DISSERTATION REPORT

DISSERTATION REPORT

TRIBAL ART AND ARCHITECTURE OF BASTAR Submitted By: JAI SINGH RAO B.Arch. Fourth Year Seventh Semester BATCH 2017-18 Under the Guidance of: Ar. Raina Garg Associate Professor IATP, Bundelkhand University, Jhansi

INSTITUTE OF ARCHITECTURE AND TOWNPLANNING BUNDELKHAND UNIVERSITY, JHANSI SEMESTER: JULY 2020- FEBRUARY 2021 1

I, deem it a matter of privilege to express my gratitude to Ar. Raina Garg, Associate Professor, Institute of Architecture and Town Planning Bundelkhand University Jhansi, for her inspiration to start this work and prudential help and constant supervision over my work during the semester Last but not the least I wish to express my profound gratitude to my parents, and friends,

who have smilingly embraced my work and supported me.

Jai Singh Rao th nth B. Arch. 4 year 7 Semester Institute of Architecture and Town Planning Bundelkhand University Jhansi

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I, Jai Singh Rao here by declare that this project titled “Tribal Art And Architecture Of Bastar” has been submitted by me to Institute of Architecture and Town Planning Bundelkhand University Jhansi as dissertation report completed in one semester. It is a record of my own work and the matter in this project has not been ever submitted by me for award of any other degree it is a literature based compile work.

Jai Singh Rao th nth B. Arch. 4 year 7 Semester Institute of Architecture and Town Planning Bundelkhand University Jhansi

Sign of external examiner

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TABLE OF CONTENT

CHAPTER. NO. 1

TITLE

PAGE. NO.

Introduction ………………………………………………………………………………………………………05    

Aim …………………………………………………………………..................................05 Objective………………………………………………………………………………………….05 Limitation………………………………………………………………………………………...05 Methodology …………………………………………………………………………………..05

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History ……………………………………………………………………………………………………………….06

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Tribal Art and Use Full Metal……………………………………………………………………….07  

Handicraft (Art and Culture) ……………………………………………………07 Terracotta Craft of Bastar…………………………………………………………..07

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Dhokra Art……………………………………………………………………………...............09 Wrought Iron Art…………………………………………………………………………….10

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Process of making sculpture ……………………………………………………………..11

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Product ………………………………………………………………………………………………………….16

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Production……………………………………………………………………………………………………..18

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Literature study…………………………………………………………………………………………..23  

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Literature study 1………………………………………………………………………….23 Literature study 2 ………………………………………………………………………..27

Conclusion………………………………………………………………………………………………………31

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CHAPTER 1  INTRODUCTION Since ancient times our country has been popularly known for its creativity and culture, and handicrafts have played a major role in reflecting our country’s traditional and cultural ideologies. A part from being a depiction of India’s cultural heritage and priced possession, handicrafts sector has also been a medium of generating employment to large number of artisans. Every state of our country is specialized in creating its own specific art form known as the folk art. Handicrafts belonging to the states of Madhya Pradesh, Chhattisgarh, Jharkhand, Bihar and Uttar Pradesh are mostly trending now a days.

Bastar art is one such age-old art form associated to Bastar district of Chhattisgarh. Various researchers have found out the evidence of existence of this art form during the medieval times of Mohenjo-Daro and Harappa. This art form is further categorized into Terracotta art, Dhokra Art also known as Bell Metal Art, Sisal Art, Wooden Art and Wrought iron art. It is widely practiced in the regions of Kondagaon, Jagdalpur, Narayanpur, Chitrakote (wooden art), Tokapal (Bell Metal/Dhokra art), Tumnar, Balenga, Parchanpal etc.  AIM  The main goal is to preserve the arts related to the Natural, Religious, Mythology and folk tales of the tribals.  The research aims to giving place to Bastar art in Architecture.  The goal use of arts made by tribals art in architecture design.

 OBJECTIVE  To study the challenges and opportunities in market for Bastar Art products.

 LIMITATION  The study would be focussed on the tribal art and Architecture in Bastar region of Chhattisgarh.  The study would be focussed on detail description of the arts of tribals.  The study would be focussed on the different elements to make a tribal art.

 METHODOLOGY  Literature Study  This research paper is based on exploratory research. 

The data for this research paper was collected through various primary and secondary sources.

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CHAPTER 2

 HISTORY The history of Indian handicrafts has been aged old. Indian arts and artisans have astonished people from other countries of the world through their creations since a very long time. Bastar region of Chhattisgarh possesses excellence in creating exceptional artifacts along with a wide variety. The tribals of this region hold proficiency in creating various Bastar art products categorized as Bell metal or Dhokra Art, Wrought Iron art, Sisal art, Wooden art and the Terracotta art. There is an elevating demand of these products but in spite of that these products fall short in reaching the target audience and the artisans are striving to earn their livelihood due to the barriers in marketing, which in turn arises a need to identify the marketing opportunities and come up with apt strategy to resolve the existing issue. This research paper is intended to scrutinize the challenges in marketing of these products along with emphasis on the opportunities in this sector, also underlining the role of emerging media in marketing of these tribal products. It also presents a SWOT analysis of this segment along with emphasis on present market links and some of the existing government schemes.

Tribal Art Handicrafts from Chhattisgarh In India Are One of The Most Famous and Renowned Tribal Art Form of India. The Bastar District Specializes in Preparation of Items Like Dhokra Art Handicraft and Bastar Wooden and Metal Crafts. The BELL METAL or DHOKRA is one of the earliest known method of metal casting.

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CHAPTER 3 

BASTAR ART AND USEFUL METALS

Bastar art can be divided mainly into woodwork, bamboo art, soil art, and metal arts.

Wood art works are mainly used in wooden material to make Bastar culture, festivals, creatures of gods, statues of gods and goddesses and decorations.  HANDICRAFT (ART AND CULTURE)

In the tribal arts of India, the traditional tribal Bastar art is famous around all over the world. This art is practised by tribals of Bastar region of India and is known throughout the world for their unique art works. The tribal communities of Bastar have been protecting this rare art from generation to generation, but in the absence of publicity it is restricted to weekly haat and markets. This art is made by conventional tools rather than using the modern excellent machines. Bastar art can be divided mainly into woodwork, bamboo art, soil art, and metal arts. Wood art works are mainly used in wooden material to make Bastar culture, festivals, creatures of gods, statues of gods and goddesses and decorations. Bamboo art is made with bamboo sheets, chairs, living room, table, baskets, mat and home furnishings are made. In soil art, the statues of goddesses, decorative utensils, vases, pots, and household furnishings are made. In the metal arts, artifacts of copper and tin mixed metal are made, mainly in which statues of goddesses, idols of worship, idols of tribal culture, and home furnishings are made.

Bastar district is almost covered with forests. The large population and different tribal communities present in India resides in this region only. The Wall of Bastar Crafts attract the attention of art enthusiasts and connoisseurs all over the world. Bastar artifacts generally reflect the rural lifestyle of the tribal community.

 TERRACOTTA CRAFT OF BASTAR

Terracotta, the word stands for baked earth. It is made from natural clay, which gives it a characteristic reddishbrown colour. The inexpensive and durable craft form is also widely used in decorative arts. Traces of terracotta pottery can be found in one of the earliest civilizations of Mohenjo-Daro, Harappa, Kausambi, Mathura 7

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and Kashi. Vedic period also displays a significant tradition of pottery and terracotta prevalent at those times. This craft of Bastar, which is known for its unique and intricate style, is famous for its elephant and horse figures. The craft form is an outcome of various social, religious, and functional needs of the region.

Devkot at Kumharpara, Kondagaon

Devkot at Kumharpara, Kondaga

Devot at Kumharpara, Kondagaon Devgudi at Village Edka, Narayanpur 

Terracotta Art form is practiced by the Kumhara tribe of Chhattisgarh. This art form is practiced in Bastar since a very long time, earlier it was only restricted to creating utensils and this art form was in poor state. A very few artisans in earlier times could dare to create idols or other designs, but later on the artisans created artifacts depicting their cultural and religious patterns which became highly popular in market. Every year these artisans come up with different designs for displaying it in exhibitions. Recently the “mrinshilp” created

by Kumhara tribe is grabbing higher demand and so the government is taking efforts to conduct survey in villages and find out the best artisans and give them bulk orders. Earlier the designs of these artifacts used to be simple but now a days the artisans are taking their best efforts in adding more and more creativity to it and make more attractive. After our country became independent initially there were a very few art forms which became popular and Bastar Arts is the primitive one amongst those art forms. In the year 1968, world famous scholar organized “Unknown India: Ritual Arts in Tribe and Village”, in this exhibition of Indian art forms in an international platform was done in which the artifacts of Bastar region were also included. Since the year 2000, Nagarnar, Ekda and Makri have been considered as prime centers of this art form. Each region has its own discrete design which distinguishes it from the other regions, Nagarnar is popular in creating designs of horse and bull, Ekda is popular in creating lion and elephant idols, Makri is more popular in creating idols of gods and goddesses. Firstly, the idols made of soil are heated to red colour after the heating 8

process they turn slightly black. After heating the artifacts, they are kept for drying for 2-3 hrs. These idols are not kept in sun for drying to avoid damage. After this lastly these idols are coloured with clay obtained from the sides of river bed for imparting colour to it.  DHOKRA ART Dhokra Art an age-old creation by the craftsmen of Bastar. Primarily this art form is practiced by the Ghasiya tribe of Bastar. It is prepared by foundry of metals such as Copper, Zinc, Tin etc in mixed state to create idols, jewellery, utensils, decorative items and other utility products. These artifacts crated out of a mixture of soil, wax and metal are extremely attractive. Since wax from beehive is also used in preparing these artifacts the technique for preparing these artifacts is named as the “Lost Wax Technique”. In this the art work is made out of metal but the craftsman molds it with the help of wax. Firstly, as per the required design, mold is prepared out of clay. Then this clay mold is covered with wax obtained from beehive after which it is imparted with desired design. After this again a coating of clay is provided so as to copy the design over it. Finally, this piece of art work is heated, during this process the wax melts which creates empty spaces, after this a diffluent substance is inserted in the gaps generated. This diffluent substance takes the desired pattern as imparted to the clay, then as soon as the metal solidifies the coating of clay is removed. Lastly the objects generated out of metal are subjected to final finishing to obtain a bright sheen. Some of the popular designs are idols of gods and goddesses, peacock, horse, elephants, tribal warriors etc.

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WROUGHT IRON ART In Chhattisgarh state there are two types of tribes indulged in practicing this art form, Lohar and Agriya. Both these tribes create daily utility items and agricultural tools but the most famous products carved by them which are the lamps and other decorative items are created by the Lohar tribe. Traditional artifacts of this art form created by the tribals are presently in trend but since these items are less in consumption, so it becomes difficult for the artisans to earn their living. Fortunately, the local consumers contribute in creating a stable market for these products but still struggles persists to increase consumption on a greater scale. Raigarh and Sarguja region of Chhattisgarh are popularly known for practicing this art form. Since past few years various designers have been motivating the artisans to come up with various discrete designs. Some example given below

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CHAPTER 4 

What is process Potters use black and red clay for making terracotta products. The reason behind using black clay is that it is used for fashioning pots and figures and has flexibility to assume any form. The clay is collected from riverbanks and lakeshores. It is mixed with sand and then kneaded by feet to make it smooth. Then small lumps are made. Votive terracotta figures are hollow and created with cylinders and pots of various shapes.

Potters throw cylindrical form of clay lumps on wheel to form the limbs, body, neck and head, and these are then joined together to assume the final form. The joining of these parts reveals the mastery of this craft. For joining legs, potters place four legs on the ground in the final position with a carefully measured space in between both the pairs. They place the extended jar-shaped body on the legs with the bigger opening towards the back. Then by piercing a hole in the body and by putting his right hand inside accurately over each leg, they join all the legs. The other parts i.e., neck and head are also joined in a similar manner. On completion of this process the work of decoration begins. As a tradition of offering votive elephant on fulfilment of wish, potters’ ornate elephant highly with coil decorations covering the whole of their face and back. They are further decorated with rows of small bells. On completion, it is kept under the sun for drying.

Geru or Terra sigillata is a red iron oxide slip prepared from red clay and tree skin. Red clay is dissolved in water and kept in a clay pot (Matka) overnight. Next day, dry skin of a tree is extracted, boiled and mixed with the clay solution. The tree skin makes the color more permanent on the terracotta figure. The mixture is then boiled again, which makes the solution more viscous. Once the solution is ready, it is diluted with water and then applied very thinly on the almost dry unfired ware. It is then slightly burnished with a soft cloth and is allowed to dry again to remove the added moisture. Then the clay products are fired to a lower-than-normal temperature of approximately 900 °C. The temperature is controlled by a solution of cowdung and water, which is sprayed constantly on the burning hay. Higher firing temperatures tend to remove the burnished effect in the clay surface. It is the last step of the process. Once ready, it makes its way to the market or to a place of religious significance

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CHAPTER 5 

Products

The clay of Bastar region has tremendous plasticity and strength, hence good for making big pots. Initially only handis, pitchers and pots were made for sale in the local market. It gradually increased to creating masks, animal figures and sculptures. Now contemporary forms like penholders, lamps, and paperweights are also made. Animal figures of Bastar elephant and horse are the most famous ones, renowned for their unique style and ornamentation.

Clay Figures of local Tribes

Clay pots

Bastar Elephant

Ganpati on a clay pot

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Bastar showpieces

Bastar showpieces

Bastar Elephants and other showpieces

Bastar Elephants and other showpieces

Bastar many different type showpieces

Bastar many different type showpieces

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CHAPTER 6 

Production Designs: Bastar art products are created in accordance to the consumer preference and taste. These products are classified into three categories on the basis of their designs.

1. Customary Products: These products use the antediluvian and traditional designs.

2. Contemporary Products: These are the ones that are created according to the prevailing modern designs.

3. Confederacy Products: These products are fusion of both the designs i.e., the customary and contemporary designs.

Customary

Confederacy

Contemporary

Fig-Representation of the types of designs

Artisans are dependent on traders, master artisans and considerate society for disposing the end product. Few craftsmen prefer to sell it straight away to consumers while others favour to sell it via the dealers, master artisans or obliging society.

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Lots of times these dealers sell their products via the emporiums which directly appends to galaxy of customers. Producers of these tribal products mainly dependent on other links for selling their product.  The various genres of selling are:  Genre 1: -The producers sell their creations straight away to consumers.

Producers

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Genre 2: The producers sell their artifacts to traders which sequentially sell these creations to the consumers.

Producers

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Customers

Dealers

Genre 3: -The producers sell their creations to government associations such as TRIFED which sequentially sell them to consumers.

Producers

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Customers

Government Organizations

Customers

Genre 4: -The producers sell their creations to the considerate society which sells it to government emporiums which sells these products to customers.

Producers

Government Emporiums

Obliging Society

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Problems: I. Increasing competition.

II. Lack of proper infrastructural facility to the artisans.

III. Declining returns on Bastar Art products without understanding the number of labor involved in generating the product.

IV. Lack of availability of raw materials especially for art forms like wrought iron art form and some wooden art form requiring some specific raw material source.

V. Competing with the machine-made products in the market.

VI. Lack of direct link of the artisans with customers as middlemen ruin the scenario in present circumstances.

VII. Lack of apt marketing strategy for promoting these products.

VIII. Less involvement of every artisan by the government in marketing. Some artisans don’t get chance to display their products because of this.

IX. Less focus on advertising these products on a larger platform to grab masses.

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Existing Government Efforts in Promotion: As per the constitution of our country the responsibility of promoting and developing these art forms is subject to the state government, and the central government only complements endeavors of the state government. For the purpose of fortifying the comprehensive expansion of this sector some specific schemes have been instigated: 1) Market Service and Support Plan: Adopted for generating awareness about the artifacts amongst the consumers and also to extend financial support to state corporation to initiate number of shops.

2) Research and Development Plan: Adopted to collect opinions on fiscal, artistic, societal and encouragement facets of these art forms.

3) Training and Extension Plan: It aims in achieving competence building.

4) Special Training Projects for Handicrafts: To increase the opportunities in this sector and to enhance the skills of artisans.

5) Baba Saheb Ambedkar Hastship Vikas Yojna: It aims in increasing participation of artisans 6) Export Promoting Plan: It aims in elevating the the promotion by stressing on some specific products such as rugs. Major elements of this plan include development and welfare.

7) Bima Yojna for Artisans: Life insurance is provided to artists between the age group of 18 to 60 yrs.

Impediments: The prevailing pattern of consumption is a matter of concern. There is an escalating demand for Bastar Art products in domestic and international platforms but the problem lies with the accessibility of these products, consumers are unable to access these products and the problem lies with the current marketing pattern which is turning out to be less effective in grabbing the right audience. Also less educated artisans are a subject of worry because they are duped by the middlemen. Also, there are some unfair practices carried out by some non-tribal artisans who charge extremely high value for the same products available in less price with the tribal artisans so such practices become a means of declining customers. Also, some inimitable products which were very popular earlier are diminishing from the markets because of lack of consumer awareness. Also, there is production of some less profitable products in bulk which are mostly stocked, such products should be eliminated from the product line

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6.

7.

8.

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Role of emerging media in marketing: Now a day’s social media indicates the technique of communication between the folks on such a way that enables them to share and switch ideas and information in a virtual platform amongst various networks. It is largely dependent upon the web based as well as mobile technology usage with the help of which users can contribute, converse and amend consumer created content.

It contributes in creating considerable and influential transformations in communication between several parties. This wide platform is fragmented into various units such as Wikipedia, forums, podcasts, social networks, e- magazines, bookmarking and rating, videos e.tc. A website provides a vibrant platform which allows individual to generate independent content and describe their own experiences. It’s one of the most important means of promotion these days.

These mediums allow to convey large amount of information in an accessible form. It is highly useful in brand building through enhanced interactions. It has made interaction between the consumers and interaction between consumer and supplier easier. The promotional activities could be merged flawlessly with online purchasing. It enables the consumers to achieve one to one and one to many types of activities.

SWOT Analysis:

Suggestions: From Artisan’s Perspective following changes are desirable: Every product should be allotted fair pricing.

The product should reach the customer on time.

The product should be able to grab larger masses.

Some of the art forms need quality control checks.

Efforts should be taken by Government for availability of raw material.

Various timely changes in designs of the products are desirable.

As Dhokra art has been allotted the GI mark, other various art forms should also taken into account for allotting copyright of products.

There is a necessary action desired from government’s side to cope up with the existing marketing trouble.

Rigorous advertisement and marketing strategies should be opted for promotion.

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10. Regular display of products in fairs and exhibitions in national and international platforms is desired with more and more entries by artisans.

11. Apt amount of capital should be provided for modernization in designs.

12. Exemption from taxes is desirable.

13. Artisans should be provided with some fixed regular wages.  From Government’s perspective following changes should be considered: 1. Infrastructural support is desirable.

2. Every craftsman should be provided with equal chances and opportunities of production.

3. Workshops for training should be organized with increased number of participants.

4. Workshops focusing on new trends in designing should be conducted.

5. Facilities for direct marketing should be provided to eliminate the intermediate linkages 6. Promoting the growth of marketing complex for such products.

7. Indulgence of corporate houses and private houses is desirable for promoting these products.

8. Assistance should be provided to revive diminishing art forms.

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LITERATURE STUDY-1

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 INTRODUCTION The Museum of Tribal Heritage at Bhopal was commissioned by the Government of Madhya Pradesh in 2004 since over 30% of the population of the state is tribal. It’s architecture was informed by their rich culture, evolved over millennia. The architecture of the museum, integrates seamlessly into a continuum, the outside with the inside, the natural with the human construct, the tribal with the urban and the viewer with the viewed. The cultural diversity seen in Madhya Pradesh is hard to find anywhere else. Almost oblivious of political boundaries, communities living in states’ peripheries, tribal communities continue linguistic, lifestyle, music and cultural exchanges.

 SITE LOCATION (1) LONGITUDE: - 77° 23‘05.16 E (2) LATITUDE: - 23° 14’04.23 N (3) ALTITUDE: - 1856 FT

 DESIGN FEATURES: The architecture of the Museum is inspired by tribal rhythms geometries, materials, forms, aesthetics and spatial consciousness, these very qualities are now acting as points of inspiration for the display materials being created by tribal artisans, supported by anthropologists, sociologists and social workers. The structure is built of steel tubes, castellated girders, and steel rods fabricated into intricate trusses. Steel seemed to be a natural choice in the land & location of ancient Iron Age & Bronze Age civilizations, and the contemporary truck body building industry.

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The State Museum of Bhopal is amongst the best-designed museums in India. The museum has 16 different theme galleries, showcasing the State's sculptural masterpieces, pre-historic articles and fossils, excavated objects, epigraphs, manuscripts, paintings, royal collection, textile, documents, postal stamps, autographs, miniature paintings, coins, arms and weapons, articles associated with India's freedom struggle. The museum also has reproductions of the nowdestroyed Buddhist Bagh Cave paintings, 84 rare Jaina bronzes of the 8th to 11th centuries, Avalokesteshwaras of Lamaism, Saivite sculptures and miniature paintings showing the graceful lifestyles of those distant days. The task of establishing this specialty of Madhya Pradesh andbetter understanding and display of its multidimensional culture will be accomplished in Gallery – 

The gallery will be arranged in manner that will leave a deep impact on visitors about Madhya Pradesh’s multi-pronged cultural presence. Like shoots of banyan tree spread far and wide and are not confined to some definite limits, in the same way culture of various tribes of Madhya Pradesh will be put on display over there. Visitors will directly observe here as to how cultural offshoots of a tribal community crawl into other tribes beyond borders of neighboring state. Pattern of the gallery will be briefly as under:-

1. A glimpse of Madhya Pradesh’s map will be put up in entire middle part of the gallery in such a way that a visitor will have inkling about state’s geographical contours, hills, plateaus, forest and serpentine path of lifeline Narmada. Despite being map of Madhya Pradesh, it will give visual effect of an uneven hillock.

2. A banyan tree will be built amidst this map or hillock. Of shoots the banyan tree will be spread up to sky (gallery’s high ceiling) and surrounding states’ tribal culture (whose glimpse will beshown on the gallery’s walls) whereas roots will be spread on the gallery’s floor. This vast tree will be made a via media for various mediums so that there is no excessive burden despite it being strong so that gigantic and majestic look of the banyan tree (which is also state tree and state’s emblem) is maintained.

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3. Geographical presence of all the major tribes living in Madhya Pradesh will be symbolically shown on the map drawn in the lower part of the gallery with the help of their important symbols.

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TRIBAL AESTHETIC As pointed out earlier, there no such thing as art separately in tribal life. But if look inversely, not even simplest of things like broom or sil-batta (grinding stone) are not untouched by aesthetics. Under these circumstances, it is difficult to decide what to include and what to leave. Therefore, we have set a target to collect rituals of life cycle and songs of season cycle in aesthetics gallery. There is a marriage canopy in the midst of gallery, which will be under the shades of four vast trees, each having identification emblem of four different tribes. It will be more appropriate to say that myths about origination of nature will bless marriage, which is symbol of completeness and continuity of life.

Efforts are being made to provide opportunities to witness all the hues and gallery from all angles from below or above in one way or other. Two levels are being built in the marriage canopy being created in the midst of the gallery so that visitor can see not only marriage rituals and symbols ingrained on trees, but will also have an overall minute view of entire gallery. At one door of the gallery, terracotta images depicting Bhil death rituals and concept of world of the dead. These images are dedicated to souls of the dead persons and in a sense this a short-term habitat for these souls. These terracotta images are generally installed on ground. But idea behind their installation here has been conceived with a view to giving opportunity to viewers to understand its basic concept with a different angle. It is as if we are watching this world of the dead from any other plain or the Earth from any other planet. There is also a possibility to watch this world of the dead moving in the space like a constellation. There is concept of a separate world for the dead in Bhil and Bhilal myths. Invitation is extended to these dead persons in specific language of the dead called “Muruwa” on special occasions. Earthen lamps are also placed on these images on special occasion, which will be arranged in the gallery with lighting arrangements.

On the occasion of marriage, new daughter-in-law is given brass bracelet or ring in tribal communities on which symbols of productively ke well/stairwell/ploughing pair of bullocks/farmer/field etc are ingrained.

This bracelet is very small and is not worn. She keep the bracelet in her hand at the time of preparing seeds.

A large image of this bracelet has been made in the gallery. Besides marriage, rituals pertaining to birth of children and death of people will also be shown in totality in the gallery. Here, folklores linked to these, rituals and rites, and all and aspects of its process through physical things will be seen and understood.

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LITERATURE STUDY-2 

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INTRODUCTION Handicrafts form a valuable cultural trait of a society from the beginning of the civilization. The cultural pattern of a society is reflected through the quality craft and craftsmanship of the people. Bastar a tribal district of Chhattisgarh is the Land of Handicrafts & Natural Resources. This Divine Land is also enriched with Natural Beauty which makes it a paradise for tourists. The deep forest area between bushes and bamboos where one always feels the absence of sunlight, wide and thick forests, between high mountains cool flowing streams, sky-touching mountains, caves, high waterfalls, and in the valleys the spread of greenery and in between this, the huts made by bamboo sticks, the fearless life style of the tribals and their culture, one's heart and mind would be filled with new wonders and pleasure. Bastar is famous for her handicrafts which exhibit the skill and creativity of her artisans. Handicrafts are the visible symbol of cultural behaviour. Craft involves a technology as well as art. Any articulated product in the sphere of creativity could be termed as an artistic handicraft. The person who imagines and creates these hands made goods of different origins forms is called as craftsman who is otherwise known as Silpi, Kalakar, Ghadwa, Karigar etc. The craft culture of India shows the firm base in the country's age-old artistic traditions. This is very true of Chhattisgarh as well as of Bastar region. The glorious archaeological monuments with their beautiful architecture and exquisite sculptures are a living testimony to the rich artistic traditions of the Bastar. The artistic traditions are also reflected in Bell metal craft, wooden art, iron art, bamboo, terracotta, jewellery and other items of finery and aesthetic sensibilities. Survival for the ethnic population is dependent on the unfathomed ways of nature. The art of iron making is has been known in India from early vedic period and Rig- Veda several references of iron (ayas) has been made They seem to instinctively sense the very core of nature, converse with its majestic silence and learn from its ancient wisdom. The tribal society of Bastar is famous for their excellence in making exotic handicrafts with a variety of designs and shapes. Basta, being a district full of forest, containing finest quality of teak and other types of woods from which very attractive wooden carving crafts and various types of furniture are being made by the skilled and experienced hands of the tribal's.

METHODOLOGY: Surveys were carried out since 2008 in all the blocks of Bastar region of Chhattisgarh, following standard method to get the information of the handicraft’s product of Bastar. Personal interviews with the village head, group discussion and assistance of local informants were used.

RESULT: After six months of investigation, it was found that bell metal craft (Dhokra art / Ghadwa art), wrought iron art, terracotta craft, wood carving, bamboo craft, tribal jewellery art and Cotton Fabrics are indigenous product of Bastar.

Bell Metal Craft (Dhokra Art / Ghadwa Art): The bell metal or Dhokra Craft is one of the earliest known methods of metal casting. Metal pieces akin to Dhokra objects and figurines have been discovered at Harrappa and Mohenjodaro, leading to the belief that this craft dates back to prehistoric times. Today this craft is practiced extensively in Bastar, in the areas of Raigarh, Sarguja and most importantly in Bastar. Dhokra essentially refers to the casting of bell metal or brass using the ‘lost-wax’ technique, In Bastar district of Chhattisgarh, it is the Ghadwa community that is associated with this craft. Interestingly, in local etymology, Ghadwa means ‘to shape or create’. A variety of products are created by the Ghadwas for local use such as effigies of local deities, vessels, and jewellery.

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Bell Metal (The Process): The traditional lost wax technique is simple and ideal for use in tribal settings. The craftsman begins by winding a slim thread of wax over the contours of a clay core. It is then thickly coated with fine clay obtained from termite bills, and baked on drying, leaving a narrow vent to melt away the wax. The vacuum created between the core and the clay layer is filled with molten metal, which is then allowed to cool down and solidify. The moment that follows is loaded with anticipation, for it is then that the outer clay mould is cracked open, revealing the beauty of the final sculpture.

Simple as this whole process seems, it requires great precision and skill. The metal must be able to flow uniformly and freely through the narrow spaces, and replace the wax without forming any bubbles or gaps.

Cow dung, paddy husk and red soil are also used in the manufacture of Dhokra artefacts, of all the raw materials used by the Ghadwas, the most important is beeswax. Besides the essential contouring, wax wires and pieces are also used for decorations required for finishing the artefacts. It is used because of its extraordinarily high plastic content and pliability, generating a rudimentary but powerful stimulus for the intensive design and faculties of the artisans. Examples of lost wax casting (also known as ‘cire perdue’) are found across the globe, but the coiled thread technique is unique to Bastar. A glance at the traditional baskets provides a clue to its origin. The basket makers would wind grass around a rope, which was then coiled into shape. The same technique was translated into metal only much later, with forest dwellers being dependent on natural product long before they began to use metal. Metal anklets with basket weave motifs, and beautiful containers reminiscent of wicker baskets also point towards such a transition.

Wrought Iron Art: The dark raw forms of the metal artifacts and figurines of Chhattisgarh, appear as a reflection of its own people. Both share a coarseness that is underlined by quiet elegance and dignity. The inherent respect that the ethnic people have for the environment means that the raw material used for this craft is predominantly recycled scrap iron, with the rich ore mines of Cherangdungri occasionally acting as the supply source. The method of production is simple, yet effective. Metal is made pliable by beating it in furnaces, and then shaping it carefully into basic form using bummer and tongs. Mastery over the craft is evident in the fact that no joints of any kind appear in the products. On completion, a coating of varnish is applied, to enhance its cluster.

Lamps; candle stands; effigies of musicians; toy animals like lions, monkeys, and deer; an assortment of figurines and deities; and ritualistic objects like jhaari and laman diya typify the product range. Kondagaon, Narayanpur, and Umargaon villages of Bastar are the centres of this crafts in Chhattisgarh.

Terracotta (The Process): The expertise and skills required for producing the terracotta artefacts have been banded down from one generation to another of the Kumhara community. The Kumharas source the raw material from the Indravati River.

The upper river soils are used to create the forms by employing rudimentary tools like the potter’s wheel and wooden spatula. Many hours in a gentle slow fire imparts vital strength and stability to the creations. They are finally coated with the deep river soils that lend a dark sienna tone to these elegant artefacts. With the magic of their skilled bands and inherent creativity, the potters create exquisite matkas (pots), handiyas (bowls), and lamps. Ritualistic offerings in form of animal figures of elephants, horses, bulls, and clay masks constitute an integral part of terracotta craft. Examples of immense sophistication and ingenuity of indigenous technology are the water carrier or surahi, and the wick lamp. Contemporary forms like pen holders, lamps, and paperweights are also created, in keeping with modern day requirements.

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Wood Carving: This is one of the most famous, beautiful and unique art of wooden carving of Bastar tribals. These wooden crafts are made out of the finest teak wood and white wood. These wooden crafts include models, Idols, wall panels, furniture items etc. Among the furniture items Deewan (Cot with box) is very famous and attractive since it involves the art of carving with different pictures of Bastar culture and other designs of interest. These handicrafts are generally exported to different places of the country, and it has demand even from foreign countries also. Bastar is a region with extensive land cover, with large forests of sheshum and Shivna thriving in the area. Initially, the tribals used the forests to source wood for basic needs like firewood and building shelters. Over a period of time, they began to use wood for carving objects and other forms of carpentry, precipitating in the emergence of a community of people skilled in this craft, called the Badais. The badais then diversified into two groups- one making agricultural instruments and others making decorative and totemic pillars. Simple tools made of wood or bamboo is used by them. The kaas is employed to remove the bark of the trees and scrape the wood surface. When carving, scraping and shaping has to be done, the Poh chisel and the smaller sala One of the places where the badais skill can be seen is the ghotul. The youth dormitories of the Muria once stored dancing stilts, carved wooden head gear or kutual, and large drums used during the dances, Even today, the boy’s gift intricately carved wooden combs to the girls as a token of their affection. Reflecting the mood at the ghotul, are doors and pillars carved with elaborate images of amorous couples indulging in merry making. Motifs such as combs, sun and moon, bfloral and geometric designs also appear alongside. poh are used.

Bamboo Craft: Banboo craft are deep rooted forest in traditional culture of all three-ethnic group of Bastar. Various attractive eco-friendly products are made out of bamboo and cane, such as fruit and vegetable baskets, mugs, flower vases, tea trays, carry bags, containers, baskets, dustbins, mats, etc. The Bansods of Chhattisgarh make more than 200 different varieties of bamboo articles including a large assortment of baskets. The Kamar tribals of Raipur are adept at making baskets and other items like fish traps, mats and bird traps from bamboo.

Cotton Fabrics: Cotton Fabrics are one of the famous and attractive handicrafts made by the tribals of Bastar. These are made of Kosa thread which is made from a kind of worm found in the forest, hand woven and hand printed by tribes who trace their lineage to the 14th centuary weaver-saint-poet Kabir. The hand printing is generally done with the natural vegetable dye extracted from ail, found in the forest of Bastar. These fabrics includes cotton saris well-known as Bastar Kosa Sadi, dress materials and drapes.

CONCLUSIONS: India a land of unity and diversity with many cultures and rituals is having a highly potential state like Chhattisgarh which is rich in tribal Handicraft. Bastar district of Chhattisgarh is one of the tourist destinations in India. The traditional handicrafts product of Bastar is very popular among the tourist. By promoting the handicraft of Bastar we are not only revealing the hidden talents of the artisans to the world but also strengthening the Indian culture by escalating it in the global scenario.

ACKNOWLEDGEMENTS Authors are thankful to Mr. Bhupesh Tiwari, Secterey, Sathi Samaj sevi Sanatha, Kondagaon and all other staff of Sathi Samaj Sevi Sanatha, Kondagaon for providing necessary information. Mere diction is not enough to express the heartfelt gratitude to tribals, ethnic groups and traditional Craftsman of my study sites who have been associated directly or indirectly with this study and continuously extended support, help, cooperation and inspiration to achieve my target.

APPENDICES: Anupam Kumar Tiwari: Bastar Handicrafts: The Visible Cultural Symbol of Bastar region of Chhattisgarh

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Figure 1: A Ghadwa Artisan at Work

Figure 3: Terracotta Craft

Figure 5: Bamboo Craft

Figure 2: Wrought Iron Art

Figure 4: Wood Carving

Figure 6: Cotton Fabrics

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CHAPTER 8  CONCLUSIONS:  Baster art depicts an ancient history and civilization. Such as the Harapan civilization which provides employment to the tribals of Mohenjo-Daro civilization. We can give their work another place in the architecture field by using them.

The crafts of tribal artisans of Bastar are deeply impacted by their religions and rituals. These tribal art products are astonishing and due to this reason, the consumers are attracted to them and some of them are even ready to pay higher charges for these products. Here’s when the brokers come into the picture and try to dupe the consumers as well as the artisans by unfair pricing policies to generate profit for themselves. It has become an inevitability to impart strategic direction to foster the existing system. Desirable measures should be taken with the help of innovation and technological advancements to encourage these art forms.

We came across a few suggestions for the artisans as well as the government organizations and also highlighting the role of emerging media in marketing which could be fully explored to generate potential clients, along with the SWOT analysis of present scenario of this sector. So basically, the conclusion drawn out of it is that there is a need of earnest and genuine approach towards accepting the fresh modern-day techniques and approaches of marketing and merchandise communication.

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 BIBLIOGRAPHY

1. https://youtu.be/5NpqqS9YZ3c 2. https://youtu.be/JIdj2SsY20A 3. https://youtu.be/bBCSC0cvMn8 4. https://youtu.be/80lHDzWqUI8 5. http://www.dsource.in/resource/terracotta-craft-bastar/contact-details 6. https://issuu.com/home/publisher 7. https://www.quora.com/What-are-the-major-Bastar-art-and-crafts-popular-in-the-country-1 8. Websites: www.bastar.gov.in,www.trifed.in 9. Yadav M, Kumar V and Mishra M, Research study on woodcraft and Carving Industry at Bastar in Chhattisgarh and Jodhpur in Rajasthan, Report (Indian Institute of Forest Management, Bhopal).

10. Mohanty PC, Handicrafts: The Visible Cultural Symbol of Ganj am District, Orissa Review, (2010), 3943.

11. Tiwari B, Diagnostic study artisan the bell metal cluster Kondagaon (Chhattisgarh), Report (Cluster development programme, India), 2002.

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