Craft Documentation by Sangya Guha उदयपुर कȝ कलाकृϽत
Declaration I, , hereby certify that this documentation is my own work, based on my study and/or research. I confirm that all materials and sources used in its preparartion including books, articles, reports, lecture note, interviews, photographs and other documents, whether electronic or personal communications have been duly acknowledged. I further certify that this project has not been previously submitted for assessment in any academic capacity and that I have neither copied nor plagiarized, in part or in whole, the work of any other person. Title: Signature: PRN: Date: Craft Documentation Sangya Guha 8023031533 16th March,2025
Maharaja Ranjitsinh Gaekwad Institute of Design Faculty of Fine Arts Maharaja Sayajirao University of Baroda Craft Documentation Student name: PRN: Programme: Semester: Guide: Year: Sangya Guha 8023031533 Communication Design 6th Ms. Anvika Kamath III year Faculty Ms. Anvika Kamath Director Prof. Ambika Patel
Copyright © 2026 by Sangya Guha Publisher: MRID Communication Design Gulab Baug, opposite Amul Store, near Saffron Tower, Maharaja Sayajirao University, Pratapgunj, Vadodara, Gujarat-390002 www.msubaroda.ac.in All rights reserved. No part of this book may be reprinted, reproduced, utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Conceptualization and Design by: Sangya Guha Faculty: Anvika Kamath Content Credits: Sangya Guha, ChatGPT, Gaatha, Caleidoscope, Rajasthan gov.in, Rajasthan Tourism, Molela Clay work Printed at: Sundaram Digital All copyrights and trademarks of elements used belongs to their respective owners and are used for education and private circulation only.
I sincerely express my heartfelt gratitude to my college Maharaja Ranjitsinh Gaikwad Institute of Design for providing a supportive learning enironment that encouraged innovation, critical thinking and most importantly, documentation and in-depth research during the college trip to Udaipur . I am thankful to Ms. Anvika Kamat and Mr. Jignesh Das for their consistent advice, critique and guidance throughout this module. Your valuable insights have encouraged me to keep striving for better research and documentation outcomes along with gaining better knowledge about the world, resources, crafts and artisans around myself. This Craft Documentation is based on the four crafts my batch visited during our trip to Udaipur, which are- Molela, Pichwai, Kavad and Thikri. Anvika ma'am's and my peers' helpful insights helped me a lot in understanding the impact of this project through discussions and reviews. Finally, I am immensely grateful to Mr. Satyanarayan Suthar, Mr. Yashwant Jangid, Mr. Dinesh Chandra Kumhar and Mr. Mahesh Kumawat who were the highly talented and experienced artisans, helping us understand their respective crafts throughout our trip. I am thankful for their patience, cooperation, personal stories, insights and demonstrations which have contributed heavily to this documentation.
Craft is often described as the quiet language of a place. It is where earth, wood, pigment, mirror and cloth become storytellers, carrying fragments of history through the hands of those who shape them. Rajasthan, with its vast deserts, royal lineages, vibrant communities and centuries of artistic patronage, holds some of India’s most enduring craft traditions. These crafts are not merely objects of beauty. They are living archives of culture, devotion, livelihood and identity. This documentation emerged from a field study conducted during an academic visit to Rajasthan. As communication design students, our intention was not only to observe the crafts as finished products, but to understand the systems that sustain them: the materials sourced from the land, the tools refined through generations, the rhythms of workshops and the lives of the artisans who continue these traditions. The journey led us into studios, village homes, temple towns and artisan communities where craft is practiced not as an isolated skill but as a way of life. The documentation focuses on four crafts encountered during this journey: Molela terracotta, Pichwai painting, Kavad storytelling shrines and Thikri mirror work. The book begins with an overview of Rajasthan’s history, geography and cultural landscape, providing context for the crafts that emerge from it. Each craft chapter then explores its origin, making process, artisans, products and market presence. The concluding sections reflect on the future of these traditions, possible design interventions and personal learnings from the experience. Through this documentation, the intention is to present these crafts not merely as objects, but as living traditions shaped by time, place and people. If the book encourages readers to look more closely at the crafts around them, to value the hands that make them and to see tradition as something dynamic rather than static, then it has fulfilled its purpose.
01 About Rajasthan 02 Molela Craft History Geography Demography Culture Art and Crafts Places visited History and Origin Process and Tools The Artist Products and Use Market Analysis Significance 04 Kavad Art Summary The Artist Significance 03 Pichwai Paintings Summary The Artist Significance
05 Thikri Craft 07 Reflections Summary The Artist Significance 08 References 06 Design solutions Cohesive and unique Brand Identity Packaging Advertising
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केसȏरया बालम केसȏरया बालम आवो नी, पधारो Ǥहारे देस। नी पधारो Ǥहारे देस, आवो Ǥहारे देस। केसȏरया बालम आवो नी, पधारो Ǥहारे देस। मƅधर देस मˍ थारो Ǵवागत है, थांरी बाट जोवे थारी कामणगार। केसȏरया बालम आवो नी, पधारो Ǥहारे देस। पग-पग नेजा पड़ै रे मƅधर, चम-चम चमके रे रेत। ढोला थारी याद मˍ, Ǥहारी पलकां ना झपके। केसȏरया बालम आवो नी, पधारो Ǥहारे देस। "Kesariya Balam" captures the soul of Rajasthan by blending the profound longing of the desert with a timeless, regal invitation of hospitality. This iconic folk anthem was immortalized and popularized worldwide by the legendary Mand singer, Padma Shri, Allah Jilai Bai. 02
History The history of Rajasthan stretches back to ancient times, with evidence of the Indus Valley Civilization at Kalibangan around 3500 BCE. Its defining era emerged between the 6th and 12th centuries with the rise of Rajput clans such as the Pratiharas, Chauhans and Guhilas, who built powerful kingdoms and the iconic hill forts that still shape the region’s landscape. During the medieval period, Rajasthan became a key battleground with the Mughal Empire. Some rulers, like Maharana Pratap of Mewar, resisted Mughal rule, while others formed alliances, creating a rich blend of Rajput and Mughal art and architecture. Later, the Maratha Empire and the British East India Company gained influence, leading to the formation of the Rajputana Agency under British rule. After India’s independence in 1947, more than 22 princely states were gradually merged between 1948 and 1956 to form modern Rajasthan. The former royal palaces of the “Land of Kings” now stand as heritage hotels and museums, preserving its vibrant cultural legacy. 03
Geography Rajasthan, the "Land of Kings," is as geographically diverse as it is culturally rich. It is a land where shifting sand dunes meet the oldest mountains in India. Here are some points defining the rich geography of the state:- • Rajasthan covers about 10.4% of India's total land area, making it the largest state in the country. • About 60% of the state is covered by the Thar Desert, which is the most densely populated desert in the world. • The Aravalli Range intersects the state from southwest to northeast; these are among the oldest fold mountains on Earth, even older than the Himalayas. • The Aravallis act as a climatic divide, trapping the monsoon winds and creating a lush, fertile eastern zone compared to the arid western side. • Rajasthan is home to Sambhar Salt Lake, India’s largest inland saltwater lake, which has been a source of salt for centuries. • The Tropic of Cancer passes through the southern tip of the state, specifically through districts of Banswara and Dungarpur. • Amidst the heat, the state hosts a hill station called Mount Abu, its highest peak, Guru Shikhar, offers a cool, forested retreat. • Known as the "Museum of Minerals," Rajasthan is India's sole producer of Zinc and Lead and holds a near-monopoly on silver and gypsum. • The iconic "Sam Sand Dunes" in Jaisalmer are part of a dynamic ecosystem where dunes can reach heights of 30 to 60 meters. Source: foundation.rajasthan.gov.in 04
Demography The following data is based on Rajasthan government’s official website- rajasthan.gov.in, which provides intensive information about the state’s demographics, employment, community, culture and tourism. Key Demographic highlights- • Total Population: 68,548,437 people in Rajasthan according to the 2011 Census. • Decadal Population Growth (2001–2011): About 12 million increase in population during the decade. • Child Population (0–6 years): Over 10.6 million children, indicating a relatively young population base. • Literates: Around 38.27 million people are literate, reflecting the literacy level of the state. • Total Workers: Approximately 29.98 million people are part of the workforce in Rajasthan. • Household Industry Workers: About 1.27 million workers are engaged in household industries, showing the importance of small-scale and traditional industries in the state. Rajasthan has a large and growing population with a significant working workforce and a steady presence of small household industries, which also connects closely to the state’s rich craft and artisanal traditions. 05
Rajasthan is a vibrant land where the “Land of Kings” transforms its arid landscape into a burst of color and culture. Rooted in the philosophy of Atithi Devo Bhava (The Guest is God), the region is known for its warm hospitality, vivid attire and cities with signature hues like the pink of Jaipur and the blue of Jodhpur. The air resonates with folk traditions carried by instruments like the Sarangi and the songs of Manganiyar and Langa musicians. The spirit of the state comes alive in lively melas and festivals filled with decorated camels, swirling dances such as Ghoomar and Kalbeliya and bold cuisine like Dal Baati Churma and Laal Maas. From intricate Mehendi designs to delicate Thewa jewellery, art and celebration shape everyday life. In shaded courtyards and narrow alleys, traditional craftsmanship continues to thrive. Artisans create miniature paintings with fine brushes, practice hand-block printing in villages like Bagru and design homes with jharokhas and jaalis that channel the desert breeze. From blue pottery to lac bangles, every craft carries a story of ancestry, keeping Rajasthan’s royal heritage alive and vibrant even in the modern world. Beyond its crafts and festivals, Rajasthan’s identity is also shaped by its majestic forts, stepwells and desert landscapes that echo centuries of history. Cities like Jaisalmer rise from the Thar Desert like golden mirages, while ancient trade routes and caravan towns once connected the region to distant cultures. Together, these layers of history, art and everyday traditions make Rajasthan not just a place, but a living cultural canvas. Culture 06
Art and Crafts Blue Pottery • Blue pottery is a distinctive craft of Rajasthan known for blue-and-white designs. • Made from quartz powder, powdered glass and natural ingredients, not regular clay. • Produces a smooth glazed finish. • Introduced in the 19th century by Persian and Afghan artisans. • Flourished in Jaipur under royal patronage. • Today it symbolizes Rajasthan’s artistic heritage and craftsmanship Molela Craft • Originally developed to create votive images for tribal worship. • Plaques are installed in village shrines and prayed to for healing and protection. • Potters mainly serve the Bhil tribes and their Bhopas (priests). • Many travel hundreds of kilometers from Madhya Pradesh to purchase the Molela plaques. Mojadi • Mojaris are traditional handcrafted footwear from Rajasthan. • Their origins trace back to the Mughal Empire, when they were worn by royalty. • Made of leather with intricate embroidery, beads and sequins, often inspired by nature. • Known for their distinctive pointed toe design. • Today, leather mojaris symbolize Rajasthan’s craftsmanship and cultural heritage. Lac Bangles • Lac bangles are a traditional craft of Rajasthan. • Made from lac resin, shaped while molten. • Considered auspicious and widely used in weddings and festivals across India. • Lac is pasted on a wooden rod and rolled with a flat board to form a cylindrical shape. • Known for their bright colors and decorative appeal. Rajasthan, often hailed as the land of maharajas, conjures images of majestic forts, bustling bazaars and vibrant festivals that paint the desert landscape with hues of grandeur and tradition. However, beneath this flamboyant surface lies a hidden gem—a treasure trove of captivating crafts that reflect the soul of Rajasthan. Each piece, meticulously crafted by skilled artisans, whispers a story of heritage, cultural pride and the enduring spirit of creativity. These crafts are not merely artifacts; they are living traditions passed down through generations, embodying the essence of Rajasthani culture and its artistic legacy. 07
Thikri Craft • Thikri art is a traditional mirror inlay craft with centuries-old heritage. • Made by assembling mirror shards into intricate patterns and motifs. • Traditionally used to decorate walls and ceilings of royal palaces. • Mirrors are embedded within painted surfaces using natural pigments. • Designs often depict themes and narratives from Hindu mythology. Kavad Art • Kaavad is a portable storytelling shrine with multiple doors revealing visual narratives. • Stories unfold through the narration of a storyteller as each panel opens. • Practiced by the Kaavadiya clan of Chittorgarh. • The storytellers preserve ancestral, regional and religious legends. • Kaavadiyas travel from village to village, narrating stories passed down through generations. Pichwai Paintings • Pichwai paintings traditionally adorn temple walls and decorate temple chariots. • Beyond aesthetics, they narrate Krishna’s tales to the illiterate. • Pichwais are changed daily and for special rituals or festive occasions. • Serve as more than backdrops, interacting with viewers and altering meaning with each viewing.Phad Paintings • Phad paintings originated over 700 years ago in Bhilwara. • Known for their vibrant colors and narrative storytelling style. • Often depict mythological and folk tales, especially of the hero Pabuji. • Painted on cloth using natural colors with intricate detailing. • Traditionally used in folk performances as portable narrative scrolls. • Today, Phad remains a prized form of Indian folk art. 08
Places visited Molela, Rajsamand Nathdwara, Rajsamand Rajsamand is located about 67 km from Udaipur and is widely known as one of India’s largest marble-producing districts. Alongside its marble industry, the region is also noted for its scenic lakes, historic palaces, rich heritage and a nearby national park. Molela is a small village on the banks of the Banas River. While it may appear like an ordinary rural settlement, it is uniquely known across India for its traditional Molela terracotta plaques and idols. Molela was the first craft site I visited during the field trip. Many families in the village practice this craft, passing the skill down through generations as a cherished family tradition. Nathdwara is a vibrant town in the Aravalli Hills, about 48 km north of Udaipur. Unlike many Rajasthani towns known for forts and palaces, Nathdwara is renowned for its deep spiritual and artistic heritage. The town centers around the 17th-century Shrinathji Temple, dedicated to Shrinathji, a child form of Krishna. The temple’s darshans follow the daily routine of a child, with scheduled moments for waking, meals and rest. Nathdwara is also globally known for Pichwai paintings, intricate textile backdrops traditionally created for the Shrinathji idol, often depicting scenes from Krishna’s life and festival celebrations. We visited Nathdwara after Molela and were welcomed by a talented artist family. 09
Bassi, Chittorgarh Udaipur Chittorgarh echoes with stories of Rajput bravery and sacrifice. The city is named after the majestic Chittorgarh Fort, which rises 180 metres above the plains and spreads across nearly 700 acres. Bassi is a village in Rashmi tehsil, about 67 km from Chittorgarh and is renowned for its traditional Kaavad craft. A Kaavad is a portable wooden shrine with multiple painted panels that open like a book. On the second day of our visit, we travelled to Bassi village and visited the home and workshop of a renowned artisan, where neatly arranged Kaavad pieces and unfinished panels revealed the craft in different stages of creation. Often called the “Venice of the East,” Udaipur is a city of lakes surrounded by the green hills of the Aravalli Range. The iconic Lake Palace sits gracefully in the middle of Lake Pichola, while the nearby Jaisamand Lake is known as one of Asia’s largest man-made freshwater lakes. Founded in 1553 by Maharana Udai Singh II as the capital of the Mewar Kingdom, the city also has rich deposits of zinc and marble. On the third day of our visit, we explored its old streets and later visited Mohini Arts, a shop known for Thikri craft and glass and bone inlay work. 10
साडू माता को लाल साडू माता को लाल, Ǥहारो देव पधारो रे, लीला घोड़ा री असवारी, Ǥहारो देव पधारो रे। खǤमा-खǤमा ओ देव धणी, अजमेर गढ़ का राजा, बगड़ावत रा जाया, थे तो Ōșखया रा रखवाला। हाथ मˍ भाळो, गले मˍ माळा, काना मˍ कुंडल सोहे, थारी सूरत Ǟयारी लागे, भƾत थारा गुण गावे। This is a rhythmic folk song often played during the pilgrimage festivals when tribal groups come to Molela to buy clay plaques. It is also the spiritual "user manual" for the Molela terracotta artisans. When an artisan sits down to mold the clay, the imagery he carves is dictated by the verses of this very bhajan. The song celebrates the miraculous birth of Lord Devnarayan (an incarnation of Vishnu). According to the legend, Sadu Mata performed intense penance after the 24 Bagrawat brothers (Devnarayan's father and uncles) were killed in battle. The bhajan describes how the deity finally appeared to her, not from a womb, but emerging from a lotus flower floating on water, which is why he is often depicted sitting on a lotus in Molela plaques. 11
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History and Origin The history of this clay based craft dates back to almost thousands of years. Its origin and the beginning of its prevalence in Rajasthan also has a vey unique folklore attached to it. Nearly five millennia ago, as the story is told in Molela village, a blind potter received a remarkable vision in his sleep. In the dream, Dharmaraja appeared before him and instructed him to dig for clay at a particular spot and shape the deity’s image from it. Guided by faith and memory of the dream, the potter followed the divine instruction the very next morning. From that sacred clay, he carefully formed the figure of the god, fulfilling the promise he had made in his dream, while his eyesight was restored. Over time, this act became more than a single moment of devotion. The craft was carried forward by the potter’s descendants, passed down through generations as both a livelihood and a living cultural tradition. What began as a dream-inspired offering gradually evolved into the distinctive art of Molela clay work that continues to thrive today. Traditionally, this craft was developed to create votive images for the tribal worship. They are installed in the village shrines and prayed too, for curing illnesses and misfortunes. These potters mainly cater to the Bhil tribes and their Bhopas (priests) who come to purchase these plaques from Molela, having travelled hundreds of kilometers from the borders of Madhya Pradesh. Source: caleidoscope.com 13
The tradition of terracotta sculpting in India dates back to the earliest settled civilizations. Archaeological finds from the Indus Valley Civilization show numerous examples of earthenware and pottery, proving that shaping clay for daily use and artistic expression was already well established. Some historians also suggest that certain techniques may have reached India through Persia during the early 13th century, enabling cultural exchanges across regions. Over centuries, artisans refined their craft, transforming humble clay into expressive human forms that capture posture, movement and emotion with remarkable skill. During the flourishing age of the Gupta Empire, terracotta sculptures in India became more graceful and refined, with softer human forms. Earlier figurines from the Shunga–Kushan period were richly adorned with slender, intricate ornaments, reflecting both artistic skill and cultural sophistication. This long tradition of working with clay laid the foundation for regional crafts like Molela terracotta. Initially, artisans created standing idols of local deities and Hindu gods such as Vishnu, Kali, Ganesha and Durga. Today, the figures are often mounted on plaques and used as wall decorations in temples and homes, with modern designs also exploring abstract patterns, cultural symbols and contemporary décor. Source: brittanica.com Source: alamy.com 14
The making of Molela terracotta plaques is a careful, multi-stage process where earth slowly transforms into sacred imagery. Artisans follow traditional methods that have been passed down through generations. Process and Tools Sourcing and refining the clay Shaping the base plaque Shaping the clay and sculpting the main figures • Clay is sourced from nearby riverbeds and fertile soil deposits, especially from the Banas River near Rajsamand. • This clay is preferred for its smooth texture and good plasticity. • The collected clay is cleaned to remove stones, roots and impurities. • It is then soaked and kneaded by hand or feet until soft, smooth and workable. • Molela clay work is primarily hand-crafted, with artisans shaping figures using their fingers. • Rolling and forming low-relief elements are done mostly by hand. • Simple tools like wooden sticks, metal combs and needles are used for finer sculpting. • The design is rarely pre-sketched, emerging directly from the artisan’s imagination. • Deities, animals and narrative scenes are built by adding and shaping small pieces of clay. • Forms are refined to highlight facial features, ornaments and textures. • Artisans roll the prepared clay into flat slabs, forming the base of the plaque. • These slabs are usually rectangular or square and act as the canvas for sculpted imagery. • Sizes vary depending on the plaque being crafted. • Sawdust and water are used to create a smooth, even surface. 15
Adding details and finishing touches • Fine details are carved using wooden or metal tools, adding patterns for jewellery, clothing folds and decorative borders. • Handmade tools such as Paladi and Phuldi are used to create delicate surface designs. • Simple line and dot patterns enhance the intricacy and liveliness of the figures. Drying in the sun for hardening • Sculpted plaques are left to dry naturally in the shade for several days. • Slow drying prevents cracks and allows the clay to harden gradually before firing. • The duration depends on thickness, humidity and weather conditions. • Controlled drying is essential to prevent warping or cracking. Baking in the furnace, cooling and coloring • The dried plaques are arranged in a traditional kiln for firing. • Usually 80–100 pieces are fired together, as smaller batches risk damage from strong heat. • The kiln is fueled with cow dung cakes, wood and straw. • It is fired for several hours at around 600–700°C, hardening the sculptures. • Broken parts are repaired using plaster, adhesive, or cement. • Plaques are commonly painted in gerua, though other natural/artificial colors are also used. 16
Pindi Sculpting Tools Badi Phuldi Choti PhuldiPathiyaWater • Water is used to make the clay softer whenever needed so that reshaping, taking out excess clay and sculpting becomes easier for the maker. • Pathiya is the block used to flatten the clay onto the slab to give the shape of a plaque. It helps in flattening the clay’s surface. • Whenever the clay is kneaded, Pindi is used to remove the air bubbles so that they don’t make gaps when dried out. • Apart from the use of artisan’s hands and skillful fingers, these tools are also used to give proper shape to the figures being sculpted. • These tools help in taking out minute parts of the clay or giving minute detailing to the figures. • Another handmade tool called Paladi is used in sculpting, which has a wide body and narrow and sharp mouth. • Phuldis are tools used for making patterns and motifs on Molela. • These Phuldis are also made from clay be the artisan. • These tools give a flower like and chakra like impression on the clay and are used only after the main figures are completed and detailing part is left. 17
The Artist Dinesh Chandra Kumhar For fifteen generations Dinesh Chandra Kumhar’s family has practised the tradition of making molela terracotta art plaques of traditional Hindu Deities. Even his children are engaged with him in the craft and the business related to it. Many of Dinesh ji’s artworks and elaborate pieces are in many national collections and galleries in India. His artworks are on demand in Delhi, Mumbai, Madhya Pradesh, Chattisgarh and also in international circles. His work has been in display in exhibition in France, Germany and United States. His artworks range from religious plaques to narrative panels and large terracotta murals. Besides producing artworks, Kumhar actively teaches and promotes Molela terracotta craftwork through workshops, seminars and interactive training programs. Thousands of students and craft enthusiasts have learned the basics of the craft through his sessions. In Mollela village, we students were welcomed by Dinesh Chandra Kumhar and his wife Kailash Devi at their home and workshop area. Dinesh ji was ready with his tools and a plaque to perform a live demonstration of the craft. Under the guidance of his father, Dinesh began his apprenticeship at the age of 7. He was born in 1969 and has been practicing Molela for 45-50 years and also started teaching college and school students since last 10-15 years in his workshop and colleges/institutions. Dinesh ji’s father and mentor, Shri Mohanlal Chaturbhuj Kumhar was also a renowned Molela artisan. He has also received Padma Shri from Pratibha Patil, the former president. Dinesh ji has received International Crafts Award and National Merit Award in the year 2019. 18
Dinesh ji’s workshop is not a large industrial studio but a living craft space where clay, tools, fire and generations of knowledge come together. Located in Molela village in the Rajsamand district of Rajasthan, about 45 km from Udaipur, the workshop is open to visitors, researchers and craft enthusiasts, with many pieces produced and sold directly from the village. The studio follows the traditional courtyard-style workspace of Molela potters. Dinesh ji shapes relief plaques from locally sourced clay, which are sun-dried and fired in a traditional kiln. The space also includes a small gallery and shop displaying finished works. His wife, Kalyani Devi, creates terracotta jewellery such as rings, earrings and necklaces, painting and glazing them after drying. Their home lies just behind the workshop and the spacious courtyard often serves as a place for workshops, classes and gatherings. The photos on the right show the entrance of Dinesh ji’s workshop along with signages displaying his specialization and contact details. The English signage in the middle image, is still readable, however, the hindi signage informing about the shop’s name and products has worn out and, hence unreadable. Dinesh ji’s Workshop at Molela village 19
The images on the right show shelves and floors filled with Molela clay works at different stages, from raw pieces to gerua-colored and fired plaques. Other pictures highlight the workshop’s range of beautiful terracotta jewellery’ pottery and some decorative items like terracotta lamps,etc. Dinesh ji and his wife supplement their income through making these secondary items and also more like Molela clay kits, Terracotta dish and bowl sets. 20
Products and Use Terracotta Murals- Religious Plaques- Dinesh ji has created large terracotta murals for national galleries and institutions, including a 6 × 25 feet piece displayed at NIFT Gandhinagar. It took him about 1–1.5 months to craft the individual plaques, assemble them and mount the mural. These government-sanctioned works, often commissioned by institutes, galleries, or museums, feature narrative scenes or collections of cultural and mythological symbols. One of Dinesh Kumhar’s notable plaques depicts Devnarayan, a revered Rajasthani folk deity, usually shown riding a horse to symbolize protection and justice. These plaques are popular among tribal communities seeking the deity’s blessings against misfortune and illness. Another celebrated plaque features Durga Mata, portrayed on her vahana, wielding weapons that signify strength and divine power, framed with ornamental borders and decorative motifs typical of Molela craftsmanship. 21
Narrative Panels- For the past 15–20 years, Dinesh ji has crafted Molela narrative panels depicting rural Rajasthan—weddings, farming and everyday village life. His home and workshop feature these panels on doors and walls, with themes spanning the Ramayana, Mahabharata, Rajasthani folk tales and Panchatantra stories. Through his work, he transforms terracotta into a vivid storytelling medium that celebrates Rajasthan’s people, traditions and culture. As mentioned earlier, Molela terracotta craft originally developed to create votive plaques for tribal worship. Installed in village shrines, these plaques are offered in faith to cure illnesses and protect communities from misfortune. The potters of Molela traditionally served the Bhil tribes and their Bhopas, or priests, who often travelled hundreds of kilometers from the borders of Madhya Pradesh to obtain these sacred objects. Over time, the craft began attracting architects and designers, gradually expanding beyond ritual use. Today, Molela plaques are also appreciated as decorative wall pieces in contemporary homes and buildings. With growing international visibility, artisans have broadened their themes to include scenes from everyday village life. Their creations now range from small palm-sized plaques to large narrative panels. Alongside shrine plaques, potters also craft terracotta figures of humans and animals offered as votive objects. In some traditions, devotees present clay replicas of body parts, such as an arm or a full human figure, as prayers for healing and well-being Evolving use of Molela clay works- 22 Source of all 3: gaatha.org
Market Analysis Target Buyers Distribution channels Secondary Buyers Primary Buyers Urban Consumers Tribal communities like Bhil, Garasiya & Mina Rural devotees Temples and priests Museums and Art collectors Domestic & international tourists Architects and Interior Designers Molela artisans like Dinesh ji sell their products through several physical and some digital channels: • Direct sales from workshops • Local fairs and village markets • Craft exhibitions and government fairs • NGO sponsored craft fairs • Handicraft emporiums • Tourist shops • Online platforms and social media However, many artisans rely on middlemen and exhibitions, which often leads to lower profits. Pricing and demand Small Molela plaques cost around ₹500, while larger murals range from ₹20,000 to ₹2.5 lakhs depending on size and detail. Demand is seasonal, peaking during religious festivals, harvests and tourist-heavy periods like Diwali and Holi. Artisans often supplement income through agriculture or side work. Dinesh ji creates decorative terracotta items and conducts seminars and workshops, while his wife makes clay jewellery for locals and tourists. 23
SWOT Analysis Strengths Weaknesses Oppurtunities Threats A SWOT analysis is essentially a "strategic health check", as it helps one to zoom out and see where a business or project stands today and where it could go tomorrow. By applying this to Molela Terracotta Craft, a stunning 500-year old hollow relief pottery from Rajasthan, one can move beyond just "admiring the art" to understanding its "market potential." One of the most promising opportunities for Molela terracotta lies in the growing demand for handcrafted and culturally rooted décor in modern architecture and interior design. Secondly, the most serious threat faced by Molela artisans is the growing presence of machine-made or molded replicas made from materials such as plaster of Paris or cement. These imitations are often cheaper, easier to transport and produced in large quantities. • Rich cultural heritage and centuries-old tradition. • Geographical Indication (GI) tag providing authenticity and recognition. • Unique handcrafted terracotta relief plaques not widely produced elsewhere. • Strong connection with religious and tribal traditions, ensuring consistent demand. • Increasing interest in sustainable handmade products. • Expansion into interior design and architectural décor markets. • Growing heritage tourism in Rajasthan. • Online marketplaces and global craft platforms. • Collaborations with designers, museums and cultural institutions. • Government initiatives such as craft villages and exhibition spaces • Seasonal demand and irregular income for artisans. • Heavy reliance on middlemen and craft fairs for sales. • Limited marketing and branding. • Fragility of terracotta makes transport and packaging difficult. • Lack of organized artisan associations. • Cheap imitations made from cement or plaster of Paris copying Molela designs. • Declining interest among younger generations in pursuing the craft. • Difficulty sourcing high-quality clay. • Competition from mass-produced decorative items. 24
Significance Molela terracotta plaques are crafted exclusively in the village of Molela, where the local clay and climate play a crucial role in shaping the craft’s distinctive character. The clay found in this region possesses a unique strength and texture that allows artisans to create durable, detailed plaques. Attempts to replicate the craft elsewhere often fail, as clay from other regions tends to crack during the process. Following are some points which highlight the significance of Molela craft in Rajasthan:- • Sacred tribal tradition: Molela terracotta plaques are primarily created as votive offerings for tribal communities, especially the Bhil tribes, who install them in village shrines to seek protection, healing and blessings. • Spiritual healing and rituals: Many plaques and terracotta figures are offered to cure illnesses or misfortune. Tribes even commission clay replicas of specific body parts as symbolic offerings for healing particular ailments. • Connection with tribal priests: The purchase and selection of plaques are often guided by the Bhopa, the community priest, who helps devotees choose the appropriate deity or figure according to their needs and beliefs. • Representation of local deities and heroes: The plaques depict protective regional figures such as Dharamraj, Devnarayan and Pabuji, along with widely worshipped deities like Ganesha, Durga and Bhairavnath, preserving local mythology and oral traditions. • Annual renewal ritual: Tribal communities traditionally replace their votive plaques every year. This practice is believed to prevent misfortune and renew the protective power of the deity. • Unique regional craft: Molela plaques are made exclusively in the village of Molela because the local clay and climate allow artisans to create strong, crack-resistant designs that cannot easily be replicated elsewhere. 25
Molela craft is an art form that has stood the test of time. It is not only a source of livelihood for local artisans but also an important expression of their culture and faith. Deeply connected to its natural surroundings, the craft uses the distinctive clay found in the region, along with locally sourced materials and traditional lacquer-based colors. The plaques are shaped by hand and fired in traditional kilns, making the process largely sustainable. Production often follows seasonal cycles linked with harvest and climate, reflecting a close relationship between the craft, the land and community life. • Handcrafted sacred objects: The entire process is done by hand without moulds and organic materials are traditionally used, reinforcing the belief that these objects are sacred rather than merely decorative. • Community and cultural exchange: During the harvest season, tribes travel long distances from Rajasthan, Gujarat and Madhya Pradesh to Molela. This seasonal gathering strengthens cultural ties between artisans and tribal communities. • Ritualistic installation practices: Once completed, the plaques are carried respectfully on the devotees’ heads back to their villages. Before installation in the Devra (village shrine), the idol is taken around the village so that every household receives its blessings. • Cultural evolution and wider recognition: While rooted in ritual practice, Molela terracotta has gained attention from architects, designers and international markets, expanding from sacred objects to decorative and narrative art pieces that represent rural life. 26
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हवेली संगीत आजु Ɓज मˍ होरी रे रȖसया, DZयाम संग खेले राधा Ǟयारी। गोकुल गावै मंगल ǙवȒन, फूले कुंज वनवारी॥ उड़त गुलाल लाल भए बदरा, रंग झरै अँगनवारी। नाचत गावत Ɓज कȕ नाȏर, जय जय DZयाम मुरारी॥ This is a well-known example of seasonal Haveli Sangeet connected to the temple culture of Nathdwara and the worship of Shrinathji, which comes from the devotional poetry of the Ashtachap poets, especially Surdas. These poets wrote lyrical padas (devotional verses) that are sung in Haveli Sangeet and often describe seasonal decorations, festivals and Pichwai backdrops behind Krishna. Seasonal Pichwai paintings are hung behind the deity to represent festivals like Holi, Sharad Purnima, Annakut, or monsoon scenes.Haveli Sangeet songs describe exactly the same scenes: blooming gardens, Krishna playing Holi, moonlit nights, cows, lotus ponds. When the Holi Pichwai is displayed, Holi padas such as the one above are sung during temple rituals. 28
Summary History and Origin Pichwais are devotional cloth paintings traditionally hung behind the idol of Shrinathji in the temples of Nathdwara and other shrines belonging to the Pushti Marga sect. More than decorative backdrops, these paintings serve as sacred visual narratives that celebrate the divine presence of Lord Krishna in his child form. Created on large pieces of cloth, Pichwais depict Krishna as Shrinathji, often portraying scenes from his playful and miraculous childhood. Through intricate motifs, vibrant colors and symbolic storytelling, each Pichwai becomes a devotional offering. For devotees and viewers alike, these paintings are not merely works of art but spiritual gateways that evoke grace, devotion and the living traditions of temple worship The term Pichwai literally means “that which hangs at the back,” derived from the Sanskrit words pich (back) and wai (to hang). True to its name, these paintings are traditionally placed behind the idol in temples, forming a sacred backdrop for worship. Pichwai paintings are closely tied to the Pushti Marga sect, founded by Vallabhacharya in the late 15th century, which centers on devotion to Krishna. Vallabhacharya is believed to have discovered the sacred image of Shrinathji at Mount Govardhan, which became the focal point of worship. In the 17th century, to protect the idol from Aurangzeb’s temple destructions, Shrinathji was moved from Mathura and eventually given refuge by Rana Raj Singh of Mewar, leading to the establishment of the Nathdwara temple in 1672. To celebrate festivals, seasons and episodes from Krishna’s life, devotional cloth backdrops, later known as Pichwais, were hung behind the idol, giving rise to the Nathdwara School of Painting, a branch of the Mewar School. 29
Source: mapacademy.io Making of the paintings • Preparing the cloth- High-quality hand-woven cotton is washed, then stretched on the ground or a frame to create a firm painting surface. • Base coating- A mix of chalk powder and natural gum creates a smooth, slightly stiff surface, polished once dry for easy painting. • Sketching the composition- The main layout is lightly drawn, with Shrinathji central, surrounded by motifs like lotuses, cows, gopis and seasonal elements; in large pieces, the central figure is pre-practiced for accuracy. • Preparing natural colours- Pigments from minerals, stones, vegetables and flowers are mixed with water and binders to create vibrant, durable colors. • Filling base colours- Large areas are painted first, progressing from background to foreground to build the composition gradually. • Detailing and ornamentation- Fine brushes, gold leaf and Plaster of Paris add intricate patterns, facial features, jewelry and decorative borders. • Final outlining and finishing- Dark outlines sharpen details; the Pichwai is dried, sometimes burnished and readied to hang behind the idol, especially in Nathdwara temples. Source: cottage9.com One interesting fact about the making of Pichwai, is that if the eyes of Shrinathji are drawn once, the painting is considered completed and no further changes can be made to it. 30
Designs and additional pieces • Pichwai paintings are known for their bold style, vibrant colours and rich decorative quality, often framed within dark borders and highlighted with touches of Gold leaves and Plaster of Paris. • Figures, especially Shrinathji, feature large expressive eyes, broad noses and full bodies, reflecting the idol and the concept of shringara. • Designs connect closely to seasons, festivals and Krishna’s life episodes, using symbolic elements like pink lotuses for summer or a bright moon for Sharad Purnima. • Each Pichwai corresponds to specific temple rituals or festivals, illustrating devotional stories from the Bhagavata Purana or real temple events, blending artistic expression with visual record. • Many are monumental in scale, leaving the section behind the deity blank to keep Shrinathji central, often featuring motifs like the Kadamba tree or Tree of Life, with subtle Mughal miniature influences. • Rich embroidery, appliqué work, gold detailing and fine white highlights enhance clarity and brilliance, while the imagery remains consistent over time so devotees can instantly recognize the scenes during darshan. • The paintings create a vivid spiritual atmosphere, drawing viewers into the narrative and elevating the devotional experience. • Through their intricate symbolism and seasonal motifs, Pichwais connect the temple’s daily rituals with broader cultural and cosmic rhythms. 31
The Artist Yashwant M. Jangid Yashwant M. Jangid is a 60 year old, renowned Pichwai painter. He was taught this craft by his family, which has been practising it for generations. Yashwant ji has been making Pichwai paintings for about 35-40 years. His wife and son are also engaged in helping him make the paintings, sell them and market them. Yashwant Jangid is known for practicing the traditional methods of Pichwai painting, including detailed hand drawing, the use of natural pigments and delicate gold ornamentation. His works typically portray scenes from Krishna’s life, temple festivals and seasonal rituals associated with Shrinathji. Most of his paintings are commissioned by Vaishnavs from Maharashtra, Karnataka and Gujarat. He also mentioned that some of his works also were bought by international clients in Singapore, Malaysia and South Africa. His son Bhupesh handles most of his business, through client referrals, word of mouth and digital marketing. Yashwant ji is a very knowledgable and resourceful artist. He knows different tales, myths, folklores regarding Shrinathji by heart, which helps him in making various Pichwai paintings. Yashwant ji also supplements his income through making commissioned potraits, sketches, huge canvas paintings, etc. These help him in practicing diverse forms of art which keeps the artist in him alive and blooming. 32
Significance • Pichwai paintings hold cultural, spiritual and social significance, supporting a vibrant artisan community around Nathdwara, including painters, textile workers and craftsmen serving the temple and pilgrims. • The craft became a shared cultural practice, with artists, devotees and patrons all contributing to its preservation and spread. • Closely linked to Indian miniature art—especially the Nathdwara and Mewar Schools—Pichwai adapts miniature styles like stylized figures, decorative borders and narrative compositions to large textile formats. • The tradition reinforces Nathdwara’s cultural identity, with the town growing around the Shrinathji temple and generations of artists sustaining the art form. • Making Pichwai preserves centuries-old techniques: natural pigments, handmade brushes, intricate detailing and gold work, often passed down within artisan families, keeping classical Indian textile painting alive. • Each painting not only depicts devotion but also reflects the social fabric and collective memory of the community. • Through festivals, rituals and daily temple use, Pichwai continues to inspire devotion while connecting art, history and everyday life in Nathdwara and Mewar. 33
कावड़ जी खुल गई रे कावड़ जी खुल गई रे, भƾतȄ सुन लो बात। राम-सीता दरबार सजा है, बरसे सुख कȕ रात। एक पाट मˍ कृdzण मुरारी, ōजे गोकुलनाथ। खुलते पाट कथा जागे, जागे सबके साथ। कावȒड़या भाट सुनावे, पुरखȄ री सौगात। This song celebrates the moment when the Kavad shrine is opened, revealing the painted stories inside and invites the audience to gather around and listen, creating a community storytelling atmosphere. The song connects devotion, history and genealogy, reminding listeners that the stories are ancestral heritage carried by the storyteller. Musically, it creates excitement and reverence, similar to opening the doors of a temple. Like many Rajasthani folk songs, it is anonymous in origin and has been transmitted orally. The song gained visibility through performances by Kavadiya Bhats and traditional storytellers and later through folk performances at craft fairs, museums and cultural festivals showcasing the Kavad tradition. 34
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Summary History and Origin At first glance, the Kavad appears as a colorful wooden box, almost like a child’s toy, but as its panels unfold, it transforms into a portable shrine where stories breathe. In the hands of a storyteller, it becomes a “moving temple,” guiding viewers through the epics of the Ramayana and Mahabharata as well as local legends and saints. In Mewar, the Kavad is intimate and personal, mapping family lineages and preserving history in motion. Its hinged panels, guarded by figures like Jay and Vijay, lead a tactile, visual pilgrimage, peeling back layers of narrative like walking through a temple toward the Garbha Griha, the inner sanctum. Here, storytelling becomes a spiritual journey, each panel a step from the mundane world into the heart of the divine, where the final image of the deity awaits, completing the sacred descent. The vivid colors, intricate motifs and carefully arranged sequences invite viewers to linger, reflect and connect with generations of devotion. For five centuries, the Kavad has thrived in the remote village of Bassi in Rajasthan’s Chittorgarh district. While local legends trace its painted origins to the 7th-century reign of King Harsha, historical consensus suggests a more grounded lineage of roughly 500 years. Yet, the Kavad belongs to a global ancestry of mobile devotion dating back to 2000 BCE. From Egyptian stelas to Greek tablets, portable shrines were the sanctuaries of the restless. They served monks, mendicants and devout travelers who refused to leave their deities behind. In the Kavad, this ancient necessity survives—a masterpiece of sacred engineering that ensures the divine is never anchored to a single coordinate. The word ‘kavad’ is said to be derived from the Hindi ‘kivaad’, which means a ‘wooden door’ and the art of making it is the preserve of the Suthar community in Bassi village in Rajasthan 36
Making of Kavads • Selection of wood- Artisans begin by selecting lightweight but durable wood, usually mango or neem, which is easy to carve and resistant to cracking. • Cutting and shaping the wooden panels- The wood is cut into multiple rectangular panels of different sizes that will later fold into each other like doors. • Constructing the box-like shrine- The central shrine or is built first, forming the core structure that will house the principal deity or narrative scene. • Attaching multiple hinged doors- Several wooden panels are attached to the central box using small hinges. These panels open sequentially, creating layered storytelling spaces. • Smoothing and preparing the surface- The wooden surfaces are rubbed and polished to remove roughness and impuruties. • Applying a base coat- A primer layer made traditionally from chalk powder mixed with glue or natural adhesive is applied to create a smooth painting surface. • Sketching the narrative scenes- Artists lightly sketch mythological stories, deities, saints and folk legends on the panels, often drawing from the Ramayana and Mahabharata. • Painting with natural or bright pigments- The panels are painted using vibrant colours like red, yellow, green and blue, filling the shrine with lively narrative imagery. • Adding decorative borders and motifs- Floral patterns, geometric borders and symbolic motifs are added to frame each storytelling panel. • Final assembly and finishing- Once painting is complete, the panels are assembled carefully so they open in a specific order during storytelling. • Ritual consecration- The finished Kavad is often blessed or ritually consecrated before being used by storytellers known as Kavad Banchaks, who carry it from village to village. 37
Traditional to Contemporary Traditional Kavads- • The Kavad originated in regions like Marwar and Mewar as a portable wooden shrine used for storytelling and devotion. • Carried by travelling storytellers known as Kavad Banchaks, who narrated sacred stories while opening the shrine’s panels sequentially. • Paintings depict scenes from epics such as the Ramayana and Mahabharata, along with local deities, saints and folk heroes. • Crafted by artisans from the Suthar community using wood, with bold colours and simple folk-style figures. • Designed with multiple hinged doors that unfold gradually, revealing stories layer by layer like a narrative shrine. Contemporary Kavads- • Contemporary Kavads retain the traditional folding structure but are often created as art objects, collectibles, or educational pieces rather than ritual storytelling tools. • Artists experiment with new themes, including social issues, personal narratives, historical stories and modern reinterpretations of mythology. • The painting style and colour palette are more diverse, sometimes incorporating contemporary artistic techniques and mixed media. • Structures may vary in panel arrangement, size and format, reflecting individual artistic expression. • These Kavads are primarily produced for urban audiences, galleries, museumsv art collectors, expanding the craft beyond its traditional rural context. The Kavads shown in the pictures are made by Satyanarayan ji. The first one is a traditional Marwadi Kavad. The second one is made for educational purpose for teaching the English alphabet and the third one potrays the journey of a rural artist to a city and modernity. 38
The Artist Satyanarayan Suthar Sathyanarayana ji has won a national award for his works to preserve the craft. A Kavad made by him, depicting the life of an artist’s journey from the village to the city, has been exhibited in many locations across the world, including Paris, Delhi and Cairo. His Kavads have also been exhibited in Singapore. He belongs to the Suthar community of Rajasthan. They are the near-exclusive makers of the Kavad. Known as Basayatis, they were reportedly brought to the Chittor-Kota region from Nagaur by Prince Jaimal in the 16th century.These craftsmen trace their lineage to Vishwakarma, the cosmic architect who forged the universe and the golden city of Dwarka. His wife also helps him in this profession, along with his two college-going sons. Satyanarayan sir passionately told us about the history of Kavad art and how Kundani Devi inspired villagers to start this art form. He showed us all the Kavad installations which were in his workshop, from a 5 inch Kavad to 3 feet kavad Satyanaryan Suthar belongs to the Kavad making village of Bassi. He has been engaged in this craft for 40 years and has learnt this craft from his father and other village people. Satyanarayan ji has a huge room and courtyard allocated for his workshop area and he also teaches his students there. Satyanarayan ji’s works are bought by people in Mumbai, Delhi and Bangalore. One of his biggest works, a huge Kavad of around 12 feet in height is installed in the National Museum in Delhi. The Kavad is based on stories from Indian Medieval and Ancient History. Satyanarayan ji also conducts classes of teaching Kavadiya painting and drawing at his workshop. He encourages college going students to pursue this art and write and promote it so that this heritage can be preserved and nurtured for the future generations . 39
Significance • The Kavad plays an important role in religious ceremonies, festivals and folk performances, where it may be carried in processions or used in storytelling and folk theatre traditions. • It is also a source of livelihood for artisans from the Suthar community, who craft and sell Kavads to devotees, collectors and tourists. • Beyond its artistic value, the Kavad serves as a repository of stories and moral teachings, narrated by traditional bards known as Bhat community, who are respected figures in their communities • It sustains the rich oral traditions of Rajasthan, where storytellers pass down epics, legends and moral tales across generations. • Kavad brings together woodcraft, painting, storytelling and performance, making it a multidisciplinary folk art practice. • The painted panels function like a sequential narrative device, combining art and performance to make stories more engaging and memorable. • The craft reflects the cultural ethos of regions like Marwar and Mewar, showcasing their folk aesthetics, beliefs and narrative traditions. 40
Source:laurewanders.com 41
Ǥहारो जयपुर रो झरोखो Ǥहारो जयपुर रो झरोखो, चांदी सूं झलकै। महलां री दीवारां, कांच जड़ चमकै। The song praises the royal beauty and architectural splendour of Jaipur, especially its palaces and decorated interiors. It celebrates the visual richness of Rajput court culture, where walls, ceilings and halls were embellished with glass, mirrors and intricate ornamentation. The imagery of “कांच जड़ दीवार” (glass-inlaid walls) in the song closely reflects the technique used in Thikri mirror work, where small pieces of cut mirror are embedded into plaster to create shimmering patterns. Traditionally sung in cultural programs and folk performances, the song evokes a sense of regional pride and admiration for Jaipur’s artistic heritage. 42
Summary History and Origin Thikri art is a centuries-old conversation between glass and heritage, once the crowning glory of India’s royal mahals. Born from the skilled hands of thikrakars, this craft transformed cold stone walls into shimmering constellations of light and storytelling. Master artisans hand-cut glass into delicate shards, embedding them into a rich matrix of lime plaster dyed with natural pigments. From the sweeping epics of Hindu mythology to the rhythmic flow of floral and abstract motifs, every piece reflects a standard of craftsmanship that modern machinery simply cannot replicate. Unlike the uniformity of commercial mirror mosaics, Thikri owes its "irresistible charm" to the human touch. In a palace, a single candle could ignite an entire room through these mirrors; in a modern home, they offer a soul-stirring depth that bridges the gap between ancient royalty and contemporary design. It remains a testament to a time when art was not just seen, but felt. Thikri Art originated in Madhya Pradesh and later spread to Rajasthan and Gujarat, where it flourished in the palaces and havelis of Rajput rulers. Mirror inlays decorated walls, columns and ceilings, turning royal interiors into radiant displays of light and luxury. The craft drew inspiration from temple traditions, where mirrors placed around idols multiplied their reflections, symbolizing the omnipresence of the divine. Inspired by this effect and influenced by the ornate mirror inlays of the Mughal Empire, Rajput patrons adopted Thikri work to enhance the grandeur of their palaces. From this blend of devotion and royal patronage emerged a lasting artistic legacy. Motifs such as peacocks, symbols of beauty and royalty, along with images of Hindu deities, became integral to the visual language of Thikri art, embedding cultural symbolism within its shimmering surfaces. Source: alamy.com Source: in.pinterest.com 43
Making of Thikri art pieces • Surface Preparation- The wall, panel, or wooden base is cleaned and coated with layers of lime plaster (traditionally araish or gypsum-lime mix) to create a smooth working surface. • Design Planning- Artisans sketch intricate motifs on the plaster while it is still slightly moist. Designs often include floral patterns, geometric forms, arches and motifs inspired by palace architecture. • Preparation of Mirrors- Thin sheets of mirror glass are carefully cut into small shapes such as triangles, circles, petals, or diamonds using special glass-cutting tools. • Application of Adhesive Plaster- A fresh layer of plaster or adhesive mixture is applied over the outlined design so that the mirror pieces can be embedded securely. • Embedding the Mirror Pieces- Each mirror shard is placed by hand into the wet plaster according to the pattern. The pieces are positioned at precise angles to maximize light reflection. • Detailing and Alignment- Artisans adjust the mirror fragments to maintain symmetry and neat spacing, ensuring the design appears cohesive and balanced. • Setting and Drying- The surface is left to dry naturally so the mirrors set firmly within the plaster. • Finishing and Polishing- The surrounding plaster is smoothed and sometimes lightly polished. The mirrors are cleaned to enhance their shine and reflective brilliance. • Final Decorative Touches- In some works, colored glass, pigments, or painted borders are added around the mirrors to enrich the design and highlight the reflective patterns. Source of 2(left): youtube.com Source of 3(right): thikriarts.com 44
Designs, motifs and materials Designs in Thikri art resemble constellations pinned to plaster, where tiny mirrors act as stars and the wall becomes their sky. Artisans arrange them into patterns that shimmer as light moves across the surface. Common designs and motifs include: • Stylized flowers like lotus and rosettes with mirror petals forming luminous blooms. • Repeating geometric forms such as diamonds, triangles, hexagons and stars arranged in symmetry. • Flowing vine and scroll patterns that add rhythm and movement to the design. • Circular sunburst arrangements where mirrors radiate outward like rays of light. • Motifs inspired by arches and jharokhas, echoing palace architecture. • Occasional depictions of peacocks, leaves and other nature-inspired elements. • Mandala-like circular patterns arranged around a central point, often on ceilings. • Narrow repeating mirror bands framing walls, doorways and pillars. Thikri art uses both traditional and modern materials to create its reflective surfaces. Following are the materials applied:- • The main material is Thikri Kaanch, or curved metallic glass scrap, sourced from local desi bhattis (glass furnaces) in Gujarat, along with flat transparent or coloured glass often procured from dealers and international suppliers. • Fevicol or other adhesives are used to fix the mirror pieces onto a base prepared with lime and marble powder, while putty helps smooth and level the surface. • Contemporary artists also use MDF boards or plywood as bases, along with synthetic adhesives, epoxy resins, acrylic paints and pre-cut mirror tiles, making the craft more adaptable for modern interiors and decorative panels. Source: in.pinterest.com 45
The Artist Mahesh Kumawat Mahesh Kumawat is a 40 year old Thikri artist and local businessman, hailing from Udaipur. He has a government recognised shop in Udaipur called Mohini Arts which sells varierties of deocrative items like Thikri Art works, Mother of Pearl inlay and Bone Inlay work Mohini Arts also has an online website which has a gallery of Mahesh ji’s works, working process videos, the items for sale, their prices along with contact and shop location details. Mahesh ji has been practicing the Thikri art and other inlay works since 20 years. He was in college when he learnt about Thikri and started adoring the elaborate Thikri art works in different palaces, he visited in Rajasthan. He was inpired by the intricacies , motifs and colors. He was taught this art form by his teacher and mentor who specialised in Thikri. Mahesh ji received formal training from his mentor and also did apprenticeship under him for quite some years until he was ready to start his own business and practice by himself. Mahesh ji has a big workshop area other than his shop. In there all the major wood, MDF cutting, plaster mixing processes are performed. He has 1-2 permanent assistants and some temporary workers who help him whenever there is a large scale order placed by the clients. Mahesh ji also believes strongly in making his business cost-effective and also environment friendly. This is why he has replaced camel bones used in Bone inlay work to sustainable plastic bones which stay for a long period of time. 46
Source: orvi.com Source: teravarna.in Significance • Thikri mirror work became closely associated with the grandeur of Rajput palaces and royal halls, symbolizing wealth, power and refined taste in architectural decoration. • Thikri art is not a separate object but an integral part of palace architecture, often decorating walls, ceilings, pillars, arches and domes. • Modern architects and interior designers often draw inspiration from Thikri techniques, adapting mirror inlay into contemporary interiors, furniture and decorative panels. • Historic sites like Jaipur’s Sheesh Mahal and Udaipur City Palace are decorated with Thikri mirror work which attract visitors and researchers, helping sustain awareness and appreciation of traditional Indian crafts. • The craft combines architecture, sculpture and decorative design, turning walls and ceilings into luminous artworks • It preserves specialized skills such as manual mirror cutting, lime plaster preparation and symmetrical design layout passed down through generations of artisans. • In many palaces and temples, the shimmering surfaces created by Thikri were believed to amplify the spiritual atmosphere and create an immersive visual experience as in traditional belief, reflective surfaces symbolize purity and divine presence. Source: flickr.com 47
Source: in.pinterest.com 48
As a student of Communication Design, I have always understood the importance of creating a strong brand identity and impactful advertising or marketing. In all the crafts our batch explored at Udaipur, the artists have a very strong local identity as the being one of the best in their fields. Some of their business also have websites for buying the craft items online and customising items according to one’s choice. Some artists have their official business cards ready for potential clients. Here are some of the potential design solutions I want to propose for Dinesh ji’s businesses of Molela terracota. These include branding, packaging and advertising based solutions:- Cohesive and unique Brand identity- • Dinesh ji’s shop has the shop name stuck above the display doors in a flex banner, written in big letters. • However, the name Molela Terracottais not unique enough to attract all the target customers. • There are many artisans in Molela who might be using similar names, although the website called Molela Terracotta solely belongs to Dinesh ji. • The name of the business should ofcourse include Molela but along with that should also include something unique to Dinesh ji or his style and work. • Apart from the name, there also needs to be an appropriate and unique visual identity for the business. • Not only does it sell Molela, but also jewellery and other decorative terracota items and the identity should be designed keeping all these points in mind. • The second picture is an example of how to make a visual identity stand out while expressing the tone, message and values of one’s business. Source:in.pinterest.com 49
Packaging- • Dinesh ji has listed the kit given in first image as Molela Terracota clay kit in his website for 500 Rupees. • When we asked him about the packaging he said that the usual bubble wrap packaging and plain cardboard packaging are done. • Without proper and identity-specific packaging stamp or wrapping material, the business cannot maintain its unique identity through the kits. • The kits are very useful, but should also come up with a branded manual which precisely gives information on how to start making the piece. • There should also be Dinesh ji’s business cards and QR code cards for customers to give their reviews online on Google or on Dinesh ji’s website. • A simple printed paper roll, can be designed accurately too match the brand identity of Dinesh ji’s shop, gallery and workshop. • This paper roll will be much cost effective for Dinesh ji’s business than printing on actual cardoard boxes. • This will not only build trust among customers but they will also start looking at the business as a brand which takes care of its image. Advertising- • Molela Terracota and Molela village can be the core focus of an advertisement campaign by Rajasthan government’s tourism department. • Dinesh ji can be the front runner of this campaign explaining the craft, it making and its significance. • He has good connections with all the villagers and the artisan families residing in Molela village, so convincing them for an ad film and short youtube videos for tourism and craft promotion purpose will be very easy for him. • This will not only bring newly interested tourists and income for the artisans but also create awareness about the crafts of Rajasthan. Source:molelaterracota.com Source:in.pinterest.com 50
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• One of the main learnings I got out of this project was reminder of passion and dedication present in the past generations to promote and preserve their family’s and state’s cultural heritage. • The knowledge and skills that each of the artistan we visited possesses, are commendable and inspiring. • The patience, precision and hardwork with which the artisans perform their respective craft related works motivated me to be that devoted and engaged with my own work and skills. • Our country, India is increasingly facing cultural hegemony by other countries like United States, South Korea, Japan,etc. In the face of all this, sustaining and promoting local crafts is very essential to maintaining a strong and independent cultural identity in a country as diverse as ours. • While buying a piece of local craft or art, a tourist not only contributes to that specific craft/art, but also to the history behind it, the culture behind it, the community behind it and especially the artist behind it. • India has a very large economic divide between the rich and the poor, the top 30% and the bottom 70%, which obviously gives rise to rampant financial problems for the people belonging to the lower or lower middle strata of the society. Most of the local artisans from Rajasthan and all over India belong to this portion, which really makes me think that how much less appreciation and benefits they get for sustaining something that not only attracts international tourists but also serves as eternal identities and markers of our country and its culture. • I, as a designer can only hope to learn from their dedication, their knowledge, curiosity and resourcefulness, while taking acute note of the historical and cultural origins these art forms have been through. • Hearing from the artisans about the shift from traditional styles to contemporary style also makes me think of how all artists and designers eventually has to adapt to the rapidly changing choices, preferences and needs around us. • Molela Craft and Kavad Art inspired me a lot as I wondered how through simple figures and patterns one make such a spiritual object which also has a story to tell and lesson to teach. 52
About Rajasthan- 1. State Portal | Govt of Rajasthan. (n.d.). https://rajasthan.gov.in/pages/sm/department-page/149121/930 2. Rajasthan Tourism. (n.d.). Welcome to Rajasthan - Official website of Department of Tourism, Government of Rajasthan. https://www.tourism.rajasthan.gov.in/rajsamand.html 3. Rajasthan Tourism. (n.d.-a). Chittorgharh Tourism: Places to visit, Tourist places & Chittor Fort - Rajasthan Tourism. https://www.tourism.rajasthan.gov.in/chittorgarh.html 4. Rajasthan Tourism. (n.d.-b). Places to visit in Udaipur, tourist places, points of interest - Rajasthan Tourism. https://www.tourism.rajasthan.gov.in/udaipur.html Molela Craft- 1. Gaatha. (2022, March 29). Molela terracota~Molela - Craft Archive | Research on Indian Handicrafts & Handloom. Craft Archive | Research on Indian Handicrafts & Handloom - Indian Craft Online. https://gaatha.org/Craft-of-India/molela-terracota-detail-research/ 2. Jha, M., & Jha, M. (2024, November 4). Molela Clay Work: The Timeless Terracotta Art of Rajasthan. Caleidoscope | Indian Culture, Heritage. https://caleidoscope.in/art-culture/molela-clay-work 3. Terracotta, M. (2025, March 16). Molela Terracotta Clay Art | Incredible Molela Clay work. Molela Terracotta. https://molelaterracotta.com/ 4. MAP Academy. (2026, February 17). Molela Terracotta | Sculpture & Installation, Craft & Design | Impart. Impart. https://imp-art.org/articles/molela-terracotta/ Pichwai Paintings- 1. Gaatha. (2022b, March 29). PICHWAI - Craft Archive | Research on Indian Handicrafts & Handloom. Craft Archive | Research on Indian Handicrafts & Handloom - Indian Craft Online. https://gaatha.org/Craft-of-India/research-pichwai-art-nathdwara/ 2. Thahir, J., & Thahir, J. (2025, August 18). Pichwai Paintings – an elegant folk art form of Rajasthan. Caleidoscope | Indian Culture, Heritage. https://caleidoscope.in/art-culture/pichwai-paintings-an-elegant-folk-art-form-of-rajasthan 53
Kavad Art- 1. Goyal, A. (2023, February 17). Kavad – Colorful storytelling box of Rajasthan. Inditales. https://inditales.com/kavad-storytelling-box-of-rajasthan/ 2. Thatavarthi, G., & Thatavarthi, G. (2024, September 9). Kavad Art: Tales unfolded in traditional art form of Rajasthan. Caleidoscope | Indian Culture, Heritage. https://caleidoscope.in/art-culture/kavad-art 3. Gupta, S. (2023, June 19). In Pics: One Artisan on a Mission to Revive Rajasthan’s 500-YO Artform, Takes it to the World. The Better India. https://thebetterindia.com/321283/jodhpur-kavad-artisan-satyanarayan-suthar-revives-centuries-old-rajasthan-traditional-art/ Thikri Art- 1. Ghosh, S. (2026, February 4). Thikri Art: Meaning, Origin & Revival in the Modern Era. Teravarna. https://www.teravarna.in/post/what-is-thikri-art-explore-the-dazzling-history-of-indian-craftmanship 2. Kumawat, L. H. (n.d.). Mohini Arts - Thikri & Glass Inlay Work Udaipur. https://thikriarts.com/ 54
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Our journey through Udaipur revealed that craft in Rajasthan is far more than decoration. In the terracotta plaques of Molela craft, the devotional storytelling of the Kavad, the sacred backdrops of Pichwai and the shimmering surfaces of Thikri art, we witnessed how art, faith and daily life are deeply intertwined. Each craft carries the memory of generations, shaped by the hands and devotion of artisans who continue to keep these traditions alive. What began as a college trip slowly unfolded into a deeper understanding of heritage. Meeting the craftsmen, observing their processes and hearing their stories allowed us to see these artworks not just as objects, but as living traditions rooted in community, ritual and identity. Every brushstroke, carved panel, clay relief and mirrored fragment spoke of patience, skill and an enduring cultural spirit. As we conclude this documentary, the crafts of Rajasthan remain more than subjects of study. They become reminders that heritage survives through practice and appreciation. The journey through these traditions leaves us with a greater respect for the artisans who preserve them, ensuring that their stories continue to shine, much like the mirrors of Thikri and the vibrant colours of Pichwai.