Molela Book

Ancient
Aces



Ancient Aces

The art of turning basics to beyonds...

National Institute of Fashion Technology, Jodhpur
Fashion And Lifestyle Accessory Design
2021

Students Mentors

Mayurvi Mr. Sunil Kumar
Meenal Mr. Atul Singh
Megha Dr. Yuvraj Garg
Nitya
Pratyusha
Prerna

Credits

Research Draft: Meenal Rathore, Prerna, Megha Arora, Mayurvi
Ravikiran Sangekar, Nitya Tandon, Prathyusha Priyadarshini TV
Content Editor: Meenal Rathore
Layout Designer: Prerna
Visuals: Mayurvi Ravikiran Sangekar, Prerna
Illustrations: Meenal Rathore
Survey: Megha Arora
Citation and Bibliography: Nitya Tandon

Copyright page

Study and Survey of craft and documentation
Copyrights ©2021 NIFT
Bachelor of Design |Fashion and Lifestyle Accessory Design|
Batch 2019-2023
National Institute of Fashion Technology, Jodhpur

All rights reserved.
No part of this document may be reproduced or transmitted in form
or any other means, electronic or mechanical, including illustration
or any other information storage and retrieval system, with the prior
permission from National Institute of Fashion Technology.

1

Certificate

This is to certify that Meenal Rathore, Prerna, Megha Arora, Mayurvi Ravikiran Sangekar, Nitya
Tandon, Prathyusha Priyadarshini TV students of Bachelors of Fashion and Lifestyle
Accessory Design, Semester - V, Batch of 2019-2023 of National Institute of Fashion Technology
(NIFT), Jodhpur have successfully completed the Craft Research and Documentation on Molela
Craft.

This research is purely done by the students under the rightful guidence of their mentors

Dr. Yuvraj Garg Mr. Sunil Kumar
Course Coordinator Mentor

Date:
Place: Jodhpur, Rajasthan

2

Acknowledgement

Craft research and documentation (CRD) is a part of

Accessory design course at NIFT. It is our immense plea-
sure to get a knowledge about the Molela craft.

Profound gratitude to Dr. Vijaya Deshmukh, Director
NIFT Jodhpur, Mr. Yuvraj, Course Co-ordinator and Mr.
Vikram, Asst. Co- ordinator, Accessory Design Depart-
ment, NIFT Jodhpur, for their guidance and support.

We would like to thank Mr. Sunil Kumar, CRD mentor
for guiding us all through our study. Likewise recognizing
our other mentors, Mr. Yuvraj and Mr. Atul for all the guid-
ance provided. Stretching our gratitude and regards to Mr.
Dinesh,Mr. Rajendra, Mr. Mohan lal specialized craftsmen
of Molela craft, for edifying us with an understanding of
Molela craft thoroughly.

3

1.City Palace Udaipur
(2021)

4

2. National Institute of Fashion Technology, Jodhpur

5

NIFT Craft Cluster Initiative

The art bunch drive at NIFT is planned with the objective to
sharpen understudies to the real factors of the art area and give
students the insight into regional sensibilities and diversities,
resources and environment.

NIFT, with dynamic help from the Ministry of Rural
Development, Office of Development Commissioner (Handi-
crafts and Handlooms) have started a useful craft cluster initiative
program with an aim to benefit both the artisans as well as the
students. They are creating and executing an art group drive to-
wards the great advancement of art and the industry as a whole.

NIFT’s Cluster program aims to provide new opportunities for
staff and introduce students to the reality of the industry and
understand diversity, resources, and the environment. This initia-
tive gives the students a great understanding of crafts and their
daily life. The initiative also helps the artisans of the basic line to
connect with current designers and helps them to keep up with the
ongoing trends, and to get in touch with it on different levels. Un-
der the initiative, students work closely with the craft and artisans
and with their strong guidance of creative thinking the students de-
velop and acquire new and interesting knowledge, to get in touch
with the new world and understand the urban market closely in its
natural form.

6

About NIFT 3.NIFT campus

Under the direction of India’s Ministry of Textile, the
National Institute of Fashion Technology (NIFT) was found-
ed in 1986.With its flexibility to blend education, academ-
ic freedom, analytic independence, and creative thinking,
NIFT has emerged as a pioneer in fashion education. The
institute has been a shining example of serious critical en-
gagement and a vital contributor in the development of
skilled individuals. Many educational minds and views have
been essential to the institute’s strategic plan to excellence.

Currently, NIFT has extended across the country. NIFT
provides a framework to guarantee that potential students
from all across the country realise their full potential through
the programmes provided through all its professionally
managed locations.The institute has given a strong basis in
fashion education in the domains of design, management,
and technology since its beginnings. NIFT has maintained
strong academic standards since then.

NIFT has developed a strong academic strategy, stim-
ulating thought leadership, research stimulus, industrial
emphasis, creative businesses, and peer learning, all of
which have bolstered the institute’s academic foundation.
Today, the institution has the authority to grant undergrad-
uate, postgraduate, and doctorate degrees in undergrad-
uate, postgraduate, and doctoral studies, fostering a new
generation of innovative thinkers as well as doctoral studies
The institution has formed strategic relationships with ma-
jor worldwide schools, articulating the idea of world-class
learning practice.

7

About FLAD Department

The Accessory Design programme educates designers
to provide innovative solutions across a wide range of plat-
forms, including jewellery, crafts, personal accessories, soft
goods, and work gear. The Accessory Design curriculum of-
fers a career-oriented education that is current and adaptable
to changing future scenarios.

The Accessory Department at NIFT Jodhpur majors in
giving broad design expertise in a socially conscious design
setting. The capacity to meet modern demands is improved by
a conceptual understanding of design as a process, material
as a medium, and the ability to synthesise outputs.

The curriculum allows millennial students to develop their
design process by combining the current fashionable trends
with a love of handcrafted handmade items and processes.
Students are using their imaginations to improve their visual-
isation abilities and gain a higher level of digital fluency. They
have material manipulation talents, as well as an indigenous
edge of ancient techniques.

Students are allowed to express their unique selves via
their distinctive style accessory design collections while re-
maining relevant to market and industry issues. This diversi-
fied fashion lifestyle accessory design collection is based on
patterns created by combining shapes, colours, and materials.

4. Basic AD Necessity
(2021)

8

Illustration of the artisans

9

Abstract

Documentation of the Craft Cluster study done by Accessory Design student of the National
Institute of Fashion Technology (NIFT), Jodhpur Campus on Crafts of Molela terracotta in the aca-
demic year 2021-2022.

Through an in-depth study of the processes, techniques, current scenario of the crafts and
the socio-economic conditions of the craftsmen and interaction with the crafts people, this cluster
intervention sensitized the students towards the craft and the artisans. It was also aimed to give
students an insight into regional sensibilities, diversities, resources & environment. Further, the
intervention provided a window to the student on methods to work in the crafts sector with artisans
and aid them to promote themselves through various means of design & technology that they have
learnt.

The visit to Molela kindled a sense of appreciation for not just beautiful crafts but also those
without whom our country’s rich culture would merely be another chapter in history. The most riv-
eting part of travelling to Molela is the journey through rural area. Watching craftsmen work sitting
outside their mud-walled houses decorated with delicate folk motifs, standing out in their colorful
attire in the arid land, yet fitting in perfectly with the surroundings is a fascinating sight.

We, the students of FLAD semester V had the privilege to interact with the artisans of Mole-
la and to understand how the clay mud turns into wonderful sculptures. Interacting with artisans
made us feel connected to the outside world and give the artisans an opportunity to go online with
their craft. It has helped us to empathize with all sort of difficulties an artisan has to go through to
make and market their work and understand all the emotions attached to a craft. This Molela craft
cluster has provided us with a great insight and new knowledge about the craft world and their
working ways.

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Content

1. Brief……………………………………………………………………………................. 21
2. Rajasthan ……………………………………………………………………………....... 22
3. Plant and Wildlife ……………………………………………………………………….. 23
4. Major Cities of Royal Rajasthan…………………………………………………………24
5. Geographical Indication ………………………………………………………………… 26
5.1 Significance of GI ……………………………………………………................. 26
6. Molela Town…………………………………………………………………………….....27
7. Culture ……………………………………………………………………………............ 28
8. Fair and Festival …………………………………………………………………………..28
9. Background and Provenance ……………………………………………………………30
9.1 Introduction…………………………………………………………………………30
10. The Origin of Molela Craft………………………………………………………………3. 1
11. Significance……………………………………………………………………………... 35
12. Types of Work (Product)…………………………………………………………………3.7
13. People……………………………………………………………………………........... 39
14. Myths and Beliefs……………………………………………………………………......41
15. About the Craft……………………………………………………………………………43
16. Tools…………………………………………………………………………….............. 45
17. Raw Material……………………………………………………………………………..47
18. Colours ……………………………………………………………………………..........50
19. Process……………………………………………………………………………..........51
19.1 Making the Material………………………………………………………………51
19.2 Making the Products……………………………………………………………..51
19.2.1 Clay Preparation………………………………………………………….5.1
19.3 Shaping ………………………………………………………………………….. 52
19.3.1 Making the Base…………………………………………………………52
19.3.2 Making the Body……………………………………………………………….54
19.3.3 Detailing ………………………………………………………………….55
19.4 Drying and Firing …………………………………………………………………56

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19.6 Cooling…………………………………………………………………………… 57
19.7 Colouring and Varnishing ……………………………………………………… 58
19.8 For Chackwork (Pottery)…………………………………………………………59
20. Tips and Tricks……………………………………………………………………………61
21. Design……………………………………………………………………………............63
22. Challenges ……………………………………………………………………………....65
23. Market and Marketing Channels ………………………………………………………68
23.1 Packaging ……………………………………………………………………….. 69
23.2 Survey……………………………………………………………………………. 70
24. SWOT Analysis …………………………………………………………………………76
24.1 Strengths …………………………………………………………………………76
24.2 Weaknesses ……………………………………………………………………...7..7
24.3 Opportunities…………………………………………………………………….. 78
24.4 Threats………………………………………………………………………........78
25. Artisans’ Profile ……………………………………………………………………………79
26. Designers’ Profile………………………………………………………………………...81
27. References ……………………………………………………………………………... 84

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List of images

1. City Palace Udaipur ………………………………………………………..................... 3 - 4
2. National Institute of Fashion Technology, Jodhpur …………………………………… 5 - 6
3. NIFT Campus …………………………………………………………………………….. 7
4. Basic AD Necessity …………………………………………………………………… 8
5. Man and the Camel in the Desert of Rajasthan ………………………………………. 22
6. Ranthambore Tiger Reserve, Rajasthan …………………………………………………23
7. Royal Cities of Rajasthan ………………………………………………………………. 24
8. Kaccha Houses of Bheel Community in Molela Town ………………………………… 27
9. Molela Teracotta Plaques ……………………………………………………………….29 - 30
10. Ancient Technique of Making Plaques ……………………………………………….. 31
11. Religious Plaques Placed in Temple ………………………………………………….. 36
12. Sculpture of Lord Ganesha …………………………………………………………… 37
13. Teracotta Pots …………………………………………………………………………… 37
14. Teracotta Jewellery ……………………………………………………………………… 38
15. People of Molela ……………………………………………………………………….. 40
16. Lord Dharmaraj ………………………………………………………………………… 41
17. Dinesh ji Giving Detail to Teracotta Plaques …………………………………………4..3 - 44
18. Pitti ……………………………………………………………………………………….. 45
19. Bhaldi ……………………………………………………………………………………. 45
20. Lakdi Ka Pattiya ………………………………………………………………………… 45
21. Chack …………………………………………………………………………………… 46
22. Area of Collecting Raw Material (Clay) ………………………………………………… 47
23. Mingni …………………………………………………………………………………… 47
24. Leedh …………………………………………………………………………………… 47
25. Chhan …………………………………………………………………………………… 47
26. Kande …………………………………………………………………………………… 48
27. Dawarigund …………………………………………………………………………….. 48
28. Kadab …………………………………………………………………………………… 48
29. Paliya ……………………………………………………………………………………. 48
30. Palewa …………………………………………………………………………………… 49
31. Peeli Mitti ………………………………………………………………………………… 49

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32. Wood ……………………………………………………………………………………. 49
33. Khadi: Chalk Based Material …………………………………………………………...49
34. Stones from which Colours are Extracted …………………………………………….50
35. Adding Leedh on Clay …………………………………………………………………..52
36. Mixing it Together to Make the Dough …………………………………………………52
37. Smoothening of Clay Using Pitti Tool ……………………………………………………53
38. Base Preparation …………………………………………………………………………53
39. Initial Stage of Form Generation on the Base …………………………………………54
40. In-progress of Detailing Using the Tool Bhaldi ……………………………………….5. 5
41. Placement of Air Dried Products in the Bhatti ………………………………………..56
42. Firing of Products in Bhatti ……………………………………………………………. 56
43. Cooling of the Products After the Firing ……………………………………………….57
44. Painting of the Products ………………………………………………………………..58
45. Placement of Clay Dough in the Center of the Chack ………………………………5..9
46. Shaping the Clay dough ……………………………………………………………… 59
47. Pressuring the Center of the Clay Dough …………………………………………….6. 0
48. Giving Hollowness to the Product Using Hand Techniques …………………………6.0
49. Detailing of the Product ………………………………………………………………...60
50. Removing the Product from the Chack Using a Thread …………………………….6..0
51. Ganesha Plaque ………………………………………………………………………...63
52. Godesses Plaque Design ………………………………………………………………63
53. Figurine Plaque ………………………………………………………………………… 64
54. Coloured Plaque …………………………………………………………………………64
55. Packaging ………………………………………………………………………………. 69
56. Mr. Dinesh Chandra Kumhar …………………………………………………………. 79
57. Mr. Rajendra Chandra Kumhar ………………………………………………………. 79
58. Mr. Mohan lal Chandrabuj Kumhar ……………………………………………………80

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Glossary C

B

Bhaldi: The local name of the chisel as a Chaak: The local name for the pottery
sheet forming tool. wheel, which is used to make circles
Bani: Local call for ash because of burning or spheres.
of firewood , hay or kande , every so Chamunda: Hindu god
often even ash is introduced to clay paste. Chaudhary: Chaudharys are classified as
Bhil: Bhils or Bheels are an Indo-Aryan the Upper Shudras according to
speaking ethnic group in West India. They the social caste system, they are a well
speak the Bhil languages, a subgroup of the known community.
Western Zone of the Indo-Aryan languages. Chhan: Local call for cow dung.

15

DG

Dawrigund: Vegetable glue used as a Ganesh: Hindu god
binder, from trees. Gangaur: This is a great Rajasthani festival
Dharmaraja: A popular tribal horse-riding that worships Parvati and Shiva. Parvati is
god with an intricate background full of considered an ideal woman, her eyes are
details of cows, dogs, tigers, and humans. round. Newlyweds adore these statues for a
The stately stance of the horse adds a happy married life.
sense of solemnity to the image. This plate Ghasan: Traditional tempering substance
is also painted in different colors, such as used to convey consistency, texture,
red, blue, green, yellow, and pink. hardness to the clay.
Gher: These are small broken pieces of old
soil based artworks that are used to cover
the tiles when they are undergoing the
firewall process.
Geru: Red soil

16

JK

Jala: The local name for the paint layer used Kadab: A dry corn grass
as a polish or varnish. Kali: Hindu god
Kande: Cow dung cakes
Khadi: A chalk-based material used to
impart white to cultural relics.
Kumhars: Kumhar is a caste or community
in India and Pakistan. Kumhar have
historically been associated with the art of
pottery.
Kunchi: A brush made of donkey hair, used
to paint the formed plate in various colors.

17

LM

Lakdi ki pattiya: Pattiya is a flat board, a Migni: Goat Droppings, applied for making
universal tool that can be used to collect ‘kande’.
clay from the ground, and can also be used Mitti: Soil
to form flat clay of uniform thickness. Mitti ka tava: A pan produced from soil.
Leedh: Donkey Dung, which is blended Mogri: Solid clay whipping tool
with rice husk and introduced to the clay for Mother god: Represented by various
strengthening. incarnations. Like Durga, she sits on a lion,
Lohe ka bhaldi: A flat tool, with sharp like Chamunda sits on an elephant. The
edges, which is usually used for scraping icon of her riding a buffalo shows her as
clay, cutting clay rolls or giving the desired Kalika. Others such as Amba, Aawanmata,
shape through clay. Sadu Mata, and Hedamata. Each of them
displayed a sword, a drum, a trident, and a
khappar (a bowl of Blood).

18

N P

Nagadeva: This serpent god has been Palewa: Clay mud made from Molela clay,
worshiped in India since ancient times. used to make different colors by mixing it
Nami: Moisture with different materials.
Paliya: Golden pigments give golden luster
to artworks.
Peeli mitti: A natural ochre color used to dye
materials.
Pitti: One of the whipping tools used in this
process. Using donkey dung when it is
mixed with clay to form a moldable paste.

19

T

Tantra cult: This is a cult that tries to unify
the male and female polarities, but it
degenerates into magic and mysticism.
Craftsmen also make figurines for this cult,
although demand is limited.

20

Brief


Molela, is a craft found in a little town called Molela. The Molela town is in the Rajsamand

region of Rajasthan. The exceptional thing about the specialty is that it is just made in Molela, all
over India.
Country of Origin: India
G.I: Rajasthan
Material: Molela Terracotta Clay
Ideal for: Decorating purpose
Craft: Clay
Molela is a craft which utilizes terracotta as a material. The craft’s motivation is by and large
dependent on the nearby divinities and divine beings. The Molela tiles fundamentally portray divine
beings riding on pony, bull or other such creatures. Splendidly painted Molela tiles are by and large
held tight dividers of home or temples. Molela skilled workers likewise make earthenware or cook-
ing vessels. Molela is an art which satisfies both the necessities just as needs. The Molela crafts-
men ordinarily really like to utilize regular colours made of stones and minerals.

In the Molela tiles; the main figures are that of Devnarayan (Dharmraja) and Nagaraja (The
snake god). The Molela create is additionally popular in tribes and the ancestral individuals lean
towards brilliant colours for god, with each shading portraying a particular god.
(Molelaterracota~Molela - Craft Archive | Research on Indian Handicrafts & Handloom, 2021)

The Molela craft is a unique craft as it makes hollow plaques, withholding the weight of soil,
which is a risky yet beautiful art. Molela plaques looks tricky but quite literally uses the simplest of
the way to make them, using only three and basic tools, the craftsmen mold the soil to something
this creative and beautiful. Molela is not just nationally but also internationally famous. A lot of peo-
ple are attracted towards the beauty and uniqueness of the said art.

Although Molela is famous for its god plaques but these days a lot of new sceneries are also
a source of inspiration for these craftsmen. Not just tradition plaques but customized plaques,
small toys or figurines, pots and even jewelries are a part of the talk.

21

5.Man and the Camel in the desert of Rajas- Rajasthan
than
(2021) Rajasthan is a state in northwestern India, near
the Indian subcontinent’s northwest corner. The
states of Punjab and Haryana border it to the north
and northeast, the states of Uttar Pradesh and Mad-
hya Pradesh to the east and southeast, the state of
Gujarat to the southwest, and the provinces of Sindh
and Punjab in Pakistan to the west and northwest.
The capital of Rajasthan, Jaipur, is located in the
state’s east-central region.

Rajasthan is the land of kings and is the largest
state in northwestern India. The Rajputs ruled the dy-
nasty for a long time and are still held in high esteem.
One of the first and the oldest civilizations in the
world, the Indus Valley Civilization was in Rajasthan.
Rajasthan has several main attractions, including its
unique culture, the Thar Desert, magnificent forts,
palaces, and temples, as well as large fairs and festi-
vals.

Rajasthan is one of the major desert regions of
the world known for the Great Thar Desert of India.
With the exception of large mountains, blue seas,
green forests and the white lands of Kashmir, the
Thar Desert is an “ocean of sand” a major tourist at-
traction in India. The royal state also hosts the largest
desert fairs, camel safaris and a wide range of wildlife
in the desert. The best way to explore royal Rajas-
than is with luxury trains like Palace on Wheels and
Royal Rajasthan on Wheels.
(» Rajasthan – The Royal State of India, 2021)

22

Plants and Wildlife 6. Ranthanbore tiger reserve, Rajasthan
(tour and tour, 2021)
Rajasthan boasts a diverse range of animal and
plant species, despite the fact that a big portion of
the state is desert and there is little forest cover. The
state includes over 2,000 plant species, 87 mammal
species, 114 fish species, over 500 bird species, and
roughly 81 reptile species.

There is a diverse vegetation over 1,700 metres
due to its wide extent and latitudinal variances. From
Mount Abu’s semi-evergreen forest to the arid desert
grasslands between Jaisalmer and Jodhpur, from the
Aravali’s dry deciduous thorn forests to the marshes
of Bharatpur; many endangered species thrive in the
many natural environments created by the varying
topography, which also draws many migrating birds.
(Rajasthan State | History and Wildlife, 2021)

The Royal State hosts a wide range of desert

wildlife. It has 6 national parks including Rantham-
bore, Sariska, Desert National Park and 21 wildlife
sanctuaries including Keoldev or Bharatpur Bird
Sanctuary. The famed Ranthambore National Park is
flanked by the Vindhya Hills and the Aravali Hills and
is located on the Thar Desert’s edge.

Some wildlife species, which are rapidly becom-
ing extinct in other parts of India, include the Great
Indian Bustard, Blackbuck, Indian Wild Ass, and Car-
acal Wild Cat, and other native desert wildlife such
as insects, lizards, and snakes.
(» Rajasthan – The Royal State of India, 2021)

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Major Cities of Royal Rajasthan

Jaipur : Jaipur is famed for its rich history and tradition,
beautiful temples, enthralling temples, magnificent forts,
and delectable cuisine. Jaipur, dubbed the “Pink City,” is a
bustling metropolis with a mix of ancient and modern cul-
tures. Speeding buses, sluggish camels, slow bicycles, and
careening motorcycles clog the streets of Jaipur.

Jodhpur : Jodhpur is renowned as the “Sun City” and the
“Blue City.” When you visit this oh-so-beautiful city, you can
expect to see magnificent architecture, exquisite monu-
ments, forts, and Maharajas’ way of life. From the moment
you step foot in this lovely city, Jodhpur greets you with a
royal welcome, whether you visit Umaid Bhawan Palace,
Mehrangarh Fort, or Balsamand Lake.

Udaipur : Udaipur, also known as Rajasthan’s Kashmir and
the East’s Venice, is one of India’s most romantic places.
Tourists can expect to view serene lakes, fairy-tale-like
palaces, romantic spots, and whitewashed Havelis when
visiting Udaipur. Udaipur, also known as the City of Lakes,
is famed for its beautiful and romantic blue water lakes, as
well as unique sites.

Bikaner: Bikaner is slowly but steadily becoming a popular 7. Royal Cities of Rajasthan
holiday resort for both Indian and international travellers. (Ajmer Tourism Information
Tourists are rapidly discovering the delights of this dusty yet - Ajmer Travel | Ajmer Tour
charming city, thanks to the freshly renovated palace, fort, Guide, 2021)
and Havelis. Bikaner is much more than just the starting
place for a night safari into the Thar Desert. (Chowdhury, 2021)
(10 Majestic Cities In Rajasthan You Must Definitely Ex-
plore, 2021) (Visiting: Jaipur, India - Hon-
estly WTF, 2021)

(Gupta, 2021)

24

Identified GI crafts in Rajasthan

25

Geographical Indication

A geographical indication (GI) is a label that is applied to items that have a specific geograph-
ical origin and that have traits or a reputation that are due to that origin.

A sign must identify a product as coming from a specific location in order to operate as a GI.
In India, Geographical Indications registration is administered by the Geographical Indications of
Goods (Registration and Protection) Act of 1999. Geographical indications are typically used for
agricultural products, foodstuffs, wine and spirit drinks, handicrafts, handloom and industrial prod-
ucts.

Significance of GI tag

Intellectual property rights, such as Copyright, Patent, and Trademark, is normally something
people are familiar with. Holders of a Geographical Indication Tag have identical rights and protec-
tion.
A geographical indication right allows those who have the right to use the indicator to prevent
it from being used by a third party whose product does not meet the requirements.

Under the Indian law, GIs have been defined as “an indication which identifies such goods
as agricultural goods, natural goods or manufactured goods as originating, or manufactured in the
territory of a country, or a region or locality in that territory, where a given quality, reputation or oth-
er characteristics of such goods is essentially attributable to its geographical origin and in the case
where such goods are manufactured goods one of the activities of either the production or of pro-
cessing or preparation of the goods concerned takes place in such territory, region or locality, as
the case may be.” (Pullela, 2021)

26

Culture

Rajasthan is known for its unique art, culture, and architecture. Many of these art forms have
survived the years and are now part of Rajasthan’s culture.

Rajasthan has a long history of finely honed musical and dancing genres. The music is sim-
ple and raw, and the melodies portray daily tasks. Jaisalmer’s kalbeliya dance and Udaipur’s
Ghoomar dance have both achieved international acclaim. Rajasthani folk music is an important
component of the culture.

Ballads and Bhopas are folk melodies that tell stories about heroic achievements and love
stories. Bhajans and banis performed with folk instruments give it a particular flavour.

Textiles, semi-precious stone work, and traditional and colourful handicraft are very popular in
Rajasthan. Rajasthan, with its unique Rajasthani or Rajputana school of painting, is also a cultural
centre for miniature painting art. There are numerous schools of painting, such as Mewar, Marwar,
Hadoti, Dundhaar, and even more styles of painting. (Rajasthan State | History and Wildlife, 2021)

Fair and festivals



There are many festivals celebrated in Rajasthan, one can even say that they almost cele-
brate them every other day. Rajasthan also holds festival gatherings and processions in each re-
gion which enhances the culture and heritage of the entire state. A city full of heritage and culture
like Udaipur offers its visitors a whole collection of colorful memories. Not only is it eye-catching,
but if you are a holiday lover, it is also perfect for capturing celebrations, cultures and bazaars. As
a state Rajasthan does have a lot of festivals, but as a village Molela (near Udaipur) also has a
fair share of its festivals. Some of the festivals which are a part of the Molela festival celebration
are : Gangaur festival, Gavri festival, Teej festival, Dashamata, Sheetala ashtami and many more.
In conclusion the state is full of beauty not just in its craft but also the colourful festivals which are
celebrated and enjoyed to the peak. (Mirza and Mirza, 2021)

27

8. Kaccha Houses of Bheel community in Molela Molela town
town
(2021) Molela town is situated in Nathdwara Tehsil of
Rajsamand in Rajasthan, India. It is 13km away from
sub-locale settle Nathdwara and 28km away from
area settle Rajsamand. Nathdwara is closest town to
Molela which is roughly 13km away.

It have a population of roughly 5000 people. The
villagers communicate in Marvadi. In the town, there
is a river from which residents usually take soil for
their work.

In the village, there are several types of com-
munities. The kumhars in the village, which has a
population of 300-350 people, do the majority of the
molela craft work. Only 30 families are involved out of
a total of 70. Others work in various occupations such
as hotel personnel, retail, farming, and so on. Pea-
nuts, moong, and urad are commonly grown by the
local farmers. They also grow makka, bajra, and jowar
during the monsoon season.

There are a few temples in Molela, one of which
is the temple of devis. In general, the temple of devis
in Molela does not have a roof, as the locals believe
that the devis temple should not be covered.

The temples of Bhairav ji and Dharmaraj ji, on
the other hand, must be covered.The majority of
these temples are found in tribal territory. A flag flies
over every temple. If it’s a devi temple, you might see
a trishul instead of a flag.

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9. Molela teracotta plaques
(Unknown Facts about the universal Craft of Rajasthan; Molela Terracotta, 2021)

29

Backgroud and provenance

Introduction

Molela, the art, is a remarkable way of mak-
ing an enormous assortment of plaques and
earthen pottery. The craftsmen otherwise called
Kumhars (potters) of Molela makes an enormous
assortment of plaques and boards which are reg-
ularly utilized for devotional purposes, with divine
beings and goddesses, however now and again
they likewise portray town scenes. The plaques or
even the pottery are accessible from more modest
to very greater sizes. Other than the Molela tiles,
the craftsmen additionally make more modest
things like utensils and sanctuary chimes demon-
strated by mitti (soil). The hand demonstrated,
empty help votive plaques are the most renowned
result of the space.

30

The origin of Molela craft

According to the artisan the historical backdrop of Molela goes far back; this make was begun
generally around 800 years prior.

Proof of chiselling with plaques or earthen pottery has been found in India during the
Pre-Harappa and Harappa period. It is additionally accepted that this specialty came to India
through Persia, when the Mongolian fighter Genghis Khan vanquished China in 1212 Advertise-
ment. During the Gupta time frame, a more sensitive type of the human figure was etched. The
adornments of Sunga-Kushna dolls were lean and sensitive. The serious level of exactness and
precision was shown by the terracotta workers can in any case be seen today.
(Molela terracota~Molela - Craft Archive | Research on Indian Handicrafts & Handloom, 2021)

The beginning of teracotta specialties can be followed back to over 5000-years. Memory of
the earthenware work can be found in the Indus Valley civilization. This implies that the earthen-
ware has more life than millennia. The greater part of the craftsmen in the town practices it since
last 18 years. (Unknown Facts about the universal Craft of Rajasthan; Molela Terracotta, 2021)

The specialty was generally evolved to make votive pictures as contributions to the divine
beings on satisfaction of their desires by the tribes. Their pictures were introduced in the town holy
places for petitions and furthermore contributions to the divine beings for restoring ailments and
hardship. These potters for the most part took into account the necessities of the Bheel clans and
their Bhopas(Priests) who travel many kilometres from the lines of Madhya Pradesh to buy their
plaques from Molela.

Aside from making strict plaques to be introduced in the spot of love, Molela experts likewise
make human and creature terracotta figures. There earthenware figures are utilized by tribes, for
example, Chaudhary and Bheel who request for earthenware copies of human body parts which
are introduced as contributions on the temples for fix of arrangement in that specific body part, for
instance a production of arm is offered for fix of a broken arm. Now and then even an entire figure
is introduced for fix of fever and other problems which influences the entire body.
(Molela terracota~Molela - Craft Archive | Research on Indian Handicrafts & Handloom, 2021)

31

10.Ancient technique of making Plaques
(D’source Design Gallery on Stone Carving, 2021)

32

Movement of invasion from Persia to India

33

Tribal community travelling to Molela for purchase of religious plaques

34

Significance

The Molela plaques are made distinctly in the Molela district solely in light of the fact that
the soil and environment of the area are appropriate for making this type of special plan. The soil
found in the area has unique properties and doesn’t break on drying which brings about a break
free craftsmanship.

Barter system is as yet predominant for exchanging these fine arts. Installments for their
icons are made in type of garments, grains and different contributions separated from the current
type of installments for example cash. The complexity off plan and size of the antique decide the
cost of the plaques. The tribes typically change their votive consistently; It is believed that the ritual
prevents misfortune.
(Molela terracota~Molela - Craft Archive | Research on Indian Handicrafts & Handloom, 2021)

Tribes from the Chaudhary and Bhil clan who live on the grounds of Madhya Pradesh visit
Molela alongside their local area Cleric called the Bopa to choose and buy the suitable plaques
and icons. When the symbols are chosen the Kumhars (Potter) alter them to the necessity of the
buyer. The finished plaques and icons are then carried on their heads by the devotees to their
town as a sign of regard to their votive plaques. On arriving at their town their godlike objects are
taken to every one of the houses in town to favour its inhabitants. The votive are then introduced
in the semi open holy places called as Devra. The principle divinity adored by the tribal is a Ra-
jput Legend ―Dharamaraj. It is accepted that Dharamraj monitors the town against terrible signs
and mishaps. The first hallowed place of Dharmaraj was moved and stowed away in Nathdawara,
10km from Molela during the Muslim attack from the north.
(Molela terracota~Molela - Craft Archive | Research on Indian Handicrafts & Handloom, 2021)

The artisans describe how the tribal people come to Molela with their groups and Bhopas
(priests), it is a festival-like period, that they appreciate the plaques a lot and reverently place the
plaques on their shoulders and march back to their places.The specific time is a bit frantic with
production and sales, but it is a really brilliant time considering the festiv-like occasion and tribal
community’s conduct.

35

11. Religious plaques placed in temple
(Molela Terracotta - Manufacturer of Hand Made Terracotta
Wall Tiles & Hand Made Molela Terracotta Tiles from Rajsa-
mand, 2021)

36

12. Sculpture of Lord Ganesha Types of work (products)
(Terracotta Ganesh from Molela village pottery,
near Nathdwara Rajasthan. | Indian ceramics, The craft of making human figures is otherwise
Indian art, Clay art, 2021) called “Murtikala”. This is a fine art that is normal-
ly given from one age to another and develops with
13. Teracotta Pots every age. During the prior occasions, square tiles
(Pin by ~ Kathy ~ on Clay Pots ~ Terra Cotta in existed portraying scenes of everyday provincial life
2021 | Clay pots, Decor, Clay, 2021) and they all were organized together to frame a huge
board. Therefore these boards advanced to fusing
37 together of different disconnected divine beings, god-
desses, saints and images into one single board.

The divinities whose pictures show up on Molela
craft might be important for the standard Hindu pan-
theon (Chamunda, Kali, Durga, Ganesha and so on)
Scenes from ordinary town life or huge plaques por-
traying different stories like Bhagvat Geeta, Ramaya-
na and so forth make for fascinating narrating through
portrayals on mud. These narratives are made on
different items like tiles, jars and so on. Wall paintings
of gods or saints from various fields are likewise in-
credibly famous in Urban India.

The artisans gave us an insight on how their
world is not just limited to plaques and pots, but in-
clude gorgeous jewelry work as well.They make all of
the jewelry themselves. The jewelry features elabo-
rate motifs and patterns and not just that, but they are
also further colored using Acrylic colors. Clay jewelry
may not appear to be lightweight, yet it can be even
lighter than metal jewelry. Clay jewelry can be as little
as 5-6 grams and as heavy as 10 grams.

14. Teracotta Jewellery
Teracotta decor and showpieces
(2021)

38

Geographical representation of
Molela, Rajasthan

People

Mohan lal Chaturbuj Kumhar one of the pioneers of this type of workmanship has been grant-
ed with a few Public and Worldwide honours as an acknowledgment of his commitments made in
the field of artistic specialty of Rajasthan. The two of his children, Dinesh and Rajendra are addi-
tionally associated with this craft of murtikala which they have gained from their dad Mohan lal ji.
Sh. Mohan lal ji was granted the esteemed Padmashree grant in the year 2012.

39

15. People of Molela
(Google Image Result for https://gaatha.org/
wp-content/uploads/people_5-27.jpg, 2021)

40

Myths and believes

The beginning of the Molela craft is
belived to be finished by the hands of a vi-
sually impaired potter on the order of Deva-
narayan. It is said that God Devanarayan of
Dharmaraja came into the dream of a visu-
ally impaired potter and taught him to take
out mud from a specific spot and make his
golden calf with his exposed hands when
the visually impaired potter did that his visu-
al deficiency was relieved and he could see
once more. His replacements actually make
the plaques with the conventional picture of
Dharmaraja on his pony. These are as yet
made on plaques and adored.
(Molela terracota~Molela - Craft Archive |
Research on Indian Handicrafts & Hand-
loom, 2021)

The potters accept that their abilities
are a gift from God Devnararyan otherwise
called Dharmaraj ji. Shyam lal Kumhar of
Molela says ―This is our family occupation.
Our progenitors were honoured by the di-
vine beings to accomplish this work, and we
will proceed with it however long we can.

(Molela’s Terracotta Art – Aditi Jain, 2021)

16. Lord Dharmaraj
(2021)

41

Story of blind artisan

42

About the craft

Molela create is an extremely extraordinary work of empty
alleviation plaque work. Be that as it may, there is no as such
strong intends to distinguish unique items from copy works. Just
those individuals who know about this art can recognize the first
item from the copy ones.

Molela, albeit an old art, they are as yet prepared are as
yet adjusting to changes. They comprehend and follow the need
of adaption according to the cutting edge prerequisites so they
don’t feel any kind of danger from the advanced businesses and
works. They in addition to the fact that normal work make cus-
tomized work.

The art isn’t pretty much as simple as it appears, it takes
around 2 months to gain proficiency with the rudiments of clay,
considering the way that one necessities to get the practice of
centering the potter’s wheel.

The Molela experts experience some difficulty during the
long periods of summer, on the grounds that a little to a practi-
cally no work just happens as a result of the dryness while from
the beginning of monsoon to December, they do a ton of work
considering the reality these months have a tons of nami (moist-
ness) noticeable all around which is extraordinary for dealing
with these specialties.

They have extremely changed size of assortment; the lit-
tlest molela tile work is of around 6 to 7 inch.

43

17. Dinesh ji giving detail to teracotta plaques
(Molela Terracotta Clay Art | Incredible Molela Clay
Work, 2021)

44

Tools

As per the craftsman, they utilizes only three instruments while chipping away at the tiles and oth-
er than those tools, everything done is by hand.

18. Pitti Pitti: Pitti is a tool that is used to evenly smooth
(Molela terracota~Mole- the clay. This tool is made of stone. It has a cir-
la - Craft Archive | Re- cular flat surface at the bottom that is used for
search on Indian Hand- smoothing the clay, as well as a round wooden
icrafts & Handloom, handle attached to the top of the bottom section
2021) to make it simpler to grasp the tool in one hand
and work with a good grip and work quickly with
a firm hold on the tool and consistent pressure,
which is critical given the tool’s requirement to
smooth out the clay.

19. Bhaldi Bhaldi: A blade like tool that is primarily used to
(Molela terracota~Mole- cut or finish (by drawing shapes or lines). Bhaldi
la - Craft Archive | Re- is a metal instrument. Because it is mostly used
search on Indian Hand- to produce decorative patterns on objects, it is
icrafts & Handloom, more of a decoration tool or can also be said
2021) as a cutting tool. The bhaldi has two sides, one
that is wider and the other that is narrower. Both
sides aid in the creation of various patterns on
the object, including both broad and finer details.

20. Lakdi ka pattiya Lakdi ka pattiya: A smoothing board, for the clay
(2021) surface. Wood is used to make the pattiya. It’s
just a plain, clean, and smooth wood slab that
aids in levelling out the clay surface. Because it’s
a little bigger, it can easily even out the surface
of the clay and is commonly used to make the
Molela tile’s base.

45

Other than these tools, the craftsmen additionally utilize potter’s wheel, to make pots and utensils.
Chack or in different terms called as a potter’s wheel, is utilized to make utensils and pots.

21.Chack
(Members, 2021)

Mogri: To make powder of strong soil clod mogri is utilized.
Lohe ki bhaardid: It is a level tool with a sharp edge; it has ferrous creation and meager cross
area, generally used to scratch, slice the earth curls likewise to frame the ideal shapes through
mud
Kunchi: It is a donkey’s hair brush used to paint different tones on the shaped plaque. Material
waste: fabric is additionally used to apply
Chack: It for the most part used to frame uniform round or circular shapes. A neighborhood name
for potter’s wheel, Molela’s dirt is appropriate for this plan. The climate is favourable for this cycle
in the cold weather months, as the cruel summers cause breaks while drying the item.
(Molela terracota~Molela - Craft Archive | Research on Indian Handicrafts & Handloom, 2021)

46

22.Area of collecting raw material 23.Mingni
(clay) (2021)
(2021)

Raw Material Mingni: These are goat drop-
pings, used for making “Kande” (dried
Clay: Molela mud is sloppy in cakes). Mingni is beneficial for the
shading. It is burrowed from the banks clay. Because goat manure contains
of Banas Waterway, 2 Km away from more nitrogen which is, in one way or
Molela on Nathdwara Street. Each another, quite beneficial for the clay.
potter has his own spot for burrowing, (Mirza and Mirza, 2021)
in view of his own past encounters.
Chhan: It is cow manure which is
Leedh: Combination of rice husk, utilized at a few stages during Molela
donkey dung, earth and it is converted earthenware measure.
to fertilizer used for reinforcing. (Molela terracota~Molela - Craft Ar-
(Molela terracota~Molela - Craft Ar- chive | Research on Indian Handi-
chive | Research on Indian Handi- crafts & Handloom, 2021)
crafts & Handloom, 2021)
25. Chhan
24. Leedh (Cow Manure at Best
(Capsules Cattle Feed Price in Tuticorin, Tam-
Rice Husk Powder at Price il Nadu | S R Exports,
5 INR/Kilograms in Man- 2021)
dideep | ID: 6412563, 2021)

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