Cheriyal Paintings
Copyright © 2022 Favina Chauhan, Symbiosis Institute of Design, Pune All rights reserved. No part of this publication may be reproduced, distributed, replicated or stored in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in reviews or if someone wishes to quote a brief passage and certain other noncommercial uses permitted by copyright law.
CRAFT DOCUMENTATION 2022 The Cheriyal Scroll Paintings of Hyderabad Curated By Favina Chauhan
Good guidance and suitable references are indispensable for every successful project. I thank my Institute Authorities for giving us the opportunity to complete this project. Dr Sanjeevani Ayachit - Director SID, Dr Nitin Hadap- HOD FD/FC, Prof. Anandita Ballal - Course Incharge for Craft Documentation and also my Mentor Faculty, for guiding me and helping me complete this project successfully. I am also thankful to my family, friends and classmates who have directly or indirectly helped me throughout this project. Acknowledgement
As a part of our curriculum and to gain practical knowledge in fieldwork, we are required to do craft-based research on any of the dying crafts in India. The objective of this project is to research and understand the process and techniques undertaken in the craft along with the condition of the artisans practising it. I was fortunate to be able to interact with the last remaining family of artisans keeping the craft of Cheriyal Paintings alive in the Boddupal district of Hyderabad. This book is my effort to make people aware of the beauty, intricacy and heritage of this craft which has historic significance to it. Doing this project helped me gain insight and knowledge about the current scenario of the artisans post Covid-19. It also showed me how important it is to be able to adapt to the current digital trends and contemporize traditional art forms in order to stay relevant and make sales. Preface
Contents Introduction 01 02 03 04 05 06 07 Cheriyal Paintings 08 09 10 11 12 13 14 15 16 The Artisans 17 18 19 20 21 22 23 24 References Bibliography Image Source Telangana Location History Culture Hyderabad History Culture Cheriyal History Themes Characteristics Colours Other Crafts Tools and Raw Materials Making of Cheriyal Paintings Making of Cheriyal Masks The Family Government/ NGO Affliations Recent Development End Use Marketing and Promotions Legacy Other Similar Crafts Conclusion
In these current times;storytelling is going through a metamorphosis with easily accessible & most times impassioned technologies like tv shows or the internet. Folk stories & folk art, with their local nuances, rustic dialects & varying versions of the same story are far & few. India has the richest storytelling culture worldover. In the ancient and medieval eras scroll paintings were the popular modes of entertainment for people. They combined both pictorial and audio media. Bards or storytellers would carry these painted scrolls as they moved from village to village, and used them as colourful graphical props reciting stories, delivering messages and singing age-old folklore songs for their audiences. Today this ancient art of storytelling using scrolls is almost lost and is seen only in remote villages or in government-sponsored artistic events. Scroll painting was once widespread across India, some of the famous types include Patachitras of West Bengal and Odisha, Phad paintings of Rajasthan and Warli paintings of Maharashtra. Among the lesser-known scroll, paintings are the Cheriyal painting of Telangana. Cheriyal Scroll Painting is a popular and revised version of Nakashi art, considered highly rich in local motifs. This art form is distinctive to the Cheriyal village, in the Warangal district in Telangana. Presently they are mostly made in Hyderabad. These scroll paintings represent a quintessential part of the cultural backdrop of Telangana. Introduction
01 Telangana The name “Telangana” refers to the word Trilinga Desa, earned due to the presence of three ancient Shiva Temples at Kaleshwaram, Srisailam, and Draksharamam. More historical reasoning is that during the reign of Nizams, the region was known as Telugu Angana to differentiate it from the areas where Marathi was spoken. Telangana is the 29th state of India, formed on the 2nd of June 2014. The Telangana region was part of the Hyderabad state from Sept 17th 1948 to Nov 1st 1956, until it was merged with Andhra state to form the Andhra Pradesh state. After decades of movement for a separate state, Telangana was created by passing the AP State Reorganization Bill in both houses of Parliament. Telangana is surrounded by Maharashtra and Chhattisgarh in the North, Karnataka in the West and Andhra Pradesh in the South and East directions. Major cities of the state include Hyderabad, Warangal, Nizamabad, Nalgonda, Khammam and Karimnagar.
Image 1: The Telangana High Court
Image 2: Telangana on Map of India
02 Location It is a constituent state of south-central India. It is bordered by the states of Maharashtra to the north, Chhattisgarh and Odisha to the northeast, Andhra Pradesh to the southeast and south, and Karnataka to the west. Telangana is situated largely in an upland region of the Deccan (peninsular India). Much of its surface area is occupied by the Telangana Plateau in the north and the Golconda Plateau in the south and is composed of gneissic rock. The average elevation of the plateau area is about 1,600 feet (500 metres), higher in the west and southwest and sloping downward toward the east and northeast, where it meets the discontinuous line of the Eastern Ghats ranges. Drainage is dominated by the basins of the Godavari River in the north and the Krishna River in the south. As a result of erosion, the topography of the plateau region consists of graded valleys with red sandy soil and isolated hills. Black soil is also found in certain parts of the area. Thorny vegetation covers the scattered hills of the plateau areas, while dense woodlands are found in the northeast along and near the Godavari River.
03 History Telangana region has been ruled by great dynasties such as Sathavahanas, Kakatiyas, Chalukyas, Mughals, Qutubshahis, Asafjahis. Kakathiyas contributions to architecture are considered most impressive while Sathavahanas ruled Telangana region for about 400 years right from the 2nd century B.C. to beyond the 2nd century A.D. Among Kakathiyas, Prataparudra, was a great ruler who ruled till A.D.1323. During the rule of Bahamani, Quli Qutub, born in Persia, came to Deccan and he had become the Governor of this region. Quli Qutub later became independent and formed his own Qutubshahi Dynasty in 1518. The Golkonda fort was built by Quli qutub. The Hindus of the Telangana region remember him for his immense patronage of Telugu literature. Many Telugu poets such as Addanki Gangadhar Kavi, Panuganti Telanganarya, Kandukuri Rudra Kavi had flourished in his court. In 1799, the Nizam rulers aided the East India Company in their war with Tipu Sultan. When the Nizam was compelled to sign a subsidiary alliance with the British in the year 1799, he lost his authority over the state’s defence and its external affairs. Coastal Andhra and Rayalaseema then became part of the British Presidency of Madras, while Telangana became part of the princely state of Hyderabad. For a long time, the Nizam lead a privileged and charmed life. He was considered to be the world’s richest man of his time.
Image 3: Golconda Fort
Image 4: Madai Festival Tours
04 Culture Many of southern India’s major composers of Indian classical music have been from the region, and Telugu has been the language of most of the compositions. Telugu, one of the four literary languages of the Dravidian family, occupies a prestigious place among Indian languages, renowned for its antiquity and admired by many for its mellifluous quality. Telugu literature was prominent in the Indian literary renaissance of the 19th and 20th centuries, as the writing resonated with a revolution in literary forms and expression, stimulated to a large degree by Western genres. Telangana has many periodicals in English, Telugu, and Urdu. Muslim culture in the state further enriches its cultural diversity. Hyderabad is at the cultural heart of Telangana and is home to numerous museums, religious edifices, and cultural venues. The city is also renowned for its many parks and green spaces, which include one of India’s best-known zoos. In addition, Hyderabad and Warangal are noted for a wealth of historic sites in and around them that chronicle the centuries of Muslim rule in the region. Hyderabad, dubbed Tollywood, is also the centre of a thriving Telugu-language film industry.
05 Hyderabad Hyderabad is a city in the Telangana state. Hyderabad is situated in the north western part of Andhra Pradesh and is a centre point to travel to any city to the north or the south of India. Likewise, the dance and music forms of the city, display a unique culture of its own which serves as a window to the history of regal Hyderabad, and to the rest of the world. It is Telangana’s largest and most populous city and is the major urban centre for all of south-central interior India. From 1956 to 2014 Hyderabad was the capital of Andhra Pradesh state, but, with the creation of Telangana from Andhra Pradesh in 2014, it was redesignated as the capital of both states. Hyderabad is located on the Musi River in the heart of the Telangana Plateau, a major upland region of the Deccan (peninsular India). The city site is relatively level to the gently rolling terrain, at an elevation of about 1,600 feet (500 metres). The climate is warm to hot and monsoonal with moderate annual precipitation. The most rain falls during the wet monsoon months of June to October.
Image 5: Hussain Sagar Lake, Hyderabad
Image 6: Sultan Muhammad Quli Qutb Shah, the founder of Hyderabad.
06 History Hyderabad was founded by the Quṭb Shāhī sultans of Golconda, under whom the kingdom of Golconda attained a position of importance second only to that of the Mughal Empire to the north. Muḥammad Qulī Quṭb Shah, the fifth of the Quṭb Shahs, built a new city called Hyderabad on the east bank of the Musi River, a short distance from old Golconda. Hyderabad was known for its beauty and affluence, but that glory lasted only as long as the Quṭb Shāhī dynasty. The Mughals conquered Hyderabad in 1685. The Mughal occupation was accompanied by plunder and destruction and was followed by the intervention of European powers in Indian affairs. The Āṣaf Jāhīs, during the 19th century, started to rebuild, expanding to the north of the old city across the Musi. Farther north, Secunderabad grew as a British cantonment, connected to Hyderabad by a bund 1 mile long on Husain Sagar Lake. Under the nizams, the Hindu and Muslim populations coexisted, although there were episodes of inter-communal fighting. After Indian independence in 1947, violence by the Razakars—a Muslim militia—against Hindu communities drew the attention of the Indian government. In September 1948 the Indian army intervened, invading Hyderabad and easily routing the nizam’s forces. In 1950 the princely state became the state of Hyderabad in the Indian union. In 1956 the state was split up: its Telugu-speaking areas (the Telangana region) were combined with what was then Andhra state to form Andhra Pradesh, with Hyderabad as the capital. Discontent grew, however, among the people of Telangana, who insisted that the region should become a separate state. It was agreed that Hyderabad would act as the capital of both states for a period of up to 10 years to allow Andhra Pradesh time to build its own capital.
07 Culture Hyderabad, also known as the ‘City of Nawabs’ is steeped in rich culture and history. The city is known for its opulent heritage, with a wide array of mosques, churches, temples, monuments, historic places, food and the arts. People who speak Telugu and are of ‘Andhra’ descent are called ‘Andhraites’, whereas, the people whose vernacular Hindi language is Urdu, are typically known as Hyderabadis. Apart from Urdu and Telugu, Hindi, English, Marathi, Tamil and Gujarati are also followed in this city. The ‘tehzeeb’ of Hyderabad would be incomplete without a special mention of its zesty food. ‘Mehman-nawazi’ , combined with the rich fare of the Hyderabadis, have won praises and accolades all over the world. If you love paintings, regular exhibitions at the various arts and cultural centres in Hyderabad will give you a whiff of typical Nawabi-styled portraits and contemporary paintings. Festivals such as Dusshera, Ramzan, Eid, Christmas, Diwali and Navaratri are celebrated on a grand scale all over Hyderabad. The Deccan Festival is an important event and is held in Hyderabad annually. Other festivals such as Muharram, Bonalu, Sankranti and Rakhi are also celebrated with great fanfare across the city and state. Hyderabad is home to the Telugu Film Industry, also known as Tollywood. The Tollywood film industry is the largest in the world in terms of architecture and also holds a Guinness World Record for the same. Hyderabad is home to Ramoji Film City and also hosts some of the biggest film festivals in India such as the Busan Film Festival.
Image 7: Charminar, Hyderabad
The Nakashis are the artists of Telangana and the scrolls constitute a key component of the social and cultural backdrop of Telangana. These paintings were mostly confined to Cheriyal village and hence are called Cheriyal scrolls. Cheriyal paintings were arguably brought to India by the Mughals in the 16th century. However many claim its origins back to the 5th century in India itself. We can find a lot of influence from Kalamkari and Deccani’s scroll paintings in Cheriyal paintings. The resemblance of even the 12th-century Kakatiya paintings can be witnessed in the Cheriyals. While on the other hand, you can find this type of scroll painting in other parts of India as well including Rajasthan, Tamil Nadu and Sri Lanka. However, the scroll paintings of Cheriyal are totally different from other scroll paintings as they depict more impact of local temple art traditions, making it a local invention. Cheriyal Paintings
Image 8: Gopuram of the Lakshmi Narasimha Temple, Cheriyal
08 Cheriyal An hour away from Hyderabad is the village of Cheriyal in Telangana. Cheriyal is a small village in the Warangal district of Telangana state. It belongs to the Telangana region. As part of the Telangana district’s re-organisation, Cheriyal Village Sangareddy Mandal was re-organised from Medak District to Sangareddy, Sangareddy district. It is located 10 km to the South of the District headquarters Sangareddy. Cheriyal Local Language is Telugu. Cheriyal Village Total population is 2873 and the number of houses is 655. The female Population is 49.6%. The village literacy rate is 55.2% and the Female Literacy rate is 21.8%. Cheriyal is surrounded by Sangareddy Mandal towards the North, Shankarpally Mandal towards the South, Patancheru Mandal towards the East, and Ramchandrapuram Mandal towards the East.
09 History Back then, the seven story-telling communities of Telangana used to travel through villages, singing and narrating stories using the scroll as their visual aid. The Kunapuli community narrated the stories to Padmashali weavers while the Patapollu community performed for the Chakalis (cloth washers). But these paintings were done only by members of one community in Telangana – the Nakashi community. They actually belong to the Chitragara community, their ancestors were patronised by the rulers of the Vijayanagara Empire. After the decline of the Vijayanagar Empire following defeat at the hands of the Deccan Sultans in 1565, these painters moved to Telangana, which was at that time ruled by the Nizams. Their forefathers made floral engravings in royal buildings, including the Falaknuma Palace. Due to their fine floral engraving work, the Nizams began calling these artisans Nakash and the community is now known as the Nakashi community. Nakashi in Urdu means engraving.
Image 9: Details of Cheriyal Scroll paintings © 2022 Vayu - Design for living Image 10: Details of Cheriyal Scroll paintings © 2022 Vayu - Design for living
Image 11: Cheriyal scroll painting by D. Vaikuntam 2010
10 Themes A traditional Cheriyal painter always starts with the painting of lord Ganesh, as it is considered auspicious in Hindu tradition to start any new work with lord Ganesh followed by lord Bhramha, Vishnu and Maheshwara as they are symbolized as the makers of the world in Hindu mythology, which is an introduction to the formation of the world, living beings and castes/communities that are described accordingly regardless of the theme. These are considered to be compulsory for a traditional storytelling scroll. Cheriyal paintings essentially consist of scrolls that depict stories from the epics, puranas and folktales. They were once an integral part of the religious, social and cultural lives of the villages in Telangana. These scrolls are painted in a narrative format analogous to a film roll or even comic strips; depicting stories from Indian mythology like Mahabharata, Ramayana, Markandeya purana, Garuda purana and various stories from the Krishna leela series with local heroes also being depicted. Apart from the mythical narratives they also focus on the day-to-day lives of straightforward communities like fishermen, food gatherers, cobblers, etc. The iconography of the major deities like Shiva, Vishnu has a strong local idiom. The subjects of these scroll paintings are easy to relate to - as the themes and stories are familiar - drawn from ancient literary, mythological and folk traditions.
11 Characteristics Painted in vivid hues, mostly primary colours, with a predominance of red in the background, the paintings are characterized by the unbridled imagination of the local artisans who were not constrained by academic rigour. For example, the artist hardly bothers about perspective in Cheriyal paintings and sets out the narrative by placing the relevant figures in appropriate order and position in the relevant background. Within the narrow panels, the proportion is created by depicting trees, a building, a pillar with drawn curtains, etc. However, more often than not, the proportion of individual characters is determined by their relative importance in that particular scene, with the most important character being the largest and most detailed and the lesser characters being smaller and less detailed. They are made on a long vertical piece of cloth in a narrative form. The size of paintings varies from 1 foot to 60 feet depending upon the number of characters depicted in the story on the painting. The traditional scrolls are mostly of vertical format and illustrate the stories through a series of horizontal panels. Compared to the long scrolls in the past, now artists have adapted to paint smaller versions of these scrolls that only depict any single episode or a few characters from traditional stories. These can be framed easily and hung on the walls of modern homes.
Image 12: Artisan making Cheriyal painting of much smaller size
#A30F0B #F7431F #E29904 #6098CD #597611
12 Colours Cherial paintings are identified with their rich colours. The colours used in the cheriyal scroll painting follow a predetermined system, the striking red colour fills the background. Red, yellow, and green are most commonly used. Secondary colours like blue and orange are obtained by mixing the primary colours. There is also white in between. The entire painting, in the end, is outlined in black. The colour of the face and skin is decided by the nature of the character, like blue and yellow are for God and Goddesses respectively, Brown or Darker shades are for demons, while pink and skin tones are for humans. The water-coloured based cheriyal scrolls are said to last over 300 years, provided they don’t come in contact with water. The scrolls are prepared in the summers and are visually 30 metres long. Some of the colours used are sourced in the form of stones or crystals that are grounded by hand with a mortar and pestle. For black colour, a kerosene lamp is lit and its ashes are collected on a lid, further tree gum is added to it to preserve it and to make it a sticky paint. For white colour sea shells are used. Sea shells are collected from the sea shore and are individually rubbed on a rough surface like stone. Later water is added to it to ease the process, further, the thick white paste is collected and tree gum is added to it. For yellow, turmeric is used. For blue, green and red colours there are natural stones available that the artisan collects. #597611
13 Other crafts Kaavad, the Kathaputlis, the Pattachitras or the Shadow Puppets are all storytelling mediums. More than just travelling sagas, they are potent stories of virtuous Gods, fabled animals & invincible forces of nature that inspire courage, loyalty, truth, humility & much goodness in their audience. These dolls and masks were an integral part of the storytelling traditions. As far as their making is concerned, the masks were made of coconut shells( smaller masks), sawdust and tamarind seed paste (larger masks). Whereas, a light wood called tellapuniki along with sawdust and tamarind seed paste was used to make the dolls. Storytellers used painted Cheriyal masks to build intrigue for the gathered crowd at any festival to tell religious stories. The masks are lesser known as the scroll paintings overshadow them that this village is famous for. They really are miniatures of what must have been life-size, rather face-size, in earlier years. Wandering story-tellers used these masks in traditional storytelling when they travelled from village to village. Drawn from daily life and mythology, the smaller masks and other toys would be sold in the village once the stories were done.
Image 13: Cheriyal Dolls by D.Vaikuntam Image 15: Cheriyal Sawdust Masks Image 14: Making of Cheriyal masks
Image 23: Stone Grinder Image 19: Rice Starch SImage 26: tone Crystals Image 16: Coconut Shells Image 21: Tree Gum Image 24: Khadi Cloth Image 18: Turmeric Image 20: White mud or Suddah Mutti Image 27: A Small Container Image 17: Squirrel Hair Brushes Image 22: Goat Hair Brushes Image 25: Wooden Pole Image 28: Crushed Paint Crystals
14 Tools and Raw Materials Khadi Cloth - Khadi cloth is nothing but a hand-woven cotton cloth, used as a canvas for Cheriyal painting. Rice Starch - Rice starch is prepared by boiling the rice in excess water. The stagnant water that remains after the rice is cooked is known as rice starch. Tamarind Seeds - Tamarind seeds are used as a base for sculpting the shape onto the mask and as a natural hardener in both acts and canvas preparation. Tree Gum - Tree gum is a natural gum extracted from the bark of a specific tree, which is used in mask making and canvas preparation in Cheriyal painting. White Mud - White mud is a type of mud available locally and is extracted from a specific depth from the ground. Goat and Squirrel Hair Brushes - These brushes are used in painting traditional Cheriyal-style scrolls and masks. Stone Colors - Colors like red and blue are extracted from the stones to prepare colours. Turmeric - It is used as yellow colour while painting. Sea Shell - Sea shell is used for extracting the white colour. Kerosene Lamp Ash - It is used as the black colour in Cheriyal painting. Coconut shells - Coconut shells are used as containers to mix colours and as a base to prepare Cheriyal Masks. Brushes - different ranges of brushes for detailed painting Stone Grinder and Wooden Pole - used in grinding stone colours.
15 The making of Cheriyal Paintings The preparation of the canvas cloth is very elaborate and traditionally very strict. This process helps in preserving the artwork for several years. The cloth on which the process has to be done is of khadi cotton material. A mixture of suddha matti, rice starch, boiled tamarind seed paste and natural tree gum is mixed in proportion and is made into a slurry kind of paste. The colour of this mixture is off-white and it is evenly applied with bare hands on the khadi cotton cloth. This process is repeated three times for each piece of cloth. At every single application, the consistency of the slurry is made thinner by adding more tree gum to it. Then it is allowed to dry naturally under the sun and then it is ready to be used for painting. The natural colours are prepared by extracting from different elements such as stones, ash of an oil lamp and sea shells. These stones are similar to the ones used for Ayurvedic medicinal purposes. These stones are crushed in the stone grinder and water is added to it to make a thick paste. Once the artisan ensures that there are no particles of stones remaining in the grinder and it is finely crushed, it is collected into the container. Tree gum is also added to this crushed stone powder to increase its shelf life and to make it stick to the canvas evenly after the painting is dry. Once the canvas and the colours are ready, the artist starts with a very light outline with graphite on the canvas of whatever scene he has to depict in the scroll. He then fills the colour of the background in bright red but excluding the outlines which he has drawn. He then fills the basic colours with a thick goat hair brush onto the characters and allows it for drying. As it dries quickly, he starts outlining the characters and their features in pitch black colour with the help of a finer squirrel hair brush. Artisan then enhances the details such as jewels, hairlines, and eyes with much finer brush strokes. He does the detailing part quickly due to the experience he has gained over the years of practice. After the scene is depicted he adds an attractive border to the complete painting, which is decorated with flowers and leaves with finer brush strokes. By this, it completes the process of painting and it is usually rolled and stored. Preparing the Canvas Cloth: Preparation of Natural Colors: Painting:
Image 29: Raw materials ready for the preparation of the canvas Image 30: Mixing suddha matti, rice starch, boiled tamarind seed paste and natural tree gum Image 31: Applying the mix on the canvas Image 32: Three even coats on the canvas Image 33: Crushing stone crystals in the stone grinder with the wooden pole Image 34: Cutting canvas pieces from the prepared canvas roll Image 35: Drawing on the canvas with pencil Image 36: Painting the background first in red Image 37: Final touches
Image 38: Ready paste of tamarind seeds Image 39: Thick dough of saw dust and tamarind paste Image 40: Dough is then pasted upon a coconut shellthe canvaD Image 41: Adding features to the mask like eyes, eyebrow, nose, ears etc Image 42: Mask which is completed and dried with basic features Image 43: Applying cloth onto the mask Image 44: Mask after the process of application of cloth and mixture of rice starch and white mud Image 45: Different stages of process from starting to end Image 46: Final product of lord ganesh masks
16 The making of Cheriyal Masks Storytellers used painted Cheriyal masks to build intrigue for the gathered crowd, entertain children and also to decorate homes. The same colours are used for painting the mask as those which are used in painting a Cheriyal painting. For making a mask traditionally, a dry and hard coconut shell is used as the base. Due to its bulge structure, it is easy to further shape it into a face. The coconut shell is dried and it is sanded with the help of sandpaper to scrape off the uneven surface and coconut fibres from the shell. Due to the extensive use of tamarind, in the local market, tamarind seeds are available in plenty. These are best to prepare the paste and it becomes rock solid as it dries. To prepare the paste, tamarind seeds are collected and boiled till it becomes soft and then it is ground to a paste-like consistency. It is then mixed with sawdust, which is available in carpenters’ shops, as waste. Once the paste is prepared, an artisan applies the paste on the coconut shell and shapes it by adding features like a throne, nose, lips, eyes and eyebrows and other ornamental details. This process provides the mask with a three-dimensional structure. After moulding the required shape, the artisan covers the structure with khadi cloth and sticks to the base with the help of the mixture made of white mud, tree gum and rice starch. Then the artisan spreads the mixture evenly with his bare hands and allows it to dry naturally. The mask is now solid and also has a smooth surface to paint upon. Once the mask is dried artisan paints the mask with a single base colour, usually offwhite, red or yellow. Then the detailing like eyes, jewels, lips, and hair is done with their respective colours. Once the painting is Preparing tamarind seeds and saw dust paste Sanding of coconut shell: Applying the paste to the mask: Covering the mask: Painting the mask:
The folk artists of scroll paintings of Cheriyal belong to Nakashis - meaning one who makes the pictures. Cheriyal is a village near Jangaon, a little away from Hyderabad-Warangal highway, in Telangana, where the art of painting on cloth is kept alive in its true and traditional form by a few families. With barely a few artists, numbering 18 belonging to six families, now practising the craft of painting on cloth. These few surviving descendants of folk artists are tirelessly engaged in the making of several scroll paintings at Cheriyal irrespective of market or no market. The Artisans