Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making by Astha Singh

Photograph taken by Ashita Shrivasta

कारी

Unfolding Story of Varanasi Wooden Toy Making

© Kashi Kaath Kari| MRID 2018 This craft documentation is written, edited, illustrated, designed and photographed by students of MRID – The M.S. University, Baroda. 1) Astha Singh Bachelors of Communication Design 6th Semester Batch 2015 - 19 2) Ashita Shrivastava Bachelors of Communication Design 6th Semester Batch 2015 - 19 3) Aakansha Karnawat Bachelors of Communication Design 6th Semester Batch 2015 - 19 Publication Year February 2018 Craft Documentation is for academic learning purpose only. Guided: Avani Varia

MRID MAHARAJA RANJITSINH GAEKWAD INSTITUTE OF DESIGN

Maharaja Ranjith Singh Gaekwad Institute of Design (MRID) Sayaji Bhawan, behind MSU head ofﬁce, Pratapganj, Vadodara (Gujarat) All rights reserved under international copyright convention. No part of this document may be reproduced or translated in any form or by any means, electronic or mechanical, including photo -copy, recording or any other information storage and retrieval system, without prior permission in writing from the copyright owner.

कारी

Unfolding Story of Varanasi Wooden Unfolding Story of Varanasi WoodenToy Toy Making Carving

Craft Documentation by : Astha Singh Communication Design

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Ashita Shrivastava Communication Design

Aakansha Karnawat Communication Design

Photograph taken by Ashita Shrivasta

Acknowledgement

In our journey towards exploring the mystics and Art & Craft of Varanasi, we were fortunate to have met several people who assisted us in our project and it is only due to their guidance that we were able to succeed in preparing the documentation which was assigned to us.

We cannot thank Godavari Ji enough who is the pioneer in keeping alive this craft of wooden toy making.

Our deepest gratitude goes to our course instructor Ms. Avani Varia who very thoughtfully studied our initial preparations and chose the appropriate region and craft which needs to be brought into the limelight as they are on the verge of extinction. She assigned this particular region to us although wooden craft is also being carried out in various parts of India. Wooden craft in Varanasi still strives for recognition and hence our instructor emphatically deliberated on this topic in general and Varanasi in particular.

Mr. Dipti Prakash Mohanty who is the Dean of Visual Arts Faculty at BHU needs a special mention as he permitted us to gain access to library and meet concerned persons who guided us on our topic.We are grateful to professor Singh who is the Director of Bharat Kala Bhavan and Former head of Dept. of History of Art, BHU. He informed us about the origin of Kashi and guided us to research more on the type of woods than the craft itself to get the better understanding of the subject.

Krishnalal Ji was very helpful in informing us about the tools that are used in this craft.

Our heart felt thanks goes to our institute MRID, Faculty of The M.S. University who supported our cause and gave us the necessary papers and documents to commence our project.

Gopal Agrawal who is known as the king of Handicrafts in Varanasi, owns a large shop of handicraft which houses all the varieties of crafts. We thank him immensely for letting us study each product and also for allowing us to We are very thankful to Yogendra Singh, photograph them. Rajesh Kumar Kesari, Prahlad Das Gupta, Jitendra Kumar Gupta, Ravindra kumar This document could not have been Gupta, Rahul Kumar Gupta, Sanjay Kumar completed without the valuable support Verma, Chaupal Prajapati, Rajesh Kumar, in content writing by Ms. Manisha Singh, who are the artisans engaged in wood mother of one of the team members, craft industry at Varanasi. Astha Singh. Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Permission and Consent Letter

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Permission Letter Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Consent Letter

Photograph taken by Ashita Shrivasta

Table of Contents SWOT

Social & Economic Condition

Organisation & Government Support

Our Suggetions

Conclusion

Work Input by Team

Our Experience

Budget for Craft Documentation

List of Important People We Met

Artisan ProďŹ les

Bibliography

Colors and Motifs

Themes of Products

Glossary

55 56 57 58

Purpose of Craft Documentation

Introduction

1.Wood

Varanasi

1. Etymology 2. History of Varanasi 3. Climate of Varanasi 4. Physical Map 5. Demography 6. Culture 7. Education 8. Landmarks

13 14 15 17 18 19 20 21

3. Tools

History of Traditional Toy Making in India

Handicrafts of Varanasi

History of Wooden Toys

Areas Involved in Toy Making Process

Makers

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Raw Materials & Tools 2. Lac (a)For wood Carving & Turning (b)For Lacquerware

33 34 35 36 37

Process

1. (a) Wood Carving

(b) Painting

2. (a) Wood Turning (b) Lacquering

1. Religious 2. Cultural

3. Animals & Birds 4. Traditional & Modern Toys

59 07

Photograph taken by Ashita Shrivasta

Purpose of Craft Documentation

Craft Documentation is a process of recording, categorizing and dissemination of information, through both graphic and written mediums. The process documents and explains the significant characteristics of a craft; the materials, process, tools and techniques involved in creating it. The recording process initiates with gathering information through literature study, followed by recording through field drawings and photographic documentation, which would later take form of a document, report or plate, depending upon the number of stages involved in order to carry out a particular craft. The “Craft Documentation” expects the student to get in depth knowledge about the chosen craft by being physically present in the field where that craft is concentrated and by studying the experiences, lifestyles and hardships that the artisans have to go through in keeping their tradition and heritage alive although it barely provides them the means of subsistence. We get an opportunity to understand the micro level industry as well as establishing relationship with the craftsman. We feel humble and sense a strong urge to help in uplifting their position in society and bring their art to fore.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Photograph taken by Astha Singh

Documenting a craft can be both- challenging and thrilling. It is

no less than an adventure even though we must employ all the methods in a systematic manner in preparing our presentation.

Introduction

Initially we were asked to list down the crafts of our own choice which were later shortlisted by our guide and than one final craft was chosen. The subject of wooden craft in Varanasi is a very fascinating topic of which very few are aware of. Our guide wisely asked us to gain in-depth knowledge on this topic, and through this documentation we hope to bring enlightment on this craft to the people. Our documentation involved mainly 5 processes - 1. Selection of the topic; 2. Data collection through library, through e-books, & through works done on similar topic; 3. Physical presence at the site, interviewing, and documenting craft through photography & videography; 4. Compiling all data and preparation of document; 5. Designing the final layout of the document and adding the appropriate images for effect. Varanasi, being the cultural center of India is also rich in the craft of toy making and is gifted with a community of craftsmen who have been practicing this craft and passing it on from one generation to other. Although, the market is overflowing with the modern plastic and metallic toys, the handcrafted toys are comparatively cheaper and also offer a visual treat to the children. Thus, this documentation aims at studying this art of toy making, understanding the reason and stories behind it, documenting the whole process and analyzing this craft in this modern era of technology.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Varanasi (Hindustani pronunciation) , also known as Banaras, or

Kashi or Kashai, is a city on the banks of the Ganges in the Uttar Pradesh state of North India. A major religious hub in India, it is the holiest of the seven sacred cities in Hinduism and Jainism, and played an important role in the development of Buddhism. Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture.

Varanasi

Fig. 1

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Traditional etymology links "Varanasi" to the names of two

Ganges tributaries forming the city's borders: Varuna, still ﬂowing in northern Varanasi, and Assi, today a small stream in the southern part of the city, near Assi Ghat. (Alexander Cunningham 1871). The old city is located on the north shores of the Ganges, bounded by Varuna and Assi.

Etymology

In the Rigveda, an ancient Indian sacred collection of Vedic Sanskrit hymns, the city is referred to as Kāśī (Kashi) from the Sanskrit verbal root kaś-"to shine", making Varanasi known as "City of Light”, (Diana L. Eck 1982) the "luminous city as an eminent seat of learning". The name was also used by pilgrims dating from Buddha's days. ( Talageri Shrikant G. 2007)

Fig. 2 Assi Ghat

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

According to Hindu tradition, Varanasi is the oldest city in the world, the eternal city of Shiva. However, to put this in historical perspective, the city was likely settled by the Aryans, as they progressed eastward across the Gangetic plain in the earlier part of the 1st millenium BCE (1000-750 BCE). Although certainly still pretty old, this would make it far younger than the oldest Indian subcontinent civilization, the Harappan civilization (2300-1000 BCE) along the Indus River Valley, which existed simultaneously with the Sumerians in Mesopotamia (2900-1800 BCE) and the Old Kingdom Egyptians (2650-2134 BCE). Jennifer Raezer, Visiting

Varanasi (Benaras) : History, Sunrise, and the Ghats, Asia &Oceania,India,Varanasi,http://www.approachguides.com/ [accessed 30 Jan 2018]. The Buddha is believed to have founded Buddhism

here around 528 BCE when he gave his ﬁrst sermon, "The Setting in Motion of the Wheel of Dharma", at nearby Sarnath. A.L Herman, 1999, Community, Violence, and Peace, Albany, State UniversityofNewYorkPress,https://books.google.com/ [accessed 30 Jan 2018].

History of Varanasi

Fig. 3 source : wikimedia.org

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Climate of Varanasi

Varanasi experiences a humid subtropical climate with large

variations between summer and winter temperatures.

The dry summer starts in April and lasts until June, followed by the monsoon season from July to October.

Fig. 4 Assi Ghat during winter

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Varanasi

India 16

Khojwan Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Physical Map

Varanasi is located in the centre of the Ganges valley of North India, in the Eastern part of the state of Uttar Pradesh . By road, Varanasi is located 797 kilometres (495 mi) south-east of New Delhi, 320 kilometres (200 mi) south-east of Lucknow, 121 kilometres (75 mi) east of Allahabad, and 63 kilometres (39 mi) south of Jaunpur. ( Bidyut Mohanty 1993 pg 316 ) Varanasi located between the Ganges, conďŹ&#x201A;uences with two rivers: the Varuna and the Assi stream. The distance between the two conďŹ&#x201A;uences is around 2 miles (4 km), and serves as a sacred journeying route for Hindus, which culminates with a visit to a Sakshi Vinayak Temple.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

According

to provisional data from the 2011 census, the Varanasi urban agglomeration had a population of 1,435,113, with 761,060 men and 674,053 women. The area under Varanasi Nagar Nigam has a population of 1,100,748 with a ratio of 883 females for every 1,000 males. The literacy rate in the urban agglomeration is 77% while that in the municipal corporation area is 78%

http://www.census2011.co.in/census/city/153-varanasi.html.

Demography

Fig. 5 Dashashwamedh Ghat

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

A unique blend of Archeology, Mythology, Geography, Art and

Culture

History makes Varanasi the culture Capital of India. Apart from Hinduism and Buddhism other religious practices are also seen here. Varanasi is known for many crafts such as Silk Sarees, Handicrafts, Toys, Ornaments, Metal work, Clay, Wood work etc. It is also the capital of knowledge and houses numerous universities, colleges, schools, madarsas, and pathshalas. People here live in communal harmony. An interesting facet of Varanasi is that one gets to enjoy Benarasi paans, thandae, gamcha, bahri alang & mauj- masti. It is also known as the city Moksha and people from various parts of the world come here to ďŹ nd eternal peace. Varanasi City, Varanasi: Art & Culture of Varanasi,https://www.varanasicity.com [accessed 15 Jan 2018]

Fig. 6 Local residents playing Ludo

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Historically, Varanasi has been a centre for education in India,

attracting students and scholars from across the country. Varanasi has an overall literacy rate of 80% (male literacy: 85%, female literacy: 75%). It is the site of Banaras Hindu University (BHU), which is one of the largest residential universities in Asia with over 20,000 students. The Indian Institute of Technology (BHU) Varanasi is designated an Institute of National Importance and is one of 16 Indian Institutes of Technology. Banaras Hindu University,History,

http://www.bhu.ac.in/ [accessed13Jan2018].

Other colleges and universities in Varanasi include Jamia-e-Imania, the Institute of Integrated Management and Technology, Mahatma Gandhi Kashi Vidyapith, Nav Sadhana Kala Kendra, Sampurnanand Sanskrit University, Sri Agrasen Kanya P.G. College, and Udai Pratap Autonomous College.

Education

Fig. 7 BHU College

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Some of the famous places of interest are the Aghor Peeth, the

Landmarks

Alamgir Mosque, the Ashoka Pillar, the Bharat Kala Bhavan (Art Museum), the Bharat Mata Mandir, the Central University for Tibetan Studies, the Dhanvantari Temple, the Durga Temple, the Jantar Mantar, the Kashi Vishwanath Temple, the Sankat Mochan Hanuman Temple, the New Vishwanath Temple in the BHU campus, the Ramnagar Fort, Dashashwamedh Ghat, Assi Ghat, Bachraj Ghat, Tulsi Manas Temple.

Fig. 8 Sarnath Photograph taken by Astha Singh

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Photograph taken by Astha Singh

Handicrafts of Varanasi

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Varanasi has, since times immemorial, been hailed as a leading center of some of the ďŹ nest Indian handicrafts. The most renowned craft of Varanasi city is silk weaving. 'Banarasi Sarees', produced by local craftsman are among the most preferred, not only in India but also all over the world. Besides the famous Benarasi Sari, brassware, copperware, ivory work, glass bangles, wood, stone and clay toys and exquisite gold jewellery are some of the other crafts Varanasi city is famous for. Among the other shopping attractions of Varanasi and surrounding areas are the Bhadohi Carpets and musical instruments. Handicrafts of Varanasi,https://www.varanasicity.com/ [accssed Jan 19 2018]

Fig. 9

1. Channapatna (Karnataka)

Fig. 12

4. Kondapalli Toys (in Andra Pradesh) 22

Fig. 10

2. Tanjore Dolls (Tamil Nadu)

Fig. 13

5. Nirmal Toys and Craft ( Telengana)

Fig. 11

3. Ghurni Clay Dolls Ghurni (West Bengal)

Fig. 14

6. Rajasthani Puppet Dolls / Kathputhli (Rajasthan) Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

History of Traditional Toy Making in India Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

It is believed that the existence of toys

and dolls in India is dated back to the civilization of Indus in around 5000 years ago.(Gwen White 1956) The phenomena of this art practice and its advancement with the time reﬂects many secrets of the history of evolution. It also describes the depth of the cultural heritage on this soil. Toys and dolls are not for the sake of entertainment of the kids only, but have more relevance in the traditional aspects also. A large scale of diversity is found in the style of toy and doll making in India because of its diverse cultural and traditional practices. Mithilaconnect, 6 Popular Traditional Toys in India,http: // fashion.mithilaconnect.com/

time and space. Each region in India has its own distinct style of making toys and crafting dolls. Each toy, every doll, has its own story to tell. Crafts in India, The IndianToyStory,http://www.craftsinindia .com

The 6 most popular traditional toys in India are : 1. Channapatna (Karnataka) 2. Tanjore Dolls (Tamil Nadu) 3. Ghurni Clay Dolls Ghurni (West Bengal) 4. Kondapalli Toys (in Andra Pradesh) 5. Nirmal Toys and Craft ( Telengana) 6. Rajasthani Puppet Dolls / Kathputhli (Rajasthan) Crafts in India, The Indian Toy Story, In India, the earliest dolls, unearthed from http://www.craftsinindia.com/ the site of the Indus Valley civilization, date back to ﬁve thousand years. Wood, stone, clay, cloth, fur and leather are used to recreate ﬁgures and events from the palpable world and also from the imaginary world of folklore, legends and myths. They are the repositories of traditional wisdom and cultural heritage. The culture of dolls and toys still survives and keeps mutating itself according to

Photograph taken by Astha Singh

History of Wooden Toys of Varanasi

Varanasi is one of the oldest living cities in the world and is

known as the cultural capital of India. Since times immemorial, the ghats of Banaras have been considered pious for all religious celebrations. People from different cultures, communities, religions and traditions came and settled here. As the settlements thrived by the banks of river Ganges, a variety of art, craft and music became an intangible cultural heritage of the city and it became the home of many artiﬁcers and craftsmen. Originally, the toy-makers did not excel in wood carving. It was ivory carving that gave way to wood carving and it happened only after the use of ivory was banned by the government. (Manjulika Pramod 2017). Passed on from one generation to the other, the art of wooden toy making is practised by over 3,000 artisans in Varanasi. While the menfolk of the artisan community engage themselves in the various stages of wooden toy making that comprise procurement of wood, hand carving and lacquering, the women of the community lend their support by painting and decorating them. From the procurement of wood to hand-carving and lacquering, it is traditionally a man’s job. Khojwan – this colony of craftsmen has been practising wood carving generation after generation. ( Manjulika Pramod 2017)

Fig. 15

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Photograph taken by Ashita Shrivastava

Sankuldhara Pond

Areas Involved in Toy Making Process

There are colonies of

craftsmen in Kashmiriganj, Khojwan, Bhelupur, Ramapura, Lallapura, Sarainandan, Nawabganj, Bajardiha, Sonapura, etc. who have been practising this craft generation after generation. The Khojwan & Kasmiriganj cluster is able to form 300 plus artisans & the mobilisation gains momentum day by day. craftcluster,Kashmiriganj,http://www.craftclustersoﬁndia.in/ [accessed 4 Feb 2018]. More than 200 families are involved in this craft. The

woodcarvers create magic on the articles they prepare. Carvers carve their imaginations on these articles and sometimes the carving is beautiﬁed with the stone inlay on ebony wood. The colour combinations used are attractive and present each item in a very pleasant manner.

The maximum population of Khojwan belongs to Hindu community who are entrepreneurs running businesses of wooden toys, black smith, maw Mill, paan shops, grocery shops, etc. Khojwan is also famous for festivals like Ram Leela and Nakkataiya.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Fig. 15 : Wood Carving

Fig. 16 : Wood Painting

Fig. 17 : Motifs are painted at their walls of homes, as well as on the wooden toys

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Makers

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

The artisans who create magic out of wood deeply reﬂect their

life. The beauty of wooden toys is in the fact that they are carved by craftsmen and painted by them. They show a perspective of life. Craftsmen make them according to their knowledge of history, Indian mythology, Mahabharata, Ramayana, etc. A set of artists are only skilled to make the toys of wood and ﬁnish the structure for paint and there are separate families of artists whose sole job is to paint the toys. As one moves through the narrow twisted lanes of Varanasi, more and more houses are revealed with Indian motifs painted on their exterior walls. As their lives revolve around creating the toys of gods & goddesses, kings & queens, mythological characters and typically Indian motifs, their houses are aptly coloured. White walls with colourful paintings on them ooze out the traditional and cultural base of the craftsmen. The paintings on the walls are very similar to the toys these craftsmen create. For example - men riding on a elephant, parrots, toys of gods, especially Ganesh, Hanuman, etc. This artistic environment builds platform not only for the craftsmen but also for the tourists who get lured by the beauty of the wooden toys.

Photograph taken by Astha Singh

Raw Materials & Tools Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Three Major Raw Materials used for Making Wooden Toys are :-

1. Wood 2. Lac 3. Tools (a) For wood carving and turning (b) For Laquerware (c) For Painting

The most important part of this craft is selecting the right kind of

wood for toys. Earlier sal or seesham was used in the making of the toys but due to increased prices, cheaper, lighter wood is now being used. Kaima & Kuraiya were also the wood of choice but as their supply ran out and began to be diminished the government passed a law banning the use of these woods. The most common wood used for toy-making are: a. Safeda or Eucalyptus is used for tathe machine applications. b. Kirbil is used for hand carving. c. Gulhar has thick fibers , hence is used for not so intricate carvings. d. Kaima has thin fibers, hence is used for fine carving. e. Bhurkul or Gulharr wood or Benjamina is used for light-weight toys. f. Shisham or Dalbergia has yellowish white wood. g. Bhokul wood was used in the past, but it is not available anymore. h. Some of these woods are procured from following areas in Varanasi. Gulhar from Chauka Ghat. Sagwan from Sonapura. Kaima from Badau.

1.Woods

Intellectual Property India-457 - Statement of Case for Varanasi wooden Lacquerware & Toys , pg 3 & 4 Wood logs are brought from near by areas and are stored generally outside the houses, in the narrow lanes. Care is to be taken to dry out all the moisture from the wood before it is worked on. The process of slow heating helps to draw out all moisture. A circular saw embedded in a cemented platform facing the lane, is a very common feature in all the houses involved in this craft, used to cut the wood logs. 34

Photograph taken by Astha Singh

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

2. Lac

Lacquer is a kind of glue that is directly obtained from the trees;

craftsmen exports the lacquer from Bengal (specially areas around Kolkata). Lacquer is melted using burning charcoal and loban (Benzoic resin) is dapped on the glue which helps lacquer to melt quickly. Once the lacquer is properly melted, different chemical color (powder form) is added to it and different sizes of stick is formed, which is used later to color the wooden toys.

Photograph taken by Ashita Shrivastava

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

(a) For wood Carving & Turning 1. Rukhana 2. Baaki 3. Chaursq Batali 4. Berma (used for making hole)

3. Tools

5. Basula (to peel off wood) 6. Chausi (to peel off) 7. Aari (for sawing) 8. Kholiyan (ďŹ ne work tool) 9. Reti (ďŹ le for sanding) 10. Adhesive (used for joining the wooden parts together)

Photograph taken by Astha Singh

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

(b) For Lacquerware 1. Raw Lac Shellacs (Chapdi) : Raw Lac Shellacs are bought from local wholesale markets. 2. Coal: Coal helps in the heating and melting process of the lac. 3. Metal plate (Silla): Metal Plate is used as the base to roll the melting Lac. 4. Flat wooden Tool (Hatta): Flat Wooden tool helps to roll out the warm lac in equal thickness. 5. Coal Burner: It helps in heating up the coal pieces in a measured manner. 6. Lac Wooden stick: Lac shellacs are melted and attached around the wooden stick. 7. Coloured Lac: Coloured Lac is used to paint a required colour to the lac wooden stick. 8. Wooden Mandrel: Wooden Mandrel is used to form the precise shape and size of a bangle. 9. Scissors: Scissors are used to cut and separate the rolled out warm coloured lac coils. Photograph taken by Astha Singh

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

(c) For Painting 1. Distemper (used as the ďŹ rst coat on the wooden toy before it is painted with colour) 2. Colours ( Non toxic colours like oil paints, emulsions, posters colours, water colours & distemper) 3. Brush â&#x20AC;&#x201C; (used for painting the wooden toys, made from tail of squirrel)

Photograph taken by Ashita Shrivastava

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

*Tools being prepared to be used in wood carving.

Photograph taken by Ashita Shrivastava

Very ďŹ rst step is obtaining the wood or selection of wood.

Process

Second step can be divided into 2 parts :-

Wooden Toys 1. (a) Wood Carving

(b) Painting

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

2. (a) Wood Turning

(b) Lacquering

1. (a) Wood Carving 1. The wood block as per the size of the toy to be made is cut from the log. 2. The piece is cleaned and sanded to get a smooth surface. 3. The design of the toy to be made is roughly cut. 4. Extra wood is chipped off according to the design. 5. Fine strokes with the hammer are made on with the chisel, to give shape to the wood piece. 6. It is again smoothened with a ďŹ le. 7. Each wooden piece that is cut to make an item is subjected to a process of slow heating to draw out all moisture. 8. Sometimes the whole toy is carved out from a single piece of wood whereas in some cases, different body parts are carved separately and joined together with adhesive. 9. The tiny birds and animals are carved by slicing proďŹ les from one single wooden piece. The smallest toy can be half an inch and the largest four inches, put together with nails and glues. A circular saw, embedded in a cemented platform facing the lane, is a very common feature in all the houses involved in this craft. Photograph taken by Astha Singh

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

(b) Painting Carving is followed by painting. It is taken up by another set of artisans. 1. The process entails two coats of bright colours and use of delicate brushes having fine hair. 2. Bright and gaudy non toxic colours are used to paint the body. 3. First, the toy is dipped in distemper. 4. When it dries, it is neatly painted with duco white paint. 5. In the process of fine painting work, brush made out of the hair from squirrel’s tail is used for painting. 6. They do not finish one piece at a time. 7. They prepare one color and paint all the samples in a batch of toys with it and let it dry before they start with the next color. In one day, one painter finishes at least 20 pieces.

Photograph taken by Astha Singh

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

2. (a) Wood Turning Woodturning involves using a lathe to create objects from wood. As the lathe turns, the wood remains in the same position and slowly is shaped by the operation of the lathe. Using this basic process, it is possible to create many different objects from wood, including some designs that are intricate in detail. It is of two types: 1. Spindle turning, that involves using wood where the grain runs in the same direction as the lathe bed. Some examples are- table legs, legs for chairs, etc.

Fig. 18

Fig. 19

2. Second is faceplate turning in which the wood grain runs vertical to the rotation of the lathe. Some examples are- wooden platters, bowls, and charger plates. Workshops are setup with turning machines powered by electricity. Around 5-10 craftsmen work together in a single workshop. Wooden logs are cut in small pieces using a saw. After this, they are brought here and ďŹ t into the machine. First, the machine peels off the outer rough skin to give a cylindrical shape with smooth surface which is further used to give required shape with the help of skilled craftsmen. Fig. 20

Fig. 21

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

(b) Lacquering The ďŹ nal coat is of lacquer to bring shine to the surface of the toys. Lacquering is done on a lathe in the lac turning method. 1. Lac is applied in a dry state i.e., the lac stick is pressed against the woodenware to be lacquered. 2. While the latter keeps revolving, the heat generated by friction softens the lac, making the colour stick to the surface of the wood. Lacquerware toys are produced in this way. Thus, the craftsmen manipulate the stick where several colours are used. Some of the lacquered pieces are painted with a brush. Non-toxic colours or acrylic based poster colours are used. A colourful toy or the ďŹ nal product is sold at a much higher rate than the carved toy.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Artisan Profiles

Name : Prahlad Das Gupta Age : 35 Language : Bhojpuri, Hindi Family : 8 members Address : Kashmiriganj, Varanasi Phone number : 9696287278 Experience : 10 years Religion : Hindu Profession : Wood seller

Prahlad Das Gupta is a young entrepreneur. He is a graduate. He sells different type of woods in Kashmiri Ganj. While talking to him he said, â&#x20AC;?Hum khud hamari madad nahi karte toh koi aur kya karegaâ&#x20AC;?.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

2. Name Age Language Family Address Experience Religion Profession

: Ravindra Kumar Gupta : 55 : Bhojpuri, Hindi : 12 members : Kashmiriganj, Varanasi : 30 years : Hindu : Lac Maker

Ravindra Kumar Gupta is one of the most experienced artisan in lacquering. He has an experience of over 30 years. He not only told us about the entire process of lacquering but also told us about their culture and lifestyle. Ha quoted,â&#x20AC;?Jese sangeet hota hai vese hi colour banana bhi ek classical kala hai.â&#x20AC;?

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

3. Name Age Language Family Address Experience Religion Profession

: Sanjay Kumar Verma : 45 : Bhojpuri, Hindi : 12 members : Kashmiriganj, Varanasi : 25 years : Hindu : Wood Carving

Sanjay Kumar Verma is a national award winner in wood carving. He works with his wife (Shakuntala Devi) in his house only. He is 45 year old and has an experience of 20 years. For craving he uses reti,rukhani,aari,hathoda, prakar etc. he told, â&#x20AC;?Sirf kissan aur karigar hi apne hunar par apni zindagi ka vyapan karte hai â&#x20AC;&#x153;.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

4. Name Age Language Family Address Experience Religion Profession

: Chaupal Prajapati : 61 : Bhojpuri, Hindi : 20 members : Kashmiriganj, Varanasi : 50 years : Hindu : Wood Painting

Chaupal Prajapati is one of the few artisans who paints wooden toys. He is 61 years old and has an experience of over 40 years. He paints the toys with the brush made up of squirrel hairs.In 1972, he dropped out of school for supporting his family. He told ,â&#x20AC;? Kalakar apne man se kaam karta hai use kisi ke hastakshep ki zarurat nahi haiâ&#x20AC;?.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

5. Name Age Language Family Address Experience Religion Profession

: Rajesh kumar : 50 : Bhojpuri, Hindi : 20 members : Kashmiriganj, Varanasi : 25 years : Hindu : Wood Turning

Rajesh Kumar is one of the workshop owner in Kashmiriganj. Three wood turning artisans work under him in his wood turning workshop. Prem Kumar, Dhannu lal & Ashok Kumar are the three artisans. Rajeshji quoted , â&#x20AC;&#x153; Yeh workshop mere 60 saal ke parishrm ka natija haiâ&#x20AC;?.

Prem Kumar

Dhannu Lal

Ashok Kumar

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

6. Name Age Language Family Address Experience Religion Profession

: Gopal Agrawal : 55 : Bhojpuri, Hindi : 18 members : Kashmiriganj, Varanasi : 20 years : Hindu : Toy Shop owner

Gopal Agrawal is the owner of Agrawal handicrafts in Varanasi. He is known as the king of Wooden toys handicraft. As an entrepreneur , he has an experience of 25 years.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Colors and Motifs

Indian Red Violet Light Green Yellow

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Dark Green Crimson Red Black Different types of motifs are used in one single Product

Illustration by Ashita Shrivastava

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Photographs taken by Ashita Shrivastava

Themes of Products Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

The toys can be classiďŹ ed into following categories1. Religious 2. Cultural 3. Animals & Birds 4. Traditional and Modern toys.

The modern toys are generally three dimensional, made by turning and have modern patterns and themes.

1. Religious All these themes have toys treated in a different way, For example religious toys are generally two dimensional, hand carved, and painted gaudily. They exhibit Indian motifs and patterns. These toys also tell mythological and religious stories of their time. Fig. 25 : Lord Ganesha & Goddess Laxmi

Fig. 26 : Lord Ravaana

Fig. 27 : Lord Vasudeva

Fig. 28 : Lord Krishna

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

2. Cultural

Fig. 29 : Musical orchestra

Fig. 30 : Ratha

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

The cultural theme based toys show the classes of society, the daily lifestyle and activity of the people in rural India and also some professions which were popular in ancient India. Some examples are- women drawing water from the well, men wrestling in Akhada or the wrestling ground.

Fig. 31 : Village couple

Fig. 32 : Musician

3. Animals and Birds Animals play a very important role in Indian legends and myths. There are many stories of kings and queens to support the loyalty of their animals. This has made some animals appear in a lot in the toy form.

Fig. 33 : Royal Elephant

Fig. 34 : Bird

Fig. 35 : Cow & Calf

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

4. Traditional and Modern Toys Such toys take us back to the earliest and the simplest kind of toys that our ancestors used to play with. They also show us the glimpse of our present and past culture and tradition. Some examples are lattu (traditional) and Russian doll (modern).

Fig. 36 : Truck

Fig. 37 : Sindoor Dani

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Fig. 38 : Miniature Bowling

Fig. 39 : Om shaped wall decor

Photographs taken by Ashita Shrivastava

Strengths Weakness Opportunities Threats

STRENGTHS :

5. Untimely delivery schedule.

1. Abundant and cheap labour hence can compete on price.

6. Unawareness of international standards by many players in the market.

2. Low capital investment and high ratio of value addition. 3. Aesthetic and functional qualities. 4. Hand-made and hence has few competitors.

1. Rising appreciation for crafts by consumers in the developed area.

5. Variety of products which are unique.

2. Widespread novelty seeking

6. Exporters willing to handle small orders.

3. Consumer desire for one-stop shopping.

7. Sell directly to consumers.

4. Consumers know what they want to buy.

8. Keep costs below competitorsâ&#x20AC;&#x2122; cost.

WEAKNESSES : 1. Inconsistent market study and marketing strategy. 2. Inconsistent quality. 3. Lack of adequate infrastructure and communication facilities. 4. Capacity to handle limited orders only.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

OPPORTUNITIES :

5. Internet could be a powerful marketing tool. THREATS 1. Better quality products produced by competitors from India & other countries. 2. Better terms of trade by competing countries. 3. Better packaging.

Social and Economic Condition

According to a permanent shopkeeper of wooden toys, “the demand for wooden toys is very low in the city. These are bought only by out-stationed customers.” Clay, wooden toys struggling to survive in the market, Aug 9, https://timesoﬁndia.indiatimes.com/ [ accessed Jan 30 2018]

2012,

The only wooden toy unit at wholesale market of Haraha Sarai competing with hundreds of plastic and Chinese toys shops sufﬁciently tells the plight of wooden and clay toy makers. Chinese and plastic toys are overshadowing the delight of handmade local toys at several retail and makeshift shops as well.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Some problems in this industry can be summed up below: • Craftsmen face electricity problem, economic conditions have become very poor. • Mostly craftsmen have sold out their homes and started pulling rickshaws. • After 1980 Karaiya wood has been banned for supplying, eucalyptus is used for wood carving, which is costly and not durable. • Karaiya tree is densely found in forests of Bihar. As it grows fast, it needs to be cut down regularly. And if not, it gets destroyed. Cutting helps trees growth. So artisans are demanding that it be supplied to them for making wooden toys. • Lack of timely payments discourages them and they are not able to supply large orders and consequently business bears the loss. • Their children don’t want to adopt this business. • Lathe machines are less in quantity because payments are very small and as a result craftsmen cannot buy expensive machines and set up workshops. • Craftsmen are illiterate and do not know about fast machines. • Craftsmen face some problems relating to patent issues due to lack of copyright knowledge. • Hand carving is not adequate for this art because it takes too much time as compared to machine.(Sana F 2016 )

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Organisation & Government Support

1. The Society for Promotion of Textiles and Handicrafts Failing to expand in the US and Europe, local wooden toy-makers are now eyeing the unexplored markets of Africa and West Asia, through new generation 'beyblades' and puzzles. The Society for Promotion of Textiles and Handicrafts (SPOTH)- an NGO - has commissioned the services of a Delhi-based designer to train wooden toy-making units in crafting new generation toys based on contemporary designs. Mr. Mishra, the designer, informed of the plans of joining hands with international organisations like DFID and UNCTAD to organise fairs abroad as part of aggressive marketing strategy to resuscitate the crippling industry.Toy-makers eye African, West

Asian market. July 26, 2006 https://www.oneicom/

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

2. Khilauna Udyog Sahakari Samiti Ltd. Godavari Singh also known as Toy man has been struggling since last 35 years to keep the art of Wooden craft alive in Varanasi. He approaches any one including Prime Minister of India to help in his mission.It was due to his efforts that in 2005 he was the pioneer in displaying his art in the Republic Day celebration and acquired third place. He also got awarded from the then President Dr. APJ Abdul Kalam and also from ex Prime Ministers Dr. Manmohan Singh and Mr. Chandra Shekhar. He invests money to train more than 300 people, provides tools, and also has established small units by providing them with equipments and machines. The Five Star Hotel Gateway in Varanasi has devoted one of its gallery to this unique art where it is exhibited throughout the year.

3. Government Support Although the government has launched many schemes to promote and support the artisans of wooden craft at Varanasi yet it has done little to help them. No concrete steps or systemised organisation has been setup which can elevate the position of these artisans. In picture - Godavari Singh Ji Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Photographs taken by Ashita Shrivastava

Kaath Shilp

The government should take up the following steps to improve the conditions of artisans :

Our Suggetions

1. It should provide adequate electricity so that the artisans can function without interruption. 2. It should accelerate the Export potential of handicraft goods. 3. It should involve more women power in the handicraft sector. 4. The government should organise fairs and exhibitions all over India and abroad to promote this craft at a large scale. 5. They should provide financial aid to the existing units and also setup more such units so that the future generation can take-up this craft and not leave it due to financial constraints. 6. The government should put up a check on middle men who exploit the artisans. The middle men pocket the larger chunks of profit. Govt. should ensure that these profits reach the artisans which will improve their financial condition and also encourage them to continue this art.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Conclusion

It was indeed a unique experience to have seen, studied and understood the traditional art of wooden craft at Varanasi. For the artisans involved in this craft it is their way of life. Through their art they try to depict our vast culture and tradition. Their toys speak of the great heritage of India. It is heart warming to note how this art has transcended from generation to generation and inspite of the growing challenges against modern technologies the artisans are struggling to preserve their art. One feels saddened to note their plight and their poor economic conditions as well as the limited means in which this industry is thriving. The lack of empathy of the government and local support has only aggravated their problems. The present generation feels reluctant to continue in this ďŹ eld as it barely meets their basic requirements. Plastic products and other materials ďŹ&#x201A;ooding the market has worsened their condition. Some die-hard pioneers are ďŹ ghting a battle in keeping this traditional art alive and thus it becomes the moral duty of not only the government, NGOs, other organisations but also the citizens to help in their cause so that this art can survive in this competitive world of machines.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Secondary Data Collection :

Work Input by Team

Library Referencing E-Books Referencing Pdfs

Astha Singh, Aakansha Karnawat, Ashita Shrivastava Astha Singh, Aakansha Karnawat Astha Singh, Aakansha Karnawat

Planning

Astha Singh, Aakansha Karnawat, Ashita Shrivastava

Booking of Travel Tickets

Astha Singh, Aakansha Karnawat

Booking of the Hotel

Astha Singh, Aakansha Karnawat

Primary Data Collection : Photography Interviewing Writing Notes / Questionnaire Compilation of Primary Data Content Writing Sketching Book Layouting Illustrations

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Ashita Shrivastava,Astha Singh Astha Singh, Aakansha Karnawat Aakansha Karnawat Astha Singh, Aakansha Karnawat, Ashita Shrivastava Astha Singh Astha Singh, Ashita Shrivastava Astha Singh Ashita Shrivastava

1. Astha Singh When I was assigned the module of craft documentation, I was very excited to get an opportunity to explore an art which I didn’t know much about. This module has given me insight into a lot of technicalities that goes into documentation. It not only involved primary but also secondary research work which helped me to know about research methods and how to conduct them. This document helped me in getting to know about the method of citation and plagiarism and its importance in craft documentation. At the same time I learnt skills needed to appropriately present the document which included softwares Adobe Illustrator, Adobe photoshop. While designing the document I got experience in making use of different technicalities such as layout, content writing, setting margins and planning the print layout. This craft documentation has provided me with the opportunity to have come to know this form of craft. I was deeply moved by the problems being faced by the artisans who are striving so hard to keep this art alive. The beauty of Varanasi touched me to the core but at the same time I was appalled by the backwardness that still prevails over there. I sincerely hope that this effort of ours to document this craft would encourage the individuals, organisations & authorities to give a much needed support. Through the journey of making this document. I feel very blessed to have received the opportunity to come across such skilled craftsmen. I was fascinated by their work, their zeal and their capacity to stand ﬁrm against all odds. Working with my co partners helped me learn to adjust, to share and to deal with the problems that we faced, together. I came to recognise my weaknesses as well such as my impatience when things don’t come out as planned, over looking small details in planning of the work schedule and sometimes being too lazy to give inputs to the documentation. I would from now on make every effort to improve myself. In this journey I was able to explore my potential to the fullest and it has made me conﬁdent enough to take up any challenge that might come across my path!

3rd Year Communication Designing Student, MRID, The M.S University Vadodara Email : asthadesigns96@gmail.com

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

2. Ashita Shrivastava I was very excited after knowning about the craft documentation because this time we had a liberty to travel outside Baroda alone. After choosing the craft (Wooden Toys in Varanasi) my excitment went over the moon. On my visit to the holy capital city of Varanasi which well-know for the temples of the Lord Shiva and deep rooted culture I had a very mesmerizing experience; I learned a lot from the daily working pattern of craftsmen as to how they manage their work with their family and only because of them their craft is still alive. I also got to know about how to deal or cooperate with team members. I came to know about terms like plagiarsim, Harward style Citation. In this module my presentation skills has improved and my self-confidence has increased, I learnt how to do work in given time. I also came to know about how to authenticate our information. The most influential thing which I learned from the craft documentation module is to work in a team as well as how to communicate with craftsmen so that they become comfortable with us. I witnessed there was a vast difference among the language and lifestyle of people of that place where I visited for collecting primary data. Even though I belong to Ujjain, I already had a taste of holiness , but Kashi was far more delightful and more over the river Ganga made my experience memorable. As we interacted with the craftsman of wooden toys, he briefly explained his life on and of, which truly moved me. The ambience of craftsmanship enveloped me which made my trip complete in all the aspects. 3rd Year Communication Designing Student, MRID, The M.S University Vadodara Email : ashitashrivastava23@gmail.com

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

3. Aakansha Karnawat When I came to know about the module craft documentation I was not only excited to visit Varanasi but also for documenting "toys" as a craft. The process of documenting the craft of wooden toys at Kaashi has been a unique experience as it was first time that I was traveling out of Baroda for work. During documenting this craft my skill of presenting my work was enhanced. I became more confident and independent . I learned plagiarism and how research has to be done using different research methods. I became more precise in my work . My software skills became better. I was afraid of writing the content but while helping my team mates I learned from them. I even became punctual throughout the craft documentation process. The trip to Varanasi took me to the time which existed before gadgets took over. Childhood is always worth re-living. The artisans, studying the crafts, understanding the domestic and cultural contexts and how they fit within the traditions and customs of the village has been the most enriching experience of my life.

3rd Year Communication Designing Student, MRID, The M.S University Vadodara Email : ashitashrivastava23@gmail.com

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

When the art of wooden craft was given as a topic for craft documentation we were thrilled to have gained the opportunity to explore this lesser-known craft of India.

Our Experience

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

When we landed in the pious city of Kashi, we felt like being transported to an ancient era where the wheels of time seemed not to have moved fast enough. The age old city with its drooping monuments, dilapidated houses and narrow lanes spoke about how modernity has barely touched the region.The innumerable ghats provide divinity where people throng to conduct rituals and perform Poojas. Thousands of temples adorn Varanasi besides other religious places of worship. It seemed to us a city of artisans who were struggling to keep alive many crafts such as Meenakari, Hand woven textiles, Gulab Kari, Wooden crafts etc. Every house seemed to carry out one craft or the other although it barely made their ends meet.

Once we were drenched and over whelmed by the aura of Kashi, we set out in our endeavour to document the craft of Wooden Toys. We met several artisans, interviewed them, photographed and studied them to understand not only their craft but also their ways of life. Our hearts went out to them seeing them struggling hard without much support in keeping this traditional art surviving. It is no surprise that their children are now opting for other means livelihood rather than take up this ancestral form of craft. Through this documentation we hope to throw light on the plight of artisans and appeal to the masses and the government to provide encouragement and elevate the condition of artisans so that they can carry out this tradition with dignity, hope and reassurance that this country will not let them down as they pursue their art dilegently.

SR. NO. 1.

PARTICULARS Transportation (a) In Vadodara

(b) Flight (Tickets)

Budget for Craft Documentation

300

500

8000

1500

2000

(e) Transportation in City

1000

2000

(g) To Vadodara (Ahmedabad - Vadodara)

1500

1600

(f) From Varanasi to Airport

Food

(a) Vadodara (b) Varanasi

300 700

800

500

1000

2000

3000

Accomodation (Hotel)

9000

Artisan Fees

3000

2000

Expense of Product (Handicraft)

500

Printing the document & other stationary

6000

8000

Extra Expense (If applicable)

5000

39300

44200

TOTAL

ACTUAL EXPENSE

ESTIMATED

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

List of Important People We Met

Dr. A.K Singh Director of Bharat Kala Bhavan Contact info : 0542- 2369227 +91 9450531979 | +91 9557107556 Email : ajay.vns@gmail.com | directorbkb@gmail.com Mr. Godavari Singh Head of Khilona Udyog Sahakari Samiti ltd. Contact Info : +91 950600551 Email : handicraft.agrawal@gmail.com Mr. Gopal Agrawal Owner of Agrawal Handicraft Contact Info : +91 9415201818 | +91 9889248341 | +91 9919577718 Mr. D.K Pandey Member of an NGO, working for Women Contact Info : +91 9415815896 | +91 9336908045 Email : dk.pandey@gmail.com

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Bibliography Alexander Cunningham,1871, The Ancient Geography of India,2ndEdition,NewYork,CambridgeUniversityPress, http://www.cambridgeindia.org/ Banaras Hindu University,History, http://www.bhu.ac.in/aboutus/history.php[accessed13Jan2018. Bidyut Mohanty, 1993, pg 316, Urbanisation in Developing Countries : Basic Services & Community Patriciation, Concept Publishing Company, NewDelhi. Clay, wooden toys struggling to survive in the market, Aug 9, 2012, https://timesoﬁndia.indiatimes.com/ [accessed Jan 29 2018] craftcluster,Kashmiriganj,http://www.craftclustersoﬁndia.in/ [accessed 4 Feb 2018]. Crafts in India, The IndianToyStory,http:// www.craftsinindia .com/ [accessed 31 Jan 2018] Diana L. Eck, 1982, Banaras- City of Light, New York, Alfred A. Knopf Inc. Handicrafts of Varanasi,https://www.varanasicity.com/l [accssed Jan 19] http://www.census2011.co.in/census/city/153-varanasi.html. Intellectual Property India-457 - Statement of Case for Varanasi wooden Lacquerware & Toys , pg 3 & 4

Manjulika Pramod, Varanasi’s Unsung Wooden Toy Maker’s, May 16 2017 Manjulika Pramod, Varanasi’s Unsung Wooden ToyMaker’s,http://www.manjulikapramod.com/ [accessed Jan 19] Mithilaconnect, 6 Popular Traditional Toys in India,http://fashion.mithilaconnect.com/[accessed 31 Jan 2018] Varanasi City, Varanasi:Art & Culture of Varanasi,https://www.varanasicity.com / [accessed 15 Jan 2018] Sana F, Wooden Toys of Varanasi Weakly Developed the Isolated Sector and Shortages of Income and Employment Opportunities, June 24 2016 ,https://www.omicsonline.org/ [accessed Jan 29 2018] Talageri Shrikant G., 2007, The Geography of the Rigveda. Toy-makers eye African, West Asian market. July 26, 2006 https://www.oneindia.com/ [ accessed Jan 30 2018] Links of Photographs used in the document :

https-//www.iitbhu.ac.in/seminars/icam2017/img/team/20 (fig. 7) wikimedia.org (fig. 3) www.mayaorganic.com (fig. 9) www.taazataaza.com (fig. 10) www.navarathrigoludolls.com (fig. 12) www.golkondacrafts.telangana.gov.in (fig. 13) www.snapdeal.com (fig. 14) www.dsource.in (fig. 20, 22, 23, 24) www.craftsforyou.in (fig. 11) yesofcorsa.com/varanasi (fig. 1, 5) Photographes taken by Ashita Shrivastava - Fig 2,4, 6, 15, 16, 17, 18, 19, 21, 25, 26, 27, 28, 29, 30, 31, 32, 33,34, 35, 36, 37, 38, 39,

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Glossory Benaras -

Benares, Banaras , or Kashi, is a city on the banks of the Ganges in the Uttar Pradesh state of North India.

Bhadohi -

District in the northern Indian state of Uttar Pradesh which specialises in hand knotted carpet weaving.

Kashai -

In sanskrit Kashai means shining.

Nakkatiya-

Varanasi -

It is a district in U.P (Uttar Pradesh).

Back in 1887, when the British ruled India, and common man had no means to express their protests against the atrocities of British rule, Baba Fateh Ram came up with the idea to use enactment of Nakkataiya to stage their protests. It was started on the occasion of Karwa Chauth and has been celebrated on this day ever since

Madarasas - A school where people go to learn about Islamic religion . Pathshalas -

It is a Sanskrit word , meaning classroom.

Thandae -

Thandai, or sardai, is an Indian cold drink prepared with a mixture of almonds, fennel seeds, magaztari seeds (watermelon kernel), rose petals, pepper, vetiver seeds, cardamom, saffron, milk and sugar.

Ram Leela - Ram Leela is a role play act of a hindu Mythological story.

Traditional cotton towel found in India, also know as sweat towel.

Loban -

Loban stands for Styrax (tree) or the balsamic resin won from this tree, Benzoin resin.

Lacquer -

A liquid made of shellac dissolved in alcohol, or of synthetic substances, that dries to form a hard protective coating for wood, metal, etc.

Gamcha Moksha BHU -

A complete detachment from life in which we are currently in and life after death. Banaras Hindu University.

Indus Valley - Ancient civilization Civilisation located in what is Pakistan and northwest India today, on the fertile ďŹ&#x201A;ood plain of the Indus River.

Kashi Kaath Kari - Unfolding Story of Varanasi Wooden Toy Making

Lac -

A resinous substance secreted as a protective covering by the lac insect, used to make varnish, shellac, sealing wax, dyes, etc.

Haraha Sarai -

A unit of marketing wooden toys in Varanasi.

SPOTH -

The Society for Promotion of Textiles and Handicrafts.

Khilauna Udyog - Khilona Udyog Shahkari Samiti Sahkari Samiti Ltd., Kashmiriganj, Khojwa, Varanasi (U.P), working since last 30 years in the ďŹ eld of handicraft mainly with wood and stone craft at Varanasi region which is famous for wooden and stone handicraft products. Godavari Singh -

Godavari Singh also known as Toy man, is a National award winner. He is the head of Khilauna Udyog Sahkari Samiti.

MRID -

Maharaja Ranjitsinh Gaekwad Institute of Design.

The M.S. University- The Maharaja Sayajirao University of Baroda

Lattu / Beyblades - A Spinning Top, used as a toy.