CRITICAL ANALYSIS OF SAHARANPUR WOODCRAFT: PRACTICE STATUS AND NEW DESIGN POSSIBILITIES

Abstract

Wood carving has undoubtedly possessed a prominent place amongst the greatest art forms ever since antiquity. This beautiful tradition of India dates back to the times of Indus Valley civilization. Having started in Indus Valley civilization, the tradition of wood carving later on extended in many places in India like Tamil Nadu, Kashmir, Orissa, Gujarat, Uttar Pradesh, Karnataka, Bihar, Rajasthan and Kerala. All these centers have revealed their own exclusive styles and culture through the art of wood carving. In the same context, Uttar Pradesh, a state in northern India, consisting of 18 divisions and 75 districts, exhibits itself as an epitome of art and craft. Saharanpur (SRE) is one of the commercial districts of Uttar Pradesh. For centuries, this place has been known across the globe for its craft work. Wood is a preliminary material here which is available in abundance and is extensively used for making various products of daily needs like wall products, table top products, room partitions and furniture. This craft is about 400 years old and the description of Saharanpur’s economy is incomplete without mentioning the contribution and past glory of the wooden handicraft industry. As a common prevalence in the wood carving industry, only conventional manual tools have always been used from ages, however, with the course of time, progression has emerged in the form of sophisticated automatic machines that use electrical energy. Although, the SRE woodcraft is famous internationally, it is highly important for the artisans to amalgamate the traditional wood carving of SRE with the innovative designs of the contemporary age. In order to be compatible with the contemporary fashion needs, the artisans are using a variety of woods nowadays, and for the purpose of promoting the woodcraft of SRE, several exhibitions are being held nationally and internationally since 1902-03. These avenues support the artisans to have dealings with the media and customers. Woodcraft is deeply entwined with the identity of SRE and its people. It reveals the inherent aesthetics of the artisans and their relationship with the natural environment. Production of wood carving is developed on a commercial scale which is carried out by the artisans of SRE from generation to generation. Using a combination of cutting, carving, inlaying, sanding and polishing, the craftsmen in SRE create amazing products the artisans in SRE are highly skilled and experienced experts whose knowledge includes the skill of applying multiple types of finishes to wood, designing different elements and understanding their symbolic significance. They have the skill of imparting perfection to their handwork. Creative expertise and talent are ii found in abundance here which must certainly be encouraged by raising their level of confidence. However, this inherited occupation and skill that have developed over years is being dispirited nowadays. Artisans are highly skilled and they are in masses. The majority of artisans focus on quantity of work, rather than the quality of products, because generally they are paid according to no. of pieces. The prime motto of them is to earn more money. Especially, of late the focus of the artisans has turned towards material gains or earning of more money, where such feelings like devotion and motivation for work have vanished in the contemporary world. Thus, they do not put their heart in the quality work. Another reason is the lack of proper knowledge shift. Woodcraft manufacturing skills and techniques are generally passed from one generation to the next generation. New generation does not have patience to work under the supervision of ustaad for long time and to imbibe all the skills. Their ustaad also have a fear that if they impart the knowledge to their shagird they might start their own business and steal their customers. For that reason, there is a dire need for bringing far-reaching changes in woodcraft for its revival and modernization. The investigation entitled “Critical Analysis of Saharanpur Woodcraft: Practice Status and New Design Possibilities” was carried out mainly in Saharanpur district in Uttar Pradesh region through purposive random sampling technique. Data was collected through random sampling technique from the region where woodcraft making was carried out in the district. An interview schedule was formulated for the purpose of collecting data of 138 artisans from the district. During the process, another important step was documentation with regard to the woodcraft products that were available in the market. In order to gain more information about this craft first hand, the artisans’ karkhanas (workplaces) were visited by the researcher and she met various artisans there. Another procedure to understand the current scenario of SRE woodcraft market was to study a number of stores and galleries. Emerging knowledge, demands, tastes and lifestyles are the major components in the development of a craft which force us to delve for something new in materials, designs and technology for improving the market culture. Apart from that, secondary sources like books, internet, magazines, encyclopedia etc. were also consulted and information was gathered regarding raw material, tools and equipment, design, size and the production process. The aim of the research was to create new prototype samples which would depict the identity of woodcraft. In the market of SRE, majority of products are available for single usage, while several of them are bulky in weight and not very user friendly. Thus, keeping into account this market trend the researcher has designed multi-functional, flexible, light weight and semi iii carved products. Ten woodcraft samples were developed while maintaining the essence of the art of SRE, by filtering out representative elements, to rediscover its beautiful form in a modern as well as traditional way. The prototype samples were evaluated by the respondents on the basis of quality of raw material, craftsmanship, wood finishes, design, functional clarity, costing and overall appearance.