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Chapter - 4

PRESENT STATUS OF THESE ARTS & CRAFTS IN ANDHRA

PRADESH AND REASONS FOR THEIR DECLINE AND

STATISTICS FOR ONE DECADE-OBSERVATIONS NEED TO

CHANGE IN MANUFACTURING TECHNIQUES FOR TIME AND

LABOUR SAVING

Statistics and Analysis:

From the details obtained from the Artisans of different arts and crafts, it is found

that most of the artisans almost all feel that they are taking up their profession as a

hereditary one. It is also noticed that most of the artisans have acquired the skills from

their fathers at a very early age. Normally in a family of artisans one or two members or

the entire family consisting of four to six members are also engaged in the production of

the art items. Although lady family members are also involved only male members of the

family are the registered artisans either in a society or in a group or with the Govt. Depts.

Out of around 50 artisans where from the data is collected only a few (2 to 3) female

artisans are found registered although the actual number of females engaged are more.

The caste the artisans normally belong to the family trade, they belong to and

most of them belong to backward castes like Muchi, Nakashi, Vaddi, Viswa Brahmins

include the artisans of goldsmiths, carpenters, blacksmiths and other arts. The other

castes include the Muchi, Agnikula kshtriyas, Vanni kula kshtriya etc. who are

traditionally linked with the art profession. These castes are engaged in those professions

for centuries. For example the Nakashis particularly of Nirmal and Muchis of Kondapally

who are engaged in these crafts are originally said to have migrated from Rajasthan a few

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centuries ago and settled at Nirmal and Kondapally. Rajastanis being good at arts have

continued their tradition even after their migration and still doing their best to continue in

their profession.

With the changing times the artistic traditions and professions were not confined

only to those particular castes and religions. Hindus and Muslims are engaged in

different artistic fields although they don‟t originally belong to those traditions, for

example Rajakas (Washermen) whose family tradition was washing clothes have taken

up Kalamkari art out of their interest in the arts and also for their livelihood. Some

artisans belonging to Reddy, Kapu and other castes also entered in to the field of arts and

crafts for their livelihood. Similarly the Bidri craft which originally belong to Muslim

community is now taken by different entrepreneurs belonging to both Muslim and Hindu

communities and their sub castes.

Coming to the age group of artisans of different arts and crafts it is observed that

mostly the artisans were trained at home at an early age of 17 - 18 years by their elders.

Obviously by the time they attained the age of 24 years they became perfect in their field

and start taking of the work on their own, there were also cases where the artisan‟s career

is started right at the age of 14 or 15 years. Very few among the referred cases are from a

nonhereditary background. These artisans out of their own interest received training from

the regional training centre and gained perfection in the craft they have selected.

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Coming to the locations of these artisans they are more or less a group at one

place for which the particular trade / profession is famous. To quote the examples, Nirmal

toys and paintings, as the name itself indicates they are mostly manufactured at Nirmal in

Adilabad District. Bidriware is also of similar nature with a bulk of manufacturing at

Bidar a neighboring distirct of Andhra Pradesh in Karnataka State, Kondapally toys and

Ettikoppka lacquer toys are only manufactured at Kondapally (Krishna District) and at

Ettikoppaka (Visakhapatnam District). Kalamkari art is also known well at two centers in

Andhra Pradesh, one at Kalahasti (Chittoor District) where religious themes are painted

in Kalamkari technique and the other place is Pedana a neighbouring place of

Machilipatnam in Krishna District. At Pedana, Kalamkari blocks having floral and

geometric designs are prepared which are used for printing house hold items like bed

sheets, curtains and wall hangings etc. Similarly images of stone by carving are found at

Durgi (Guntur District) and Ramadugu (Karimnagar District) where the suitable stone for

carving the sculptures are locally available. The centres for leather puppetry at D.C.Pally

(Nellore District) and Nimmalakunta, Chakakarlapally (Anantapur District) still have the

traditional families who are once purely engaged in conducting leather puppet shows.

However, since the leather puppet shows lacked partronage in the society they are

confined now to making of leather puppets and selling leather puppets. These puppets

have become show-case objects / exhibits rather than playing item.

Cheriyal is a place in Warangal District where scroll paintings are prepared by

traditional artisan families. The brass metal crafts like Dokra and Sheet metals are located

at 2 or 3 Districts in Andhra Pradesh. The Dokra work is concentrated in Ushegaon,

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Jayngaon, Chintalbari, Cinnedari of Adilabad District and few places in Srikakulam

District. The Metal sheet work is mainly done at Pembarthi (Warangal District) and

Budithi (Srikakulam District). The silver Filigree is concentrated only at Karimnagar

proper of Karimnagar District in Andhra Pradesh.

From generations together the woolen carpet industry is located at Eluru (West

Godavari District) and at Warangal (Warangal District). In the recent past the handicrafts

Dept. has introduced a few training centers at Hyderabad also. It does not mean that these

crafts and arts are done only at these places, a few artisans of different arts and crafts are

also available at the state capital and at other popular cities, who are engaged in these

crafts and sell their products at different show rooms, exhibitions etc.

Regarding their profession most of the artisans expressed their satisfied feelings

although financially they are not well off. They prefer to continue in this profession for

two reasons: One is, it is their hereditary profession and the second is most of the artisans

do not know any other field of art or profession hence the artisans continued in their

respective professions irrespective of their liking, however it is not the case with each and

every artisan of the profession. Some artisans, even though it is not their hereditary

profession, out of passion and recognition for its earnings learnt the new skills through

the regional centers and not only flourishing in the new field but also made it possible to

earn a good livelihood. In some cases only all the family members are engaged in a

particular profession while in some cases a couple of members only are involved in the

manufacturing of items.

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Those artisans who are doing well in the profession also mentioned their

reluctance to train their kids in to this profession and some artisans who are not doing

well in their profession also are prepared to encourage their children to take up their

fields. The only reason behind this is with the changing world these age old professions

of Handicrafts is being neglected by the society leading to the difficult conditions for the

survival of these artisans. The artisans who loved their profession even at the risk of not

being patronized are prepared to encourage their children to take up the profession only

to see that these arts and crafts should not die with them.

As seen in any other business in this business of Handicrafts also the actual

artisan is getting a paltry amount while the middle men get a lion‟s share, because, most

of the traditional craftsmen and artisans are either uneducated or lack the technique of

selling their own products. Co-operative societies, Government run organizations like

Lepakshi and other Government emporia although committed to sell the products of these

artisans, overheads like transport, sales person‟s salary, building rents and packing etc.,

will make the cost of the product raise to four fold.

In case of selling through the private dealers, the artisan‟s position is much worse

because the purchase price by the private dealers is much less and even this much

reduced amount also will not be paid to the artisans immediately. Most of the private

dealers‟ transaction is on consignment basis; in consignment basis, and the artisan has to

supply his products to the private dealer with out taking any money from him. The

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private dealer after selling the product and deducting his commission only will pay the

artisan. This way it takes a few weeks to few months and even years for the product to

sell and to receive the money by the artisan. Most of these artisans are away from the city

life where his products are mostly sold in the city emporia and societies. It requires the

selling technique also apart from just keeping the goods on sale, and it is only during in

exhibition or a special festival / mela the craftsman and artisans are invited to sell their

products personally, only in such occasions an artisan will move to city with his products

and sell without the involvement of a middleman. But such occasions occur once in a

year or so, and during the rest of the period, the artisan has to depend either on an

individual or an organization in the city. It is only the foreign tourists out of their interest

would like to visit the artisan at his own place and purchase his products.

As per the business and earnings are concerned, no artisan has mentioned that his

earnings amount to a net income of Rs10000/- per month, where as it is very clear that

middle man is getting much more than the artisans and no artisan has mentioned that he

was getting continuous profits. Out of the profit, loss and satisfactory (no loss no profit)

conditions no artisan has mentioned either continuously profitable or continuously on a

loss position. During some years they have earned profits and during some years they

were in loss. But most of the period their position of sales are satisfactory. It is also clear

that due to the reasons not known, some of artisans made profits while other suffered

losses. It may be due to a good finish of a product or due to a bad finish of a product for

the same category of product loss and profit occur. When asked about increasing prices

of raw materials most of the artisans are of the opinion that the cost of the raw materials

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is year by year, going up high forcing the artisan to increase the cost of his product and

this results in the ultimate four-fold increase to the ultimate customer who buys the

product. Although there is a separate Government department in the state (Industries and

Commerce) and at the centre (Development Commissioner for Handicrafts) not much lift

has been given to the actual artisan. The main reason for this is that the government did

not recognize the artisans and their products as an industry. These artisans are to be

recognized as industrialists and they should be encouraged and promoted like any other

industrialist. Government provide land and other basic amenities at a very nominal price

if a business entrepreneur comes forward for setting up of an industry. These basic

amenities include subsidized land, electricity, machinery, raw material, water etc. The

same principle should be applied in giving facilities to the handicraft artisans also.

Government should take action to develop these professions which are now being

considered as cottage industries in to a full fledged industry.

Even in the sales procedures also the Government should adopt profitable policies

to flourish the profession of these handicrafts. For an Indian product a price of Rs100/-

may sound high but for a foreigner two dollars (approximately equivalent to Rs100/-) is a

small amount. By virtue of the economic condition of a particular country the rupee and

dollar vary in their position. Hence it should not be the equivalent currency that should be

charged. This is being practiced in some of the Museums and other visiting places in

India and abroad also. For example the entry ticket of Salarjung Museum in Hyderabad

for an Indian visitor is Rs10/- and for foreign visitor the same Museum charges three

dollars which is equivalent to 15 times the cost of an Indian visitors ticket. The same

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principle should apply for these handicraft products also. If it is sold at Rs100/- for an

Indian buyer, the same is sold at five dollars for a foreign buyer, it does not make any

difference for a foreign buyer.

Apart from these as the Government is providing many facilities and subsidies to

the industrialists and the artisans also are provided with subsidized raw materials,

electricity, mechanical tools, exemption of taxes etc. This will result in mass production

of the products which ultimately results in good sales. Even at the lower costs when a

large number of products of the artisans are sold the artisan do not mind in loosing a bit

of his profit as the products sold are more in number.

1. Bidri Art Ware

The present position of Bidri craft as per the statistics of Government is good. As per the

Government listing there were about 1201 craftsmen actively engaged in this field in the

year 1999 - 20002, and as per the records of 2009 – 2010

3 it is increased to 150

4

craftsmen making a growth of 12.5% annually in the number of artisans engaged in this

field in Andhra Pradesh. Annual production during 1999-2000 was listed as 505 lakhs

while during 2009-2010 it is 1006 lakhs which indicates a 20% growth annually in the

industry in a span of decade.

Although the growth in the number of artisans and the total turnover of this

industry appears to be 12.5% and 20% respectively, the growth cannot be taken as a very

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good growth. Why it cannot be taken as a good growth is because of its long duration of

10 years. If the same growth is recorded in five (5) years it can be taken as a good

growth. The growth in turnover is compensated in the increase of raw material and labour

costs. After considering the hike in expenditure during these 10 years one can easily say

the profits are nominal.

It is also noticed, that in this industry, as in any other industry, a considerable

amount of profit margin, is lost to either a middleman or an agency but not to the artisan

totally. Out of the total production of Bidri art ware only less than 20% of the production

will have a direct market from the manufacturer to the customer. The remaining 80% of

production will be sold through the commission agent or agencies like handicrafts

emporia. The minimum margin of a middleman or an agency will be not less than 10%

and it may go to a maximum of 30% to 35% depending on the nature of article as well as

the market place excluding transport.

Handicraft Sales Outlet like Lepakshi, which is a Government run organization

for promoting the handicrafts, and private emporia like Kalanjali and Bidri Crafts, at

Hyderabad mainly sell these items. Both Government‟s and private emporia take the

material from the artisans directly and sometimes through the authorized registered

societies if a society exists.

The government agencies normally take the material from artisans on

consignment basis whereas the private agencies like Kalanjali and other emporia

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purchase the material directly from the artisans at a considerably cheaper rate and sell at a

higher rate than the government Agencies.

Artisans also prefer to supply the material to the private agencies and emporia as

they get immediate payment. In the consignment basis the artisans supply the material to

the seller and has to wait a minimum period of six months or more depending on the

product movement in the market. In the consignment basis the artisans normally be paid

half yearly after deducting the commission.

In the earlier years there were limited number of Bidri objects only like Pandaans,

Hukka Bases, Phool Daans (flower containers / baskets, ) etc. manufactured by the

artisans which are mostly utilitarian value which have now become antiques.

With the ban on cigarette smoking and pan chewing the Hukka Bases and

Pandaans have gradually confined themselves to the antique showcases although even

today Pandaans and Hukka Bases are prepared by artisans only for erstwhile royal

families or for antique lovers who would like to keep them as show pieces rather than for

utilitarian purpose.

With the changing life-style of time, the artisans also madeup their minds and

started preparing the small utilitarian items like goblets, boxes, flower vases, cufflinks,

jewellery boxes and other sourvenir items. Although cigarette smoking is banned in

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public places, items like ash trays are still on good sales as cigarettes are being smoked in

the indoors more than the out doors.

As far as this Bidriware industry is considered, luckily, Bidar where the maximum

production of Bidri items are produced is also a very famous historical site. To improve

sale of these Bidri items, government has to come forward to release pamphlets and

posters both on paper as well as on internet, making it known world wide further that

Bidri items are produced and available for sale at Bidar directly from artisans. Tourists

who intend to go to Bidar to see its forts and other monuments prefer to purchase Bidri

items, from the manufacturer directly without going to a middleman or agency. This way

the artisans gets more profits and visitor pays less than at private emporia or government

agencies outside the Bidar.

As part of improving the sales of their products the artisans should unite and fix

the price of an item either among themselves or by the societies. The artisans once in a

way should organize practical workshops and demonstrations in collaboration with

government agencies. For this government through the concerned department should

release sufficient grants. This way the artisans generate more interest towards the Bidri

ware amongst general public. Government is coming forward to hold such workshops

and demonstrations to further increase the activity in this line to meet a big target.

The artisan also should consider to shift to the innovative designs and models

from the aged old existing designs to attract the eye of public. Till now there is no trace

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of furniture in Bidriware. Artisans should also consider that furniture like small stools to

dining table sets and dressing tables etc. which may be expensive but likely to move more

in the market as new items.

The major hurdle for the artisans is the consignment process where the artisans‟

money, time and work are blocked for a long period making the artisans fail for further

investment. If the government comes forward to purchase the material outright atleast to

some extent the artisan will be left with some money to further invest and prepare items.

Government should consider this proposal atleast for the bigger items, where the

investment, labour and time taken is considerably more.

The government also should publicise through various media and on internet the

history and significance of Bidri items with photos and video clips apart from their

aesthetic appearance and values over the net world wide which is a cheaper process of the

publicity.

2. Dokra Metal Castings

Dokra metal casting is a purely tribal art which is existing for the last few

centuries unlike other arts and crafts. This craft remained totally in the hands of tribal

people of Dandakaranya belt7. There are only few villages where the Dokra casting are

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still being made in Andhra Pradesh. This craft is still live in Ushegaon, Jamdaan,

Chintalbari, and Chinnedari of Adilabad District.

As per the Government records during 1999 – 20008 there were 60

9 artisans and

the turn over was 7.0010

lakhs whereas by 2009 - 201011

the artisans have increased to

10012

and the turn over to 20.0013

lakhs an increase of 16.66 % and 28.57% These items

in the number of artisans and turn over. Compared to the other arts and crafts this craft is

much in demand although there is no pomp and publicity by the manufacturers. This is

because of the manufacturers are the residents of big jungles where normally any tourist

cannot go and above all, all the artisans are illiterates.

Hence whatever sales increase and production increase there, that is totally due to

the interest the craft created in the minds of the urban purchasers. Due to the government

efforts, these tribes which make Dokra castings are in the process of change in their life

style but not their tribal art. The important tribes which practice this craft are the Mulis,

Dhuravas and Gonds.

The production of this craft can be highly increased as there is no raw material

problem with this craft. Raw materials required for this craft are mud, bees wax, recycled

brass or bronze. Mud and bees wax are the locally available general products which the

tribal craftsmen procure from the nature and they need not even to purchase, the recycled

metal is procured from the nearest Taluq head quarters or the District head quarters on a

market day. Depending on the sale of these products the tribal craftsmen prepare more

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and more of these art pieces. The art pieces they manufacture include tribal Gods and

Goddesses, birds and animals, peacock lamps, lamps with ornamentation, bullock carts

and Gond couple figures. These are the age old ones which they are preparing right from

the inception of this art without considering the changes in the urban society. This is a

blessing in disguise as most of the manufactured material will go to urban market with a

brand tag of “tribal art ware”. Urban people naturally love to possess the art material

made by the tribal people rather than the urban artisans.

To improve and encourage these tribal art government should set up a procuring

centre in the nearest urban place, procure the material and send it to the towns and cities

for marketing.

There are no societies or community centres amongst these tribal artisans hence the

middle men or brokers go to these artisans and purchase the products outright on cash

down basis and market these products in the towns and cities emporia. The margin for the

brokers or middle men is much more than the actual profit of the tribal artisans. Since the

craze for these items are equal among native and foreign purchasers, the craft is being

moved in the market still in a good manner.

It is suggested that Government should take more interest and see to it that more

number of artisans are to be trained. This is possible only when more marketing is done

for these products through Government sales emporia. Wide publicity through electronic

media with the background tribal story along with photographs and videos attract more

foreign and Indian buyers to keep this wonderful art alive for centuries to come.

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3. Sheet Metal Castings

The artisans who work on metal are of two types they are sheet metal workers and

casting workers. In the sheet metal type brass panels, plates with mythological themes,

lamp shades, table lamps, lotus flowers, replicas of monuments like Charminar and Taj

Mahal are prepared. In brass castings, it is the casting of figures of divinities, lamps,

hanging lamps and other temple usage ware.

The statistics of sheet metal as well as brass castings show a good range of

development. In 1999 – 200014

the sheet metal workers were approximately 30515

in

number with a turnover of 7516

lakhs annually. This figure rose to 150017

in the year 2009

– 201018

with a turnover of 100 lakhs. Although the number of artisans are increased to

1500 the turn over of the business however shows only a hike of 25 lakhs. The annual

growth of number of artisans and turnover registered is 49% and 1333 % respectively in a

span of ten years which is a poor figure. In case of Brass casting in the year 1999 – 2000

the number of artisans engaged were in work 27 which rose to a number of 100 in the

year 2009 – 2010, registering a growth of 37.03% annually in ten years. In the same way

the annual turnover of these artisans is 3.75 lakhs in the year 1999 – 2000 as against 50

lakhs in the year 2009 – 2010, if we take average growth of artisans and turnover

annually it comes to 37.33% and 133.33% respectively which is an encouraging figure

compared to other arts. The per capita income of a brass casting artisan was 13,888

rupees per year in year 1999 – 2000 and the per capita income in the year 2009 – 2010

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has come to 50,000 rupees per year. As the number of artisans has not increased much in

these 10 years, the artisans who are working till now have made a considerable increase

in their income. In fact this figure can be much more improved if the artisans follow the

modern methods both in manufacturing as well as in the advertisement and sales.

The main drawback in these metal objects are the same old designs both in

divinity figures, lamps, lotus figures etc. Both in sheet metal and casting figures the

artisans should follow the new trends and designs adding new dimensions to the divinity

figures as well as domestic purpose items. Even in manufacturing techniques the artisans

should mechanize their work from traditional hand works for saving time and energy. For

instance if a lotus shaped plate is to be made the artisans at Pembarthi and Bhudti still cut

the plate by hand with a hand-saw or pliers. The artisans can as well save the money,

labor and time if they cut the same lotus design of the plate by a mechanized electrical

saw. In the same way from cutting to finishing they can follow and use the new

equipment for a better and quick finish. Even for polishing the objects also, majority of

artisans follow the lime and tamarind mix which can be replaced by a mechanically

operated wax polish wheel.

In this industry also just as in any other handicraft industry the middleman or the

selling agency will make more money leaving the actual artisans in the same old position

even after decades. Government of Andhra Pradesh should take proper steps immediately

to pay the artisan after acquiring the material for sale in their units. Taking the material of

artisans on consignment basis and paying the artisans after the sale of material will put

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the artisans to losses and his money and material are blocked with the sales agency. That

is the reason artisans prefer to sell their items to the private agencies and show rooms

even at a lower rate because the private agencies and show rooms outright purchase the

material by paying the cash immediately.

As an alternative the sheet metal artisans and the brass casting artisans can try the

sale technique with cheaper metals and alloys like copper and aluminum which are much

cheaper compared to brass. The artisans can also try the mixed method technique like, in

laying or pasting one metal on the other. For example, on a circular sheet if Ramayana

theme is to be embossed it can be made into different blocks of aluminum and copper

alternating with each other. This is in fact an old technique where on the brass plate

copper panels were alternated. Even in the domestic items like lamp stands with lamp

shades, the stand can be made with one metal and the shade above with another metal

which makes the lamp attractive because of contrast metals.

Even while procuring the raw material, most of the artisans go for the new ingots

which are very costly. The artisans instead of purchasing the new metal ingots can

purchase the old metal in the form of scrap and recycle it in their own kiln. This way they

can save almost 50% on the cost of raw material.

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4. Silver Filigree

The silver filigree industry had a humble start in Karimnagar district of Andhra

Pradesh. As per the government records of 1999 – 200020

there were only 3021

artisans

with a turnover of Rs.1522

lakhs. By 2009 – 201023

the artisans had grown to 30024

in

number and the turnover to Rs.20025

lakhs. The growth is considerable both artisans wise

and turnover wise, registering a growth of 100% and 133.3% respectively.

It should also be taken into consideration the price of silver which is the main

product of this industry. Comparing the silver price, number of artisans and turn over of

the business, it is found that the earlier artisans were making more profits than the present

day artisans. In the earlier years the price of silver and number of artisans were less

although they did small business where as the present day figures show more number of

artisans and more turnover.

But with the escalated price of silver and more number of artisans engaged in the

industry naturally the profits will be reduced. The cost of living which has also escalated

will further let down the artisans for proper production and sale of his product.

Government departments are trying their best to further encourage and to try more

artisans into this industry, however, the results were very poor and no trainees are coming

forward to enter into this field because of poor returns and high investments.

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The one Cooperative society which was formed earlier has also become defunct.

Although the statistics say 300 craftsmen exiting in the filigree industry, it is going down

day by day.

The main reason for the downward trend of this craft is involvement of more

human labour. In the filigree art right from the making up of silver thread required from

the ingots to the finished product, let it be a box or a plate or an Agarbathi stand etc. it

takes more human labour than the cost of the actual silver used in making up the product.

Hence, the cost of the item goes much more than the actual silver content. Another reason

for the downfall of the silver filigree art is extensive coming up of silver and gold jewelry

shops. In these jewelry shops one can find almost similar items of filigree art (which are

actually not) like plates, kumkum bottles, agarbathi stands etc. These items were made

mostly by machine or even by casting technique which will reduce the cost considerably.

For example if a kumkum box is made in the process of filigree it may cost around

Rs.400/- the similar looking Kumkum box of same size made either by machine or by

casting would cost only Rs.200/-

In the world of competition the filigree art has to survive. The government should

come forward and propagate the technique involved in making up of a filigree item.

Government should subsidize this industry for its survival.

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The artisans should also invent new designs which are not available in the

ordinary jewelry shops. Only with the tuff competitive spirit, where new designs are

developed the filigree art will be continued.

Government should also look into the possibilities of further export of filigree

items to other countries. The lesser known filigree art should be highlighted with through

publicity using attractive and informative techniques both in India and abroad.

Lastly the government and artisan should think in terms of product, skill, technology and

design development for better future of this industry.

5. Wood Carvings

Wood carving is an ancient and very popular craft practiced in many parts of

Andhra Pradesh. This art is mainly concentrated in Madhavamala (mostly toys),

Srikalahasti, Tirupati, and M. Puttoor in Chittoor district and also in Setigunta

Lakshmigari Pally in Cuddapah District, Bhongiri in Nalgonda District, Karimnagar and

Hyderabad. Different kinds of wood such as Teak, Venga, Neem, Mango and Red

Sanders are used to carve panels depicting mythological themes, figures, utility and

decorative items, doors and windows, frames and furniture and table ware etc.

The best of wood carvings are seen in the religious figures. There are innumerable

special occasions through out the country when Gods and Goddesses from the Hindu

Pantheonon are carved for rituals. The on going demand for wood carvings in figures,

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doors, panels and other artistic products resulted in the migration of the artisans from

villages to all major cities. Some of the intricate carvings are done by hand made

traditional tools.

As per the records there are around 5,00026

artisans engaged in this craft with an

annual production of Rs.50027

lakhs (5 crores) during the year 2009-201028

and statistics

for the year 1998-200 are not available. This craft is mainly concentrated on tradition

only, the product should be as per the need of present society. Most of the works are

pertaining to the panels, figures and others. So new contemporary products with

utilitarian aspects are to be made. The traditional tools may be replaced with modern

machinery so the time and energy may be saved and production can be increased more.

They should try to do the carvings like artistic furniture which is more in demand and

also fetches good amount of money to the artisans. But with the fast disappearing forests,

the forest officials are not encouraging supply of wood particularly Red sanders to the

artisans which they used to supply earlier. On the days to come also the shortage of wood

becomes acute with which either the production would suffer or the

Cost wood hike enormously.

6 Stone Carvings

The Stone carving is a very traditional art and craft practiced at different places in

Andhra Pradesh like at Ramadugu(Karimnagar District),Durgi (Guntur District),

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Allagadda (Kurnool District) and Tirupathi(Chitoor District) and follow different styles

and forms by using different types of locally available stones.

In Ramadugu the artisans use a stone called as”Amrita Shila” and carvings are

done in Kakatiyan Style,in Durgi a soft stone is used for carvings mainly for temple idols

and utility items ,where as at other places , they use the Granite stone for carvings.

There were total number of 5129

artisans recorded during the year 1999-200030

with an annual production of Rs 8.1031

(Lakhs), and during the year 2009-2010 the

number of artisans have gone to 500 with an annual production about Rs 100 (lakhs) with

an average annual growth of 123.4% in production. The annual growth of artisans is

about 98%.

At Ramadugu, most of the artisans are members Of Co-Operative Society and

getting the benefits of the schemes implemented by Government and other agencies but

the artisans work and sell their products individually.

The artisans of Ramadugu are using improved techniques and designs in carving

keeping in view of the changing trends in the society, where as at other places they still

follow the old patterns and mostly for the needs and requirements of temples.

The marketing being totally traditional which depends on the local market and a

very specified items are sold through the emporia.

156

There is a need for persuading the artisans to come out with a production of the

new designs and more utilitarian and general items as they are still making the items in

old styles as they are not changing accordingly to the present context.

The artisans should also concentrate on utilitarian items along with traditional

carvings and Sculpture of religious nature.

7. Nirmal Toys and Paintings

As per the records of Government and the Industry of Nirmal toys and Paintings,

there is a considerable growth in the number of craftsmen as well as the turn over of the

business over a period of a decade.

In 1999-200032

the number of craftsmen listed are 16033

where as in 2009 –

201034

it rose to 25035

. The turnover of business in 1999-200036

was 74.50 lakhs which

rose to 150.0037

lakhs by 2009-201038

. The average annual ratio of increase in labour and

production is 15.62% and 20.13% respectively.

As in the case of other handicraft industries the growth is not so much

encouraging. There are various reasons for this industry not to develop as per the

expectations. The main reason is the same old designs and painting subjects both in toys

and paintings. Another reason is that there is no collective effort by the artisans to have a

157

society either to fix the price or to invent a new design, even though there are one or two

societies exiting at Nirmal proper they are not working as effectively as expected.

For the improvement of Nirmal industry both in toys and paintings the following

points may be considered.

1. Formation of self help groups

2. Product development

3. Skill development

4. Technology development

5. Design development

6. Marketing development

By forming a self-help group (societies) the craft person will be exposed to

outside world and market. They will become active entrepreneurs so that they can fix the

reasonable price of their own product avoiding the middle men to a large extent so that

they can have better profits.

In the product development the artisans should try to diversify the range of

objects and new products and figures like table tops, computer stands and stands etc. are

to be developed keeping in view the utilitarian and urban requirement of the products.

Innovative new products costing less in price fetch more profits.

158

In the skill development the new trainings and innovations have to be encouraged

and master craftsmen should train new comers into well skilled crafts person.

In technology development the new generation artisan should adopt the use of

machinery in preparing items so that time and labour can be saved. Time and labour

saved also fetch additional profits. New technology like in coloring the products with

enamel paints will also make the product look better and last the colour over the products

for a longer period compared to the age old system of using mineral and natural colours

which are limited in colour range compared to the extensive range of enamel colours.

In the design development also the minute, small and complicated designs are to

be avoided for saving time and labour. The designs should be the surface once with lesser

decoration. The product designs are in such a way to expand the product range.

The products should also be designed in such dimensions which are convenient

for selling and exporting. Bigger items like furniture, table and chairs or dressing tables

should be dismantelable on so that while exporting these products can be dismantled into

small packages which can be assembled later at the destination.

Coming into marketing, the artisans should engage through a society the

marketing and resource persons with communication skills. These marketing persons will

work on commission basis and select the target persons and corporate houses for the sale

of the products; appointing commission agents or market persons who will go to the

159

direct customer will also help the industry rather than customer going to show rooms and

emporiums.

8. Ettikoppaka Toys

The raw material used for making articles in this craft is „Anukudu and

Palakurcha‟ wood which is more amicable for carving and making the dolls and toys as

well as utility items with lacquering technique. The known Cultures of this art in Andhra

Pradesh are at Ettikoppaka, Ellamanchali, Bonthapally, and Gumidala and also to a small

extent in Hyderabad. Out of these places, Ettikopakka in Vishakapatnam district has a

strong base for this craft and in continuous interaction with the market trends in making

the business.

An annual production worth of Rs 47.0039

lakhs was turned out by around 19540

artisans in this craft during the year 1999-200041

and for the year 2009-201042

the number

of artisans rose to 100043

with an annual growth to Rs 100.0044

lakhs. This is a rapid

growth in respect of number of artisans as well as the annual production with an average

growth 51% and 21.27% annually.

In this craft the improved production techniques include adaptation of power

operated lathe machine and new colour combinations, shades with the help and co-

operation from the Regional design and technical develop centre (Govt.of India)

Bangalore.

160

Even this craft enjoyed an excellent export potentiality by virtue of its

improvement in the quality and adoption of suitable designs with the assistance of Govt.,

semi Govt., and Non Government Organizations. But the benefits of improved

technology and new designs did not make any impact at other places except in

Ettikoppaka.

Even some of the youth from other places, mostly from backward districts, are trained by

regional Design and Technical Centre, Bangalore in this art form and they are earning

their livelihood.

9. Kondapally Toys

Kondapally village is about 10 km from Vijayawada in Krishna District, where

the famous Kondapally Toys are made, It is said that this art form was existed here since

1363 AD, and was patronaged by locals and nobles.

As already mentioned, these toys are made from a wood called „Tella Poniki‟

wood, which is in white colour. The toys are made on the themes like mythological

stories, rural village life and other utility items.

As per the information available there were about 140 artisans engaged in this art

form during the year 1999 – 2000 with an approximate annual production of Rs.1045

lakhs whereas the artisans increased to 160 by the year 2009 – 201046

with an annual

161

production of Rs.2547

lakhs. This shows the increase in number of artisans and the annual

production in Rupees. But it is not so significant which shows a poor status of this art

form in terms of artisans and production, with an annual increase of 11.42% in the

number of artisans and with an increase of 17.5% annual production.

The making up these toys involves little hardship and time consuming, as the

wood is to be seasoned for two months before making into toys and other items. Most of

the artisan families who are making of these toys stay in the craft colony of the village

and others stay on the main road side of the village. There was an artisan society which

was helping the artisans in production and marketing was closed due to the differences

among the artisans and the society building is in bad condition now.

Most of the artisans sell their product individually at their own house or show

room in the village, and a few artisans supply to the Govt. Emporia like Lepakshi and

also other private show rooms. Even all the artists some times participates in the craft

bazaars conducted by the Govt. agencies and also private NGO‟s.

The Govt. and other agencies are trying to improve the conditions of the artisans

for better production and good earnings, even few senior crafts men were trained by the

Master craft men from the regional design and technical development centre, Bangalore.

Most of the artisans still follow the old pattern in making of the toys and the

themes are also are very old. They should make the products of utilitarian and need based

162

ones they also can make innovative items which are used in educational projects and are

very useful in schools. Most of the items are based on Hindu Mythological themes, if the

artisans can make items belonging to other religions and like historical monuments i.e.

like Taj Mahal etc. which may attract more customers and more sales.

There is a strong need for the artisans of Kondapally to come together to revive

the closed society or they can start a new co-operative society for betterment and survival

of this art form and also for their better income.

10. Kalamkari

Kalamkari is an old traditional craft of Andhra Pradesh, which is prevailing in two

places in the state One is at Kalahasti in Chittor district and the other is at Pedana in

Machilipatnam of Krishna district, In Kalahasti kalamkari is in the form of painting base

and where as at Pedana Machilipatnam it is in the form of print base and the similarity

among these two is the color processing of the cloth.

The traditional centre for Kalamkari prints is at Pedana. The free styles of

kalamkari paintings are done in vegetable colours and at Kalahasti the paintings are done

with vegetable and natural colours depicting the mythological themes from the epics

Ramayana and Mahabharata.

163

The main problem of this craft is the time consumption to produce a Kalamkari

print and painting as it takes a minimum of two months for completion as the cloth is to

be processed in 15 stages before it is ready for print or painting.

The kalamkari prints of Pedana (Machilipatnam) are prepared with the help of

wooden blocks and the prints are mostly done on curtains, bedspreads, canopies, table

cloths and dress material etc. At Kalahasti the paintings are made with the help of a

„Kalam‟on Mythological themes but now paintings of general interest are also done

because of the marketing trends and changing attitude of the people.

As per the records of Government there are about 20048

artisans engaged in

Kalamkari painting, with an annual production of Rs 40.0049

lakhs for the year 2009-

201050

, unfortunately the records for the year 1999-2000 are not available. This is the

only craft in which more artisans have been conferred National Craft Awards.

There were about 6051

artisans in Kalamkari printing in the year 1999-200052

with

an annual production of Rs 25.0053

lakhs, where the no. of artisans has increased to 80054

with an annual production of Rs 100.0055

lakhs in the year 2009-201056

in terms of

business in a span of ten years. The growth in number of artisans and the annual

production for the year 1999-2000 to 2009-2010 is very high with a growth of 266% per

year in the artisans‟ strength and a 40% yearly growth in annual production in the

Kalamkari Prints. Where as the position kalamkari painting is very pathetic as the records

164

for the year 1999-2000 are not available and more over people are preferring new designs

instead of themes of mythology. In this art form 200 artisan were able to do only Rs40.00

lakhs production in the year 2009-2010.

Kalamkari painting is more traditional and hereditary and only very few artisans

learned this art form out of interest. The main draw back for this art form is, it is more

complicated and very laborious than the Kalamkari prints, and take more time.

At present this art form is facing competition problems like mixing of screen-

printed fabrics by some of artisans which is not only effecting the traditional style and

form of the craft and also the whole trade and its marketing.

Most of the marketing and selling of the items pertaining to this art form is done

directly by craft persons and manufacturers with out any co-operative society. This

effects most of the artisans particularly in Kalamkari prints where an artisans works as a

worker instead of an artisan under a business man or a manufacturer. Although good

business being done the share of the profit for artisans is very meager as most of the

artisans work as skilled workers or labourers only under a capitalistic trademan.

165

11. Scroll Paintings of Cheriyal

The art of paintings on cloth in the forms of scrolls by depicting folk styles are

from the village called Cheriyal in Warangal District. This traditional art form of painting

is practiced only at Cheriyal by two or three traditional families of the village. As it is

confined to few members only the stastics pertaining to this art form are very meager.

During the year 1999-200057

, there were only 1158

artisans who were engaged this

traditional painting and the number is just increased to 1559

by the year 2009-2010. So

only 4 artisans are added in the span of ten years, with an annual production of Rs 0.9060

lakhs in 1999-2000 rose 3.0061

lakhs in the year 2000-2010.There was no significant

growth in number of artisans due to the lack of patronage and it is confined to a family

group.

The number of craftsmen growth is only 13.6% annually in the decade but the

annual production has grown rapidly with a record of 33.3% annual growth from 1999-

2000 to 2009-2010 and the number of craft persons increased from 11 to I5.

This art form needs more publicity by displaying at every emporia while the

diversion of this scroll Paintings is not possible, but some technical guidance with regards

to the colour to be fixed on the Cloth so that they would not peel of the with in a short

166

period. The size of Scrolls are to be changed so every one can afford to purchase the

paintings.

12. Leather Puppets

The leather puppets are prepared by the leather puppetry artisans who also play

the puppets on stage shows. The leather puppetry or leather shadow puppet play is called

as “Tholu bommalata” in Telugu. The leather puppetry artisans make the items for their

use and they also make other items with the leather. The leather puppets are made by the

artisans mainly from at D.C.Palli in Nellore district, Madhavapatnam in East Godavari

district, Nimmalakunta & Chakkaralapalle in Anatapur district and also to a small extent

at Kattubadivaripalem, Cheemalamarri and Narsaraopeta in Guntur district.

A community named “Are Marathi” a tribe from Marathwada region of

Maharashtra state, who are well versed in the art of playing the leather shadow puppetry

are also engaged in making of the leather puppet items in Andhra Pradesh.

The leather puppet shows were more popular before the advent of the TV, even

though the leather puppet shows are popular among the rural folk but very rarely played

now a days, hence most of the artisans and puppeteers are engaged in making of the

leather puppet items like miniature puppets, decorative cum utility items such as lamp

167

shadows, table ware for show casing purpose. Earlier they use to make only leather

puppets for their requirement to play leather puppet on the stage.

During the year 1999-200062

the leather puppet making was mainly concentrated

in the Madhavapatnam and Nimmalakunta with 1263

artisans making leather puppets with

an annual production of Rs 0.5064

lakhs, but there was a rapid growth in the number of

artisans with in a span of a decade. i.e., 2009-201065

. The number of artisans increased to

100066

, with an annual production of Rs. 50.0067

lakhs during 2009 – 2010 with a 1000%

growth annually.

The out growth in number of artisans and the annual production is very significant

as in the number of artisans making leather puppets grow to 833.3% and the production

rose to 1000%, with in a span of decade i.e., 1999-2000 to 2009-2010. The main

marketing channel for this crafts, artisans is through the emporia, shilpi bazaars,

exhibitions and personal sales.

There are Co-Operative societies of puppeteers at Madhavapatnam and

Nimaalakunta. Here the artisans are mostly engaged in making of miniature puppets and

decorative cum utility items not for stage performance but for show casing and wall

mounting in the city and town homes. Whether it is for stage performance or home

decoration this art should be made to survive for posterity.

168

13. Tie & Dye

Tie and dye is an ancient craft of India. Tie and dye technique is known all over

India and is also known as Bandini in Northern and Western India. In Andhra Pradesh, it

is called “tie and dye” or “Ikkat”. The raw-materials used for tie and dye process are

muslin, handloom and silk cloth, thread for tyeing, starch and colours for dyeing and the

tools used are very basic and simple. They use different designs in multi-colours for

weaving sarees, cholikans, dress materials, rumals, table clothes, bed spreads and other

different materials. The dress materials produced in tie and dye pattern are very famous

as good market value inside the country and abroad. It is said that the running materials

in various shades and designs especially in cotton yarn is very much in demand in

overseas market.

The tie and dye weaving of textiles is very well practiced in Pochampally,

Puttapaka, Koyyagudem, Narayanapur, Chowtuppal and neighbouring villages of

Nalgonda Districts, Chirala in Prakasham District and also at Mangalagiri of Guntur

district.

There were around 500068

artisans(weavers) engaged in this art form during the

year 1999-200069

with an annual production of Rs.30070

lacs, the number of artisans has

increased to 10,00071

in the year 2009 – 201072

, with an an annual production of Rs.50073

lacs. The number of artisans increased by 20% annually but the production increased by

16.66% only annually. Even though the number of artisans is doubled but the annual

169

turnover is not very much improved. This is mostly due to the increase in the high

number of artisans and the rates of raw-materials i.e. yarns and dyes increased

abnormally which causes set back to this art form and it is becoming very difficult to

cope up with the demand of external markets.

The artisans of this art form still follow traditional designs and their own designs

which do not seem to be appropriate to present day trends and technically not sound with

the changing society‟s tastes. So it is essential the artisans to adopt the new changing

patterns of designs globally. With regard to machinery and manufacture technique also

the artisans should change their old methods and to adopt a new technological system.

Even they can take the help of computers in designing the new ones.

The major production of this art form is marketed mostly by the artisans

themselves and also through organizations like Govt. Emporia APCO and other

organizations. It is essential to get the International market through the changing patterns

in pace with International trends. Even the artisans can take the help of Internet for

Global Marketing.

170

14. Carpet Weaving

Warangal and Eluru are the main centres for carpet weaving. The carpets

produced at Eluru and Warangal do not offer much scope to make many major changes in

the export market. They are hand spun, woolen yarn of medium coarse varieties thereby

restricting the scope for higher knottage, presently they go in up to 36 knots per square

inch. Depending on the number of knots per square inch the density and thickness of the

carpet is measured. 35 more number of knots indicate the closely woven carpet and its

cost. They are also not washable, with the usage of acid dyes. The further development of

this industry calls for the creation of conditions to go into the production of carpets of

higher knots by using the mill spun, finer counts, chrome dyed washable yarn. The mill

spun yarn is available in the markets particularly in Northern India though its usage is in

limited quantities here in Andhra Pradesh.

Warangal is one of the major wool production centre in India. The short staple

wool available here is blended with long staple wool of North India, Spun in the mill and

finer counts of yarn is supplied back to the manufacturers in South India.

The supply of mill spun yard is very low, so the mill spun yarn should be

produced more for the more production of the carpets.

As per the records there were 47074

artisans engaged fully in this art form in the

year 1999 – 200075

with an annual production of Rs.7576

lakhs. Surprisingly the artisans

171

strength decreased to 30077

in the year 2009 – 201078

with a decrease of 17% annually in

the work-force with an increased production touching to Rs.100 lakhs. The growth in the

number of artisans and annual production for the decade is very much encouraging

design wise and technology wise but the products are the same.

At present there are neither skills nor facilities for chrome dying and washing of

the woolen yarn for going into production of washable carpets at Warangal. The carpet

artisans at Eluru are very keen to get a dye house. When once this idea takes concrete

shape, the major hurdle is deemed to have been over come.

The other problem of this carpet industry is non availability of the sufficient

number of designers, who could not only evolve new designs with acceptable colour

schemes but also to translate and transfer the designs on the graph to suit to the various

sizes, but some of how this problem is coming to be solved as few designers are more

compatible and perfect in drawing the designs, on computer.

Name of the

Craft / Art

form

Approximate

Craftsmen/Artis

ans

Percentage

of Growth

(Yearly)

Annual

Production in

Lakhs

Percentage

of Growth

(Yearly)

Main items of produce

1999-

2000

2009-

2010

1999-

2000

2009-

2010

1999-2000 2009-2010

Bidri Art Ware 120 150 12.5 50.00 100.00 20 Goblets,Boxes

Vases,Cufflinks

Jewellery,

Souvenir items.

Ashtraya,

Trays

Dokra

Castings

60 100 16.6 7.00 20.00 28.57 Traditional Tribal

Gods & Goddesses

Peacock

Lamps, Lamps

172

Birds,Animals etc. with different

Ornamentation

,Horses

Elephants,Dan

teshwari,

Gond couples,

Drummers etc.

Sheet Metal

Brass Casting

305

27

1500

100

49

37.03

75.00

3.75

100.00

50.00

13.33

133.33

Brass panels with

Mythological

themes, Planters,

Lamp Shades

Tables Lamps,

Model of ship,

lotus,

Charminar

Silver Filigree 30 300 100 15.00 200.00 133.3 Ornaments, Plates,

Pannier Bottles,

Kumkum Bottles,

Agarbathi Stands

etc.

Not given

Wood

Carvings

Not

Availa

ble

5000 Not

Availa

ble

500.00 Panels

depicting

Mythological

themes,

Doors,Windo

ws,Frames

Furniture,Tabl

e Ware.

Stone Carving 51 500 98 8.10 100.00 123.4 Idols,Figures of

Gods & Goddesses

Temple require-

Ments,Foundations

,

Tablets etc.

Small size

paintings on

Folk tails of

village life,

Wall

Hangingss,

Frame Basee

Paintintings

etc.

Kondapally

Toys

140 160 11.42 20.00 25.00 17.5 Traditional

style of

Dashavatara of

Maha Vishnu,

Ambari

Elephants,

Toddy tree,

Nirmal Toys

and Paintings

160 250 15.62 74.50 150.00 20.13 Fruits, Vegetables,

Birds & Animals

etc. Painting,

Furniture, Ganjifa

Playing Cards

Kanchubas & other

Traditional Items

Tray, Boxes

Wooden

Lacquer Toys

and Articles,

Ettikoppaka

195 1000 51 47.00 100.00 21.27 Toys,Lampshades,

Inner Dolls,

Bangles,Bangle

Stands,Birds,

Animals, Educa-

tional Toys,Belan,

Tops,Rubber

Stamp

173

Handles, Pin

Cushions

Kalamkari

Printing (i)

Pantings (ii)

30

Not

Availa

ble

800

200

266

25.00 100.00

40.00

40.00 Bed spreads,lunge

Dress materials

Canpoies,

Tablecloth.

Curtains

Painting

depictingand

reflecting

mythological

Themes of

Mahabharata

And

Ramayana

Scroll

Paintings

(Cheriyal)

11 15 13.6 0.90 3.00 33.33 Big size painting

Of Mythological

themes of Mahabha

Bharata ,Ramayana

Bhagavatam, Sri

Krishna Leelalas

etc.

Small size

paintings on

Folk tales of

village

Life, wall

hangings,

frame based

paintings

Leather

Puppets

12 1000 833.3 0.50 50.00 1000 Leather puppets of

small sizes

Miniature

puppets, deco

Rative cum

utility articles

such as lamp

shades, table

ware

Tie and Dye 5000 10000 20 300.00 500.00 16.66 Sarees, Dress

materials, bed

covers, scrafs etc.

Bedspreads,

Cholikans,

Rumals, Table

Clothes

Woolen Pile

Carpets

25 300 120 0.50 100 2000 Woolen Pile

Carpets in various

sizes, Asan

Woolen Pile

Carpets in

various sizes

and Asan.

174

SURVEY REPORT

Name of the

Craft/Artfor

m

Total

Arti-

sans

Mal

e Female Age Group

Years of

Experience

Caste/

Social

Status

Hereditar

y

(Pertai-

ning

to

Artform

Not interested to

continue the craft

with their

children

Income after

expenditure

Profession

Satisfactor

y

Ove

r all

Com

men

tary

Max Mini Max Min Yes No

Not

Decid

ed

Max-imum

Minimum

Satis fied

Not

Satis

fied

Bidri 02 02 - 48 48(1)

36(1)

36

35

35(1)

24(1)

24 Muslim 2(from

father) 01 01 - 30000

1500

0 02 -

Silver

Filigree 05 05 -

35 35,33

32,25

21

21

18

18(1)

10(2) 4(1)

3(1)

03 Goldsmith (BC-B)

05 05 - - 6000 6000(3)

4000

4000(2)

05 -

Wood Crafts

/ Carvings

04 03 1

27

27(1)

25(1) 23(1)

20(1)

20

10 10(1)

5 (1)

2 (2)

02 BC - A 04 04 - - 5000

5000 (4) - 04

Stone

Carvings 06 06 -

65

65(1)

62(1) 52(1)

42(1)

38(2)

38

45

45(1) 32(2)

30(1)

24(1) 20(1)

15(1)

15

Vishwa

Brahmins

BC - B

06 01 03 02

6000

6000(1) 5000(3)

4000(2)

4000

06 -

Kondapally

Toys 04 04 -

46

46(1)

39(2) 35(1)

35

30

30(1)

28(1) 25(2)

25

Muchi(2)

SC Vishwa

Brahmin-2

BC - B

04 01 03 -

10000

10000(1)

6000(1) 4000(2)

4000 04 -

Nirmal Toys 05 05 -

47 47(1)

37(1)

35(1) 32(1)

28(1)

28

30 30(1)

25(1)

22(1) 20(1)

16(1)

16 Nakashi

BC - B

05 learnt from

father

01 02 02

10000

10000(3) 6000(1)

2000(1)

2000 05 -

175

Ettikoppaka

Toys 04 03 1

47 47(1)

37(1)

28(2)

28

22 22(!)

18(1)

10(2)

18

Vaddi(3) BC – B

OC - 1

No

04 selfly

learnt

03 01 -

30000

30000(2) 16000(1)

Not

known (1)

1600

0 04 -

Kalam Kari 07 04 3

54

54(1)

46(1) 32(!)

29(1)

28(1) 23(1)

18(1)

18

35 35(1)

22(1)

18(2) 16(1)

15(1)

8(1)

18

Reddy(1)

OC Vannekula

Kshatriya

(3) BC-B Devanga

(1) BC-B

Kapu (1) OC

Rajaka(1)

BC – A

07 06 - 01

15000

15000 (1) 10000 (1)

5000 (2)

4000 (1) 3000 (1)

Not

mentioned (1)

3000 07 -

Nirmal

Paintings 04 04 -

50 50(2)38

(2)

38

32

32(1) 25(1)

15(1)

10(1)

10 Nakashi BC - B

04 04 - - 20000 2000(3)

10000 (1)

1000

0 04 -

Cheriyal

Scroll Paintings

05 03 2

40

40(1) 36(1)

29(1)

27(1) 20(1)

20

23 23(1)

16(1)

12(1) 8(1)

01(1)

01 Nakashi

BC - B 05 05 - -

5000

000(1)

000(1) 500(1)

500(2)

1500 05 -

Leather Puppets

03 03 -

39 39(2)

26(1)

26

25 25(1)

16(1)

5(1)

05 BC 03

- 2 1 15000

15000(1)

Others not

mentione

d

-

03 -

176

NOTES AND REFERENCES

1 Assistant Director, Office of the Development Commissioner (Handicrafts), “Profile of

Crafts” – 1999 – 2000, A report , Handicrafts and Marketing and Service Extension

Centre Warangal,

2 Ibid. Table- II

3 Regional Director, Office Development Commissioner ( Handicrafts ) Southern Regional

Office, “State Folder of A.P. Handicrafts – 2009-2010, A report”, Chennai, p.16

4 Ibid. p.16

5 Assistant Director, op.cit. Table – II

6 Regional Director, op.cit.p.16

7 Assistant Director, op.Cit.p.11

8 Ibid. p.11

9 Ibid. p.11

10 Ibid.p.11

11 Regional Director, op.cit. p.11

12 Ibid.p.11

13 Ibid.p.11

14 Assistant Director, op.cit. Table-I

15 Ibid. Table – I

16 Ibid. Table – I

17 Regional Director,op.cit.p.11

18 Ibid. p.11

19 Ibid. p.11

20 Assistant Director, op.cit. Table-III

21 Ibid. Table-III

22 Ibid. Table-III

23 Regional Director, op.cit.p.11

24 Ibid. p.11

25 Ibid. p.11

26 Ibid. p.11

27 Ibid. P.11

28 Ibid. P.11

29 Assistant Director, op.cit.Table – III

30 Ibid. Table - III

31 Ibid. Table – III

32 Ibid. Table – III

33 Ibid. Table – III

34 Regional Director, cp.cit. p.12

35 Ibid. P.12

36 Assistant Directorl, op.cit. Table – I

37 Regional Directorl, op.cit.p.12

177

38 Ibid. P.12

39 Assistant Director, op.cit. Table – III

40 Ibid. Table – II

41 Ibid. Table – II

42 Regional Director, op.cit. P.12

43 Ibid. p. 12

44 Ibid. p. 12

45 Personal Enquiry with Kondapalli Craftsmen, Society and Concerned Govt. Officials

46 Regional Director, op.cit. p.11

47 Ibid. p.11

48 Ibid. p.11

49 Ibid. p.33

50 Ibid. p. 33

51 Assistant Director, op.cit. Table – III

52 Ibid. Table – III

53 Ibid. Table – III

54 Regional Director, op.cit. p.32

55 Ibid. p. 32

56 Ibid. p.32

57 Assistant Director, op.cit. Table – III

58 Ibid. Table – III

59 Personal Information received from the Craft persons from Cheriyal village, who profess

the art form

60 Assistant Director, op.cit. Tabele – IV

61 “Personal Information”. op.cit.

62 Assistant Director, op.cit. Table – IV

63 Ibid. Table – IV

64 Ibid. Table – IV

65 Regional Director, op.cit. p.11

66 Ibid. P.11

67 Ibid. P.11

68 Assistant Director, op.cit. Table – III

69 Ibid. Table – III

70 Ibid. Table – III

71 Regional Director, op.cit. p.28

72 Ibid. p.28

73 Ibid. p.28

74 Assistant Director, op.cit. Table – III

75 Ibid. Table – II

76 Ibid. Table – II

77 Regional Director, op.cit. p.11

78 Ibid. p.11