Vanam Jwala Narasimha Rao
Published in AP Times on 19th October 1996
The human desire and passion for possession of artefacts has always been a status symbol especially among the different classes. Their patronage had exerted large influence on the growth of crafts. Lacquer-ware craft has been no exception. The rich and harmonious surface decoration, the perfection in design and above all the comparative low price has given an edge to lacquer-ware craft over many other sister crafts.
The term ‘lacquer’ takes its origin from the Sanskrit word Lakcha meaning a protective varnish, a coating which was being given in the past to household articles. The base of this material is resin Lac, the gummy deposit of the insect Techadria Lacca.
The Lacquer-ware craft in Andhra Pradesh has been around for over eight decades. It is being practised as a cottage industry and is concentrated in Etikoppaka and Yelimanchilly in Vizag district; Gummidadala and Bhontapally in Medak district; and Tirupati and Karlapudi in Chittoor district. Around 300 artisans are said to be engaged in this craft producing annually about Rs. 25-45 Lakh worth of articles.
The craft which began modestly with the use of hand lathes later is also practised on power operated lathes. The limitation in size and range of items turned out on hand lathes has compelled the use of power operated lathes which has distinct advantages in optimising production, reducing cost of production and thereby increasing the earnings and crafts persons.
A unique feature of lacquer craft practised in Andhra Pradesh is involvement of women to the extent of painting and lacquering only. The men concentrate on turning and shaping of wood on lathes.
In view of the elaborate production process, the craft necessitates the use of different varieties of raw material. Wood is the basic raw material. ‘Pala Kurcha’, ‘Odde Karra’, ‘Malagu’ and ‘Andagu’ are some of the local species of wood used by the crafts persons. These are basically closely grained and oil less wood which render them most suitable for the craft is taken out. Button Lac, Litho-phone powder, aniline and acremin group of dyes, Kevada leaves, sand paper, poster colours, enamel paints, turpentine and other hardware are some of the other important materials used.
The craft of late has become predominantly mechanised. While hand lathes and power operated lathes form the basic implements, saw, chisels, files and other cutting tools in varying sizes form the accessories. The preparation of coloured Lac sticks is one of the important processes in the craft. Shellac is first melted by holding it over a fire till it is plastic. Then a small amount of pigment (dyes) mixed in water or oil and a given proportion of litho-phone powder is strenuously added over the fire till it achieves homogeneity and consistency of a rubber. The Lac is then made into sticks of required sizes. The craftsmen at Etikoppaka are, off late, using natural dyes in the preparation of colour Lac sticks.
The wood which is cut to desired size is kept for partial seasoning. Later it is shaped on a hand or power operated lathe with the help of chisels and other hand tools. The surface is then smoothened by application of sand paper. The colour stick is then applied on the revolving wood wherein the Lac adheres on the surface due to friction. Thereafter, finer and smooth finishing is given on the surface by the Kevada leaf with small quantity of any sweet oil. For further decorations and designs, oil paints or water colours are used. Belans, toys, tops, birds and animals, kumkum and powder boxes etc., are some of the important items being presently manufactured.
Though the craft has become a viable proportion, it has its own problems. The requirement of good quality wood is becoming increasingly scarce and more expensive. In a haste to execute orders, the artisans use unseasoned wood which ultimately tells on the quality of the finished product. The crafts persons have not been adequately exposed to intermediary technology which has adversely affected production and profits.
However, sustained efforts from the Andhra Pradesh Handicrafts Development Corporation, District Rural Development Agency and Crafts Council of Andhra Pradesh provide some relief to the crafts persons. A wood seasoning plant project sponsored by the United National Development Programme, which is in the offing, might also provide great relief to the craft persons in the near future.
On the critical assessment of the craft in Andhra Pradesh, it is observed that items turned out are conventional in designs, crude in finish and cater only to local markets. Design and technology go hand in hand. There is immense scope for introduction of new and innovative designs and appropriate intermediary technology. Regional Design and Technical Development Centre (RDTDC)
The craft is making progress in design development, technology and market development. The craftsmen on their part are also developing an attitude of self reliance by being receptive to the changes as per the buyers’ tastes. They are even eager and ready to avidly adopt improvement in techniques and methods which are evolved as a result of research and development taking place all-round.
The Regional Design and Technical Development Centre, Bangalore is one of the four such centres, along with the ones at Bombay, Calcutta and Delhi established in the year 1956 to carry out research work with a view to revive and revitalise age old traditional and hereditary crafts. The centre concentrates on the development of crafts like wood carvings, kinhal, stone carvings, Tanjore decorative work, pottery, inlay work, lacquer turning, costume jewellery with metal ware etc. Special surveys are also undertaken by this centre for the purpose of collecting information about the existing and languishing including tribal, folk and other crafts in the region. Survey of languishing crafts including the existing ones in the region are also being undertaken periodically by the technical staff. The centre also extends design and technical assistance to crafts-persons, cooperatives, craft industries, marketing agencies, exporters etc., in the region by providing prototypes of new designs produced at the centre. The centre also provides training facilities to craftsmen to improve their skills.
In order to give a further impetus to the efforts of Regional Design and Technical Development Centre of Bangalore and also to popularise the designs evolved, design workshops on lacquer-ware crafts of Andhra Pradesh were conducted frequently at the common facility centres like the one at Gummidadala of Narsapur taluk in Medak district. Workshop held in such remote places in order to disseminate the designs of as many crafts-persons as possible boost the confidence of artisans.
About 1300 and odd designs in lacquer-ware developed by the Regional Design and Technical Development Centre, Bangalore are on display at these workshops. The centre conducted such workshops at several places over a period. Crafts-persons from various crafts pockets of Andhra Pradesh participate in the workshops as and they are held besides exporters, designers and other developmental agencies to interact with the participating crafts-persons.
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