Molela Book

26. Kande 27. Dawarigund
(What Sh!T? Someone (What Is Tree Sap?,
Just Ate Cow Dung & 2021)
Posted A Review About
The Same On Amazon,
2021)

Kande: It is a fuel utilized for heat Dawrigund: It is a vegetable gum
age in oven, this is produced using cow utilized to bring the contents together,
excrement, roughage, goat droppings they derive it from the trees.
and bio misuse of different ruminants. It
has a high calorific worth and the smoke Paliya: To put brilliant completion
coming about because of its burning, it to the fine art we use Paliya, it is a bril-
fends mosquitoes and bugs off liant colour.

Kadab: Being a fundamental har- Ghasan: It used to bring wanted
vest of Molela, A dry corn grass. This
grass is promptly accessible and used consistency, surface, hardness to the
as a fuel. earth. Ghasan is a customary hardening
(Molela terracota~Molela - Craft Archive substance.
| Research on Indian Handicrafts & (Molela terracota~Molela - Craft Archive
Handloom, 2021) | Research on Indian Handicrafts &

28. Kadab Handloom, 2021)
(Agriculture rural summer landscape with indian
corn field, dry yellow grass and blue sky covered by
clouds., 2021)

29. Paliya
(Pichwai - Craft Archive |
Research on Indian Handi-
crafts & Handloom, 2021)

48

30. Palewa 32. Wood
(King, 2021) (Firewood - Wikipe-
dia, 2021)

Palewa: It is utilized to make var- Khadi: To grant white tone on an-
ious shadings when blended in with
various materials also, it is an earth tiques we use khadi. It is a chalk based
slip ready through Molela mud material.

Peeli Mitti: A characteristic ochre Jala: A coat applied as clean or
tone used for shading plaques. stains. It is a neighborhood name for a
finish. this is gotten from veneer blended
Wood: wood is likewise used as in with a specific dissolvable
a fuel for heat age and it is utilized
for making fundamental devices for Bani: nearby name for debris coming
plaque making measure. about because of bumming of kindling,
(Molela terracota~Molela - Craft Ar- roughage or Kande, at times even debris
chive | Research on Indian Handicrafts is added to mud glue.
& Handloom, 2021) (Molela terracota~Molela - Craft Archive |
Research on Indian Handicrafts & Hand-
loom, 2021)

31. Peeli Mitti 33. Khadi
(yellow mud Background., (2021)
2021)

49

Colours 34.Stones from which colours are extracted
(File:Soapstone (Speckstein) - several colored
1. The main figures are that of Devnarayan (Dhar- samples.jpg - Wikipedia, 2021)
maraja) and Nagaraja (the snake God). The tribal in-
cline toward splendid shadings for Divine beings and 50
there are explicit tones to portray every God. For ex-
ample, Blue is utilized for Kaladev and Orange is uti-
lized for Goradev.
2. Molela clay is muddy in colour. It is taken from
the banks of Banas river, 2 Kms from Molela on Nath-
dwara street. For the colours, they utilize normal stone
and mineral tones.
3. Palewa is the clay slip and makes various co-
lours when blended in with different components. For
example, silver is made with Palewa and water. The
ruddy tone is made when Geru (Red soil) is added to
the combination. As the fastener, they utilize a vegeta-
ble gum called Dawrigund gathered from the trees.
4. For sparkle, they apply an enamel coat which is
privately called a Jala. Stain is never utilized on the
grounds that it is of natural material which is disal-
lowed for use on Divine beings.
5. The clay becomes dark in the wake of drying and
afterward by terminating or warming it transforms into
earthenware red/brown or even a glossy dark comple-
tion (if smoke-terminated in a shut furnace).
6. White tone is gotten from powdered Mica (quartz
rich stone), on terminating it becomes greenish, and
then again dark is accomplished blending carbon and
water. The carbon required is taken from bread skillet
or consuming coconut skins. Slips are generally uti-
lized on useful wears while subsequent to terminating
(@RajasthanBlog and →, 2021)

Process

Making the materials

The Molela clay is found on the banks of the Banas River
Chiefly two kinds of dirt are utilized which are: Unadulterated earth and sandy mud.

To start with, they need to treat the dry clay which is first beaten and after that stressed uti-
lizing a wire lattice to clear it from every one of the debasements. In the interim the unadulterated
mud can be utilized straightforwardly which in the wake of drying gives grey colouring and subse-
quent to terminating goes to a red or earthy coloured shade. (Terra Cotta of Molela, 2021)

The craftsman showed us the entire cycle of making the molela make: Starting with finding
of the materials, the craftsman Rajendra ji showed us the region where the craftsmen gather the
crude material from, which was roughly 1 km away from their home. The mitti (soil) is gathered
from the stream banks of the close by river. All the molela craftsmen makes a point to gather and
store the dirt before the rainstorm cause during the storm time the waterway gets full and they
can’t gather the soil appropriately.

Making of the Products

Clay preparation

After the soil is brought, it is arranged to work with. The stressed soil, donkey’s dung and wa-
ter are combined as one to make clay dough. Hands and feet are utilized to ply the batter and after
the interaction it is put away for a few days.
(Molela Clay Work | Watch Magic In The Making | Rachnakar, 2021)

51

The artisans store the clay at a specific room and then when required, take out the needed
amount of clay and prepare it to work with. For that :
1. The artisans take some soil and make it fine.
2. Donkey’s dung powder is added to the fine soil and mixed.
3. Then water is added slowly to make clay dough.
4. The clay is worked on with hands as well as feets (mostly feets) to give it a nice mix and
proper texture.

35. Adding Leedh on clay 36. Mixing it together to make the dough
(Molela Clay Work | Watch Magic In The Making | (Molela Clay Work | Watch Magic In The Making |
Rachnakar, 2021)
Rachnakar, 2021)

Shaping

Making the base



After the clay is ready and prepared to utilize, the base is to be ready. The base is called as

thaal. The clay mixture is taken and made into a ball which is levelled out and afterward smoothed
utilizing the instruments, named, pindi(round stone tool) and paata(wooden tool) separately. Wa-
ter takes a major part in these stages and is utilized to give the clay a smooth completion. After
the levelling and smoothening of the clay, it is cut into the necessary shape utilizing the instrument
called as bhaladi (metallic apparatus).

52

Then, at that point further on, the base is enhanced (whenever needed) utilizing a piece of clay
which is rolled and smoothed. The piece is applied on the lines using water. This adornment is
called doli.
(Molela Clay Work | Watch Magic In The Making | Rachnakar, 2021)

For making the base, the artists :
1. Spread donkey dung powder on a surface so the clay don’t stick on the floor and one can
without much of a stretch work, get the work effectively structured.
2. Take a limited quantity of clay and with the assistance of a pindi, straighten the mud piece on
the floor where the donkey dung was spread.
3. Level the clay equally, with the assistance of water and fingers or palms.
4. After the smoothening cycle, it’s an ideal opportunity to make a base shape, and for that the
levelled clay is cut into a shape appropriate.
5. The base needs to be covered with a border and for that, they take a little piece of clay and
roll it out on the ground with the assistance of their palms and fingers,
6. The border is applied to the tile base and is smoothened by applying water onto them.

37. Smoothning of clay using Pitti tool 38. Base prepration
(Molela Clay Work | Watch Magic In The Making | (Molela Clay Work | Watch Magic In The Making |
Rachnakar, 2021) Rachnakar, 2021)

53

Making the body

To make the body of the plaque small pieces of clay are made and the body of the plaques
are made keeping it such that they are made empty.

In the wake of completing the fundamental body, different highlights of the body (face, arms
and so forth) are made and surprisingly the foundation highlights (trees, creatures and so on) are
additionally added close by. Then, at that point more subtleties like accessories are likewise added
and finished with.
Subsequent to adding these highlights, the other surface is smoothened to make the foundation
even and to do that, fingers are utilized with the use of water.
(Molela Clay Work | Watch Magic In The Making | Rachnakar, 2021)

The craftsmen then work on the body:

1. After completing the base, the body should be made; a little piece of clay is taken and leveled
out to make a tile like surface again for the body.
2. After making and cutting in the necessary shape, the body is fit to be fitted on the base, the
craftsmen keep a hand underneath the earth piece and with much consideration stick the clay
body to the base, while ensuring it is empty from within and doesn’t contact the base surface.
3. Just like the body, a little face is additionally made and afterward both the face and body are
smoothened out by applying water.

39. Initial stage of form generation on the base
(Molela Clay Work | Watch Magic In The Making | Rachnakar, 2021)

54

Detailing

In the wake of completing the basics, better subtleties are added utilizing the bhaladi (metallic
tool).
The bhaladi have two finishes one is the more wider one while the other one is a finer end. The
wide side is utilized to make huge lines while the inverse occurs with the finer side.
(Molela Clay Work | Watch Magic In The Making | Rachnakar, 2021)
Details are added by the artisans when:
1. The artisans complete the foundation of the body, more clay is added by them to make hands
and other facial highlights.
2. They additionally make a crown by following similar advances and smooth everything with
water once more, remembering not to utilize overabundance of water.

40. In-progress of detailing using the tool Bhaldi
(Molela Clay Work | Watch Magic In The Making | Rachnakar, 2021)

55

Drying and Firing

Subsequent to completing the creation of these plaques, they are kept to sundry for 4 – 14

days. When completely dried the plaque are stacked in an open furnace and are saved for termi-
nating for around four hours. The fire is taken care of with babool wood each 10-15 minutes.
(Molela Clay Work | Watch Magic In The Making | Rachnakar, 2021)

Drying and firing is a crucial step which needs to be done properly and for that the artisans
1. After making the molela tile they keep it to dry in a spot away from wind and sun (as not to
destroy them).
2. After drying for a couple of hours they can make more subtleties if necessary
3. The molela tile is put away and let dry and prepare it for firing.
4. For the firing, everything is arranged in bhatti (heater) cautiously and covered with broken
pots and are fired. Initial 4-5 hours they have low temperature and for the last hour they have high
temperature.
5. The fire temperature should be around 600 – 800 degrees.

41.Placement of air dried products in the 42.Firing of products in Bhatti
Bhatti

56

Cooling

The items should be chilled off after the preparing interaction for nearly five to six hours and
in case there is any harm or breaks discovered they are fixed. On the off chance that it’s simply a
little break, a glue of paste and water is utilized while in case of a greater break a paste of ground
fired clay and water is utilized.
(Molela Clay Work | Watch Magic In The Making | Rachnakar, 2021)
The artists spoke how after firing the items are cooled and taken out and put away with care
for the shipment or orders.

43.Cooling of the products after the firing
(HueNñez, 2021)

57

Colouring 44. Painting of the products
(Molela Terracotta - LIVE Workshop - Bhogya, 2021)
After the preparing is done the plaques
are in their unique red-earthy coloured tone.

They are painted by seeing the interest
of it. Shading is made utilizing a combination
of pre prepared colour, hued minerals and
water.

Initial a base layer of white paint is ap-
plied then they are shaded utilizing a brush
made off of donkey’s hair.

The more strict plaques are not paint-
ed rather they are lacquered utilizing a fin-
ish made out of gum and oil. This enamel is
called jala which is created by a few.
(Molela Clay Work | Watch Magic In The
Making | Rachnakar, 2021)

The artisans told us how they do not prefer
to color the Molela plaques and like them in
their original color but if they have to they
color them either red or mostly color it for the
tribal with the help of stone and mineral col-
ors.

58

For Chackwork(Pottery)

The craftsmen likewise make utensils and pots which are made on chack (potter’s wheel):
1. Only the chikni mitti (smooth soil) is taken to make the clay dough.

2. The same system is followed to make this mixture.
3. After the mixture is made, a chunk of clay is taken and put on the chack and they chack is

centred.

4. After focusing it, they begin making the pots.

5. After a pot is made they cut it with a string.

6. After making a specific amount of pots, the pots are left to dry for a couple hours

7. After the drying of the pot, they are improved utilizing the earth tools.

8. After completing them, they are air dried.

9. After the drying methodology, they do the polishing of these items, with the assistance of
a smooth stone. The polishing cycle makes the items sparkle. Rather than utilizing a stone,

Imli (tamarind seeds) can likewise be utilized.

45.Placement of clay dough in the center of tha chack 46. Shaping the clay doungh
(Throwing Basic Pot | Pottery Wheel Step By Step (Throwing Basic Pot | Pottery Wheel Step By Step Tutori-
Tutorial, 2021) al, 2021)

59

47. Pressuring the center of the clay dough 48. Giving hollowness to the product using hand
(Throwing Basic Pot | Pottery Wheel Step By Step Tuto- techniques
rial, 2021) (Throwing Basic Pot | Pottery Wheel Step By Step
Tutorial, 2021)

49. Detailing of the product 50. Removing the product from the chack using a
(Throwing Basic Pot | Pottery Wheel Step By Step thread
Tutorial, 2021) (Throwing Basic Pot | Pottery Wheel Step By Step
Tutorial, 2021)

60

Tips and tricks

1. The floor might be dusted with donkey dung to ensure that the earth mixture doesn’t adhere to
the surface.
2. The slab thickness is kept roughly 15mm.
3. The body parts or the improvements are made utilizing various methods like rolling, crushing,
squeezing and so forth
4. While making the empty plaque one hand is held under the structure which is to be appended to
the plain slab. To ensure their weight doesn’t allow the craftsmanship to get demolished by falling.
5. The clay work should be finished with enough intervals to get the clay dry and firm.
6. Many regions are attempted to be empty to have a decent flow of air and to guarantee it don’t
get heavy.
7. While stacking the plaque, they should be manoeuvred carefully as not to destroy them.
8. While terminating, the temperature should be kept on check and ought to be around 900 degree
centigrade.
9. If you need to chip away at an item for a significant interval of time cover it with plastic so it will
not dry rapidly.
10. While firing, 10-12 per cent chances are there for harms.
11. They make additional pieces when an order is made so to be cautious if something gets
harmed.
12. It requires 4-5 hours on normal to make one piece.
13. Depending on the size the time contrasts.
14. Colour is done subsequent to firing.
15. Normally the normal ones go for long yet in the wake of colouring it might get dull after some
time.

61

16. After firing its non-biodegradable.
17. Duplicate items are for the most part made on wheel
18. Tool doesn’t need any kind of upkeep, simply wash them with water
19. Pottery has exceptionally straightforward tools and a portion of the studio potters make their
own instruments as per their prerequisite.
20. They keep more slender things in low fire
21. They don’t measure the fire; they can simply recognize it with their hunches.
22. For utensils they use chikni mitti (smooth soil)
23. Saw residue is additionally blended on occasion to offer strength to the dirt.
24. The soil they have in molela is better to make empty things as they will not effectively break
while firing.
25. “The item itself requests the thickness.”
‘Vo apne aap mang leta he use kitni thickness cahiye’, says the craftsman when asked some infor-
mation about how much thickness ought to be there for the utensils.
26. While bringing the mitti (soil) from the riverside, they need to test from what side they must
take the soil and for that they blend a touch of soil in water and afterward by that they can without
much of a stretch sort out about the strength and versatility of the soil.
27. The speed of the wheel should be dealt with while making various sizes of items, while chip-
ping away at little (1 – 2 inch) or large (4 – 5 feet) items the wheel’s speed ought to be less and
keeping in mind that making fair estimated items, the speed can be high.
28. Slow speed of the wheel will assist one with making more slender walls, while high velocity will
make thicker walls.
29. After making the pots and utensils, assuming one needs to chip away at them and make plans,
they should allow it to dry for quite a while (1 – 2 hours) prior to dealing with them utilizing hands.
30. For accomplishing molela tile work, they blend balu wali mitti (sandy soil) and chikni vali mitti
(smooth soil) while dealing with the potter’s wheel, they simply utilize the chikni mitti (smooth soil).
31. For great and simple work on the potter’s wheel, the mitti (soil) should be more chikna
(smooth)
32. To make creatures, the craftsmen make different parts on the potter’s wheel and then sepa-
rately piece them together.

62

51.Ganesha Design
Plaque (2021)
Molela-Murtikala, the art of making votive murtis
52.Goddeses or symbols of heavenly creatures with ceramic were at
plaque design first standing images of neighbourhood divinities and
(2021) distinctive Vishnu structures, today the murtis are reg-
ularly mounted on tiles or plaques and are hung from
63 the walls of temples and homes. These murtis can
be vivid or can have a pottery tone, as can be seen
in various temples in Rajasthan and Gujarat. While
the potters of Molela are known for votive murtis, and
besides get their business from these, they moreover
depict scenes that express what the skilled worker can
discover in his/her ecological elements on plaques.

Imaginative Plan and Strategies: This forte has

existed for a very long time and obliges the tribal who
head out from to the degree of Madhya Pradesh to
get them reliably. At the point when a year, in the sig-
nificant length of Feb-Blemish, the tribal buy the won-
derfully painted ceramic plaques from these potters.
For the most part a clergyman goes with them for
this custom of buying. The primary figures are that of
Devnarayan (Dharmaraja) and Nagaraja (the snake
God). The tribal slant toward stunning shadings for Di-
vine beings and there are unequivocal tones to depict
each God. For instance, Blue is used for Kaladev and
Orange is used for Goradev. (Mollela, 2021)

The tribal generally change these votive reliably. 53. Figurine
These functions are acknowledged to thwart episode. design (2021)
They consider these Divine beings their safeguards.
54.Coloured
For the tones, the specialists utilize regular stone plaque
and mineral tones. Palewa is the mud slip and makes (2021)
different shadings when mixed in with various parts.
For instance, silver is made with Palewa and water. 64
The rosy tone is made when Geru(Red soil) is added to
the mix. As the cover, they use a vegetable gum called
Dawrigund accumulated from the trees. For shimmer,
they apply a veneer coat which is secretly called a Jala.
Stain is never used because it is of normal material
which is limited for use on Divine beings. Only one fam-
ily makes the Jala in the entire region. Molela’s earth is
suitable for this arrangement. The environment is good
for this cycle in the chilly climate months, as the severe
summers cause breaks while drying the thing.
(Molela ~ terracotta plaque – Story of Indian crafts and
craftsmen, 2021)

The craftsmen said that they have 21-32 Devi
devta (god and goddess) which are ordinarily their mo-
tivation and are displayed on the molela make tiles and
surprisingly some scenery are likewise exhibited on
these tiles.
Normally just these things are displayed on such tiles,
however now and again plan understudies visit them
for learning the art and those understudies additionally
furnish them for certain thoughts and help them out.

Challenges

Illustration representing the local disputes between villagers
The land from where craftsmen used to gather the crude material is a private land and greater part
of it is purchased by block producers because of which there is a deficiency of crude material in
their space. Most of the time, the artisans and other kumhars who need the soil for their crafts and
work, have to struggle to take the soil from that area considering the land legally belongs to the
brick makers and they at times cause issue and not let the potters take the soil from the area. At
times they might have to find other solutions like giving money for the soil.

65

Problems accessing fresh raw material due to ecological changes

Because of ecological changes, when there is no water stream in the waterway there is no fresh
soil accessible for them as fresh soil accompanies the water stream. These ecological changes
causes a big trouble for them as their base is the soil, and after everyone taking and using up the
soil for an year, the upper better layer of the soil gets finished, they much await the water to flow
back in the river, because the flow of the river is what erodes the soil and bring it to Molela so that
the people can again restore their stock.

66

Source of income dependent on seasonal variations

Being connected to making of Plaques, votive symbols and so forth this work of art is straightfor-
wardly connected to the happy season subsequently the interest for this is limited to the bubbly
time frame. Without any interest for the remainder of the year the craftsmen need to search for
different method for acquiring work, for example, cultivating and so forth

67

Market and marketing channels

The tribal communities came each year between Januarys to spring, from different spots to
purchase idols of their gods. Since this craftsmanship basically served the tribal communities, they
showed up at Molela in a customary procession.

They for the most part bought numerous idols that portrayed a similar god, in splendid co-
lours. Explicit tones were authorized generally to portray every God.

Anyway with the appearance of innovation and commercialization, the client base of these
specialists has extended. Singular families are progressively selling their items on the web. All
things considered, they likewise have end up being fortunate in the worldwide business sectors.
This has brought about them flourishing, yet in addition making Molela workmanship a beneficial
and charming calling for the young. After their tutoring, they purposely pick those subjects for their
further examinations that will aid the development of their custom.

They have been empowered to speak with the Western market just because of this open-
ness. They have exhibited their creation strategies in America, Europe and Japan. Their style of
work has additionally been influenced as a result of the interest. Huge plaques are made by the
potters and neighbourhood scenes of regular daily existence are portrayed instead of customary
pictures.

The regular plan that was utilized was the picture of Dharamaraja on a pony. With the ad-
justment of times, the specialty has advanced so it very well may be obliged. New plans are sold
like that of town life or wedding parades. This guarantees business all as the year progressed, to
whose necessities the specialists are changing admirably. These plaques are utilized to embellish
the dividers. (Molela ~ terracotta plaque – Story of Indian crafts and craftsmen, 2021)

68

The craftsmen let us realize that individuals generally find this remarkable art while voyaging
and afterward take some back as a trinkets, other than the sightseers, individuals who are very
much aware and known to the specialty world have an information about this art and are more
than able to purchase such things. However, the showcasing can’t stretch to the others outside
this circle.
They have been selling the items both on the web and disconnected, getting a great deal of
requests from inside just as outside of the country. The orders are traded to urban communities
like Bombay, Jaipur, and Delhi and so on, and furthermore nations like Britain and that’s only the
tip of the iceberg. More than once per year they even get request in mass.

Packaging

Packaging is always an important aspect in the production of the goods. Good packaging especial-
ly is not just a want but a need in this craft considering how fragile it can be when transportation is
required. Although the artisans do a good enough packaging for the care of the product, they go a
bit less on aesthetics. For the packaging, the craftsmen use normal bubble wraps and secure the
plaques and other products in them very carefully and then get them ready for the shipment.



55.Packaging
(2021)

69

Survey

We did a market survey to get information about people’s knowledge and understanding regarding
the craft
Here’s the link to the survey: https://forms.gle/xwmDcaZ4AoizYTPu6

Results

Q1. What is your age group?

Q2. What do you identify as?

70

Q3. Do you know about Molela Terracotta?

Responses of the people who replied YES to question number 3

1. How did you come to know about Molela Terracotta?

71

2. Have you ever considered purchasing or purchased a product made of Molela Terracotta?
3. If yes, how was your experience with it?

72

4. Do you think the product was worth the money?

5. Would you consider buying another similar product?

6. Is there anything that you would change/improve in the products? Or any advice for the arti-
sans?
Out of the 31 responses we got, a few of them said no to any changes required while a few sug-
gested a few things :
1. To upgrade the tools and try mix medium
2. Share a care guide
3. Advertise
4. Go trendy and innovative

73

7. What are some advertising strategies that might help the artisans who are involved in this craft?
Out of the 14 responses some have mentioned that no need for new Advertisement ideas while
the other suggestions we got were :
1. Promote with the help of net and social networks
2. Digital marketing and trend spotting
3. Don’t create just for Festival, but also normal home styles.
4. Connect with NGOs and educate people about the art
5. Do workshops

Responses of the people who replied NO to question number 3

1. After getting to know about it, would you consider buying Molela Terracotta products? If no,
why?
A few people do not want to buy the craft because it is too fragile and a bit costly according to their
limits.

74

2. According to you, how can this craft be more widely recognised?
Out of the 64 responses, some of them were
a. Marketting and e – commerce will help.
b. Adjust pricing
c. Educate more
d. A tag to recognize this craft
e. By doing exhibitions
f. Figurines of famous people
3. What would you advise the craftsmen of such crafts?
1. Have a manager
2. Make a range of products
3. Go with trends
4. Advertise
5. Use e-commerce and promote on different media(s)

75

SWOT Analysis

SWOT analysis (strengths, weaknesses, opportunities, and threats) is a methodology for
describing a company’s competitiveness and creating business vision. Internal and external ele-
ments, as well as present and future potential, are all evaluated using the SWOT analysis.
A SWOT analysis is used to provide a realistic, fact-based, data-driven assessment of an organi-
zation’s, initiative’s, or industry’s strengths and weaknesses. The organisation must maintain the
accuracy of the study by avoiding preconceived notions or grey zones and instead focused on
real-life situations.

Strengths

• Loaded with inventive thoughts and open to experimentation:
The artisans are open to the idea of experimenting with their material and are always filled in with
bubbles of new ideas. They have innovative ideas and thoughts that help them create new pieces.
• Gifted
These artisans are gifted with the skill of making these statues and craft pieces perfectly and
smoothly just by their hands.
• Very enthusiastic about learning and work
Even after all the skills these artisans are always open to learning more and exploring more. Their
work dedication is incomparable.
• Uplifting perspective
The workers are always uplifting their perspectives and creative aptitude for constant growth.
There is considerable potential among the craftsmen.
• Trained
They are properly trained and have years of practice of the skill based industry and handicrafts.
• Earnest and ordinary

76

Weaknesses:

• Lack of infrastructure and communication facilities.
Due to lack of infrastructure there is always loss of already done work at time because of climat-
ic conditions and low flow of products because of lack of communication and advertising with the
outside world.
• Unawareness about international requirements and market.
As a craft it has so much potential to represent our culture and talent across the world and in-
crease a lot of international contact and demand.
• Lack of coordination between government bodies and private players.
After talking with the artisans we came to know that the artisans have no help from government
officials or NGOs to uplift them and help them financially, getting them advertised or sponsoring
them.
• Inadequate information of new technology.
Having less knowledge about technology and advancement of the world today has resulted in re-
ally low selling in times like covid-19 for these artisans. Haven’t being able to advertise or publicize
their work gives them less opportunities to be out there with their work.
• Inadequate information of current market trends.
Due to lack of technology the artisans are not updated with the current going trends and markets
that put them at a weak spot to grow as artisans and increase the creative needs according to the
supplier’s supply.
• Less interest of young people in the craft industry.
Due to lack of interest by new generations and young artists in the craft it has lost its popularity
amongst the industry and hasn’t been able to grow as much as it should have.
• Still confined to rural areas and small cities and untapped markets.
Since the craft lacks infrastructure and communication it has been trapped in the confined rural
areas and small cities, not been able to come and stand out to its complete potential.

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Opportunities

• Number of preparing projects could be expanded.
To expand their craft they could start taking more big orders and projects at the same time. They
could also do more publicity to be more known around the country.
• There ought to be more visits of the craftsmen to carry openness to the market.
More travellers and localities coming and exploring will result as a spread of awareness about the
craft on a wider level. More educational visits can also be a good sign of increasing the knowledge
about the craft. It will be a great way to bring openness to the market and this handicraft industry.
• Observation
The craftsman’s advancement ought to be observed, present preparing to guarantee their signifi-
cance on the lookout.
• Consistency and Quality
The craftsmen ought to be tried for their consistency , at ordinary holes , to guarantee quality ,
needed for the profoundly serious market

Threats

• Rivalry in the home-grown market.
Because of the whole town based on the skill there are a lot of families involved in the same busi-
ness that results in a lot of competition and rivalries for the same product selling.
• Harmony between appeal and supply.
The harmony between appeal and supply can result as a threat as it always a balance between
high end demands and supplies.
Having less knowledge about technology and advancement of the world today has resulted in real-
ly low selling in times like covid-19 for these artisans. Haven’t been able to advertise or public their
work gives them less opportunities to be out there with their work.

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Artisans’ Profile Name: Mr. Dinesh Chandra Kumhar
Gender: Male
56. Mr. Dinesh Chandra Kumhar Language: Hindi
(Molela Artiste Dinesh Chandra Pra- Education: College
japat, 2021) Occupation: Molela craft and farming
Experience: 25+
Address: Terracotta, Hanumanpura Rd,
Molela, Rajasthan

57. Mr. Rajendra Chandra Kum- Name: Mr. Rajendra Chandra Kumhar
har Gender: Male
(2021) Language: Hindi
Education: Secondary
Occupation: Molela craft and farming
Experience: 25+
Address: Terracotta, Hanumanpura Rd,
Molela, Rajasthan

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Name: Mr. Mohan lal Chandrabuj Kumhar
Gender: Male
Language: Hindi
Education: Primary
Occupation: Molela craft and farming
Experience: 50+
Address: Terracotta, Hanumanpura Rd,
Molela, Rajasthan

58. Mr. Mohanlal Chaturbuj Kumhar
(Molela Clay Work | Watch Magic In The Making |
Rachnakar, 2021)

Database :
Mobile number : +919413665352
Email : [email protected]

Molela is the residence to all of the craftsmen. These are the family’s main artisans, although
not just men, but also women, take part and aid the family. They are eager to pass on their artistic
abilities to the next generation. Nonetheless, they would not force the new generation to choose
the same professional path as them; rather, they would be extremely welcoming of any career
choice; however, they feel that whichever career you do, the next generation must get expertise so
that the craft does not perish and may be passed on. They also have open views on going forward
with the generation (while also keeping on their traditions), as they freely advertise their items on-
line, and it is not only that they are accepting of bringing things online but also walking hand in
hand with technology.

They have won a lot of awards like : Kalashri Award 11 [Foreign Work Shop], Raj Ratan
Award 17, State Award 1 1984, Master Craftman National Award 18 Maha, Maharana Shajan
Singh Award 2001, Shilpa Guru Award 2003, Padma Shri in 2012. There work is in many national
and international collections in India.

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Designers’ Profile

Name: Mayurvi Sangekar
Age: 20
Gender: Female
Education: Third year design collage
Language: Hindi, English, Marathi

Handicrafts play a very important role in showing the culture and
traditions of any country or region. They are an important means of
preservingtraditional skills and talents associated with people’s life-
styles and history. I think we should encourage artisans to continue
creating sculptures to show the beauty of this art. Molela potters
make many types of terracotta including devotional plaques, temple
bells, household items and out of all of them, the hollow void plaque
is the most famous artwork. The art form generally depicts rural vil-
lage scenes and charming visual stories and the culture of their daily
lives.

Name: Pratyusha priyadarshini TV
Age: 20
Gender: Female
Education: Third year design collage
Language: Hindi, English, Malayalam

Molela craft is one of the most beautiful and fully hand made
craf. This craft gave us a wonderful experience in working with
raw material i.e., clay mud turning to beautiful sculptures. This
wonderful art and craftsman ship kindled a sense of love and
respect towards their culture and tradition. They are very much
dedicated towards their craft and culture . Our country is blessed
with these unique crafts and skillful craft persons. This craft still
keeps skills for next generations.It was a wonderful experience
in knowing much more about this craft and to study it in detail.

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Name: Meenal Rathore
Age: 20
Gender: Female
Education: Third year design collage
Language: Hindi, English

Craft have always inspired and attracted me towards their simple
uniqueness. So getting an opportunity to experience and learn
about various crafts is always rewarding. Teracotta or clay as we
say it, have always fascinated me, enchanting me with the ideas
of forming something everlasting from such a base element and
even with a basic element, it becomes such a beauty. Getting ac-
knowledged about the terracotta Molela craft and the craftsper-
son have been a very great and knowledgeable experience. To
know the uniqueness of such a craft and their up and downs have
helped me upgrade my sensibility towards designing as a whole
and I am really grateful for such a chance.

Name: Megha Arora
Age: 20
Gender: Female
Education: Third year design collage
Language: Hindi, English, Germen

Handicrafts have always fascinated me, the way artisans mould
their thoughts as figurines is just incredible.
This subject has been a great learning experience for me. Molela
craft is something new that I discovered through this subject. The
way I saw the artisans working so diligently and their passion to-
wards what they do motivated me. I believe that they should con-
tinue what they are doing and preserve this art for generations to
come.

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Name: Prerna
Age: 20
Gender: Female
Education: Third year design collage
Language: Hindi, English

This journey of learning the Molela craft was a very elating and
enriching one. Though I already have had immense respect for
the artisans, the whole process of watching them make it and
learn from them was an incredible experience as a whole. They
not only taught me to do the work diligently, but also taught that
how important it is to keep the art alive for the future generations
to see. It was a treat to watch them mould their art with so much
precision and passion, it taught me alot about how to go about
my work as a designer.

Name: Nitya Tandon
Age: 20
Gender: Female
Education: Third year design collage
Language: Hindi, English

Molela is internationally famous mainly for its production of beau-
tifully painted terracotta plaques and figurines of the local dei-
ties and gods. It was an honour to be able to research about the
whole experience of the craft and also get to know these extreme-
ly talented artisans. Writing about this whole experience feels like
completing a whole journey. The artisans taught us so much but
also made us feel so much like home with the way they interacted
with us. The whole process of showing the techniques of the clay
work and how to mould it to into something so uniquely elegant
was astonishing to watch and experience. I can’t thank all our
faculty and the institute enough for this absolutely wonderful and
knowledgeable opportunity.

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