Craft documentation

Craft Documentation

A study on the Aranmula Kannadi

By; Devina Pagay and Gayathri Sumod
Third year, Fashion Communication

TABLE OF CONTENTS

I 4 5 6 8 10 11 13
NTRODUCTION CRAFTS OF SOUTH ABOUT KERALA CRAFTS IN KERALA COMPARITIVE ARANMULA ARANMULA HISTORY

INDIA STUDY VILLAGE KANNADI

15 16 18 20 28 30 31 32
VISHU TOOLS AND RAW MATERIALS THE PROCESS EVOLUTION OF MOTIFS CRAFT CLUSTER CONTEMPORARY
PROCESSES
DESIGN DESIGNS

33 34 35 36 37 38 39 40
END USES, GOVT/NGO SUPPLY CHAIN GI TAG AND PATRONS AND MARKETING AND PROMOTION OF LEGAL DISPUTES
TRAINING AND AFFILIATIONS HOLOGRAM
QUALITY CHECK BUYERS RETAILING THE CRAFT AND
COUNTERFIETS

41 43 45 67 80 81
PROBLEMS FACED SUGGESTIONS AND DESIGN ARTISAN ACKNOWLEDGEMENT BIBLIOGRAPHY
DEVELOPMENTS INTERVIEWS
BY ARTISANS SCOPE

INTRODUCTION

Handicraft is the process of working with materials by hand and using hand tools. These handicrafts are either made from natural, industrially processed, or recycled
materials, and are converted into functional or ornamental products.. The product’s models are either antique, traditional, or fashionable. Handicrafts are firmly embedded
in society and aids in the preservation and transmission of traditions like their own values, philosophy of life, fashion, and self-image, crafters express some aspect of their
cultural history in ideas, forms, materials, and work methods in their products. Craftspeople, often known as artisans, have the technical knowledge of materials and methods
of labour. They’re highly skilled workers that rely heavily on manual labour. Their primary tools are the effectiveness of their job strategies and their manual abilities.
India’s crafts are diverse, with a rich history, culture, and religion. From the Indus Valley Civilization to modern-day handmade goods, Indian handicrafts have a distinct
heritage. Indian handicraft has always been a significant aspect of Indian culture. India has been known for thousands of years for its art and beautiful handicrafts, which are
still popular worldwide. Each Indian state’s art exhibits the impact of various empires. Crafts have been ingrained as a culture and custom in rural areas for centuries. India
is not just a country but a rich civilization, and the arts of India have held their legacy. The wide range of Indian crafts has various hues and shades of meaning that reflect
interplay with socio, economic, cultural and religious aspects. Handicraft is the method of making ornamental items out of inexpensive materials such as clay, rock, paper,
stone, and other materials. They provide an opportunity to represent the country’s history, legacy, and culture and are a means of preserving and storing the rich traditional
art forms and heritage and the talents linked with the people’s history and way of life. They are highly crucial for the country’s economic prosperity. The handicraft sector, thus
offers a plethora of job opportunities and contributes significantly to the economy. A few great traditional crafts are wood carving in Kashmir, Dharamshala and Rajasthan,
Stone Masonry, Painting, Metalwork, Pottery, Leather-work, Jute handicrafts and many more.

Leather sculpture making, Indore Pottery

CRAF T DOCUMENTATION ∙ C raft s of s outh india 4

CRAFTS OF SOUTH INDIA

South India is gifted with a diverse culture and heritage. Wood carving South Indian States’ Popular Crafts
This rich culture is reflected in the handicrafts available, Pottery
making it a shopper’s dream. Indian art and crafts have Crafts are an integral component of Indian society,
long been known for their handicrafts., and this makes Metal carving highlighting the country’s cultural diversity. The
South India a fantastic destination with a plethora of following are some of the most popular South Indian
amazing handicrafts. The artists are masters at dexterity crafts:
when it comes to creating these wonderful pieces. South Indian woodcrafts come in a variety of styles
that are well-known around the world. It is a popular
Southern India’s crafts have been influenced by a craft in South India because the region is blessed with
wide range of religious beliefs. The traditional crafts extensive forests rich in many types of wood.
reflect the traces of the various empires that ruled over
the region. These classic, colourful, and appealing Stone carving, Pottery, and embroidery are some other
handmade objects are very popular with visitors. Kerala, famous crafts of South India- Tamil Nadu, Karnataka
in particular, is famous for its eco-friendly practices. and Andhra Pradesh being the states that are most
Most crafts in the state are made from the available known for making these crafts.
natural materials like ivory, bamboo, palm leaves,
wood, coconut, clay, stone and many more. Kerala’s art These handicrafts not only add to the charm of the
and crafts reflect the state’s rich cultural past. individual state’s attractions, but they also provide a
source of income for majority of the artisans. South
The richness of South India can be seen in its well- India’s handicraft sector is one of the best in the world.
known handicrafts. The artisans artistry has a unique Whether it’s needlework, bronze castings, metalwork,
charm and magnificence that draws visitors from all or stonework, these products are produced in such a
over the world.. way that one can include them in one’s daily routine.

CRAF T DOCUMEN TAT I O N ∙ Keral a 5

KERALA Coastal waterways
Fishing sector
Kerala is a southwestern Indian state. The neighbouring Biodiversity Houseboat
states include Karnataka to the north, Tamil Nadu to
the south and east, and the west is the sea. Known as Kerala is a state with a diverse biodiversity. It has
“God’s own country”, Kerala is a land of coconut groves, Indian rosewood, Malabar kino, teak, coconut, rubber,
lush vegetation, rivers, labyrinthine backwaters, hills sandalwood, mango, bamboo, orchids, rice, tapioca,
and wide beaches. The abundance of natural resources cashews, bananas, etc. more as its flora.
such as wood fibres, coir, bamboo, metal, and stone has Elephants, wild bears, lion-tailed Monkeys, lions, tigers,
resulted in long-established craft practices that exhibit great Indian hornbills, pied kingfishers are a few of
simplicity and minimalism, unlike most of India’s highly Kerala’s fauna.
decorative crafts.
Economy

Agriculture is the state’s primary source of revenue.
Commercial plantings on less than half of the total land
under cultivation earn a significant amount of foreign
cash, but they have necessitated food importation
for local use. Kerala’s main cash crops are grown in
plantations on the foothills’ slopes, and commercial
poultry farming is extensively developed. Along wih
agriculture, fishing and forestry are also Kerala’s main
source of revenue.

Languages

The people in Kerala speak four different languages,
their mother tongue Malayalam, followed by Tamil,
English and Hindi.

Map of Kerala

CRAFTS IN KERALA CRAF T DOCUMENTATIO N ∙ C raft s in kera l a 6

Kerala’s craftsmen use raw materials deftly without Coconut husk Kathakali Masks
losing aesthetic criteria. Kerala handicrafts, known for
their unique style, the perfection of form, and refinement Coir products
of design, are an essential element of Kerala culture’s
lifestream. Kerala’s craftspeople have also developed
various handicrafts that make use of the state’s abundant
flora. Weaving bamboo-reed mats, baskets are one of
Kerala’s most basic handicrafts. Kerala produces a wide
range of handicrafts, a few are given below-

Kathakali masks- The Kathakali classical dance

is recognised for its distinctive and ornate clothing.
Kathakali masks are an essential component of the
Kathakali dance outfit. These masks are fashioned
of clay or papier mache and are available for tourists
to purchase as souvenirs at handicraft markets. The
masks have a green foundation and are embellished
with beads and black hair.

Coir products- Kerala is known for its coconuts. The

coconut is an essential element of every Keraliite’s
existence. A Malayali’s coconut follows him from birth
to death. The fibres taken from the husk of the coconut
are used to make coir goods. Coir is a desirable material
because of its biodegradability and extended lifespan.
In Kerala, coir goods such as doormats, bags, baskets,
and mats are trendy.

Brass and metal crafts- The Bell and Brass Metal

CRAF T DOCUMENTATIO N ∙ C raft s in kera l a 7

art is a well-known art form in the state. It creates idols Bamboo pens Brass craft
depicting mythological events like the ‘Tandava Dance’ Wooden toys
out of a mixture of tin, copper, and brass. Furthermore, Lacquer ware
this metal is utilised to create lights and other home
items.

Lacquer ware- Lacquer ware is a blend of woodwork

and metal. The lacquer finish is applied to the artists’
beautiful wood carvings, and the product is then
embellished with precious metals. The State of
Ernakulum produces some of the finest lacquerware in
the world.

Wooden toys and Bamboo pens- Anyone visiting

Kerala would find wooden toys to be enticing keepsakes.
Wood carvings have been used to create these
unique toys. The bamboo pen is an environmentally
friendly tool that is commonly used in Kerala. Business
establishments frequently use bamboo pens as
promotional materials. The craftsmen make the pen
out of little bamboo reeds.

Coconut shell handicrafts- In Kerala, coconuts

are one of the most abundant natural goods. Coconut
trees can be found all around Kerala, and the beauty is
that the entire coconut fruit is consumed. Bowls, vases,
teapots, and toys are all made out of coconut shells.
Lampstands covered in brass and tiny coconut shell
objects are among the other items available.

CRAFT DOCUMENTATION ∙ COMPARITIVE STUDY 8

Metal and Bell Metal crafts in India our societies. Craft of Dokra
The Ladakh region has its traditional brass and iron Metal lacquering and engravings
The workmanship of each Indian state exhibits the vessels, whereas the Kashmir region is known for its
influence of several kingdoms. For generations, metal naquashi art. The embossed motifs and patterns on
crafts have been surrounded by a culture and tradition silver and copper goods are oxidised here.
in rural areas. In Palitana, Gujarat, bronze statues of Jain deities are
famous, while brassware products in Tamil Nadu
Bell metal is a strong bronze alloy used to make bells include lamps and other traditional religious things.
and other musical instruments like cymbals. It’s a type Thin silver wires are used to make creatures and birds
of bronze with a higher tin content, usually around a 4:1 in the silver filigree work of Odisha and Andhra Pradesh.
copper to tin ratio. The higher the tin concentration, the This type of metal craft is often used to make key chains,
more stiff the metal and the higher the resonance. Bell trays, and other decorative objects.
metal is also used in industry, where it’s used to make
valve bodies, piston rings, bearings, and bushings.
These bell metal crafts are manufactured in India in
a variety of states. Rajasthan, Bihar, Gujarat, South
Indian states, and Assam are examples. Metal crafts
are produced in large quantities in these states. These
states are currently exporting these art crafts due to
high demand. India’s bell metal crafts are diverse, rich,
and steeped in history and religion in this sense.

Metal crafts have been practised in India since the Indus
Valley Civilization. The discovery of the Dancing Girl
confirmed that the people of the Indian subcontinent
have long been experts of metal moulding. Metalworks
can still be found today in bronze statues from the
Chola dynasty or an iron pillar from Ashoka’s time
at Mehrauli in Delhi. On the one hand, metals were
used to create mythological characters and deities. In
contrast, metal pots, pans, frames, locks, key chains,
and other household items are equally widespread in

CRAF T DOCUMENTATIO N ∙ C raft s in kera l a 9

Bidri Ware Jaipur Metal Crafts

In Andhra Pradesh, Bidri ware is the most Rajasthan’s lacquering, and brass
popular handicraft. Bidri metal art is a one- engraving centre is the city of Jaipur. The
of-a-kind and spectacular artistic object, glossy surface of the pots, plates, boxes,
made by first using zinc and copper and and other items are embossed with
then topping the grooves with silver and beautiful designs. Bronze sculptures
gold motifs. The inlaid craftsmanship of and Koftagiri, the skill of encrusting one
the metalware, which comes from the metal with another, are also well-known.
town of Bidar, is its main attraction.
Pembharti
Moradabad
Sheet metal art is prominent in Pembharti,
Moradabad, Uttar Pradesh, is known for its located in Telangana’s Warangal district.
varietyofbrass home products. In addition, This type of art was often employed in
the goods are heavily embellished with chariots and temples under the Kakatiyas
intricate embellishments. However, Empire. The art is now being used on
Varanasi is known for its cast deity vases, containers, and plaques made of
sculptures and copper and brass brass.
household goods.
Kamrupi
Dhokra
Kamrup, Assam, is known for its Kamrupi
Dhokra is the lost wax casting method, metal craft. This metal art produces pots
and the Dancing Girl from Mohenjo Daro or kalah, the Sarai, lota (water pot), bati
is the earliest lost wax statue known to (bowl), cymbals, and other things made
exist. The Dhokra metal craft is primarily of brass and bell metal. Copper, silver, and
practised in Andhra Pradesh, Odisha, gold are also used to create objects in
and Madhya Pradesh. The innards of this craft. The State Museum in Guwahati
the statues are typically filled with clay; has an extensive collection of metal crafts
however, they are usually manufactured from Kamrup.
from bronze waste.

CRAF T DOCUMENTAT I O N ∙ Aranmu l a 10

ARANMULA Aranmula, a temple town in Kerala, India, is known as The district is rich in forests and rubber plantations
the cultural capital of Pathanamthitta district and on the and is a place where the holiest of shrines dedicated
Pathanamthitta in Kerala bank of the river Pampa. The town is a temple town, to Lord Ayyapan of Sabarimala lie. About 14 percent of
Aranmula (red area) in Pathanamthitta with the most famous temple there being The Aranmula the district is covered in dense forests protected by the
Parthasarathy Temple. It has fine murals from the 18th Government of Kerala. The eastern part of the district
Century and dates back to the time of Mahabharata. bounds the Annaimudi hills, which offer a majestic
Aranmula is also considered the birthplace of Lord backdrop along the river Pamba.
Ayyapan and has been declared as a heritage village
in India by the India National Trust for Art and Cultural
Heritage (INTACH).

The lore surrounding this exotic village is famous for Aranmula Boat Race
the ingenuity of its craftsmen and the primitive feeling Aranmula Parthasarathy Temple
one experiences the moment one enters it. Aranmula
is known worldwide for its Aranmula Kannadi (metal
mirrors), the centuries-old Sree Krishna Temple, the
unique ritualistic feast of `Vallasadya,’ and famed
Aranmula Boat Race, Vasthu Vidhya Gurukulam,
Aranmula and many others. The town’s name derived
from that of the centuries-old Aranmula Parthasarathy
Temple (dedicated to Lord Sree Krishna) situated on the
holy River Pamba, a hotbed of Hinduism devotees. The
murals, carvings and paintings here have inspired much
awe and interest.
The village has earned itself an identity, having crafted
a unique work of art so much that at the mention of
Aranmula conjures up images of these intricately crafted
metal mirrors.

CRAF T DOCUMENTATION ∙ Aranmu l a kannadi 11

ARANMULA KANNADI

brings good luck to their owners. According to legend,
a single extended family produces them in Aranmula.
They are presumed to be the descendants of the eight
families brought to the palace centuries ago by the royal
chief. They were experts in temple arts and crafts and
belonged to the Tirunelveli district and were brought to
Aranmula to work on the mirrors in the Parthasarathy
temple.

Origin While using the metal alloy bronze to create a crown for
the temple’s presiding deity - Lord Parthasarathy, they
For about 1000 years, Aranmula Kannadi, a glassless discovered a remarkable reflecting feature of a copper-
mirror, has become part of Kerala’s intricate culture. tin alloy by accident. The craftsmen later tried different
Aranmula metal mirrors are a unique item of Indian compositions, which eventually led to making the metal
craftsmanship that dates back to the Vedic period. mirror a guarded secret.
It is a particularly fascinating craft because of the
legend surrounding its creation and the secret of its The mystery surrounding its creation was passed
composition. The craftsmen’ believe that the design of down through the years. It is an exclusive product of
the metal mirror is heavenly and that some undisclosed Aranmula, which is located near Chengannur, a village
metals alloyed with silver, bronze, copper, and tin  are in Kerala’s Pathanamthitta District. The purpose of this
responsible for the distortion-free images. artistic production is to add to the luxury of the houses.
Aranmula kannadi (Kannadi meaning mirror) is a This craftsmanship is just as lovely and appealing as the
handcrafted metal-alloy mirror made in Aranmula, a refined gold. It is described as the mirror of Goddess
small town in Pathanamthitta, Kerala. The mirrors have Parvati in the Puranas. It is a luxurious item that is used
an immense historical and cultural background which to embellish and decorate during celebrations and
ceremonies. It is well-known for its secret procedure
and one-of-a-kind design, protected by a patent and
a Geographical Indication designation.

CRAF T DOCUMENTATION ∙ Aranmu l a kannadi 12

Vishwakarma community

The ancestors of Aranmula Kannadi were the Vishwakarma community and they were masters in temple art and architecture. This community made beautiful buildings of
stone temples in Dravidian style. The Vishwakarma community’s craftsmen have worked in the Aranmula Parthasarathy Temple for centuries. It is one of South India’s oldest
temples, devoted to Lord Krishna, an incarnation of the Hindu god Vishnu. Originally, these artists were known for their beautiful bronze deity idols. But around 500 years ago,
they handcrafted a unique mirror known as the Aranmula kannadi, which surpassed the standards as their most famous product.

The community claims descent from the Hindu god Vishwakarma, revered as the universe’s divine architect or engineer. He had five children, who are thought to be the
forefathers of the Vishwakarma community’s five sub-groups: the gotras (clans) of blacksmiths, carpenters, bell metalworkers (metal casters), stonemasons, and goldsmiths.
celestial architect, the builder of palaces for the Gods. These craftsmen, in the past, in societies were greatly respected. They built their temples and usually worshipped
“Parvati”, In fact, they even built their temples dedicated to their Goddess Mutharamma. “Mutharam Man Kovil”, more commonly known as “Amman Kovil”, was built in areas
where Tamil Vishwakarma was concentrated.

Rajendra Varma, one of the two last living members of the royal bloodline in Aranmula

CRAF T DOCUMEN TAT I O N ∙ hi story 13

HISTORY Aranmula Parthasarathy Temple
Etching of designs on the brass frame
The history of the Aranmula kannadi has been told told his wife about his concern. According to legend, a
for generations over generations, with two different goddess appeared to the wife in her dreams, telling her
legends. the proportions of a bronze alloy that shone like a mirror
In the first one, a few Indian artisans had come to and instructing her to tell the community’s women to
Aranmula from Sankaran Koil near Tirunelveli around relinquish their gold jewels. All of the gold was gathered
five generations ago. They arrived at the behest and sold in order to obtain enough tin and copper. That
of the King of Pandalam, who asked them to build night, she went around to all the ladies and ordered
the Aranmula Parthasarathy Temple. Aside from them to follow the devi’s directions. The crown, which
carrying out their assigned tasks, these artisans made was made from a mixture of copper and tin, turned out
ornaments (e.g. bangles and rings), cooking vessels to be a work of art and craftsmanship. It was silver-like
and bells by casting copper-based alloys. The artists colour, brittle like glass, shone with rare brilliance, and
found the reflecting feature of one particular copper-tin acquired the quality of reflection when cleaned. The
alloy while working with the bronzes. This characteristic
of the polished metal was exploited for making those makudam of the crown, known as Kannadi Bhimbom
bronze mirrors known as “Aranmula Kannadi”, meaning
Aranmula Mirror. The king of Aranmula is said to have (Mirror image), in the Aranmula temple was preserved
liberally patronized the craftsmen and even laid down till 1946. The casters soon worked out the ratios of
an order that the mirror should form one of the eight different metals used.
auspicious articles used in all Hindu religious rites, The chieftain of Aranmula liberally patronized the
including marriages. craftsmen and even laid down an order that the mirror
should be one of the eight auspicious articles used in
The second legend all Hindu religious rites, including marriage. They then
made a small “Kumkumacheppu” or vermilion container
The deity’s crown was cracked, as per the chief priest in bronze and filled it with a small bronze mirror on the
of Aranmula Parthasarathy temple. The local king cover. The mirror became very popular among the
summoned the head of the bronzesmith clan and elite of Malayali Society. Under the patronage of a few
ordered him to create a new crown within three days,
and the chief got worried as he did not have sufficient aristocratic ladies, the VaalKannadi flourished. But the
materials. Further, there was not enough time to get
the material from other places, so he went home and demand died gradually, and cheaper glass mirrors
were available. The popularity of the handicraft grew
by bounds only a decade ago, stepping up its demand,
especially in foreign countries.

Both stories have been told orally from generation to CRAF T DOCUMEN TAT I O N ∙ hi story 14
generation, but the legend of the accidental discovery The sculpture ‘Madanika’
is more widely accepted. Aranmula Parthasarathy Temple
The production of these mirrors started during the reign
of Shree Anizham Tirunal Mathanda Varma, the king of
the state of Travancore, 1729- 1758 M.E.

Where the mirror was seen for the first time

Aranmula Kannadi has a long history starting from
1400 BC when bronze materials were cast into mirrors
that rendered highly polished surfaces and reflected
images. Archaeological excavations, temple sculptures
at Khajurao depict these mirrors. A sculpture from the
Hoysala temple at Belur, Karnataka (12th CE) shows a
“Madanika ‘’ or dancer looking in the mirror and admiring
herself. The mirror resembles the thick wooden
polishing mount with a rear handle from Aranmula onto
which the mirror has been fixed.

CRAF T DOCUME N TAT I O N ∙ Vi s hu 15

VISHU Vishukani

Vishu is a Hindu festival celebrated in Kerala, the Tulu brought blindfolded from their rooms first thing in the
Nadu region of Karnataka, the Mahé district of the Union
Territory of Pondicherry, and the diaspora groups of morning to visit Vishukani. After that, the Vishu Kani is
Tamil Nadu. The Malayalam word “Kani” literally means
“first seen,” so “Vishukani” literally means “first seen on handed to the poor and needy. This tradition believes
Vishu.” that the first object they view on Vishu day determines
their fortune for the rest of the year. It is also customary
Many Malayalis will begin their day on Vishu, April 15, to gift little sums of money to family members’
with a look at their reflection in an Aranmula kannadi. children—ideally, some form of currency that includes
Kerala’s Vishu is a special festival of joy and wealth. It a coin. Everyone who obtains Vishukaineettam will be
takes place on the first day of the Malayalam month prosperous.
‘Medam.’ The Kani, or sighting, includes a pick of fresh
vegetables, a sprig of yellow flowers, a piece of gold Konna (Cassia fistula)
jewellery, a coin, and a new traditional Kerala sari, all of
which represent wealth and prosperity for the remainder
of the year. In Vishukani, the mirror represents perceiving
yourself as a part of the plenty that you see in the form

of Kani. The family members are brought to where the
Kani has been arranged with their eyes closed.

The lady of the house should prepare Kani the night

before. It has rice, golden lemon, golden cucumber,
coconut split open, jack fruit, Kanmashi, betel leaves,
areca nut, Aranmula kannadi (Vaalkannadi), golden-
coloured Konna flowers blossoming during the Vishu
season, Nilavilakku, Vishnu statue, and other auspicious

goods. The master of the house is the first to meet Kani,

followed by the rest of the family. Children should be

Aranmula Kannadi

CRAF T DOCUMENTATION ∙ Too l s and proces s es 16

TOOLS AND PROCESSES 5. Chuttika (Hammer)

Traditional tools used by artisans The chuttika is used mainly to shape the sheet

1. Achu (Punch) metal, for punching a part or to break a cast and

The punch is made from mild steel and has a the size of the chuttika varies according to its
head and a hollow conical head. It is used to pun-
ch holes or form impressions on the brass frame. purpose.

2. Ada Kallu (Anvil) 6. Uly (Chisel)

Consists of a small steel anvil embedded into a The uly is a broad term used for all types of chisel
block of wood/stone. Most of the hammering is
and punches. Small-sized chisels are used to
done on the Ada Kallu. make patterns on the brass frame and also to cut
the brass rods.
3. Arram (File)
7. Cheek uly (Scrape chisel)
The file, made out of mild steel bar, is used to file
and finish the mirror, the frame and other parts. This special uly is used to clean and straighten

4. Ara Kallu (Grinding stone) the surface of the frame. It consists of a bent end
that acts as a scraper.
The grinding stone consists of a Kozhavi or a roller
and an Ara Kallu or grinding stone. They are both 8. Kovva (Crucible)

made of stone. The material to be grounded is Made out of wrought iron, the kovva is used to

placed on the Ara Kallu and pressure is applied melt metals in order to form alloys.
onto it by moving the Kozhavi to and fro.

CRAF T DOCUMENTATION ∙ Too l s and proces s es 17

9. Vettu Kathi (Cut knife) 13. Tongs

The vettu kathi is a large metal knife used to cut This tool is used to place, move and pick up the
moulds, coconut husks and coal from the furnace
thick layers of wax, break coconut husks etc.
14. Wooden slab with a handle
10. Picchathi (Small knife)
The slab is used as a holder for the metal mirror in
The picchathi i s a small knife used to create wax the process of polishing.

patterns and remove excess wax. 15. Emery paper, soft cotton and velvet
cloth
11. Kathriga (Scissors or pinchers)
These are used to polish the mirror in the various
The kathriga comes in various sizes and is used stages of its making.

according to the requirements. They are used to 16. Hack saw blade
cut brass metal sheets.
It is used to cut and shape the mirror when it’s out
12. Hand blower of the furnace and cooled.

This mechanismis directly connected to the
furnace and is manually rotated to supply a
steady airflow to the pit furnace.

CRAF T DOCUMENTAT I O N ∙ RAW MAT E R I ALS 18

RAW MATERIALS

Most of the raw materials, apart from clay which is taken one knows the exact combination of these metals, it heated. This makes the scales easily peel off. However,
from the nearby fields, are obtained from a market near is the skills developed by the artisans throughout the in the present, these traditional purification techniques
the town called Mannar. However, after the pandemic, years that lead to its perfect combination. Traditionally, are no longer practised as the purity of the metals are
the cost of the materials have become expensive and these metals used to be purified using Ayurvedic inspected for any defects at the time of purchase from
hence, the artisans are looking into more shops local techniques like immersing the impure metals in cow the markets. The copper chosen is of the purest quality
and domestic, and online stores to get the raw materials (98%) and is bought in the form of copper wires. Tin is
at a cheaper rate. urine or gomuthra. After a few days, the metals would be brought into chunks and both metals are further broken
The chief materials used for the creation of the mirror are into smaller pieces. The other metals, like zinc, nickel,
taken out and put into boiling water filled with tamarind phosphorus and other unknown metals in negligible
chembu (copper), eeyam (Tin), nagam’ (zinc) and lead. leaves. Finally, the metals would be melted and poured quantities, are added during the process of melting
into a vessel 2 ½ feet in height filled with paddy husks. these two metals.
The proportions of these metals, one that’s over 500 The metals obtained after their flow through the paddy
husks is said to be ‘pure’. During the process, the scales
years old, are per the discretion of the Assari (craftsman) formed on the surface of the copper were removed
by applying a solution of brine and tamarind juice and
and is a closely guarded secret of the community,
protected by the GI patent tag. It is said that even after

Copper Tin Zinc

CRAF T DOCUMENTAT I O N ∙ RAW MAT E R I ALS 19

For the frame

Aranmula Kannadi’s frame is created using uncontaminated brass (an alloy of 66% copper and 34% zinc) made through the box casting process.

The other raw materials used are clay, gum from trees, baked clay powder (tile powder), cow dung, wax, chanchaliyam (frankincense), edible oil (gingelly oil), coconut
husks, navasaram (ammonium chloride) and charcoal.

Copper Zinc Clay
Frankincense Coconut husk Coal

CRAF T DOCUMENTAT I O N ∙ T H E P R O C ESS 20

THE PROCESS

Making of the mirror

An ancient metallurgical process is followed for the
making of the alloy. It is a process long practised by the
Aranmula artisans. It is entirely done by hand and uses
not a single powered mechanism. It begins with the
melting of copper and tin metals in the crucible placed
in a furnace fired with coconut shell charcoal. When
the metals start to melt, the craftsman removes a small
quantity of it from the crucible and allows it to solidify
and cool on the ground. This sample is then broken
using a hammer, and its surface is inspected visually
to check the quality and composition of the alloy. This
inspection helps maintain the adequate amount of
copper and tin required to create the alloy, and further,
any more necessary tin and copper is added to the
melt. This melt is then poured into an open, preheated
mould and once cast, the disk is broken into pieces
and these (bronze) pieces are re-melted and cast as
the mirror.

Picture on top- Melting of copper and tin metals in the
crucible
Picture on bottom- Melt being poured into a pre-heated
cast

CRAF T DOCUMENTAT I O N ∙ T H E P R O C ESS 21

The casting of the bronze mirror The mould
Pipe like structure on top of the mould
The casting starts with the making of a mould. This pipe-like structure is built onto the top of the mould
mould is composed of two clay disks, and the size of and a small orifice is created on top of the structure. The crucibles left to dry
these disks varies according to the size of the mirror Small air holes are pierced on the crucible to help the
that is to be cast and is a composition of tile powder, artisan see if the metals have melted inside or have
raw clay and jute powder. The size of the disks should cooled down. This entire mould is now the ‘kovva’ or
be slightly bigger than the required mirror’s size. Upon crucible. The crucible is filled with bronze pieces (that
cutting out the perfect disks of clay and meticulously will make the mirror) and the crucible is covered with a
cleaning and smoothing it, one side of it (the surface final layer of raw earth clay.
upon which the mirror will be cast) is coated with coal
The two clay disks
or ‘kari’ mixed with some water. After this, a small gap
‘kannam’ is created between the two disks using small A small gap is created between the two disks using alloy pieces and wax plug

stray pieces of the alloy kept in four sizes of the disk.
Along with this, a small tube-like structure made of
wax/clay is also placed between these two disks to
ensure a place through which the molten melt can be
poured for casting. Hence, the measurements of the
gap created needs to be of the size of the mirror that
is to be released. The disks are then held together and
after putting a layer of paper over its sides, a mixture
of clay and cow dung(helps decrease the thickness of
the clay) is applied to the same area. This mixture is

the ‘onnam mannu’ (‘onnu’ meaning first and ‘mannu’

meaning clay) is applied to the mould.A second layer

‘randam mannu’ made of a mixture of ground tile clay
‘chaaku’ and raw earth clay is then applied all over the

mould and left to dry over a small flame.
This heat also ensures that the scrap alloy pieces
fuse together and the wax plug has melted off. This

is followed by the ‘kavilluketta’ process where a clay

CRAF T DOCUMENTAT I O N ∙ T H E P R O C ESS 22

These moulds are then arranged crucible down into Bronze pieces put into the crucible Removal of casting from the mould
the array (an arrangement of bricks surrounding the Crucible is closed with clay Casting is cut according to the size needed
moulds) with burning coals at the bottom and covered Moulds placed in the furnace The casting is ready to be polsihed
with coconut husks. The coconut husks are lit and this
acts as an open oven. When an optimal temperature is
reached, the moulds are tilted and placed facing down
in the oven. After a while, these moulds are placed
(crucible down, mould up) into an open pit furnace
with a manual blower. This orientation allows the alloy
to melt quickly and when the alloy has completely
melted and ready for casting, a highly experienced
artisan takes the moulds out of the furnace and gives
them a little shake to properly mix the melt. He/she
then gradually tilts the moulds to help fill it smoothly
and it is left to cool in pre-dug sand pits with the
crucible facing upwards. Once the alloy completely fills
the mould, the crucible is removed using a ‘chuttika’
or hammer and the mould is gently tapped. The
molten alloy, now visible, is left to solidify completely
and afterwards, the outer layer and the clamps are
removed. The casting is completely removed from
the mould by scraping away the outer layers. The cast
disk is then placed against the brass frame and the
outline of the shape of the frame is drawn on it using
a pencil. The delicate cast metal is cut following that
exact shape using an ‘arram’ or file and placed over
the brass frame to make sure it fits. After this, a vertical
line along the axis of the disk is drawn using charcoal
as a guideline for when it is to be polished and the cast
is completely removed from the mould and is ready
for polishing.

CRAF T DOCUMENTAT I O N ∙ T H E P R O C ESS 23

Polishing of the bronze mirror Polishing with emery paper
Rubbing with velvet cloth until fogginess is gone
The cast disc, after filing and cutting, is then mounted one up every time another one is left to cool. When
on a wooden plank. This plank has a handle on one the required polishing surface is achieved, it is further Mirror that shows a reflection
end and a raised circular surface on the other, and polished using a cotton cloth followed by a dry velvet
here is where the mirror is mounted using glueing cloth. Velvet absorbs the oil that was applied previously
on the mirror. This is done until the fogginess of the
wax (a heated 2:1 mixture of wax and chanchaliyam mirror is gone, and the perfect reflection is achieved.

(frankincense)) which is spread evenly on the raised Once the disk is perfectly polished, it is demounted by
surface and allowed to cool before the disk, which is slightly heating it. The wax melts and the mirror slides
slightly heated is mounted. The excess glueing wax down from the plank into boxes where it waits to be
mounted onto the brass frame.
is removed using a picchathi or knife. The mounting

helps facilitate easy handling and polishing of the
brittle disk.

The polishing of the disk is a tedious process and takes
a few days to complete. Polishing is done until the
mirror obtains the absolute perfect reflection. Disks
are polished using well-ground brunt clay powder
(made from scraps when making the mould) and
castor or gingelly oil on a jute or cotton cloth. Initially,

punnaka seed oil or marouti oil was used. These oils

are mixed with tile powder to obtain a better finish.

The polishing process started with ‘chak’ or jute being

fixed to the wooden plank and burnt mould powder or

moosha podi placed in a cotton cloth and made into
a kizhi or bundle. The ‘moosha podi’ is applied onto
the chak using the kizhi. The kizhi acts as a powder

puff, and the mirror is then rubbed on the surface of

the chak until it gets hot and is then left to cool. After

this, the mirror is polished on fine grade emery paper.
The artisan polishes 4-5 mirrors at a time, picking

Cast discs mounted on a wooden plank for polishing

CRAF T DOCUMENTAT I O N ∙ T H E P R O C ESS 24

The casting of the brass frame

Making of the alloy

In the beginning, the artisans used bronze cast frames in making the Aranmula mirror, but due to the high cost of bronze, it was replaced by brass. To create the brass

frame, a kovva or crucible made out of wrought iron with an approximate capacity of 9L of molten metal is cleaned. The pieces of pure chembu (copper), eeyam (tin) and
nagam (zinc) are added in proportion into the crucible. The kovva is then placed in an open-pit furnace charged with burning charcoal. It is then surrounded with pieces of
thondu or coconut husk, as thondu retains the heat. It is heated to about 400 degrees (approx melting point of brass). The molten metal is poured onto the ground, and
once cooled, it’s broken into pieces using a ‘chuttika’ or hammer. The broken parts are inspected to check their quality and re-melted, and more alloy metals are added

to the melt. Finally, the molten metal is poured into pre-heated clay casts, and once it has cooled, the moulds are broken, and the casting is removed and checked for
any deformities.

CRAF T DOCUMENTAT I O N ∙ T H E P R O C ESS 25

Making of the mould Artisan cutting out wax for the lost wax process

For the creation of the mould and the brass frame, two
processes are followed. Firstly, the lost wax process,
a tiring and tedious method of mould making, is
used to create the master mould and secondly, the
sand casting process is used to create the rest of the
frames. Frames can be made in various sizes and
can be customized depending on the customer’s
requirements.

Lost wax process
To cast the master mould for the brass frame, the lost

wax process is used. Chanchaliyam, ordinary wax, and

edible oil are used to make the wax. It is heated and is
then rolled to uniform thickness using a roller, and the
required pattern of the frame is first drawn on a piece
of paper and is then cut. This paper is then placed on
the rolled wax, and it is cut along the contour of the
pattern. Many layers of wax are placed or spread on
the base layer to get different shapes on the mirror
surface, and a plug made of wax is vertically placed
on top of the wax pattern. Once this is complete, finely

ground soft clay ground on the Ara Kallu is applied

to the wax pattern and compacted to get the exact
contour of the design and left to dry. A coarser clay is

applied to the surface of this clay. A thaalu (or pouring

hole) is made on the mould just above the wax plug
and left to dry. The mould is then placed inclined
near a pit, with the plug facing downwards. Pieces of

thondu (brass pieces) are placed on top of the mould

CRAF T DOCUMENTAT I O N ∙ T H E P R O C ESS 26

and are then set on fire. Once heated to a suitable is removed. Finishing touches to the centre are done The alloy hardens and is taken out after it is fully cooled.
temperature, the wax patterns and the plug melt and manually as there are chances for minor breakages Brass frame before polishing
flow into the pit. The hollow cavity formed inside is an during the compaction. The moulds are preheated
exact copy of the design, and the mould is now ready using coal which helps the sand to harden and also
to be used for casting. in retaining the pattern and they are ready for casting.
After the molten material is poured and the casting is
Sand casting process done, the core and drag is separated, and the brass
After the master mould has been made, it is used to frame of the mirror in its crude form is taken out, and
cast more frames using the sand casting process as it once it has cooled, the frame is ready for filing and
is much easier and the chances of the design retaining polishing.
its form are more in this process. Unlike the lost wax
process where the wax has to be remoulded, here, A step in the sand casting process
the master model can be used many times to make
the patterns of the frame. The metal moulds leave a space for the melt.
The master metal model which has been cast is used
to make the pattern in the wooden boxes. The cope
and drag are the two wooden boxes used in the sand
casting process. The drag, which is the lower half, is
filled with sand (mixed with clay which acts as the
binder) and compacted by ramming manually. The
master metal pattern is centrally placed inside the
drag and crowded and the extra sand is removed.
The path for the metal to flow is made and parting
material and tile powder is spread over the drag using

kizhi while two plugs are placed to guide the molten

metal in the core. The cope is placed over the drag,
and sand mixed with clay is compacted manually.
The two plugs, which are later removed, act as a gate
and a vent. Finally, the two boxes are opened, and the
master metal model which is used to make the core

CRAF T DOCUMENTAT I O N ∙ T H E P R O C ESS 27

Finishing of the brass frame Polishing with emery paper
Rubbing with velvet cloth until fogginess is gone
The brass frame, which is in its crude state, is filed layer. The brass frame is then heated slightly. And the
using an arram or file. Then a ‘cheek uly’ is used to Mirror that shows a reflection
clean and flatten the surface. Once cleaned, the brass wax is then levelled uniformly using a ‘kathi’ or knife. It
frame is further finished using emery papers. The
decorative patterns on the frame are then punched is then allowed to cool and solidify. The polished mirror
is now ready for mounting, and the frame is heated
using ‘achu uly’ and ‘uly’. slightly. The mirror is affixed to the frame and is heated
again. Then using a piece of cloth, pressure is applied
The hollow profile of the frame is drawn onto a to the mirror manually. This ensures a firm fixture. Once
the mirror and the frame cool, the gap between the
‘pichela thakudu’ (brass sheet metal), which is then mirror and the frame is filled with plain wax. It is heated
cut using ‘kathriga’ or scissors. It is then formed into a
concave by hammering it on an ‘ada kallu’ (anvil). The again. The excess wax is removed using the ‘kathi’. Then
backplate is then clamped onto the frame. ‘Navasaram’
(ammonium chloride) and ‘eeyam’ (tin) are used for the waxed edge is routed using the rounded edge of

soldering the backplate to the brass frame by heating. the ‘kathi. The wax then cools and solidifies. The mirror
It is then buffed to give a final polish. Depending on the
design, a brass back support or a stand for the frame is is then given a final polish, either red oxide powder or
talcum powder which is wiped using a piece of cotton.
also cast and is cleaned and polished. A vyapiri (hinge)
is made from a rectangular piece of pichela thakudu’

(brass sheet metal). A slit is made behind the frame
(large enough for the metal strip to pass through) by
hammering. The brass strip is then hammered from
inside to lock the stand in position. The stand and the

hinge are then filed using an ‘arram’ to create a perfect

fit.

Mounting of mirror on the brass frame

The wax mixture (wax and chanchaliyam) is heated and

is applied on to the brass frame in the area where the
mirror is to be placed. It is spread uniformly as a thick

Polishing using a mixture of jute and burnt mould powder

CRAFT DOCUMENTATION ∙ EVOLUTION OF DESIGN 28
The ‘valkanaadi’
EVOLUTION OF DESIGN

The original designs of the Aranmula kannadi are the
ones that are traditional and have been around since
its creation. According to its history, the first object to
be made using the alloy was the crown for the idol of
Lord Parthasarathy of the Aranmula temple. The crown
was so reflective that it was later taken as inspiration
to create a small mirror. This mirror was placed as a

lid on the ‘kumkum cheppu’ or vermillion box used by

married women. Later, this design developed into the

‘valkannadi’, which directly translates to ‘tail mirror’ but

is commonly called a handheld mirror.

This mirror became a favourite among the women
in society, and it’s said that before the advent of
commercial glass mirrors, the upper-class women
highly preferred bronze mirrors. During the British
rule, the kannadi turned into more of a souvenir one
could take from the Indian subcontinent, and because
of this, the present form of the mirror- which is of the
kannadi with a small stand so as to display it in an erect
position was designed. Another variation of this, which
is of a fixed stand mirror with a base, is also available
along with the newly introduced wall hanging mirrors.
The only other change in the design over the years
has been the introduction of different kinds of motifs
punched on the frame.

CRAFT DOCUMENTATION ∙ EVOLUTION OF DESIGN 29

Aranmula kannadi with small stand Aranmula kannadi with a fixed stand Aranmula kannadi wall hanging

CRAFT DOCUMENTATION ∙ MOTIFS 30

MOTIFS

The motifs present on the frame are manually etched on by the artisan using the chisel, and
the entire process begins with the artisan drawing out a pattern for the frame, followed by
drawing on the motifs and details according to the size of the mirror. After the frame is built,
motifs are punched on. These motifs consist of animals, flowers, nature, gods and other
religious patterns. Traditionally, the brass frame is circular or oval in shape, but presently,
the frame itself can be completely customized according to the customer’s demands, and
extra elements can always be added to the frame and be made to resemble the design
the customers need.

CRAFT DOCUMENTATION ∙ CRAFT CLUSTER 31

CRAFT CLUSTER

In the district of Pathanamthitta, exists the Aranmula Kozhencherry highway (SH-6). These places consist Craft cluster
kannadi cluster. The cluster consists of approximately of various highly experienced and skilled artisans
30 MSMES (Micro, Small and Medium Enterprises) and who have established their own authentic shops and
the nodal person and associations that govern the area workshops, and some have even expanded their shops
are- to areas like the ‘Guruvayur’ temple, where the mirrors
are sold. A recent surge in their online presence is also
The general manager, seen as these shops have started to establish their own
District industries centre social media pages, WhatsApp business accounts,
Kozhencherry, Pathanamthitta websites and youtube channels. This has helped them
689564; +91-468-2214639 reach a much wider audience, both domestic and
international. Some of the centres that make and sell
John Sam the craft include-
IEO
Ettumanoor, Kottayam Aditi Handicrafts Centre
9446062007 Parthasarathy Handicrafts Centre
Viswasarathy Handicrafts Centre
Aranmula Viswa Brahmina Nirman Society Aiswarya Handicrafts Mirror Centre
A.K. Selvaraj, P. Gopakumar, and J. Sudha Ammal Manikanda Handicrafts
Aranmula, Pathanamthitta Sundar Handicrafts Centre
9946669031 Paitrikam Handicrafts Centre
Sree Krishna Handicrafts Centre
The place where the ’kannadi’ is made is in two areas,
Malakkara (a place 3km away from Aranmula), where
the brass frames are made and another site, just a km
away from Aranmula Lord Parthasarathy temple where
the metal mirror is made and mounted on the brass
frame. Both these places lie close to the Mavelikkara-

CRAFT DOCUMENTATION ∙ CONTEMPORARY DESIGNS 32

CONTEMPORARY DESIGNS The double sided ‘Suvarna’ by Kasliwal

Contemporary designs and diversification incorporating techniques such as machine work and
3D printing.
The traditional aranmula kannadi has always remained
the ancient way and we have only seen slight changes On a visible level, a new material, wood has been
on the design of the mirror done by the artisans like the added to the mix of raw materials and several models
addition of a back or a front stand or turning the mirror combine brass with woodwork, such as the ‘Gokha’,
into a wall hanging. However, after the 2018 floods hit which is a brass-framed mirror sitting on a little wooden
and the Pampa river overflowed, the artisans were hit shelf, The ‘Kashtha’, a wooden-framed mirror attached
with a huge loss and were unsure on how to relaunch to a brass knob and even jewellery. The ‘Mudra’ is a tiny
their craft. To help the artisans financially, The Crafts mirror set in a silver ring.
Council of India (CCI) came forward, assessed the Kasliwal and CCI are ready to launch the project with a
situation and decided that a bit of innovation might help webinar in 2021.
revive business and revitalise the community. Various
financial decisions were recommended which included
change in the obtainment of the brass they use and
innovation in the mirror’s overall design.

To go ahead with this, the CCI got in touch with Kasliwal,
a distinguished Jaipur-based designer known for his
metal works and he, upon visiting the workshops in
Aranmula and talking with the artisan Gopakumar, he has
been working in studio pro bono since August 2019 and
producing new designs. These contemporary versions
of the Aranmula kannadi, models like ‘Anugraham’-a
simple shape in a brass frame with a hand-engraved
blessing and The ‘Deepa’ which has two brass frames
joined together, with one containing the mirror and
the other a diya or traditional lamp have been created

CRAF T DOCUMENTATION ∙ END US ES , training and q ua l ity check 33

END USES, TRAINING AND QUALITY CHECK Aranmula kannadi placed in a pooja room

End uses to put this hologram on any mirror manufactured by
It is believed that keeping an Aranmula kannadi in the the community after 2015.The sticker consists of the
house brings prosperity and luck to the owner. For business head’s family name, the shop’s name, GI tag
this reason, it is given as a gift during weddings and and other details.
housewarming ceremonies. The other end uses of an
Aranmula Kannadi are-

• Part of one’s vanity
• Souvenir in a home
• As a part of the eight auspicious articles used in

hindu rites including marriages and Vishukani

arrangement
• Religious item in a pooja room

Training and quality check
There is no special training given to people who join
as artisans in the workshop. They are expected to work
hard and develop their skills over time. Most artisans
are capable of handling every single aspect of the
tedious process of making the mirror which ranges
from creating and polishing the mirror to casting and
designing the bronze frame and finally, putting the mirror
and the frame together. Quality check is manually done
after every single step of the mirror making process.
After the mirror is deemed perfect, a hologram sticker
is placed on the back of the mirror, and this acts as a
tag of authenticity. It was the Vishwabrahmana sabha
society that instructed the authentic manufacturers

CRAFT DOCUMENTATION ∙ GOVERNMENT/NGO AFFILIATIONS 34

GOVERNMENT/NGO AFFILIATIONS Workshop after the flood,2018
NGO that helped the community- Habitat for Hummanity
In the present, there are no known direct government machinery worth around Rs 75,000.They also distributed
affiliations with the Aranmula Kannadi and artisans 695 Humanitarian Aid Kits and water purifiers and school
receive minimal to no fiancial support from them. Even sanitation units in Ernakulam and North Paravoor. As the
in this case, the Kerala government has declared that NGOs help wasn’t able to reach all 22 units in Aranmula,
the Aranmula mirror would be the official memento to artisans had to hold on to the support of the Ujjivan help
be presented to important personalities who visit the programme under the Rebuild Kerala Initiative (RKI),
state. The Culture and Tourism Departments of the which has envisaged disbursement of bank loans with
Kerala Government of India and the United Nations 20% subsidy on the principal amount. The Crafts Council
Development Programme do try to promote this of India (CCI) organized another project with designer
traditional craft industry considering its importance Ayush Kasliwal to help support the artisan community
and uniqueness. A few years ago, the Indian Olympics and revive their businesses following the floods. The
Committee selected the Aranmula mirror in the list of designer collaborated with an artisan Gopakumar and
gifts presented to those participating in the Olympics. started working in his studio pro bono in August 2019
A few years back, the government tried to promote and is producing new designs. The CCI has plans to
the Aranmula mirror in the international market. by market the products through its website and outlets,
arranging a 21-day exhibition and the sale of Aranmula online retailers like Amazon Karigar and Jaypore and
mirrors were organized at the Kairali showroom of the the wider Craft Council network.
Handicrafts Development Corporation of Kerala Limited
in 2013. Interventions undertaken in the craft cluster The mirror is gifted to distinguised guests who visit the state
include GI Trust Building, Awareness Programmes
on M/o MSME Programmes & policies and training
programmes.
After the 2018 floods in Kerala, the artisans got a
significant loss of about two crore rupees. Despite
promises by the state government and visiting leaders
of political parties, the only help that came their way
was from Habitat for Humanity, a Mumbai-based NGO,
who in partnership with Shapoorji Pallonji International,
provided them, free of cost, tool kits, raw materials and

CRAF T DOCUMENTAT I O N ∙ S UP P LY C H AI N 35

SUPPLY CHAIN

Customers place orders through handicraft centres/
website/social media owned by family businesses in

Aranmula who practice the craft

Mirrors made on order basis are shipped Raw materials are bought from Mannar, a big
domestically or internationally via courier services. business town a few kilometres from Aranmula.
The materials are bought by artisans themselves.
Most businesses provide free shipping.
Sometimes, materials are ordered online.

Completed mirrors are displayed and sold in the Artisans work on the manufacturing of the mirrors,
centre located right next to the manufacturing most of which are made based on orders received
workshop

CRAF T DOCUMENTATION ∙ the gi tag and ho logram 36

THE GI TAG AND HOLOGRAM

The GI Tag The hologram
The Aranmula Kannadi received the geographical
indication (GI) tag in 2004-2005. In India, Geographical
Indications registration is administered by the
Geographical Indications of Goods (Registration and
Protection) Act of 1999. These are typically used for
agricultural products, foodstuffs, wine and spirit drinks,
handicrafts, and industrial products and is a name or
sign used on products that correspond to a specific
geographical location or origin. As an indication of
the crafts’ source, a geographical indication acts as a
certification that the product possesses certain qualities,
is made according to traditional methods or enjoys a
good reputation due to its geographical origin. No one
is allowed to use this name other than the region to
which this tag is given.

The Hologram Some famous products in India with the GI tag
The placement of a hologram on the back of a finished
mirror was a decision made by the Vishwabrahmana
sabha society. Due to the increase in fake mirrors in
the market, they wanted a way to prove the mirros
authenticity to its consumer. Only the authentic
producers of the Aranmula Kannadi are allowed to
use this hologram and every single mirror produced in
Aranmula since 2016, has the hologram behind it. The
hologram consists of the buiness head’s family name
and the shop’s name along with other details.

CRAF T DOCUMENTATION ∙ patrons and buyer s 37

PATRONS AND BUYERS

The most frequent buyers of the Aranmula Kannadi are back in 2018- 19 who held a discussion on the issue
Keralites. This could be because the craft is an essential with Union Minister for Culture Mahesh Sharma who
part of arrangements present in most events and had promised to send an expert team to Aranmula
celebrations Malayalees take part in and consider an to assess the damage to various heritage sites.The
auspicious item every Hindu Malayalee should have in Crafts Council of India (CCI) organized a projects to
their homes. The craft is also famous amongst tourists help support the artisan community and revive their
as a premium souvenir, and most Aranmula kannadi businesses following the floods and in the present, the
shops also have an online presence through websites, CCI plans to market the products through its website
Instagram accounts and WhatsApp business accounts. and outlets, online retailers like Amazon Karigar and
Through these, they can cater to buyers from outside Jaypore and the wider Craft Council network.
Kerala and even international buyers.

The patrons involved with the craft include the Aranmula Patrons like AHT and CCT helped revive flood hit artisan workshops
Heritage Trust and the Craft Council of India. The Crafts Council of India (CCI)
Aranmula Heritage Trust, which underneath runs the
Aranmula Heritage Village Project is a comprehensive
and cohesive plan, formed by a group of prominent
personalities with the aim of preserving and protecting
the rich cultural heritage of Aranmula. They have set
up heritage museums and undertake social services
and philanthropic activities along with the promotion of
cultural values and ethos. The trust, after the floods hit
Aranmula, was highly involved in its rebuilding efforts and

established the project ‘Samudbhava’- Mission revival.

The project proposed to renew and re-establish the
handicraft industrial units/workshops that were washed
away by the flood thus preserving the traditional cultural
heritages of the state. A main patron of this project was
Kummanam Rajashekharan, the Mizoram Governor

Aranmula Kannadi’s main buyers are Keralites

CRAF T DOCUMENTATION ∙ Marketing and retai l ing 38

MARKETING AND RETAILING The website- aranmulakannadi.net

The Aranmula kannadi is mainly sold in shops run by a mirror is directed to WhatsApp business accounts
businesses that handle both the retail and making of the to get in touch with a vendor who collects their order,
mirror. These businesses are headed by the head artisan sends them their receipts and directly meets with
or his family members, and the most common models the artisans to ensure their orders are taken care of.
of the mirrors are placed across the store as display The mirrors are packaged carefully and come in a
pieces. Once the customer is ready to place an order, wooden box lined with quality fabric. They come with
they can select from the variations models or even ask a piece of velvet cloth and a certificate of guarantee
for a custom design. Across Aranmula, many stores sell and authenticity. Most of these shops also offer free
these mirrors, and the marketing of this craft has been domestic delivery, which is an added incentive for the
elevated by these shops using internet services like consumers.
websites and social media accounts. This has greatly
helped create awareness among future consumers on The marketing of the craft has been dramatically
where to buy these mirrors from and how easily they impacted by how open the artisans are towards
would reach out and place an order if they wanted to. outsiders wanting to know about the craft and its
It has also helped artisans acquire more orders from making process. Various tv shows anchors, YouTubers,
customers located internationally. The number of visitors tourists and students have visited these workshops
coming to the actual store has dramatically decreased and are always encouraged to spend the entire day
due to the pandemic and subsequent lockdowns. with the artisans and even participate in the process.
Websites like aranmula kannadi.org, aranmulakannadi. This warm welcome is a value rarely found in close-knit
net and many others are organized, well-run websites guarded communities. The in-depth takeaways that
covering every part of the information regarding the these visitors publish online as articles, reports, blog
Aranmula kannadi from its history and origin, the posts, and videos have helped increase the attention
various models available and their costs. Sales are also towards the Aranmula Kannadi and the community.
often conducted by these websites. Some shops also
run social media handles on Facebook, Instagram, and
Youtube to have a more significant online presence.
They consistently post information about the mirror, the
various models available and let their audience know if
any mirrors are on sale. A consumer interested in buying

CRAF T DOCUMENTATION ∙ P romotion of the craft 39

PROMOTION OF THE CRAFT

Various organizations and promotional agencies have Turning point and other national programs promoted Exhibitions are a huge help when promoting the Aranmula kannadi
been heavily involved in promoting the craft, including it across the country. Nowadays, many artisans and Workshops were organized that helped recruite more women into the workforce
the Kerala handicraft Development Corporation. This handicrafts centres across Aranmula get free publicity
promoting agency helps place orders for these mirrors to through blogs, vlogs and articles published by visitors,
be gifted to the dignitaries. Apart from this, Apex Society, tourists and students on the internet who have gotten
a semi-government organization, is actively involved in the opportunity to talk to these artisans and know
promoting this craft. Recently, the ‘Aranmula Heritage their stories. An article in Pennsylvania University,
Trust and the Craft Council Of India have also been U.S.A. gave it a lot of international publicity. In effect,
heavily involved in the re-building and promoting of the many foreigners and N.R.I.s enquired and placed their
town and the craft, especially after it was hit by the 2018 orders. As Aranmula has been selected among thirty-
floods and the ongoing pandemic. They have helped two villages for the two-year Endogenous Tourism
the artisans partake in workshops, display the mirrors Project (E.T.P.), jointly sponsored by the United Nations
in museums, collaborate with designers across India Development Programme (UNDP) and the Government
and other general social work. An article in Malayalam of India, tourism has brought the arts and crafts of
Manorama in 1982 helped immensely in promoting Aranmula to great heights. In 2012, the Kairali showroom
this craft. Exhibitions are a huge help when promoting of the State Handicrafts Development Corporation
the Aranmula kannadi; I.R.D.P. held an exhibition in held an exhibition-cum-sales of the Aranmula Kannadi.
Ernakulam in 1983 exhibiting a variety of crafts in which The event exhibited many varieties, including the
Aranmula Kannadi’ became the main attraction for the Vaalkannadi, Valampiri Sankhu, Arayannam and Mayil.
visitors. The following year the Handicraft Handloom After the 2018 floods, another initiative taken by the
Development Authority of India invited the craftsmen craftsmen themselves to promote the craft among
to Delhi to demonstrate the craft in Pragati Maidan. the members of its society is holding coaching classes
The breakthrough came in 1985 in Surajkund Mela near every two years. In its first batch in July 2019, 20 people
Delhi. This exhibition made it famous in north India and attended the classes, out of which 16 were women, and
subsequently increased its sales. Another exhibition 10 of these women joined the workforce.
of the mirrors was held at the S.M.S.M. institute in
Thiruvananthapuram. Hundreds flocked to the event,
and they offered a 10% discount to help boost the sales of
the craft immensely. On television, Video vision, Surabhi,

CRAF T DOCUMENTATION ∙ Legal di s putes and counterfeiting 40

LEGAL DISPUTES AND COUNTERFEITING GI Tag
VAMMNS secretary P Gopakumar
Fight for their rights. displayed a mirror ‘Thiruval Kannadi’ claiming patent Over 60% of mirrors sold in the market are fake

The geographical indication (GI) tag is defined under over it. VAMNNS challenged this mirror as fake.

Article 22 (1) of TRIPS Agreement as an indication that

indefinite a good as originating in the territory of a Counterfeits

member, or a region or locality in that territory, where a The marvellous piece of ancient metallurgy that is the

given quality, reputation or other characteristics of the Aranmula Kannadi is constantly facing threats from fake

good is essentially attributable to its geography. The tag imitations. As the mirrors have been given a GI tag, the

was given to the Aranmula kannadi back in 2005. It was reproduction of metal mirrors of the same kind is strictly

granted two years after the Vishwa Brahmana Aranmula illegal and yet, many others are trying their hand in the

Metal Mirror Nirman Society (VAMMNS) applied for it. It unique mirror-making process. Back in 2015, a person

was applied, stating that the secret ingredients involved selling dupes of the mirror in his handicrafts shop in

in making the mirror were known only to the secretary Chennai was caught, and legal proceedings were taken

of society’s family. However, this tag given to the mirror against his actions by the Aranmula Viswa Brahmana

was disputed in 2015 by the Thikkinampallil Aranmula Metal Mirror Nirman Society. The society leaders

Metal Mirror Nirman Family Charitable Trust, questioning requested the government to take stern action against

the legacy of VAMMNS over the mirror. According those involved in making fake Aranmula metal mirrors

to the trust, the entire process of manufacturing the in certain parts of the state and allegedly marketing it,

mirror was inherited from the predeceased members misusing the GI tag. VAMMNS secretary P Gopakumar

of their family, who are the actual inventors of the spoke to the TOI- “Over 60% of Aranmula mirrors sold in

Kannadi, and they filed for their own GI under the name the market are fake. A Unionminister recently returned

Thikkinampallil Aranmula Kannadi for the mirrors they an Aranmula mirror to the BJP state committee after

produce. The unique method, which the Trust members it faded in six months. Fake Aranmula mirror makers

claim to have inherited from their forefathers, is more add more copper using a grinding machine and polish

or less the same as described by VAMNNS, with a few with a buffing motor. About 100 such faux mirrors are

minor changes in the proportions of the metals. The made in a day, while traditional artisans can create only

application by this trust is under examination by the about ten handmade mirrors a day. It’s clear that if these

Board, and no final decision has been given as to which counterfeit mirrors are commercialised, the mirrors will

organisation should be the valid owner of the GI. In lose their traditional charm and negatively affect the

2015, Thiruvananthapuram native T Balachandran had livelihood of the traditional artisans.

CRAF T DOCUMENTATION ∙ Probl ems faced by artisan s 41

PROBLEMS FACED BY ARTISANS Artisans were hit with major losses after the 2018 floods
COVID-19 has drastically affected the business
The 2018 floods online shopping has boomed and courier services have
opened up, these artisans, even after only being able Traditional artisans believe migrant workers shouldn’t create the mirrors.
In 2018, the artisans, stores and their workshops were to hire 3-4 workers in their shops, are slowly trying to
heavily hit by the floods when their closest river, Pampa survive and keep the craft practice afloat
overflowed and they incurred major losses. Hundreds
of pieces of raw materials and tools were destroyed Migrant workers and denied rights
and workshops and homes were washed away leaving
absolutely nothing. After having calculated their losses, In 2015, Migrant workers started working in Aranmula,
the government had promised them financial help but and some were employed in workshops that made
nothing came their way. Some families were helped to the Aranmula Kannadi. As the process of making the
get back on their feet by an NGO, Humans for humanity. Aranmula Kannadi is a traditional method that has
been passed on for generations in the families that
Covid 19 practice them and as the metal mirror composition
is a guarded secret in the community, some local
As the festival season approaches and all opportunities traditional craftsmen have started to protest against
for market sellers and makers have been taken away, the alleged employment of these workers and their
the infamous artisans that create the Aranmula Kannadi work in making these mirrors. Allowing migrant workers
are also in deep trouble. By the time they could stand from Andhra Pradesh to practice their craft when these
on their feet again after the losses they had suffered artisans themselves have been denied their right to
because of the 2018 floods, COVID-19 has made them do the same by the Viswabrahmana Aranmula Metal
incur even more losses in business and in lives. The Mirror Nirman Society that received the GI patent tag
artisans sold Aranmula Kannadi’s the most during the truly feels hypocritical and is like a slap to the face to
Vishu and temple festival season of March-April. More these artisans. Even if they don’t hail from the society,
than 20 families are involved in the making of this they are still part of families in Aranmula who have
craft. After COVID-19 hit and the government imposed been practicing this craft for generations. To highlight
lockdowns, all these artisans could not open their their plight, the craftsmen made the mirrors in front
shops, leading to no physical sales of the mirror. Even
when customers placed orders online, the artisans of the secretariat recently in full public view .”This is a
could not send couriers because of the ever-changing divine skill that my grand uncle and I have inherited
heavy restrictions. In the present, as the country slowly from our forefathers. We are being insulted,” Murugan
opens, there is little hope when it comes to the craft. As
said, adding, he and his family, including his two young

CRAF T DOCUMENTATION ∙ Probl ems faced by artisan s 42

children, are on the brink of starvation. Stating that their In rural locations, poor infrastructure is a barrier for
shop has been closed for the past two months, he said, handcraft enterprises. The power supply is insufficient,
“we are not being allowed to work. Our family has been making it challenging to complete products on
engaged in making the mirrors for over 60 years. We time: frequent power outages and voltage changes
have been demanding that workers from other states damage machines. Because roads are frequently
not be allowed in this field.”Murugan said a police case underdeveloped, artisans have difficulty obtaining and
was filed against him and other artisans protesting transporting raw materials, which raises production
against migrant workers being used. Though he has expenses.
represented the Pathanamthitta district collector, he
claimed there has been no response.

Health issues and occupational hazards Limitations

Most of the artisans involved in making the mirrors tend With the interviews taken with both the artisans, it was
to develop dust allergies and breathing problems like noted that these artisans daily face a lot of problems
asthma a few years after they start making the mirrors. and have a lot of limitations while working on the craft.
Even though some shops wear gloves and masks, as The issue is that the majority of the younger generation
the dust particles produced during the manufacturing is educated and moves to the larger cities, posing a
of the mirrors are naked to the human eye, they quickly threat to the craft’s survival. Artists frequently do not
enter their bodies and create health problems. have access to mainstream markets. These artists
also have few marketing and export opportunities and
Financial issues connections. They don’t have access to the international
markets.
The crafts of India have been valued throughout time, Along with many health problems, these artisans also
their existence today proves the efforts put into their have to limit their creativity when designing for the
preservation. Despite these steps, the roots of the mirrors. These designs are mainly based on what the
crafts, which are the rural craftsmen and artisans, are customer wants and are designed in that way. With the
in decline. With rising costs of materials and supplies, 2018 floods and the pandemic since 2019, the artisans
many communities are in financial crisis. With political have lost many of their orders and work, which have
and economic issues in India, the craft sector is also reduced the number of artisans and people who
struggling to uphold, even though there has been an work on the craft.
increase in interest in preserving the crafts tradition and
culture. Artisans have received no financial help from the govt for keeping up the craft

CRAF T DOCUMENTATION ∙ Suggestions and s cope 43

SUGGESTIONS AND SCOPE Cheaply made box the mirror comes in
The box can be made of wood
The frame been discovered that the old process of polishing the
mirror was more efficient from an economic standpoint.
Brass frame patterns could be improved, and both old
and modern styles could be used. Customizing the Pricing
frames, incorporating different materials such as wood
inlay and brass, would add to the appeal. Religious The price of a mirror is mainly determined by size, the
reasons could be served by embossing images of gods complexity of design, and the shape of the mirror, and
and deities on the metal frame resembling temple it varies from artisan to artisan. The price of mirrors
jewellery which has been in trend for years now. should be regulated by society and the government. If
there are price differences for the identical mirror, one
The mirror craftsman will lose money while the other sells for less.
This type of inconsistency should be avoided because
When creating mirrors in enormous quantities, artisans it impedes promotion.
encounter numerous challenges in preserving quality.
As a result, the society and the gvernment should Packaging
impose a quality control system. The mirror’s shape
could be modified from its round form. Aranmula Kannadi is packaged in a red velvet box,
similar to storing gold ornaments. It comes with
The process a piece of velvet cloth for cleaning the mirror and

The value of the Kannadi is reduced when traditional “Kavi Powder” (red oxide powder). The package also
techniques of production are tampered with. The
handcrafted nature of the mirror adds to its beauty and contains information on the product and how to use it.
value. The mirror’s quality is excellent, and it can always Since there are several woodworkers in the area, the
be broken down and recast if there are any flaws. packaging of the box could be made from wood.
The mirror’s basic design cannot be changed; however,
one can alter the technique. Higher grades of emery Marketing
paper and a polishing machine, for example, could be
used to polish the mirror. These could lessen mirror A designer could also participate in setting up a body
distortions, especially for smaller ones. that helps in marketing as well in promoting this craft.
It needs to be done with extreme caution since even the More than twenty families are involved in the making
tiniest abrasion can cause the mirror to break. But, it has of these mirrors. The craftsmen hailing from these
families are not respected or appropriately treated by
the local government or by the central government.

CRAF T DOCUMENTATION ∙ Suggestions and s cope 44

None of the craftsmen has ever won a ‘National Award for master craftsperson’; this shows the lack of support from the government and lack of recognition. The problem also
lies in the continuation of the craft. As most of the younger generation are educated and move to bigger cities, they lack the motivation to carry on this age-old craft. They
prefer to work in other professions like government services, private companies etc. For popularizing the arts among all sections of society, proper propaganda measures
should be initiated through media networks. The government should promote the craft in schools and colleges so that the future generation is aware of the rich heritage.
This will bring in more young entrepreneurs. If advanced in the right direction and with the correct exposure, the craft could pick up. As many companies invest in the revival
of Indian arts, the craft sector is bound to boom. Newer technologies might have altered perceptions and lifestyles as times have changed for sure, but the appeal of the
metal mirrors from picturesque Aranmula remains intact.

CRAFT DOCUMENTATION ∙ DESIGN DEVELOPMENT 45

DESIGN DEVELOPMENT

When deciding to create design deliverables for the project, we understood that the best way to help these artisans through design is by helping them promote their
craft. Hence, we have created promotional material that is contemporary, trendy and modern while still keeping the touch of the Aranmula Kannadi in them. Seamless,
contemporary patterns were created by turning the traditional organic motifs into simple shapes, and these patterns and their colour palette was placed and used
throughout all the design deliverables.

Sketch of the Simplified versions
Aranmula Kannadi of common motifs

CRAFT DOCUMENTATION ∙ PATTERNS 46

PATTERNS

CRAFT DOCUMENTATION ∙ BOOKLET 47

BOOKLET

Flipbook
- https://anyflip.com/shgyl/yevl/

CRAFT DOCUMENTATION ∙ BOOKLET 48

CRAFT DOCUMENTATION ∙ BOOKLET 49

CRAFT DOCUMENTATION ∙ BOOKLET 50