research –
Granthaalayah, Vol. 4, No. 3 (2016): 170-175

 Imperial Gazetteer of India, Vol III Pg 240

 Pal, Bhisham H. (1984). Handicraft of Rajasthan. New Delhi. Publication Division, GoI, pp. 32. 27.
Chattopadhyaya, Kamladevi. (1985). The Glory of Indian.

 Dr. Nalini Avinash Waghmare,” Scientific and Technical Study of Bidriware”3rdInternational Conference on
Recent Developments in Science, Humanities & Management, July 2018.

 Waghmare Nalini Avinash,” Scientific and Technical Study of Bidriware”3rdInternational Conference on

Recent Developments in Science, Humanities & Management, July 2018.

 Dr. Rehman Patel, Bidri Art, Karnataka Historical Research Society, Dharwad, 2017.

 Patel Rehman, Bidri Art, Karnataka Historical Research Society, Dharwad, 2017.

 Gazetteer of Bidar District, Karnataka Government, 1967.

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  Hasoon Khan Sherwani, The Bahmanis of the Deccan, MunshiramManoharlal Publishers Ltd, New Delhi,
1985.

 Handicrafts Bidiriware of Bidar, Karnataka Indian Handicrafts Continuing Tradition sponsored by the office
of the development Commissioner , Ministry of Textiles , Government of India, West Block, Puran, New
Delhi.

 http//www.artnewsnviews.com/Bidri ware and Damascene work in Jagdish and Kamala Mittal museum of
Indian art

 https://www.goheritagerun.com/bidriware-a-report-by-students-of-nift-india

 Jagdish Mittal, Biriware and Damascene work in Jagdish and Kamla Mittal Museum of Indian Art, Jagdish
and Kamla Mittal Museum of Indian Art, Hyderabad, 2011.

 Krishna Lal, National Museum Collection Bidriware, National Museum, new Delhi, 1990

 Susan Stronge, Bidriware Inlaid Metalwork from India, Victoria and Albert Museum, London, 1985.

 Shehbaz, SafraniH,.Deccani Drawings Reflections on life, p.11.

 Sujit Narayan Sen, Catalogue on Damascene AndBidri Art in the Indian Museum, Indian Museum, Calcutta,
1983

 www.india-crafts.com/metal-work/bidriware
JaykarPupul, Craftsmen and creative the process, India, Ed ,Asha Rani Mathur, New Delhi, 1987,Pg- 69

Author Biographies
Dr. Madhura Rathod is an Associate Professor at Smt. Manoramabai Mundle College of Architecture,
Nagpur, Maharashtra, India. She has done her Post Graduation in Architecture Education and
Doctoral research in establishing the relationship between Human Senses and Architecture. The title
of her research was 'An Exploration of Spatial Design Ideas through Human Sensory Perception'. She
is presently acting as a Co-Convener of INTACH (Indian National Trust for Art and Cultural Heritage)
Nagpur Chapter and is working rigorously on Heritage issues.

Ar. Harpreet Kaur Saggu is an Assistant Professorat Smt. Manoramabai Mundle College of
Architecture, Nagpur, Maharashtra, India. She has done her Post Graduation in Architecture
Education and is inclined towards tangible and intangible works.