MYSORE ROSE WOOD INLAY
29 Raja Ravivarma painting done in rose wood inlay in Mohan arts workshop
Originating from the culturally vibrant city of Mysore in Karnataka, India, Mysore rosewood inlay is a revered craft that reflects the region’s rich artistic heritage and skilled craftsmanship. Known for its intricate designs and meticulous detailing, this form of artistry embodies a harmonious fusion of traditional methods and aesthetic refinement. Embedded within the historical fabric of Mysore, rosewood inlay has thrived under the patronage of successive rulers, including the Vijayanagar Kings and the Wadiyar dynasty. Particularly during the Wadiyars’ reign, Mysore rosewood inlay flourished, with the rulers actively promoting and nurturing the city’s cultural legacy, thus elevating this craft to the pinnacle of excellence[5]. Rosewood inlay work is a traditional craft that involves the meticulous creation of intricate designs on wooden surfaces using a combination of rosewood, shell, and occasionally flip boards[10]. The wood, known for its rich sweet scent, is predominantly cultivated in regions such as India, Pakistan, and Madagascar. This craft is utilized to produce a variety of items including doors, mirrors, tables, gift boxes, wall panels, and dining tables[5]. Mysore Rosewood Inlay 30 Ganesha made in rose wood inlay for sale in NI Mysore saree center and handicraft
In the early 18th century, Rosewood Inlay craft emerged in Srirangapatna, supported by Hyder Ali and Tipu Sultan. With the demise of Tipu Sultan, artisan activity shifted to Mysore, subsequently becoming the royal city of the Wadiyars. During the reign of Maharaja Javachamarajendra Wadiyar, a lot of wood inlay work was done for the construction of the Mysore Palace. This boosted employment in the area, supported by the palace’s patronage. The workshop began making decorative additions for things like musical instruments, photo frames, rosewood doors, and palace furniture. Their skillful craftsmanship is evident in the beautiful ivory-inlaid doors found at the Mysore Palace. Chamarajendra Technical Institute was established,bringing new ideas and techniques. The Karnataka State Handicrafts Development Corporation Limited (KSHDC) was established under the Companies Act, 1956. Its primary goal is to preserve, develop, and promote handicrafts. The Government of India and the Government of Karnataka are the shareholders in this organization. METAMORPHOSIS 1870-1897 1799 Early 18th Century 1964 1914 31
2005: Geographical Indication (Gl) registered in 2005; under the name of Mysore for its well known Rosewood inlay craft. 30* January 2006, Gl tag gave the craft its legal protection to reinforce the products uniqueness During 1972-1980, the craft faced a downturn due to the ivory ban. This resulted in higher demand and costs, coupled with declining quality due to cheaper substitutes, leading to a significant decline in the craft’s trajectory. Wood inlay reached its peak. Artists like Mir Shaukat Ali elevated the craft by creating pictorial marquetry with countryside scenes, making their works collector’s items and boosting the craft’s popularity. In 1990, the Chamarajendra Institute of Technology (CTI) introduced traditional inlay into their curriculum, leading to a resurgence in the craft’s popularity. 1972-1980 1940-1960 2005 Early 1900 32
The popularity of rosewood inlay work experienced remarkable growth under the patronage of influential figures such as Tipu Sultan and the rulers of the Wodeyar/Wadiyar dynasty[5]. Their support provided artisans with the encouragement and resources needed to excel in their craft. Evidence of the royal patronage of this art form can be found in the historic Mysore Palace[10]. Artisans specializing in rosewood inlay work were reportedly commissioned by the Maharaja of Mysore to embellish the palace. Remarkable examples include the rosewood doors in the Amba Vilas Hall, showcasing the enduring craftsmanship that has endured through time. 02.Growth under Patronage 01.Royal Endrosement Influencing factors Affecting Rosewood Inlay 33 Artisan arranging the Motif design for Tracing process
Karnataka, a southern Indian state, has gained recognition for its unique handicrafts, particularly inspired by the abundance of sandalwood and rosewood in its dense forests. In 1964, the Karnataka State Handicrafts Development Corporation Ltd (KSHDC) was established by the government to safeguard, promote, and develop indigenous handicrafts[6]. This initiative has played a vital role in preserving the tradition of rosewood inlay work by passing down skills from one generation to the next. 03.Karnataka’s Contribution: KSHDC has undertaken various initiatives to support artisans, including providing opportunities to artists from diverse regions, offering education on creating new patterns, and keeping them vupdated on current market trends[6]. These efforts by the corporation significantly contribute to the preservation and promotion of the traditional art form. 04.KSHDC Initiatives: 34
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The legacy of rosewood inlay work continues to thrive, with its historical journey from Persia to Srirangapatna, and eventually to Mysore, serving as a testament to the enduring artistry and cultural significance of this traditional craft[5]. Cauvery, a brand established by KSHDCL, serves as a platform for exhibiting and selling high-quality handicrafts. With outlets spread across the country, Cauvery plays a vital role in promoting and preserving the rich heritage of rosewood inlay work[6]. Artisans employ a meticulous inlay technique to create intricate designs, drawing inspiration from epics such as the Ramayana and Mahabharata, as well as royal processions and serene landscapes[10]. Various shades of wood are carefully chosen to accentuate specific elements, such as leaves, tree bark, sky, and scenery, showcasing the intricate artistry involved in the craft. 07.Enduring Legacy: 05.Cauvery - Showcasing Excellence: 06.Artistic Process: 36
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Summary 38 Originating from Mysore, Karnataka, Mysore rosewood inlay reflects the region’s rich artistic heritage and skilled craftsmanship. Flourishing under the patronage of rulers like the Vijayanagar Kings and the Wadiyar dynasty, it reached its pinnacle during their reign. The craft involves intricate designs on wooden surfaces using rosewood, shell, and flip boards, producing various items like doors, mirrors, and tables. Rosewood inlay’s origins trace back to 18th-century Persia, finding a new home in Srirangapatna, Mysore. The craft gained traction in India under influential figures like Tipu Sultan and the Wadiyars, who provided artisans with resources and encouragement. Royal endorsement is evident in the embellishments of the historic Mysore Palace, such as the rosewood doors in the Amba Vilas Hall. Despite its journey from Persia to Mysore, rosewood inlay’s legacy endures, showcasing enduring artistry and cultural significance. Artisans employ meticulous techniques, drawing inspiration from epics and landscapes, carefully selecting wood shades to accentuate elements. Karnataka, known for its sandalwood and rosewood, has safeguarded its traditional crafts through initiatives like the Karnataka State Handicrafts Development Corporation Ltd (KSHDC). Established in 1964, KSHDC supports artisans by offering education and market opportunities. Cauvery, a brand under KSHDC, serves as a platform for showcasing and selling high-quality handicrafts, contributing to the preservation and promotion of rosewood inlay’s rich heritage.
RAW MATERIALS
39 Raw materials at Mohan arts workshop
Initially, Ivory was used for inlay work but when ivory was banned in India, it was substituted with rosewood and other colored woods. Rosewood, also known as “Sheesham” in Hindi is a precious and highly sought-after hardwood known for its rich, dark hues, fine grain, and exceptional durability. It belongs to the genus Dalbergia, and there are several species of rosewood found around the world, each with its unique characteristics. However, one of the most revered varieties is Mysore rosewood, originating from the southern regions of India, particularly Karnataka. Rosewood 40
41 Raw materials depot near Mysore Bus stand
42 The Karnataka handicraft industry faces challenges in accessing wood and allied materials, as the supply from the Karnataka Forest Department (KFD) has declined over time. Artisans in Mysore highlight the difficulty in obtaining wood, attributing it to environmental degradation, unsustainable harvesting practices, and changes in forestry policies[13]. This scarcity has led to a shift in material usage, with artisans turning to alternative methods like dyes for coloring crafts due to the rising costs of wood. Despite these challenges, some artisans propose planting wood species on private property to address the long-term scarcity and promote sustainable forestry practices. The proactive approach of artisans towards mitigating wood scarcity reflects a potential solution to ensure a stable supply of raw materials for the handicraft industry. However, addressing wood accessibility issues requires concerted efforts from stakeholders, including sustainable resource management, policy interventions, and support for afforestation initiatives[13]. By collaboratively addressing these challenges, it is possible to sustain the rich tradition of handicrafts in Karnataka while simultaneously promoting environmental conservation and enhancing livelihoods for artisans[13]. This underscores the urgent need for action to safeguard the future of the handicraft industry and ensure its continued contribution to the cultural and economic landscape of the region. Accessibility OF Wood and other allied materials
43 Timber selling unit in Karakushala Nagar in Mysore
Artisans have raised concerns about the decline in the export of rosewood products due to the listing of rosewood in the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES). This listing has led to a prohibition on the export of handicrafts made of wild rosewood, significantly impacting trade and the livelihoods of artisans reliant on rosewood. To address this challenge, artisans are exploring alternative raw materials for their craftwork[13]. These include locally sourced woods like Padak, Orange wood, Kare wood, and Teakwood, alongside various tools and materials such as adhesives, rosewood powder, charcoal, and carving tools[13]. Artisans propose exempting rosewood from CITES requirements to promote exports and alleviate the ban’s adverse effects[13]. This reflects their desire to navigate regulatory barriers and sustain their craft traditions while complying with international trade regulations. While actively seeking alternative materials, artisans also advocate for regulatory changes to facilitate the trade of rosewood-based crafts. Their dual approach underscores resilience and determination to preserve craft traditions and livelihoods in the face of regulatory challenges[13]. This highlights the importance of finding innovative solutions and navigating regulatory landscapes to ensure the sustainability of artisanal practices amidst changing global trade dynamics. Legality of Substituting Rosewood with and alternative Raw Material 44
45 Artisan Suresh working on a Mysore Rosewood Inlay Frame
Under the Geographical Indications (Protection and Registration) Act of 1999, the term ‘producer’ encompasses individuals or entities engaged in the production, manufacturing, processing, or preparation of goods originating from a specific geographical indication (GI) area[3]. Specifically focusing on the Mysore Rosewood inlay craft, producers may include artisans, craftsmen, cooperatives, or manufacturers involved in creating inlaid rosewood products within Mysore, India’s designated geographical region. These producers play a pivotal role in upholding and advancing the unique heritage, tradition, and cultural identity associated with the Mysore Rosewood inlay craft. To qualify as a producer under the GI Act, individuals or entities must meet specific criteria, which typically include being located within the designated geographical area, employing traditional methods characteristic of the craft, maintaining product quality standards, and adhering to regulatory requirements[3]. These criteria ensure the authenticity and integrity of products bearing the geographical indication while safeguarding the interests of producers, consumers, and the cultural heritage of the region[3]. Recognizing and protecting the rights of Mysore Rosewood inlay craft producers under the GI Act aims to prevent unauthorized use or misappropriation of the geographical indication[3]. This protection not only safeguards producers’ interests but also enhances the market value, reputation, and economic sustainability of their products. By promoting GI protection and fostering greater market recognition, producers stand to gain increased opportunities for economic development and sustainability, thereby contributing to the overall prosperity of the Mysore Rosewood inlay craft industry and the region as a whole[3]. The definition of ‘PRODUCER’ Under the Geographical Indications Act,1999. 46
Mysore rosewood, revered for its exceptional qualities, finds its origins deeply rooted in the fertile soil and favorable weather conditions of the Karnataka region. The soil in Karnataka, particularly in areas around Mysore, is characterized by its rich organic content and well-draining properties, providing an ideal environment for the growth of rosewood trees. The warm and humid climate of Karnataka, with its distinct monsoon seasons and ample sunshine, further fosters the growth of rosewood trees. This favorable weather pattern encourages robust growth and ensures that the trees receive the necessary nutrients and moisture to thrive.renowned for its exquisite grain patterns, rich hues, and enduring durability, serves as the cornerstone of this distinguished art form. Harvested from the lush forests of the Mysore region, this prized wood possesses a distinct warmth and character that lends itself perfectly to intricate inlay work. In the meticulous process of Mysore rosewood inlay, artisans harness the natural beauty of this revered wood to create captivating designs that celebrate the harmony between nature and craftsmanship. From delicate floral motifs to intricate geometric patterns, each piece is a testament to the skill and creativity of the artisans who meticulously craft them. Types of Wood 47
ROSE WOOD Scientific Name - Dalbergia spp. Family Name - Fabaceae Biological Name - Hardwood Origin - Tropical regions Availability - Limited Characteristics - Fine, even texture Wood Uses - Furniture, musical instruments Texture - Fine Color - Dark brown Smell - Sweet, fragrant Special Features - Highly durable CFT (Cost per Cubic Feet) - ₹800-1200 SLATE MATHI Scientific Name - Diospyros ebenum Family Name - Ebenaceae Biological Name - Hardwood Origin - India, Sri Lanka Availability - Limited Characteristics - Dense, fine texture Wood Uses - Musical instruments, luxury items Texture - Fine Color - Black Smell - Characteristic aroma Special Features - Highly prized, high density CFT (Cost per Feet) - ₹1000-1500 (BETTA MARA) (MATHI MARA) 48
CHAMPA Scientific Name - Magnolia champaca Family Name - Magnoliaceae Biological Name - Evergreen tree Origin - Southeast Asia Availability - Moderate Characteristics - Fine, even texture Wood Uses - Furniture, cabinetry Texture - Fine Color - Yellowish-brown Smell - Sweet, floral Special Features - Fragrant wood CFT (Cost per Cubic Feet) - ₹400-600 PADHIMUGAM Scientific Name - Terminalia paniculata Family Name - Combretaceae Biological Name - Hardwood Origin - India Availability - Moderate Characteristics - Dense, durable, fine grain Wood Uses - Furniture, construction Texture - Fine Color - Dark brown Smell - Mild fragrance Special Features - Resistant to decay CFT (Cost per Cubic Feet) - ₹300-500 ( CHAMPAKA MARA) (HONAGALU MARA) 49
TAMARIND Scientific Name - Tamarindus indica Family Name - Fabaceae Biological Name - Hardwood Origin - Tropical Africa Availability - Moderate Characteristics - Coarse texture Wood Uses - Furniture, paneling Texture - Coarse Color - Dark brown Smell - Mild fragrance Special Features - Durable CFT (Cost per Cubic Feet) - ₹500-800 PAUDAK Scientific Name - Lagerstroemia spp. Family Name - Lythraceae Biological Name - Hardwood Origin - Southeast Asia Availability - Moderate Characteristics - Fine texture Wood Uses - Furniture, flooring Texture - Fine Color - Pinkish-brown Smell - Mild fragrance Special Features - Resistant to decay CFT (Cost per Cubic Feet) - ₹600-900 (HOLE DASAVALA MARA) (HUNASE MARA) 50
AALE MARAM(ORANGE) Scientific Name - Terminalia arjuna Family Name - Combretaceae Biological Name - Hardwood Origin - India Availability - Moderate Characteristics - Moderate texture Wood Uses - Furniture, carvings Texture - Moderate Color - Orange-brown Smell - Mild scent Special Features - Medicinal properties CFT (Cost per Cubic Feet) - ₹400-600 GULGANJI Scientific Name - Tectona grandis Family Name - Verbenaceae Biological Name - Hardwood Origin - Southeast Asia Availability - Moderate Characteristics - Coarse texture Wood Uses - Furniture, decking Texture - Coarse Color - Light brown Smell - Aromatic Special Features - Highly durable CFT (Cost per Cubic Feet) - ₹700-1000 (SAAGUVAANI MARA) (HOLE MATTHI MARA) 51
EBONY Scientific Name - Diospyros spp. Family Name - Ebenaceae Biological Name - Hardwood Origin - Africa, Asia Availability - Limited Characteristics - Very fine, smooth texture Wood Uses - Musical instruments, luxury items Texture - Very fine Color - Black Smell - Distinctive fragrance Special Features - Highly prized, high density CFT (Cost per Cubic Feet) - ₹2000-3000 URGULU/SATIN WOOD Scientific Name - Chloroxylon swietenia Family Name - Rutaceae Biological Name - Hardwood Origin - India Availability - Limited Characteristics - Fine, even texture Wood Uses - Furniture, carving Texture - Fine Color - Yellow Smell - Aromatic Special Features - Highly prized, termite resistant CFT (Cost per Cubic Feet) - ₹1000-1500 (KARI MARA) (HURUGALU MARA) 51 52
MADDI Scientific Name - Vitex spp. Family Name - Lamiaceae Biological Name - Hardwood Origin - India Availability - Moderate Characteristics - Fine texture Wood Uses - Furniture, cabinetry Texture - Fine Color - Light brown Smell - Mild fragrance Special Features - Resistant to decay CFT (Cost per Cubic Feet) - ₹400-600 PURPLE HEART Scientific Name - Peltogyne spp. Family Name - Fabaceae Biological Name - Hardwood Origin - Central, South America Availability - Limited Characteristics - Fine, even texture Wood Uses - Flooring, furniture Texture - Fine Color - Purple Smell - Mild fragrance Special Features - Highly durable, vivid color CFT (Cost per Cubic Feet) - ₹1500-2000 (NIRGUNDI MARA) (PURPLE HEART MARA) 53
DEADARI Scientific Name - Cedrela toona Family Name - Meliaceae Biological Name - Hardwood Origin - Southeast Asia Availability - Available Characteristics - Light to medium-density wood; Wood Uses - Furniture, plywood, boatbuilding Texture - Medium Color - Pinkish-brown Smell - Mild Special Features - Aromatic scent when freshly cut; CFT (Cost per Cubic Feet) - ₹ 1,500 - ₹ 1,800 BILVAR Scientific Name - Aegle marmelos Family Name - Rutaceae Biological Name - Hardwood Origin - Indian Subcontinent Availability - Available Characteristics - Dense wood with a yellowish-brown color Wood Uses - Furniture, agricultural implements Texture - Fine Color - Yellowish-brown Smell - Mild Special Features - Used in traditional medicine; CFT (Cost per Cubic Feet) - ₹ 1,500 - ₹ 2,000 (GANDHAGARIGE MARA) (BILVAPATHRE MARA) 54
HONNA Scientific Name - Pterocarpus santalinus Family Name - Fabaceae Biological Name - Hardwood Origin - Indian Subcontinent Availability - Available Characteristics - Hard, heavy wood with a deep red color; Wood Uses - Furniture, carvings, musical instruments Texture - Fine Color - Deep Red Smell - Fragrant Special Features - Highly valued Rich color and fragrance CFT (Cost per Cubic Feet) - ₹ 2,500 - ₹ 3,000 BUGRI Scientific Name - Dalbergia latifolia Family Name - Fabaceae Biological Name - Hardwood Origin - Indian Subcontinent Availability - Available Characteristics - Hard, dense wood with a dark brown Wood Uses - Furniture, musical instruments, flooring Texture - Fine Color - Dark Brown Smell - Mild Special Features - Highly valued for its aesthetic appeal CFT (Cost per Cubic Feet) - ₹ 2,000 - ₹ 2,500 (BEETE MARA) (RAKTA CHANDANA MARA) 55
PVA Glue: PVA (Polyvinyl Acetate) glue is commonly used in rosewood inlay as an adhesive to secure various pieces of wood together., PVA glue is utilized after the wood has been scooped out and the motif design cutouts are ready to be placed. It is applied to the wood cutouts to affix them in place, ensuring they remain securely attached to the main piece of wood or the substrate. Wax: Wax, particularly black wax, serves one of the main roles in rosewood inlay process. black wax is utilized to fill the outlines of the inlay design. This process enhances the visual contrast between the inlaid rosewood and the surrounding wood, highlighting the intricate details of the design. Mak Powder (Sand Powder Mixed with Glue): Mak powder, a mixture of sand powder and glue, is employed to fill any gaps or voids left in the wood surface after the filling process. This mixture not only provides a seamless finish to the wood surface but also enhances its structural integrity by filling in any imperfections or irregularities. Wood Stainer: Wood stainer, when mixed with a thinner, serves as a coloring agent for wood surfaces. It is applied after the woodworking piece has been finished to give it a glossy finish. By staining the wood, the stainer enhances its aesthetic appeal while also providing protection against environmental factors such as moisture and UV radiation. Other Raw Materials 56
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The Mysore Rosewood inlay craft, historically reliant on ivory, faced challenges due to the ban on ivory in India. Rosewood, particularly the revered Mysore variety, became a sought-after alternative for its rich qualities. However, the handicraft industry in Karnataka encountered hurdles in accessing rosewood due to declining supplies from the Karnataka Forest Department (KFD), attributed to environmental degradation and policy changes. This scarcity prompted artisans to explore alternative materials like locally sourced woods and various tools. Regulatory barriers, including CITES listing of rosewood, further complicated matters, leading artisans to advocate for exemptions to promote exports. Additionally, under the Geographical Indications Act, producers of Mysore Rosewood inlay craft are defined and protected, ensuring authenticity, quality, and regional heritage preservation. The act aims to prevent unauthorized use and enhance market value. The fertile soil and favorable climate of Karnataka nurture the growth of rosewood, which artisans skillfully utilize in intricate inlay designs, celebrating the harmony between nature and craftsmanship. Key materials in the inlay process include PVA glue for adhesion, wax for outlining, Mak powder for filling gaps, and wood stainer for coloring and protection. In summary, the Mysore Rosewood inlay craft industry faces challenges of material scarcity and regulatory constraints but shows resilience through innovative solutions and advocacy efforts. By addressing wood accessibility issues, navigating regulatory landscapes, and protecting regional heritage, artisans aim to sustain their craft traditions while promoting economic development and environmental conservation. Summary 58
TOOLS
Marking Tools (Urusi) Urusi, an essential tool in the rosewood inlay process, epitomizes precision and finesse in woodworking[2]. This sharp and thin implement serves as a tracing tool, allowing artisans to meticulously transfer intricate designs onto the surface of the wood[2].The use of urusi begins with the preparation of the motif design, whether it be a floral pattern, geometric motif, or intricate scene.The sharpness of the urusi allows for precise and clean lines to be etched onto the surface of the wood, ensuring accuracy in the replication of the motif 59
Cutting Tools (Barik chiran) Barik Chiran, a flat and sharp thin tool, holds a pivotal role in the intricate art of rosewood inlay[2]. Following the tracing process, where the design is meticulously transferred onto the wood surface, Barik Chiran comes into play for the precise cutting of the design lines[2]. With its sharp edge and slender profile, Barik Chiran enables artisans to intricately carve along the traced lines, defining the boundaries of the design with exacting accuracy 60
Scooping Tools (Katchka chiran) Katchka Chiran, a flat and sharp tool, plays a crucial role in the intricate process of rosewood inlay, specifically in the scooping out phase following the cutting of the motif design[1]. This tool is instrumental in carefully excavating the wood around the cut design, creating recesses or grooves where the inlay materials will later be placed.With its sharp edge and flat surface, Katchka Chiran allows artisans to precisely scoop out the wood along the edges of the cut motif design[1]. As the artisan maneuvers Katchka Chiran across the wood surface, it effectively removes the excess wood, creating a smooth and even surface within the boundaries of the cut design[1]. This creates a recessed area where the inlay materials, such as contrasting woods or metals, can be securely fitted later in the process. 61
Scraping Tools (Chowda chiran) Chawda Chiran, a flat, sharp, and thick tool, is a crucial instrument employed in the meticulous process of rosewood inlay. It is utilized for scraping out excess wood left behind after fitting the motif design into the base wood[1]. This tool is essential for achieving a smooth and seamless transition between the inlaid motif and the surrounding wood surface.The flat surface of Chawda Chiran provides stability and control during the scraping process, ensuring that only the desired amount of wood is removed without compromising the integrity of the inlaid design[1]. The sharpness of the tool allows for precise and clean scraping, resulting in a clean and polished finish along the edges of the motif[1]. 62
63 Custom tools made by Artisans
64 Other tools used in Rose wood Inlay process
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In the intricate craft of rosewood inlay, a series of specialized tools are employed to achieve precision and finesse in woodworking. Urusi, a sharp and thin tracing tool, is essential for transferring intricate designs onto the wood surface with meticulous accuracy. Once the design is traced, Barik Chiran comes into play, facilitating precise cutting along the traced lines, defining the boundaries of the motif design with exacting detail. Following the cutting stage, Katchka Chiran is utilized for the delicate task of scooping out excess wood around the cut design, creating recesses or grooves where the inlay materials will be placed. With its sharp edge and flat surface, Katchka Chiran allows artisans to remove wood along the edges of the motif design with precision, ensuring a smooth and even surface for the inlay materials. Once the motif design is fitted into the base wood, Chawda Chiran is employed to scrape out any remaining excess wood, ensuring a seamless transition between the inlaid motif and the surrounding wood surface. Its flat surface and sharp edge enable artisans to achieve a clean and polished finish along the edges of the motif, enhancing the overall aesthetic of the piece. Together, these tools epitomize the meticulous artistry and precision required for rosewood inlay work, allowing artisans to create exquisite pieces that showcase the natural beauty of the wood while embodying intricate designs with unparalleled craftsmanship. Summary 66
INLAY PROCESS
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The inlay process starts with choosing the motif and basic shapes. After finalizing, the design is printed on transparent paper, and colors and numbers are marked. Designs come from customers for custom orders or from shop owners. This traditional skill showcases floral and geometric designs, enriching the cultural legacy of inlay construction. Next, the printed design is adhered to the chosen wood colors for rosewood inlay. Using a hand drill, holes are punched through the wood, allowing the thin blade of a bow saw to follow the outline of the design, cutting it out. After cutting, the scooping process, or “kutch,” begins. Using rosewood as the foundation, pattern cutouts are placed and traced with a sharp tool called Urusi. Then, the traced pattern is extracted using a flat, sharp tool called kachka chiran and a wooden hammer called korti. Following the completion of the scooping process, the design cutouts are positioned in the grooves of the base wood with the assistance of PVA adhesive. Following the previous processes, the inlay work undergoes finishing touches. It is leveled using a chisel and smoothed with flint paper. Any gaps are filled with mak powder (sand powder mixed with glue), and a layer of wax is rubbed onto the surface for a glossy finish. Step: 1 Designing Step: 2 Cutting Step: 3 Scooping Step: 4 Filling Step: 5 Finishing 68
MARKET ANALYSIS
69 Products for sale in Devaraja market