STATEMENT OF CASE FOR BANARAS METAL REPOUSEE CRAFTS

STATEMENT OF CASE FOR BANARAS METAL REPOUSEE CRAFTS

l.Winder fame has been gained by the brass work of Benares. There are over six hundred factories in the city, the large concerns employing twenty or more men; the owners are chiefly rich Banias or Kascras, who supply the operatives with materials and tools. In most cases there is considerable differentiation of labour, costing, burnishing, repousee and polishing being done by different craftsmen. The skilled artisans comed high wages, and are paid according to the amount of work done. The raw material is generaiy imported and the alloys made on the spot, the best markers religiously preserve the secret of the proportions of copper, zinc and other metals used to produce briss, and also of the fluxes, coloring matter and solders employed. Details are then generally done on the design from the front, using chasing or repousee. The whole technique is sometimes referred to as 'chasing',or embossing (Khal - Ubhar Ka Kam). 

The art has been preserved in the by lanes of Varanasi for generations by Kasera community. 

2. Metal is an important part of the craft of the India. From rituals to articles of basic necessity, metal occupies an important part. Working with metals is looked upon with sacredness. Out of the many techniques of sheet metal which has been perfected in India is the deep repousse work. Here a flat piece of metal, or the rounded purt of a vessel on which the repousse work has to done, is filled with lac and the basic pattern is drawn. After this the outline is beaten into the lac with hammer strokes and thl area which has to be depressed is beaten down. The lac is then heated and melted. The right side is now embedded in lac and the process reversed. The sections to be raised in the finished design are now beaten outwards. This process is repeated three or four times until the deep repouse work pattern emerges, quite often nearly three-quarters of an inch in height. The final finishing touch is given when the details of repbusee work have been done on the repousse. Trichinopoly, Madurai, Tanjore and Madrai in the south, Bombay, Varanasi in the north, and Bhuj in the Gujarat, specialize in this type of work. This technique is used on vessels as well as in the making of images ur"a- for worship and also for decorative panels depicting mythological scenes.

3' Varanasi (Kashi - Benares) is one of the oldest living cities in the world and is famous for their tradition, Culture, Philosophy; the city is famous for learning and burning. The people believe that the city is also a gateway of Salvation (Mokshaj. The city is well known for their Art & crafts, Festivals & colours, Music & Dance, yogas & Ayurvedas, Mantra & Tantras, Temples & Bells, Ladders & Bulls, Sadhu & Sanyasi, King and Fakir with the Unity in Diversity. Varanasi is the confluence of spiritual abode of many religious such as Hinduism, Buddhism, Islam and Jainism which overlap seamlessly. It is perhaps fitting then, that, the influence of Banaras Metal Craft ii embossed into all the different modes of spirituality and thus unites them. Varanasi (also known as Banaras/Kashi) is one of the oldest living cities in the world. Varanasi's prominence in Hindu mythology is virtually unreveaied. The word 'Kashi,originated from the word 'Kas'which means to Shine. Steped in tradition and mythology legacy. Kashi is the original ground created by Shiva and Parvati upon which ihey stood as the beginning of time. Varanasi is the microcosm of Hindustan, a city of traditional classical culture, glorified by myths and legends and sanctified by religion, it has always attracted a large a large number of pilgrims and worshippers from time immemorial.

4.To every visitor, Varanasi offers a breath taking experience. The rays of the down shining across the Ganges. The high banks the temples and shrines along the banks bathed in a golden hue soul string hymns and mantras along with the fragrance of incense filling the heart and the refreshing dip in the holy wateris gently splashing at the Ghats'Varanasi - the land where experience discovery reach the uitimat" t[rt. Varanasi is also renowned its tapestry of music, art, crafts and education. Some of the renowned exponents India has produced in these fields were schooled in Varanasi'sculture ethos.

5. Banarasi silk saree is not the sole handicraft delight from Varanasi to have fascinated celebrities. Metal repousse, the art of moulding showpieces, too, has its share of admirers across the globe. Repousse is raising a design in relief on metal from the back or inside using hammers and punches. Details are then generally done on the design from the front, using chasing or repousee. The whole technique is sometimes relerred to as 'chasing',or embossing (Khal - Ubhar Ka Kam). The art has been preserved in the by lanes of Varanasi for generations by Kasera community. The word repousse is French and means "pushed up", ultimately from Latin pulsore, which means "to push". Repoussage is actually the correct noun to refer to the technique, with repousse being an adjective referring to a piece to which the technique has been applied (e.g. "repoussd work", "repouss6 piece');however, in English it has become common to use repouss6 as a noun, and this usage is reflected in this article. References takenfrom "Let'sHandicrafts of India---Amar Tyagi,,

6- The techniques of repousse date from Antiquity and have been used widely with gold and silver for fine detailed work and with copper, tin, and bronze for larger sculptures.

Among the most famous classical pieces using this technique are the bronze Greek arrnor plates from the 3rd century BC. During the 3rd millennium BC, in the Middle East, a variety of semi-mass production methods were introduced to avoid repetitive free-hand

work'With the simplest technique, sheet gold could be pressed into iesigns carved in intaglio in stone, bone, metal or even materials such as iet. rne gold couid be worked into the designs with wood tools or, more commonly, by hamriering a wax or lead "force" over it'The alternative to pressing gold sheei into a die is to work it over a design in cameo relief. Here the detail *ould b. greater on the back of the final design, so some final chasing from the front was often carried out to sharpen the detail.

7- Metal repousee is an ancient craft, which finds reference in the Vedas. Archeological findings of the copper tools of 300 B.C. at Pre-Harappan sites of Baluchistan and Kali Bangan in Rajasthan reveal the existence of metal ware in Indian sub continent. The metal ware in India may be roughly divided into the religious, ritualistic items and objects of utility. The metals used are brass, copper and bell metal. From the limited domestic use it has moved to various clirections, especially into the prestigious ritualistic field.

8- Repousee is done on all manner of articles, which are first moulded into the required shape and burnished; the engraver traces the design with a chisel, filling up the open ground with dots and spots produced by punching. ihe work is very light, ind often little more outlines drawing: and the design is generally as common place as ihe execution is hasty and careless. It is certain that formerly much more skill was exhibited bv the

9- Benares engravers, and the decay of their art may be attributed partly to the influence of western ideas and partly for the ready sale which inferior brass work finds at Railway stations and similar places. References taken from "Moving Metal: The art of chasing an d r ep o us e e-Ado lf Ste ines,,

10. Banaras, the holy city of the Uttar Pradesh situated about 200 km away from the state capital Lucknow has a rich and glorious historic heritage is a major production centre of silk sarees and Brocades. The products are famous all over the world as Banarasi sarees and Brocades.

11- Historically the Banaras was famous for its socio-economic  and religious importance. It was famous as the religious city of the Hindu religion due to presence of Vishwanath Temple on the bank of river Ganga. The city is equally important as a Brocade weaving centre. It is believed that the handicraft industry flourished during the Vedic period and touched its climax with the introduction of Mogul pattern of designs duringiarly l6th century.

12. 15% work in metal has identified as export and domestic market. Varanasi's manufacturing industry is not well developed and is dominated by small-scale industries and household production. 

13. Varanasi is well known as a craft center since ancient time. Apart from casting of the metal wares, the Centre excels in repousse, cut work and repousee works. Thi metal enamel work at Varanasi had varieties of fine delicate work called marori and shvah kalam.

14- The Indian handicraft and culture is as old as the inception of Indian civilization (even the famous archaeologist Rakhal Das Banerjee) had found so many evidence of handicraft products like dancing statue of Nataraj, big granaries etc in Harappan and Mohenjadaro in civilization. After the upcoming of Aryans the handicraft- culture flourished in new horizons, such as use of iron in metal products.

15- Vedic era starts around 1300 B.C. when Aryans were fully settled around the North India and the handicraft products creat apex and the producers of there products got great respect i.e'Kumahar, Weaver and Artisans. The greatest evidences of tnr existenCe of handicraft product were the Ramayana and Mahabharta. We see various types of weapons, Chariot - wheels, ornaments, Utensils potteries, Furnitures, Design of Falaces, Temples, Statue of God & Goddess, Carpet clothes were made by Artisans during the period. During Maurya and Gupta period which was also resembles as indamines Golden period the Artisans got highest respect because they had shown remarkable work exploring art and culture all over the India. We can see the temples of north and south, Stupa of Sanchi including the beauty of palaces. During medieval period India was suffered with so many attacks from outsiders like Mongals, Hun'setc and the handicraft culture was not explored fully. The Mughal period played a great intervention for revival of the handicraft industry. The awards and prizes were given to Artisans during Mughal period for exceptional works. The upcoming of Britishers has affected the Indian handicraft industry in both ways positively and negatively. They were allured with traditional handicraft industry of India and sweep away all important antiques to their country like 'Swordof Tipu Sultan',Kohinoor Diamond, etc.

16. It is said that Varanasi is the city of the temples because its one of the oldest city wheras 33 crore god and goddess live in the various form of idol. Not only the wood and stone but also various metals like gold, silver, copper and brass play viial role to increase the beautifulness and charmness of the temples. Various world famous temples and idols of Varanasi like Vishalakshi temple and idol of Goddes Vishalakshi of one quintle gold, gold idols of Goddess Annapuma, coral Ganesh idol, golden sun and silver -oon surrounding the temple of Laxmanbalaji at Balaghat, seven feet golden throne of Goddess Pitambara at siddheshwari alley, nine quintle golden dome onih" apex of Kahsi Vishvnath temple. Reference taken from the article "Golden, silver and gems temples of Kashi"- By Dr. Rajaram Mehrotra, Prof. English department BHU, page no 166-i 69.

17. The first written evidence of the Kumbha Mela can be found in the accounts of Chinese traveler, Huan Tsang orXuanzangrc02 - 664 A.D) who visited India in 629 _645 CE, during the reign of King Harshavardhana. However, similar observances date back many centuries, where the river festivals first started getting organised. According tL medieval Hindu theology, its origin is found in one of ihe most popular medieval puranas, the Bhagavata Purana. The Samudra manthan episode (Churning of the ocean of milk), is mentioned in the Bhagavata Purana, Vishnu Purana, theMaiiabh arata, wrd, the Ramayana. The account goes that the demigods had lost their strength by the curse of Durviisii Muni, and to regain it, they approached Lord Brahma and Lord Shiva. They directed all the demigods to the Supreme Personality of Godhead, Lord Vishnu (fuil story on kumbh mela) and after praying to Lord Vishnu, he instructed them to chum the ocean of milk Ksheera Sagara (primordial ocean of milk) to receive amrita (the nectar of immortality). This required them to make a temporary agreement with their archenemies'the demons or Asuras, to work together with a promise of sharing the wealth equally thereafter. However, when the Kumbha (urn) coniaining the amrita appeared, a fight ensued. For twelve days and twelve nights (equivalent to iwelve human years) the

gods and demons fought in the sky for the pot of amrita. It is believed that during the battle'Lord Vishnu (incarnated as Mohini-Mtirti) flew away with the Kumbha of elixir spilling drops of amrita at four places: Allahabad, Haridwar, Ujjain and Nashik. For taking the royal bath in Mahakumbh, a lot of mathadhish, mahamandleshwar and akhara heads ordered the Banaras metal repousee artisans for preparing prong (trishul)'damru (drum) and throne before 4 or 5 months and they have taken first royal bath in it. Reference taken from Times of India I5'hJan, 2013 and Danik Jagaran Hindi Newspaper dt.21.01.2013, p.No.l7- Kashi Ke Dam per sahi Thath

18. Kashi Craft the Colours of Life The crafts of Kashi are a reflection of its many-hued culture. The life and work of the craftsmen of Kashi are deeply entwined with the socal and religious life of the city. On auspicious days and on feitivals, toy -makers, basket weavers and metal-workers all sot up colourful stalls in the city. At these impromptu melas or fairs, you will find a tempting range of items made of terracotta, wood and paper'With them, you will also find lively papiei machc masks, household articles in metal and many. Many decorative items. Kashi'straditional crafts are all made from sirree available local material and are all environment-friendly ,Commerce had as many pilgrims as religion. All afonti (he shores of the ucncrubli stream lay great fleets 17 vessels laden with rich merchantlise. From the looms of Benaras weitlorth the most delicate silks thqt adorned the ballrooms of St James oid o7 Versailles.-... . . , - Thomas Babbington Macaulay. ISth century-

19. Genealogy: A number of people have been indulging in metal repousee art since 4th generation adopting it their major resource of livelihood and the current 4th or 5th generation is indulging in this art currently. (Genealogy of artisans enclosed)

20. Recognition of Banaras metal repousee artisan as state awardee by the State Govt.: Some of the major artisans have been awarded for their unique and glorious metal repousee work through government of India as a state awardee. Sitaram R/o Govindpura, Varanasi has been awareded by the state government in 1979 fbr repousee work. His certificate is enclosed.

Lakhan lal R/o Karnghanta, Varanasi got award by the state government in 1979 in repousee art. His certificate is enclosed. Rajkumar R/o Nichibag, Yaranasi has been awareded by the state government in 1989 for repousee work. His certificate is enclosed.

21. Banaras metal repousee artisan'srecognised for work in other state: To retain the warm value of the tradition and pattem, some of the artisans of Varanasi specially invited for working in other state in various grand and glorius projects due to their soft metallic skills.

Late Ramdas alias Buddhu Master has worked as Teacher of Metal craft in "Batuk Prasad Khatri Rajkiya Audyogikiya Evam Praudyogiki Shiksharalaya" (Govt. ITI) at Chaukaghat up to 1972 and several artisans of ,metal repousee craft has trained by irim and now a days they are state awardees. The 4th generation of this family is working in this craft. (certificates enclosed ) 

Shree Phoolchand a resident of Chuha Gali, Ramghat, Varanasi is still working in this craft and he has worked in the various royal families including the King of Gwalior and he is in the same 150 years old house in a very narow lane on the closed bank of river Ganges are residing and in the same place involve in the craftsmanship.

Mr Ashok Kumar Kshatriy R/o Varanasi worked in Dhanbad, Bihar for preparing the door and vedi of Shri Rani Sati Dadi ji temple in 1999 and SHRI SyAM BHAKT MANDAL NYAS, Bhagalpur in2006 and certified for it. (certificates enclosed )

Babu Shrichandra R/o Varanasi worked in world famous Kashi Vishwanath Temple and in Ayodhya for Nageshwarnath temple trust. He mate with Ex-President of India Hon'bleGyani Jail Singh Ji in New Delhi and presented him a Silver Repousee face of Shre Guru Nanak Deo Ji and then Hon'bleShri Gyani Jail Singh Ji has given a cerficate of appreciation to him and photographs with him. (Related certificates enilosed)

Mr Rajkumar R/o kadamtala alley, Varanasi worked in Bhopal for Badvale Mahadev temple'sgateway and certified for it in . Taking care the specific characteristics and especiallity of the Banaras repousee art, he was specialy invited by the Orissa (puri) to prepare the gateway of the temple. He prepared the gateway of the Srimandir with the original Kalinga style designs with 150-plus kg of silver.( Reference taken from Hindustan Times 11 July, 2010 - enclosed )

Vtjay kumar, artisan, R/o Varanasi worked for Baba Jaglar Singh Kar Sewa Wale Dera Kar Sewa Baba Jeewan Singh ji, Amritsar, Punjab and certified for it in 13.6.2006

(certificatesenclosed ) Chhatisgarh in 2000. (certificates enclosed ) 2004 for the door panel, gold Kalash. (certificates enclosed )

22. Production Process: After getting the order of production from the market, the artisans do the preparation of preparing the order. At first design is drawn by the designer and this process is called drawing of design or products. [n the ancient period there was Musltauvari with the drawing which was prepared by filling up various colours and to see the Kings and after finalizing the drawing by the king or customers, a metal sheet was needed and prepared by hammering upon Nihai Chakla. Now a day the redimade metal sheet is available in the market.

'l Selection and preparation of metal sheet by Lah making: Various metal sheets like silver, copper, brass, gold and German silver are being used as per the demand of the customers. Afterthat a pitch or platform is prepared. Repousse is commonly performed

over pitch or platform. Pitch is a resinous tar-like substance which is semi-fluid when hot and hard when cold. The traditional and local technical word of it is lah making. It provides a backing for forming the metal that supports it yet allows it to be deformed. The pitch holds the metal in place during hammering and prevents the material from being pushed around. The pitch is used at different temperatures depending on the amount or depth of forming required. Transforming the drawing on the pitch (Repousse) is techniques for creating. The process is a very old one which is overlooked by metal artists today. It is a direct method of sculpting metal using simple hand tools and hammers. Sumbhi, a type of small hammer, is used for embossing the designes on the sheets and this process is called khalna or khalai (embossingy in whictr various types of Kalam(embossed desigining) like bulla, tiliya, lodati, iiauva, goal lodati, mota silla etc is being done as per the need and requirement of the design. After that sheet is being heat for making out from the lah and being cleaned. The texture of the business end of the repousee tool will be transferred to the surface of the metal. Smooth faced tools like these are often used to move the metal into shape. Repousee tools with textured faces can produce different surface effects and are often used in the refinement stages of repoussework. Various tools like sumbhi, small & big Ikauba, dana sumbhi, do dhara, adnaiya, chaurasi, pawari, chirav, chirna etc is being used for giving the final shape to the product.

Planishing: After bringing out from the lah, sheet gets the final shape by joining

together and this process called jodai or takai. And the final stages of refinement, called

planishing, are typical done on cold, hard pitch.

23. Traditional productions: since ancient period, various productions were being done and used by the kings and royal families. Some of the products are..

HAUDA, AMBARI, NALAKI, PALAKI, ASHA, BALAM, SOTA, MURKSHAL, CHAVANR, JHULA, ARAMKURSI, FLOWERBASE, JHUMAR, FAN, NISHAN, DOLI, TAMJAN, HORSECART, KALASH, DECORATIVE ITEMS, POTS, CROWN.

24. Market value along with trade and commerce: Around 1500 artisans are engaged in metal repousee traditional craft and they emboss design on metal sheets rnunuully. Th.y prepare the various items like crown, utensils, door panel and decorative items. The finest examples of their art is The golden top of the Kashi Vishwnath Temple, Swarn Mandir of Amritsar, Sharv Belgola Jain temple of Banglore, Jagannath temple, Puri with the potential demand as export items giving the buiseness of Rs 10 crore. (Reference taken from TOI news 14.01.2011)

25. In 1781 the period of Hastings, the company'srevenue demands on the resources of Banaras had nearly doubled and this was followed b the weak administration of Mahip Narayan Singh and his deputies. lsfere\tcl takey .from Banaras in Transition (1738-1795), A socio-economic study by Kamala Prasad Mishra pg no I I5-l 16 & 162.

26. Varanasi, too, is well known for its brass and copper repoussee work, executed mainly on wall plaques, trays, tabletops that presently serve as planters . Reference taken from Indian crafts- development and potential-by D.N.SARAF, Ex-Development Commis sioner (Handicr aft), Govt. of India.

27. Kamaladevi chattopadhyaya, the author of Indian Handicrafts, used one of the logo made by metal craft which is based on metal repousee art embossing the picture of Lord Krishna with cow in the position of playing flute.

28. The craft with uniqueness and human skills recognised by Indian media: Media also used to do a lot of research and field work with metal repousse art on ground level and frequently cover the story and facts related with them. Some of the major examples are given below...

Hindustan Times covered the story of various metal repousee artisans under its article "Metal Hero" on ltt June, 201 l. (News enclosed) Hindustan Times published the story of Das family one of the metal repousee artisans under its article "Here hand and sand keep bells ringing" on l2nd June, 2011. News enclosed)

In the article "NABARD comes to aid of five handicraft items" on 25th May,2012, the existence and importance of metal repousee were disseminated through....(news enclosed)

In Hindustan Times news article "A silver tribute to lord jagannath, siblings" on l lth July,20l0 it was published that Rajkumar, artisan of Varanasi was assigned the job of putting back the ancient Kalinga designs in silver before the holy trinity returns to Srimandira in Puri.(news enclosed)

Hindustan Times on l5th Dec, 2009 covered the news Bharat Lal and Ashok Kumar, of one of the traditional Kasera families, for preparing l5-inch mouse carved from I .25 kg silver and Charan Paduka of Goddes Vindhyavasini at Vindhyachal for the BIG B(fiI; star Amitabh Bachchan family) (news enclosed) The news of 2 artisans - Sanjay Kumar and Vijay Kumar has come on 25th Aug, 2004, Amar Ujala, Punjab news article "Banarasi carving skills of the sedan Sahib(Palki Sahib)" explain the presence of Banarasi artisans in golden temple Amritsar for preparing the palanquin (Palki Sahib) with 14 kg gold, 425 kg copper and 100 kg mercury. The same news was covered by the Dainik Jagaran, Jalandhar news. (news enclosed)