A Geographical Indication’s distinctiveness stems from the distinct traits of the product that are exclusive to its area of origin, establishing a definite identity and reputation. This distinctiveness frequently sets the regional indicator apart[3]. Other generic products in the market help it establish its own market niche with minimal competition. Devaraja Market, Sayyaji Rao Road, Chamarajapuram and several Artisan Colonies (Vishwakarma Nagar, SrirampuraKuvempunagar, karakushalanagar etc.) The Devaraja Market, located in the center of Mysore, is renowned for its handicrafts and artisanal goods. Visitors can discover numerous shops and stalls selling Mysore rosewood inlay products such as furniture, ornamental goods, and souvenirs[10]. Sayyaji Rao Road in Mysore is a well-known street with several shops and workshops where artisans produce and sell various handicrafts, such as rosewood inlays[10]. Visitors can peruse the shops along Sayyaji Rao Road to find distinctive and elaborately crafted items. Chamarajapuram is renowned for its woodworking industry, particularly for the intricate craftsmanship of rosewood inlays. Artisans in Chamarajapuram are experts in ancient woodworking techniques, creating stunning items with elaborate motifs and patterns[10]. Karakushala nagara is a prominent artisan community in Mysore. Karakushala Nagara is renowned for its cluster of skilled artists who excel in a variety of traditional crafts including as woodworking, metalwork, and pottery. Market Hotspots in Mysuru 70
71 Products for sale in IN Mysore saree centre and handicrafts
The Mysore rosewood inlay craft boasts a government-funded training program located in Karakushala Nagara, spanning nine months and welcoming all aspiring artisans. Currently, the program hosts 25 students, with a remarkable 89% representation of women, guided by three teaching staff. Enrolled students receive stipends and artisan cards, paving the way for job opportunities upon completion[6]. The customer base for Mysore rosewood inlay reflects a diverse spectrum, from national to international tourists, drawn to the aesthetic sophistication and cultural authenticity of the craft. While tourists visiting Mysore constitute a significant portion of the consumer demographic, demand extends beyond, reaching cities like Mumbai, Delhi, Pune, and Lucknow. However, artisans face challenges due to middlemen intervention, hindering market access and leading to social and financial hardships. The system’s inadequacies result in artisans being exploited, with a significant portion of profits absorbed by middlemen[11] . Despite these challenges, the online market for Mysore rosewood inlay is witnessing growth, driven by rising consumer demand for sustainable and ethically sourced handmade items. Artisans leverage digital marketing to reach a global audience, using storytelling to convey the cultural heritage and craftsmanship of Mysore rosewood inlay, fostering stronger connections with buyers seeking distinctive and culturally significant pieces. Craftsmanship Training and Market Dynamics 72
73
In the heart of Mysore lies the vibrant Devaraja Market, a hub renowned for its exquisite handicrafts. Here, amidst the bustling stalls, visitors encounter the timeless allure of Mysore rosewood inlay products, ranging from ornate furniture to delicate souvenirs. Along the iconic Sayyaji Rao Road, artisans showcase their skills in workshops, offering an array of elaborately crafted items that captivate passersby. In the district of Chamarajapuram, woodworking flourishes, with artisans mastering ancient techniques to create intricate rosewood inlays adorned with mesmerizing motifs. Karakushala Nagara, home to a thriving artisan community, nurtures talent through a government-sponsored training program, empowering aspiring artisans, particularly women, with skills and opportunities. Despite the craft’s popularity among national and international tourists, artisans grapple with challenges stemming from middlemen intervention, which often results in exploitation and financial hardships. Nonetheless, the advent of online markets provides a beacon of hope, enabling artisans to showcase their creations globally, tapping into a growing demand for ethically sourced, handmade treasures. Through digital platforms, artisans weave tales of cultural heritage and craftsmanship, forging meaningful connections with buyers seeking authentic pieces imbued with the essence of Mysore’s rich artistic tradition. Summary 74
GEOGRAPHICAL INDICATIONS
Geographical Indication (GI) is a form of intellectual property that identifies products originating from specific geographic regions, where qualities are linked to that origin. Governed by Article 22(1) of the TRIPS agreement, it distinguishes goods with unique attributes due to environmental, processing, or expertise factors[3]. GI applies to agricultural, natural, and manufactured items, especially evident in agricultural products shaped by local climates and soils. It acknowledges human involvement in production, such as traditional craftsmanship and local resources. For instance, handmade crafts reflect unique skills and customs of their origin[3]. GI safeguards the reputation and characteristics tied to geographical locales in a concise yet impactful manner. What Is a Geographical Indicator ? 75
International Response and Indian Position 76 International agreements like the Paris Convention and the TRIPS Agreement have set standards for geographical indication (GI) protection. India, as a signatory to TRIPS, enacted the Geographical Indications of Goods Act in 1999 to safeguard products like Basmati rice. India’s proactive approach is evident through initiatives like the National IPR Policy, emphasizing the economic and cultural benefits of GI protection, particularly in rural areas. GIs are crucial for rural economies, enhancing product value, eliminating competition from imitations, and combating counterfeiting. This safeguards rural income, generates local employment, and promotes cultural tourism. Karnataka, a leader in GI protection, can harness GIs for rural development, contributing to India’s economic prosperity. By implementing strategic initiatives and infrastructure development, Karnataka can pioneer GI utilization, fostering holistic rural growth and strengthening the nation’s economic fabric.
Karnataka’s diverse geography, ranging from coastal plains to the Western Ghats, coupled with varied climatic conditions, fosters the cultivation of a wide array of agricultural products. Notably, Coorg Orange, Mysore Betel leaf, and Nanjangud Banana have secured Geographical Indication (GI) registration[4]. The state’s rich cultural heritage, influenced by successive dynasties, has yielded exceptional handicrafts like Bidriware and Mysore Rosewood Inlay, which enjoy global recognition and GI protection. Other registered handicrafts include Mysore Silk and Channapatna Toys[4]. Additionally, food products like Dharwad Pedha and Mysore Sandalwood Oil Sandal soap are GI-registered. Since the first registrations in 2005-2006, Karnataka has seen a steady rise in GI registrations, primarily in handcrafts and agriculture[4]. Presently, it boasts 46 GI registrations, showcasing the state government’s commitment to preserving and promoting its unique geographical and cultural identity. Geographical Indications of Karnataka 77
Management of Geographical Indications by the Government of Karnataka Since the implementation of the Geographical Indications (Registration and Protection) Act of 1999. The Government of Karnataka is working to register the Geographical Indications of Karnataka with the assistance of different ministries. The Department of Handicrafts and the Department of Textiles will provide protections for several potential geographical indicators from the state[4]. The government has appointed the Visvesvaraya Trade Promotion Centre (VTPC) as the key body for promoting Geographical Indications (GIs) from the State of Karnataka to empower craftsmen and farmers. The Managing Director of VTPC is the appointed Nodal Officer responsible for promoting GI-related activities in Karnataka[4]. VTPC has a Memorandum of Understanding (MoU) with the Centre for WTO Studies (CWS) in New Delhi to support the development of the World Trade Organization (WTO) and intellectual property (IP) framework in the State[4]. 78
79
Geographical Indication (GI) is a form of intellectual property that denotes products originating from specific regions, showcasing unique attributes tied to their origin, influenced by environmental, processing, and expertise factors. International agreements like the TRIPS Agreement and the Paris Convention establish standards for GI protection. India, as a signatory to TRIPS, enacted the Geographical Indications of Goods Act in 1999, showcasing proactive efforts in GI protection, particularly through initiatives like the National IPR Policy, emphasizing economic and cultural benefits, especially in rural areas. GIs play a crucial role in rural economies by enhancing product value, combating counterfeiting, and promoting cultural tourism. Karnataka, a leader in GI protection, harnesses GIs for rural development, contributing to India’s economic prosperity. The state’s diverse geography fosters a wide range of agricultural products and handicrafts, including Coorg Orange and Mysore Rosewood Inlay, which enjoy global recognition and GI protection. Since the enactment of the GI Act, Karnataka has seen a steady rise in GI registrations, currently boasting 46 registrations, reflecting the government’s commitment to preserving its unique identity. The Government of Karnataka actively works to register GIs, with departments like Handicrafts and Textiles providing support. The Visvesvaraya Trade Promotion Centre (VTPC) plays a pivotal role in promoting GIs from Karnataka, with the Managing Director serving as the Nodal Officer. VTPC collaborates with the Centre for WTO Studies (CWS) to support the development of the WTO and intellectual property framework in the state, showcasing a concerted effort to preserve and promote Karnataka’s unique geographical and cultural heritage through GI registrations. Summary 80
SOCIO-ECONOMIC FACTORS
One of the most distinctive crafts that Mysore City has to offer is inlay work, which is thought to have been practiced by Muslims in the past. The Vishwakarmas eventually became involved in this craft as well. The majority of these artisans are members of the Vishwakarma and Muslim communities. A great number of them are currently engaged in the production of solid wooden figurines, which include cranes, elephants, and the “Laughing Buddha,” which is a replica of a work from the Far East that was formerly handed to the Maharaja[6]. In Mysore, where rosewood inlay has been done for generations, artists come from a variety of religious backgrounds and work together in workshops or artisan colonies, which fosters a sense of cultural unity and provides opportunities for collaboration[6]. Cultural Identity 81 Artisan Naaz Scooping the Rose wood
There are a number of men who are practicing rosewood inlay craft; however, there is also a contribution from women because the majority of the work sheds are located within the homes of the individuals involved[9]. Most of the time, women are involved in phases such as inlaying, polishing, and other similar activities, and a sizeable percentage of them are also the State and Central Government have registered them as artisans[9]. Instead of being recognized as autonomous craftswomen, the majority of them are simply interested in assisting the male members of their families who are involved in the craft. Gender Gap 82 Children at Anganwadi Centre at Karakushala nagar
83 Care taker from the Anganwadi Centre holding a kid
Most craftspeople practicing this art form lack basic schooling and many are school dropouts[9]. Based on our interaction with artisans during the cluster visit, we observed that most of the artisans started pursuing the craft at an young age between 13 to 16 years but currently due to the lack of significant profits from Rosewood inlay, many artists are hesitant to pass down the tradition to their descendants and instead want them to pursue alternative careers. Literacy Artisans specializing in rosewood inlay craft in Mysore district are primarily located in ‘karakushala nagara’ which is funded by government consisting of 480 houses for artisans. Artisans in karakushala nagara have access to work-cum-accommodation facilities offered by Karnataka State government. Artisans residing outside dwell in either their ancestral homes or rented houses near the workshops. While basic essentials are provided at the work-cum-accommodation facilities in the Common Facility Center, there is a requirement for enhancements, particularly in relation to the common facility center, etc[9]. Living conditions 84
There are 480 people who are provided with living-cumwork sheds in an area that is comprised of 18 acers and 11 kunta artists who are practicing their profession. The majority of the artisans operate from their properties. On the other hand, there are a few of them who have established themselves independently and have hired other artists to work for them[10]. They also have access to markets that are located outside of the Mysore district, and they are even active in exports and internet marketing[10]. However, the number of artisans who have access to markets that are not the local market is tiny when compared to the total number of craftsmen who are practicing the skill. Infrastructure For craftsmen, there is no predetermined revenue level. The amount of money involved is contingent upon a multitude of circumstances, including the size of the inlay work, the demand in the market, the number of middlemen engaged, and so on[9]. According to the findings of our interviews with artisans from Karakushala Nagara, the various artisans receive varying amounts of compensation based on factors such as their working conditions, skill sets, and other factors. Artisans may receive a payment of 50 to 100 for tasks such as polishing and scooping, and their monthly income may range anywhere from 10,000 to 25,000 rupees, depending on the size of the inlay work and the ability of the artisans[9]. Income 85
86 Layout Map of Karakushala Nagar
Due to the labor-intensive nature of the production process, most tasks require specific skills, making it unsuitable for mechanisation. Proficiency is required to operate buffing equipment, Conventional tools used for inlay work and other tasks in the production process. The artisans exclusively possessed the tools, which were typically handed down through generations within the family. Some inventions occur naturally over time as an evolutionary process initiated by the craftspeople themselves, progressing at a slow and gradual pace. The equipment required are time-consuming due to the intricate and delicate nature of the craft. Challenges In Production 87
Synthetic materials like acrylics or polymers can be utilized to produce alternatives that resemble ivory. The materials may be shaped and sculpted into detailed patterns, providing both flexibility and strength for inlay craftsmanship. Natural and synthetic substitutes, such as bone, horn, vegetable ivory, Corian, or acrylic ivory, are created to mimic the look and characteristics of ivory without causing harm to animals or breaking restrictions[9]. Tagua nuts, often called vegetable ivory, are derived from specific palm palms. Tagua nuts resemble ivory in texture and appearance when polished, serving as a sustainable and environmentally beneficial substitute. Availability of Artisan with Skill set 88
89
The practice of rosewood inlay in Mysore, deeply rooted in the cultural heritage of the region, involves artisans from diverse religious backgrounds working together in workshops or artisan colonies, fostering cultural unity and collaboration. However, there exists a gender gap within the craft, with women predominantly involved in auxiliary tasks within their homes, rather than being recognized as autonomous craftswomen. Most artisans lack formal education, having started practicing the craft at a young age, and due to the limited profitability of rosewood inlay, many are reluctant to pass down the tradition to future generations. Living conditions for artisans vary, with those residing in government-funded settlements like Karakushala Nagara having access to basic amenities, while others live in ancestral or rented homes near workshops. Income levels are uncertain and depend on factors such as the size of the inlay work, market demand, and involvement of middlemen. Monthly earnings for artisans range from 10,000 to 25,000 rupees, but this can fluctuate greatly. Geographically, Mysore’s distinctiveness in rosewood inlay contributes to its market niche, with artisan colonies and markets like Devaraja Market and Sayyaji Rao Road showcasing these products. However, infrastructure challenges persist, with only a fraction of artisans having access to markets beyond the local level. Despite some artisans engaging in exports and online marketing, the majority remain confined to local markets, limiting their economic opportunities. Overall, socio-economic factors such as gender dynamics, education levels, living conditions, income uncertainty, and market access significantly impact the practice of rosewood inlay in Mysore. Summary 90
GOVERNMENT SUPPORT
The National Handicrafts Programme introduces a subscheme focused on skill development within the handicraft sector, aiming to adapt to technological advancements while preserving traditional craftsmanship. Comprising four key components, the scheme modernizes the industry by integrating new technology, enhancing artisan skills, and conserving traditional knowledge[8]. It emphasizes the importance of evolving with the times while honoring the cultural significance of handicrafts. Eligibility for participation adheres to relevant General Financial Rules (GFR) to ensure transparency and compliance. The programme supports a variety of organizations contributing to education, social welfare, and community development. Workshops accommodate groups of 20–40 craftsmen for a minimum of 25 days, fostering skill enhancement and technological integration[8]. Financial assistance, provided as 100% grants, is distributed in two installments, with the first installment serving as an advance payment. Project proposals for Design and Technology Development Workshops (DDW) must align with the Office of Development Commissioner (Handicrafts) guidelines, utilizing online submission. National Handicrafts Programme : 91 A multicraft training Institue for artisans
Selection criteria prioritize craftsmen holding valid PAHCHAN identity cards, with emphasis on equitable distribution and preference given to underrepresented groups. Approved designers, possessing expertise in specific craft fields, collaborate with craftsmen to develop prototypes based on market research and consumer preferences. Master craftspersons, recognized for their achievements, provide invaluable guidance and mentorship to workshop participants. Implementation guidelines ensure transparent selection processes, with non-governmental organizations subject to recommendation by Assistant Directors and government agencies evaluated based on necessity or first-come, first-served criteria. Overall, the National Handicrafts Programme’s Skill Development sub-scheme empowers artisans with the tools and skills necessary to thrive in the modern handicraft industry, while maintaining the integrity of traditional craftsmanship[8]. Through strategic partnerships, rigorous training, and market-driven innovation, the programme contributes to the sustainability and competitiveness of India’s rich handicraft heritage[8]. 92
93 Artisans working in mohan Arts workshop
The MUDRA Yojana, or Micro Units Development & Refinance Agency Ltd., is a Government of India initiative launched to provide financial support to the non-corporate small business sector[7]. With loans of up to 10 lakhs rupees available, MUDRA targets micro-enterprises facing challenges accessing formal credit channels due to factors like lack of collateral and limited financial literacy[7]. By facilitating finance accessibility, MUDRA aims to stimulate entrepreneurship, foster economic growth, and generate employment, particularly in rural and semi-urban areas. Eligibility for MUDRA loans encompasses various criteria. Applicants must be at least 18 years old and demonstrate a good repayment history with no past loan defaults[7]. The scheme caters to individuals, self-employed professionals, business owners, women entrepreneurs, and Micro, Small, and Medium Enterprises (MSMEs) across sectors such as services, trading, and manufacturing. The nature of the business seeking financing should align with MUDRA’s objectives, promoting entrepreneurship and small business growth. Documentation requirements include proof of identity, address, business registration, and financial statements. Successful applicants must comply with the lending institution’s specified documentation and compliance procedures. In conjunction with MUDRA, an initiative to register artisans as “Authorized Users” under the Geographical Indication of Goods Act occurred in September 2019. Facilitated by the Visvesvaraya Trade Promotion Center (VTPC), 165 artisans participated, successfully registering as ‘AuthWorized Users’ under Part B of the Geographical Indications Act. This registration grants them exclusive rights to utilize the geographical indicator related to their registered items and seek redress in case of infringement[7]. The VTPC played a crucial role in supporting this registration process by providing essential financial assistance. Mudra Yojana 94
95
The National Handicrafts Programme introduces a sub-scheme focused on skill development within the handicraft sector, aiming to adapt to technological advancements while preserving traditional craftsmanship. Eligible participants adhere to relevant General Financial Rules (GFR) for transparency and compliance. Workshops accommodate groups of craftsmen, providing skill enhancement and technological integration over a minimum of 25 days. Financial assistance, distributed as 100% grants, supports project proposals for Design and Technology Development Workshops (DDW), aligning with Office of Development Commissioner (Handicrafts) guidelines. Collaboration between approved designers and craftsmen, facilitated by master craftspersons, ensures market-driven innovation while maintaining traditional integrity. The scheme emphasizes transparent selection processes and partnerships with governmental and non-governmental organizations. The MUDRA Yojana provides financial support to the non-corporate small business sector, offering loans up to 10 lakhs rupees to micro-enterprises. Eligibility criteria include age, repayment history, and business alignment with MUDRA’s objectives. Documentation requirements encompass proof of identity, address, business registration, and financial statements. The initiative to register artisans as “Authorized Users” under the Geographical Indication of Goods Act occurred in September 2019, with 165 artisans successfully registering through the Visvesvaraya Trade Promotion Center (VTPC). This registration grants exclusive rights to utilize geographical indicators related to their registered items, supported by financial assistance from VTPC. Overall, these initiatives contribute to empowering artisans and small businesses, fostering economic growth, and preserving India’s rich heritage. Summary 96
ARTISAN INTERACTION
Sayyad aamir During our visit to the Karakushala Nagara craft cluster, we had the opportunity to explore the Karakusala Training Center, an initiative spearheaded by the Karnataka government aimed at the upliftment of rosewood inlay craft. Mr. Sayyad was among the distinguished instructors at the center and a skilled artisan himself. Engaging in a candid conversation with us,Mr. Sayyad shared his insights on the topic of union formation among artisans. He revealed that despite several attempts, there currently exists no union among the artisans. Various factors contribute to this, including limited resources, challenges in marketing, and the concentration of power in the hands of a select few. Moreover, Mr. Sayyad highlighted a significant disparity between the aspirations of artisans and the support available to them. If this situation persists, he expressed concern that artisans may be compelled to seek alternative livelihoods in the coming years. His observations underscored the pressing need for addressing the systemic issues faced by artisans, ensuring their continued prosperity and the preservation of traditional craftsmanship. Interview 1 Age-62 Craft experience- 50 years 97
Khwaza naaz ahmed “Naam bhi Naaz hai, Kaam bhi Naaz hai” Age-65 Craft experience- 40 to 50 years During our recent visit to the craft cluster, we encountered Khwaza Naaz Ahmad diligently working on rosewood inlay frames alongside his wife, Nabeeda Bano, outside their humble abode, he resides in Karakushala Nagara, where he has been living for the past 25 years Khwaza Naaz Ahmad’s expertise lies in the intricate scooping process of the frames, a skill he has honed over decades. What’s remarkable is his dedication to passing down this craft to his wife, who has recently expressed a keen interest in learning. Despite his mastery and the value his work adds to the final product, Khwaza Naaz Ahmad receives a mere Rs. 100 per frame for the scooping process. He laments that while the finished frames fetch much higher prices in the market, the shop owners who sell these products in Mysore are reluctant to compensate him adequately. He acknowledges the disparity between the worth of his labor and the remuneration he receives, but he feels compelled to accept it to sustain their livelihood. In his own words, Khwaza Naaz Ahmad expresses that while the shop owners could afford to pay more for their labor, artisans like him have little choice but to accept what is offered. Despite the challenges, he remains steadfast in his dedication to his craft, hoping for a future where artisans receive the recognition and compensation they rightfully deserve. Interview 2 98
R Srinivas State level award winner in rosewood inlay Age-53 Craft experience- 35 years Participated in Suraj kunmela in Haryana an exhibition for inlay works got State award In 1993 by Karnataka State handicrafts development corporation ltd Bangalore Worked as a trainer or master for rosewood inlay for 10000 salary per month He learned this craft in 5 years During our craft cluster visit, we had the pleasure of meeting R. Srinivas, a humble artisan with 35 years of experience in rosewood inlay. Notably, he received a State Award in 1993 from the Karnataka State Handicrafts Development Corporation Ltd, Bangalore, and has been imparting his skills as a trainer earning ₹10,000 per month. Despite his achievements, Srinivas highlights two pressing issues: the lack of recognition for the craft and the scarcity of skilled workers. Addressing these challenges is crucial for the preservation and growth of rosewood inlay craftsmanship. He explained the challenges of sourcing and storing wood, essential for his work, and highlighted the struggle for recognition faced by artisans like him. Srinivas stressed the need for a distinct identity for rosewood inlay, urging efforts to preserve its heritage. Interview 3 99
100 Artisan Srinivas working
101
The Karakushala Training Center, spearheaded by the Karnataka government, aims to uplift the rosewood inlay craft. Mr. Sayyad, a skilled artisan and instructor, lamented the absence of a union among artisans due to limited resources, marketing challenges, and power concentration. He voiced concerns that without support, artisans may seek alternative livelihoods. During the visit, Khwaza Naaz Ahmad, an experienced artisan, showcased his mastery in the intricate scooping process of rosewood inlay frames. Despite his expertise, he receives meager compensation of Rs. 100 per frame, highlighting the disparity between labor worth and remuneration. Khwaza Naaz Ahmad, though recognizing this inequity, feels compelled to accept it for sustenance. R. Srinivas, another seasoned artisan, received recognition with a State Award in 1993 and earns as a trainer. However, he underscores two critical challenges: the lack of recognition for the craft and the scarcity of skilled workers. Srinivas emphasizes the need for preserving the heritage of rosewood inlay, advocating for a distinct identity and efforts to address sourcing and recognition issues. These encounters reveal systemic challenges faced by artisans, including inadequate compensation, lack of recognition, and skill shortages. The absence of a union exacerbates these issues, underscoring the need for collective action and support mechanisms. The narratives of Khwaza Naaz Ahmad and R. Srinivas underscore the resilience and dedication of artisans despite adversities, highlighting the urgency of addressing their concerns for the preservation and growth of rosewood inlay craftsmanship. Summary 102
CONCLUSION
The city of Mysuru, steeped in mythological and historical significance, has evolved into a modern metropolis while preserving its ancient charm. Governed by various dynasties and flourishing under the Vijayanagar Kings and the Mysuru Yadu dynasty, Mysuru boasts a rich cultural heritage and skilled craftsmanship. Renowned for its sandalwood and rosewood artifacts, stone sculptures, incense production, ivory inlay work, and silk sarees, the city reflects a blend of tradition and modernity. One of Mysuru’s notable crafts is rosewood inlay, which originates from the region’s rich artistic heritage and has flourished under royal patronage. The craft involves intricate designs on wooden surfaces using rosewood, shell, and flip boards, producing various items like doors, mirrors, and tables. Despite facing challenges such as declining wood supply and export restrictions, artisans continue to preserve and promote this traditional craft, leveraging initiatives like the Karnataka State Handicrafts Development Corporation Ltd (KSHDC) to support their endeavors. However, the practice of rosewood inlay in Mysuru is not without its socio-economic challenges. There exists a gender gap within the craft, with women predominantly involved in auxiliary tasks within their homes. Many artisans lack formal education and are hesitant to pass down the tradition to future generations due to limited profitability. Living conditions vary among artisans, with some residing in government-funded settlements like Karakushala Nagara while others live in ancestral or rented homes near workshops. Income levels are uncertain and depend on factors such as market demand and involvement of middlemen. 103
Despite these challenges, Mysuru’s rosewood inlay artisans continue to showcase their craftsmanship in local markets like Devaraja Market and Sayyaji Rao Road, as well as through online platforms. The city’s distinctiveness in rosewood inlay contributes to its market niche, attracting both local and international customers. The government has implemented initiatives like the MUDRA Yojana and the National Handicrafts Programme to support artisans by providing financial assistance, skill development, and market access. In conclusion, Mysuru’s rich history, cultural diversity, culinary delights, and artistic craftsmanship make it a captivating destination. The practice of rosewood inlay, deeply rooted in the region’s cultural heritage, faces socio-economic challenges but continues to thrive with the support of government initiatives and the resilience of artisans. As Mysuru embraces tradition while embracing modernity, it remains a beacon of cultural preservation and economic development in India. 104
105
Inlay: The decorative technique of inserting contrasting materials into depressions in a base object to form intricate designs or patterns. Artisan: A skilled craftsperson or worker who creates objects by hand, often employing traditional techniques and methods. Craftsmanship: The quality of skill and expertise demonstrated in the creation of handmade objects or works of art. GI: Geographical Indication, A geographical indication is a sign used on products that have a specific geographical origin and possess qualities, reputation, or characteristics that are essentially attributable to that place of origin. GI Tag: A certification mark indicating that a product possesses a Geographical Indication and meets the criteria established by the government. Kachka: A tool used for carving intricate designs in Mysore rosewood. Korti: A cutting tool employed to shape pieces of rosewood for inlay work. Kutch: Utilized for shaping and smoothing the surfaces of rosewood pieces. Urusi: Used for polishing and giving a glossy finish to the inlaid rosewood. Kachka chiran: Employed for outlining intricate patterns on the rosewood surface. Barik chiran: Utilized for making fine and delicate cuts in the rosewood. Hathodi: Utilized for hammering and tapping during various stages .3of the inlay process. Cauvery Emporium: Cauvery Emporium is a government-run store in Karnataka, India, showcasing a diverse range of traditional handicrafts, textiles, and souvenirs representing the cultural heritage of the region. Karakushala Nagar: Karakushalanagara refers to a skillful craft town known for its intricate woodwork and craftsmanship. AHVY: Ambedkar Hastshilp Vikas Yojana. VTPC: Visvesvaraya Trade Promotion Center TRIPS: Trade-Related Aspects of Intellectual Property Rights. CITES: Convention on International Trade in Endangered species of wild fauna and flora GSHP: Guru Hastshilp Parshikshan MUDRA: Micra Units Development and Refinance Agency Ltd. KSHDC: Karnataka State Handicraft Development Corporation. Glossary 106
1) N. (2018, May 10). Raw Materials. D’Source. https://www.dsource.in/resource/mysore-rosewood-inlay-works/raw-materials 2) N. (2015, August 18). Tools. D’Source. https://www.dsource.in/resource/mysore-rosewood-inlay-works/tools 3) GI | Intellectual Property India | Government of India. (n.d.). https://ipindia.gov.in/gi.htm#:~:text=Geographical%20Indications%20of%20Goods%20are,of%20origin%20of%20that%20product. (GI | Intellectual Property India | Government of India, n.d.) 4) Sharma, T. (2020, July 14). Geographical Indication (GI) Tags of Karnataka. The IP Press. https:// www.theippress.com/2020/07/15/geographical-indication-gi-tags-of-karnataka/ (Sharma, 2020) 5) Trust, S. C. (2022, July 23). Carved in Wood - A Cultural History of Mysore Wood Inlay Artisans. Shreni.com. https://www.shrenis.com/post/carved-in-wood-a-cultural-history-of-mysore-wood-inlay-artisans (Trust, 2022) 6) Cauvery Handicrafts Emporium – Karnataka State Handicraft Development Corporation Ltd. (n.d.). https://cauverycrafts.com/ 7) Rao, L. N. (2023, December 14). Pradhan Mantri MUDRA Yojana offers loans up to ₹10 lakh. Details here. Hindustan Times. https://www.hindustantimes.com/business/pradhan-mantri-mudra-yojana-offersloans-up-to-rs-10-lakh-how-to-apply-eligibility-other-details-101702547246403.html 8) Home | Official website of Development Commissioner (Handicrafts), Ministry of Textiles, Government of India. (n.d.). https://www.handicrafts.nic.in/ 107 Bibliography
9) navneetsingh31 Publisher Publications - Issuu. (n.d.). Issuu. https://issuu.com/navneetsingh31 10) N. (2018, May 9). Introduction. D’Source. https://www.dsource.in/resource/mysore-rosewood-inlay-works/introduction 11) Gi TAG Exclusive Store | Geographical Indication | GiTAGGED®. (2024, January 27). GiTAGGED. https://www.gitagged.com (Gi TAG Exclusive Store | Geographical Indication | GiTAGGED®, 2024) 12)Correspondent, S. (2017, October 10). GST deals a blow to Karnataka’s traditional handicrafts. The Hindu. https://www.thehindu.com/news/national/karnataka/gst-karnataka-handicrafts-handloom/article19835376.ece 13) EMPRI GoK. (n.d.). https://empri.karnataka.gov.in (EMPRI GoK, n.d.) 14) Team, B. B. (2022, August 9). Festivals - MYSURU - All about Mysore. MYSURU - All About Mysore. https://bxmysuru.com/about-mysuru/festivals/ (Team, 2022) 15)Cuisine of Mysore - Mysore Cuisines - Traditional Food of Mysore - Mysore Delicacies. (n.d.). https://www.mysore.org.uk/mysore-cuisine.html 16) Mysore Art and Handicrafts. (n.d.). https://www.mapsofindia.com/mysore/art-and-handicrafts/ (Mysore Art and Handicrafts, n.d.) 17) History of Mysuru | District Mysuru, Government of Karnataka | Heritage city | India. (n.d.). https:// mysore.nic.in/en/history/ 18) A. (2021, December 17). Incredible India Series _- All Geographical Indications (GIs) from Karnataka - IPR STUDIO. IPR STUDIO. http://iprstudio.com/incredible-india-series-_-all-geographical-indications-gis-from-karnataka/ 108