design awareness programme report woodcarving...

1Woodcarving Cluster | Gaya, Bihar (India) Deepankar Ray | Industrial Designer

DESIGN AWARENESS PROGRAMME REPORT

Woodcarving ClusterGaya (Bihar), India

Submitted by : DEEPANKAR RAY For DCS, MSMEs Scheme 2013 -14

2 Woodcarving Cluster | Gaya, Bihar (India) Deepankar Ray | Industrial Designer


AcknowledgementThere are lots of people without whom this project wouldn’t have been possible to reach to a conclu-sion. First of all I would like to thank DCS team Mr. Shashank Mehta, (Project Head, DCS for MSMEs), Mr. Ashok Mondal, (DCS coordinator, east zone), Mr. Sudev Mandal, (DCS team, east zone) for their valu-able inputs and support during the NAS Gaya (Bihar)

An earnest thanks to all those Craftsmen, unit own-ers and local shopkeeper who has helped in the NAS and shared their valuable experiences with me, This report would have been incomplete without their sup-port and co-operation through the NAS.

A special thanks to Mr. Ramchandra Gour and Mr. Dheeraj Kumar Varma for being always available, giving their time, support and guiding in Gaya, Bod-gaya and Khukri village during the NAS.

I am thankful to Mr. Ashok Kumar Sinha (UMSAS) and Mr. Vinod Kumar (UMSAS) for their valuable informa-tion about cluster, craftsmen and support through the NAS. Special thanks to Surabhi Khanna for correct-ing my grammatical mistake in entire documentation.

Thanks are due to all other friends who have contrib-uted directly or indirectly to my knowledge and the successful completion of the NAS Project of wood-carving Cluster, Gaya (Bihar).


There are so many crafts, which are mostly known for their beauty and skillful art of piece that usually uses for gifts, decorative and lifestyle products. But the wooden craft of Gaya is not a normal product that use by the consumers. It has a huge religious importance for the Buddhist followers and pilgrims who come to visit Buddha’s enlightenment holy place Bodhgaya, It has a big ritual significance for them. This is not a wood product for them, it is god. They are emotionally and spiritually attached to this piece of wood that is carved by normal person in Gaya who is totally dependent on this art. This craft has now became point of attraction for the tourist. On the other hand, for the craftsman this is just a wooden craft that provides them livelihood.

This report outlines Craftsmen daily life activities, production process and the people behind the Woodcarving cluster and the overall human net-work which makes this beautiful art possible. To prepare this report, woodcarving 22 units in the region (Gaya, Bodhgay and Khukri village) were studied, insights were obtained and some relevant business and design recommendations were ar-rived at.

The Woodcarving craft plays a valuable role in building a local economic sustainability and a con-temporary local society in Gaya area because this craft relies on tourism from other countries For their business to flourish

Preface


Contents1. Introduction ...................................................................................................................07 1.1.About MSMEs 1.2. About DCS 1.3. About NID 1.4. About UMSAS

2. NAS for Gaya, Bodhgaya and Khukhri Woodcarving Cluster ..................................13 2.1. Contribution of DCS and UMSAS for Woodcarving cluster 2.2. Purpose of Wood carving cluster NAS report 2.3. Scope of NAS for Wood carving Cluster 2.4. NAS Duration 2.5. Deliverable 2.6. NAS Methods

3.Woodcarving Cluster at Gaya and Bodhgaya .............................................................19 3.1. Cluster location and geographic information 3.2. History of Gaya district 3.3. Location 3.4. Geography and climate 3.5. Agricultures 3.6. River 3.7. Demographics 3.8. Festivals

3.9. Transportation

4.Cluster information ........................................................................................................27 4.1. Introduction of Cluster 4.2. Cluster Location Maps 4.3. History of the cluster 4.4. Religious Significance of the Craft’s products 4.5. Key Player of Woodcarving cluster 4.6. Cluster Units Structure 4.7. Woodcarving crafts and its training 4.8. Contributions to the local economy 4.9. Financial Support 4.10. Woodcarving Crafts Fairs & Exhibitions


5.Woodcarving – Production to Customer .............................................................................38 5.1. Gambhar wood as Raw materials 5.2. Other materials 5.3. Raw Materials Procurement 5.4. Tools using by the Woodcarving Cluster 5.5. Machine used 5.6. Process of making Buddha’s Idol 5.7. Proportion of Buddha’s Figure 5.8. Cluster Production and Products Range 5.9. Workspace and Ergonomics 5.10. Products and raw materials Storage 5.11. Waste materials 5.12. Products: Recycle and Reuse 5.13. End use of the products

6.Woodcarving products Market Scenario .............................................................................61 6.1. Present market Scenario 6.2. Shopkeeper’ control and craftsmen 6.3. Products Pricing 6.4. Packaging and transportation 6.5. Branding and Visual Identity 6.6. Display of the Products

7.Units and Craftsmen Profiles.................................................................................................69 7.1. Introductions 7.2. Profiles

8.Woodcarving crafts: Highlight Recommendations............................................................107

9.Workshop Repot ..................................................................................................................113

10.Workshop Product Prototypes .........................................................................................159

11.Conclusion .........................................................................................................................177


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1. Intoductions


The President under Notification dated 9th May 2007 has amended the Government of India (Al-location of Business) Rules, 1961. Pursuant to this amendment, Ministry of Agro and Rural Industries (Krishi Evam Gramin Udyog Mantralaya) and Min-istry of Small Scale Industries (Laghu Udyog Man-tralaya) have been merged into a single Ministry, namely, “MINISTRY OF MICRO, SMALL AND ME-DIUM ENTERPRISES (SUKSHMA LAGHU AUR MADHYAM UDYAM MANTRALAYA)”

Worldwide, the micro small and medium enterpris-es (MSMEs) have been accepted as the engine of economic growth and for promoting equitable development. The major advantage of the sector is its employment potential at low capital cost. The labour intensity of the MSME sector is much higher

than that of the large enterprises. The MSMEs con-stitute over 90% of total enterprises in most of the economies and are credited with generating the highest rates of employment growth and account for a major share of industrial production and ex-ports. In India too, the MSMEs play a pivotal role in the overall industrial economy of the country. In re-cent years the MSME sector has consistently reg-istered higher growth rate compared to the overall industrial sector. With its agility and dynamism, the sector has shown admirable innovativeness and adaptability to survive the recent economic down-turn and recession.

As per available statistics (4th Census of MSME Sector), this sector employs an estimated 59.7 mil-lion persons spread over 26.1 million enterprises.

It is estimated that in terms of value, MSME sec-tor accounts for about 45% of the manufacturing output and around 40% of the total export of the country.

http://msme.gov.in/msme_aboutus.htm

1. 1. About MSMEs


for design and product development in MSMEs.

Scheme descriptionFor easy percolation of design thinking and philos-ophy and maximum benefit for MSME units the De-sign Clinic Scheme is divided at 3 broader levels. These activities are helpful in smooth transition in to several levels of design intervention in industrial and business activities of MSMEs.

Design Awareness SeminarThe design sensitisation seminar is aimed to cre-ate a platform for MSME units to improve the man-ufacturing competitiveness. The seminar will help MSME participants to interact with design experts/speakers to understand design methodology and benefits of design to MSME in their business, prod-uct, process, service and operations. To take de-sign to a higher level of manufacturing functions, it is very important to develop an understanding of the design scenario and environment at an early stage of conception.

Design Awareness ProgrammeThe design awareness programme is focused on exploring industrial functions and activities to de-velop a holistic map of MSME clusters and units. The design expert/s will generate design informa-tion about products, market scenario, technology, communication, research and development, and various industrial functions along with human fac-tor study for ergonomics, safety, convenience, learning and skill up gradation through design re-search. The programme will also provide design remedies for identified opportunities through the design clinic workshop.The design awareness pro-gramme is conducted in two stages.- Need Assessment Survey- Design Clinic Workshop

Design ProjectsDesign projects are identified during the need as-sessment survey and discussed during the design clinic workshop. Project, which requires intensive design observation and interventions can be taken up as design projects with the help of design ex-perts. The project can be related to design inter-vention in area of product/process /strategic areas where design can help in generating solutions and value for individual or group of MSMEs.

The initiatives are expected to inculcate an innova-tive and futuristic approach towards Product De-velopment, In the long term, the effort is expected to accrue cost effective solutions and equip with the ability to identify opportunities for enhancing existing product value. The skill level achieved by beneficiaries of the Design Clinic Scheme is an-ticipated to equip them with the capability of offer-ing competitive and breakthrough solutions for the MSME sectors and in that switching the production mode from Original Equipment Manufacturing to Original Design Creation and hence Original Brand Manufacturing.

(http://designclinicsmsme.org/)

The Design Clinic Scheme (DCS) is an initiative of the Ministry of Micro, Small and Medium Scale en-terprises (MSME) and India’s premier Design insti-tute namely National Institute of Design. Launched under the National Manufacturing Competitive-ness Programme (NMCP) on February 17th, 2010 in New Delhi, the unique and ambitious design in-tervention scheme proposes to benefit 200 indus-try clusters to create a dynamic platform to provide expert solutions to real time Design problems, and in that add value to existing products.

PurposeTo increase awareness about the value of design and establish design learning in MSMEs.To increase competitiveness of MSME products and services through design.

ObjectivesTo create a sustainable design ecosystem for the MSME sector through continuous learning and skill development.To promote use of design by MSMEs for develop-ing products and services that are market led.To focus on building the design capability of MS-MEs to enable them to improve business perfor-mance as well as compete in the global market.Less »

Key principlesAdopting a rigorous, yet applicant friendly, process.Promoting and disseminating design concepts in regional or local languages understood by the MS-MEs.Establishing benefits without overwhelming the MSMEs.Learning from other successful design-support programmes.Establishing systematic processes

1. 2. About Design Clinic Scheme (DCS)


National Institute of Design is internationally ac-claimed as one of the foremost Multi- disciplinary institutes in the field of Design Education, training, design consultancy services and outreach pro-grams. Established in 1961, NID is the autono-mous institute under the Ministry of Industry, which is now known as Minis-try of commerce and Industry, Government of India NID has been a pioneer in Industrial Design Edu-cation after Bauhaus and ULM in Germany, and is known for its pursuit in Design excellence to con-vert the designs of India for the world.

The National Institute of Design is the nodal agen-cy for the Design Clinic Scheme with its rich ex-perience in Design training and Consultancy, NID being the synergizing catalyst between Design professionals and Design Clinic Scheme benefi-ciaries, with an administrative command of facili-tating the Design Clinic Scheme schedule.The Design Clinic Scheme offers an enriching op-portunity to the large sector of MSME (Associations and Units) as well as the Indian Design fraternity, including consulting firms, independent Designers, Design institutes as also Design students, to en-gage in assisting the country’s large and significant MSME sector.

1. 3. About NID


1. 4. About Upendra Maharathi Shilp Anusandhan Sangsthan

Upendra Maharathi Shilpa Anusandhan Kendra, is a well established institute for training in arts and skills in Patna, Bihar. The institute was set up by Shri Upendra Maharathi with an objective to pro-vide training in different arts and crafts of Bihar. Now it falls under Bihar government, which helps the institute hold classes for Madhubani painting, bamboo work, paper mache, tikuli work and pot-tery. Students enroll for the 6 month long course in either of the disciplines to learn and get better job opportunities.

Other than the training program, the institute also has a museum, which houses artifacts from differ-ent parts of Bihar.

Currently Upendra Maharathi Shilpa Anusandhan Kendra invites many artisans specialized in differ-ent arts, to display their work in stalls in national and state exhibitions.

The Design Awareness Program in Bihar is jointly organized by Design Clinic Scheme, Government of India (GOI), Upendra Maharathi Shilpa Anu-sandhan Kendra, Patna & National Institute of De-sign (NID). 10 design consultants met the DDO of the institute for need assessment survey in differ-ent craft clusters of Bihar.


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2. NAS for Gaya, Bodhgaya and Khukri Woodcarving Cluster


The DCS for the Woodcarving cluster is supported and implemented by the east zone office of DCS for MSMEs, Kolkata in association with Upendra Maharathi Shilp Anusandhan Sangsthan (UM-SAS), Patna (Bihar).

In total, 22 units (36 craftsmen and 6 craftswomen) were interacted which represented the woodcarv-ing cluster in Gaya, Bodhgaya and Khukhri village for Need Assessment Survey (NAS) under DCS for MSMEs. The units representing the woodcarv-ing cluster are registered as MSMEs units with the Government of India. According to definition of MSMEs, all the representing units of the Wood-carving cluster are classified as micro enterprises, since their investments in tools, plant & machinery does not exceed 25 lakh Rupees.

DAP is aimed to create design awareness within the Woodcarving cluster members with cluster centric design information and participatory work-shop for better understanding the role and benefits of design. Out of the fund allotted under the DCS for MSMEs, to Woodcarving cluster for DAP, 25% is contributed by Upendra Maharathi Shilp Anu-sandhan Sangsthan (UMSAS), Patana (Bihar).

To create more insights relating to cluster crafts-men & women, work place, products, operations and market scenario, technology, communication, research and development, design diagnosis and remedies the DAP is divided in 2 segments:1. Need Assessment Survey (NAS)2. Design Clinic Workshop (DCW)

In order to understand the design issues and de-sign need of the Woodcarving cluster, the expert designer was appointed to conduct an intensive de-sign research to develop a holistic map the present

2.1. Contribution of DCS and UMSAS for Woodcarving cluster

scenario and opportunities for design intervention in the clusters through interactive learning, guid-ance and training. This aims to serve, as a base for addressing the general design needs of the Wood-carving cluster and working out design solutions in the following Design Clinic Workshop (DCW) with the units of the wooden craft in the following DCW with the units of the woodcarving cluster.

The Need Assessment Survey (NAS) which was conducted for 7 days for the Woodcarving cluster in Gaya City, Bodhgaya and Khukhri village (Gaya)

is part of the DAP done under the DCS and will be followed by Design Clinic Workshop (DCW).

In the interactive DCW that will be conducted by the design experts, the cluster members learn the creative problem solving techniques/design pro-cess to explore opportunities and develop break-through solutions. Through interactive discussions and workshop activities, remedial solutions are generated. The workshop could be for 1-5 days depending upon the need of the clusters and the number of units covered under NAS.


In order to contribution in the development of DCS strategy for wood carving craft, the NAS of the cur-rent and possible stakeholders in wood carving cluster villages in Gaya District was carried out. This report seeks to put forward the efforts and ac-tivities of individuals involved in the wood carving cluster initiatives through three deliverables:

1. Analysis of the current - Location - Present condition of the cluster. - The product and service developed by the cluster. - The holistic system, of concept to customer ap-proach of the cluster.

2. Analysis of challenges - Woodcarving cluster’s business approach.- Craftsmen, shopkeepers, buyers, and other important individuals who involved.- In context to process and production.- moral values of the products.

3. Recommendations for addressing those challenges.- The future direction for the cluster development

2. 2. Purpose of Wood carving cluster NAS report


The NAS will conduct a value mapping assess-ment to better understand the limitation and design opportunities for the Woodcarving crafts in Gaya District. This value mapping analysis will build on the study of the Local and global marketplace for Woodcarving cluster and will clarify:

1. Competitiveness strategy (focused on improved efficiency, improved quality/differentiation, or changes in demand)

2. The limitation and opportunities along the value mapping, especially in light of internal conditions in Gaya District.

3. The design interventions required benefiting the cluster including the workflow processes.

2.3. Scope of NAS for Wood carving Cluster

The initial survey started on 4th October 2013 and continued till 10th October 2013. Interaction with the artisans, visit to the individual workshops and manufacturing units along with photo-graphic study was a part in this survey. 10th October 2013 was dedicated to Market study and interaction with the local shopkeeper at Bodhgaya market.

2.4. NAS DurationBased on design exploration and research, inter-active design study report must be submitted by design Expert to the concerned regional centre be-fore the commencement of design clinic workshop. The report will highlight key information, issues and opportunity areas for design intervention in the cluster and help participating MSMEs to explore benefits of design expert help during the design clinic workshop.

2.5. Deliverables


This field study was conducted over seven days period from 4th October 2013 to 10th October 2013. Don’t write anything negative

2.6.1. Orientation for NAS to the Woodcarv-ing unit members The survey started with the base orientation on “Gaya Jila Udhyog Kendra” about NAS to the mem-bers of the Woodcarving units. On 4th October 2013, there were personal introductions, discus-sion sessions about the scenario of the cluster and information about NAS Program were addressed to the unit’s members. Also how to reach at loca-tion, address of every unit members and phone no were shared.

2.6.2. Field research for Woodcarving clus-terThe objective was to investigate the craftsmen’s level of understanding and knowledge of the pro-cess of creating the end products from the Wood-carving plant. In addition, their understanding of

the business was also required to investigate. Field research contain of quantitative and qualita-tive research of Woodcarving cluster.

Quantitative research A structured questionnaire was prepared that main-ly contained predefined questions, which yielded closed-ended answers, like profile of the members: age, education, the length of time they have been in the business, other business engagements, the kind of products they make, their buyers, etc. The quantitative research consisted of a total of 42 face-to-face structured interviews conducted across nine different locations at Gaya district.

Qualitative research The aim of the qualitative data was to get in-depth insights usually rich and detailed insights about the Woodcarving cluster touch-points.The questions and the discussions were designed on the spot, rather than predefined questions and their order. The discussions were targeted to yield

more of self/ thematic responses. The discussions revolved around themes like member’s day-to-day activities, the living conditions, difficulties in their business, issues with local dealers, family issues, financial issues, educational facilities, etc.

2.6.3. Use of Internet Basic anthropological, botanical, geographical, commercial and sociological information search related to Woodcarving cluster was collected using the Internet.

2.6.4. Interview with other key holder Interviews were conducted with a few Shopkeep-ers from Bodhgaya, Timber merchant in Gaya, tool vender in Khukhri and people involved with the Woodcarv-ing cluster.

2.6. NAS approach and methodology


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3. About Gaya and Bodhgaya


Gaya is one of the famous holy cities of Hindus as well as Buddhists in India. There are a number of Ghats on the banks of Falgu River, which are be-lieved to be holy. It is believed by the Hindus that their visit to Gaya will result in salvation of the souls of their ancestors. There is a holy ritual, which is performed in Gaya by Hindus, which is known as ‘Pinda Dan’. This is also one of the main reasons of Hindu visitors for planning a trip to Gaya. Gaya city is equally important for Buddhists as well. Gautam Buddha got enlightenment at Bodh Gaya, which is located at a distance of 15 km from Gaya city. After this incident, places near to Gaya have re-mained the citadel and hub of knowledge like Nal-anda, Vaishali, Rajgir and Patliputra. In the ancient period Gaya had remained a part of the Magadh region.

History

Gaya has experienced the rise and fall of many dy-nasties in the Magadh Region. From the 6th cen-tury BC to the 18th century AD, about 2300–2400 years, Gaya has been occupying an important place in the cultural history of the region. It opened up with the Sisunaga dynasty founded by Sisun-aga, who exercised power over Patna and Gaya around 600 BC. Bimbisara, fifth in line, who lived and ruled around 519 BC, had projected Gaya to the outer world. Having attained an important place in the history of civilisation, the area experienced the bliss of Gautam Buddha and Bhagwan Mahavir during the reign of Bimbisara. After a short spell of Nanda dynasty, Gaya and the entire Magadha region came under the Mauryan rule with Ashoka (272 BC – 232 BC) embracing Buddhism. He vis-ited Gaya and built the first temple at Bodh Gaya to commemorate Prince Gautama’s attainment of supreme enlightenment.

The period of Hindu revivalism commenced with the coming of the Guptas during the 4th and 5th century A.D. Samudragupta of Magadh helped to bring Gaya in limelight. It was the headquarter of Behar district during the Gupta empire.Gaya then passed on to the Pala Empire with Go-pala as the ruler. It is believed that the present temple of BodhGaya was built during the reign of Dharmapala, son of Gopala.

Gaya was in the 12th century invaded by Muham-mad Bakhtiyar Khilji. But the Hindu rulers defeated his generals later. The place finally passed on to the Britishers after the battle of Buxar in 1764. Gaya, along with other parts of the country, won freedom in 1947.Gaya formed a part of the district of Behar and Ramgarh till 1864. It was given the status of in-dependent district in 1865. Subsequently, in May

Gaya


1981, Magadh Division was created by the Bi-har State Government with the districts of Gaya, Nawada, Aurangabad and Jehanabad. All these districts were at the level of sub-division when the Gaya district was officially established on 3 Octo-ber 1865.

GeographyThe district has a common boundary with the state of Jharkhand to the south. Gaya city is both the district head quarter and the second-largest city in Bihar. Gaya district occupies an area of 4,976 square kilometres (1,921 sq mi), comparatively equivalent to the island of Trinidad.Headquarters: Gaya, Administrative division: MagadhSub Divisions: Gaya District comprises 4 Sub-divisions:(1) Gaya Sadar, (2) Neemchak Bathani, (3)

Sherghati, (4) TekariLocation: Longitude = 84.4 to 85.5 Degree to-wards East Latitude = 24.5 to 25.10 Degree towards North

Area: Total 4,976 km2 Rural: 4891.48 Urban: 84.52Average Rainfall: 832.80 mmAverage Temperature in summer: 32.72 deg C Average Temperature in winter: 16.24 deg CElevation / Altitude: 93 - 102 meters. Above Seal levelMain Rivers: Falgu

DemographicsPopulation: 3,473,428 [Total Male = 1,792,163] [Total Female = 1,681,265]Density of Population: 880 people per square kil-ometer

Literacy Rate: 66.35 % - Male: 76.02 %, Female: 55.90 %Male Female Ratio: 1000 : 932Language: Maithili and Hindi, Urdu, English

EconomyIn 2006 the Ministry of Panchayati Raj named Gaya one of the country’s 250 most backward districts (out of a total of 640.It is one of the 36 districts in Bihar currently receiving funds from the Backward Regions Grant Fund Programme (BRGF).Major Agricultural Products: Paddy, wheat, potato,

Major Industries: Oil mills, sugar factory, lac, Agarbatti, Basket, Bindi, Biri, Brick, Bucket, Caul-dron, Crockery, Dhoop, Flour, Furture, Ghee, Gur, LeafPlate, Mawa, MunjRope, PanPatta, Popcorn, StoneGoods, StoneStatue, Tilkut are the major producing Items and Exports from here.


Major Educational Institutions: There are a number of schools in Gaya District, most of them are very popular and provide better education as compared with other cities names are as follows, Kendriya Vidhyalaya, Nazareth Academy, Gyan Bharti, Creane School, Spring Dales, Hadi Hashmi High School, Zila School, Mahavir School

Places of Attraction in and around Gaya:

Vishnupad TempleVishnupad Temple is located on the banks of Falgu River. It is believed that the temple has been built on the footprints of Lord Vishnu and that is why it has been named Vishnupad. A 40 cm long foot-print of Lord Vishnu can be seen inside the temple imprinted on rock surrounded by silver plated ba-

sin. The temple was constructed by Queen Ahilya Bai in 1787 and is a must visit for those travelling Gaya.

Surya KundSurya Kund is a major tourist attraction. It is locat-ed on the west side of the famous Vishnupad tem-ple. Devotees believe that a holy dip in the pond gets rid them of their sins. The place is thronged by tourists during festival seasons. The festival is organized twice in a year, first in the months of March-April and second in the months of Septem-ber-October. Surya Kund becomes most visited place on Chhath when Sun God is worshiped and people from near by places come to take a dip in the Surya Kund.

Barabar CavesSituated 25 kilometers away from Gaya, Barabar

caves are great heritage of Bihar. Numbering four in total these caves go back to the second century BC and were carved during Ashoka period. Histori-cal evidence shows that great Buddhist king Ashok built these caves for Ajivikas. Lomas Rishi cave is the most magnificent which is carved as a thatched hut and has a big chamber inside it. The chamber hall and other walls of the cave have been brightly polished. Ashoka’s grandson built other two caves Sudama and Chaupar that are equally magnificent.

Religious Significance:

Gaya finds mention in the great epics, Ramayana and Mahabharata. Rama along with Sita and Lak-shamana visited Gaya for offering PIND-DAAN to their father Dasharatha. In Mahabharata, the place has been identified as Gayapuri. About the origin of the name ‘Gaya’ as referred to in Vayu Purana


is that Gaya was the name of a demon (Asura) whose body was pious after he performed rigid penance and secured blessings from Vishnu. It was said that the Gayasura’s body would continue to be known as Gaya Kshetra.

GAYA PINDDANThis is the Hindu belief that after the death, soul of human being still remains in this materialistic world. Just because of the loss of body (due to death) someone cannot detach himself / herself from this world. ‘PIND Dan’ according to Hindu Belief Gives them an ultimate relief and paves the way for their departure to the ultimate world of Peace.Gaya is extremely Holy place for offering of Pinds. Pinds are offered in personalised way on your be-half on the Foot print of Lord Vishnu, on Akshya Bot and beside the River Falgu maintaining proper Hindu religious customs so that the Departed soul of the Dead persons rest in peace permanently.

Major Festival: (Pitri Paksha Mela)The auspicious 18 days Pitri paksha sraddha or Pitripaksha mela, that is considered best days for offering oblations to the depared forefathers or any departed Family members, and this Auspi-

cious 18days comes in every year in the month of September or October. An estimated 5,00,000 to 75,00,000 pilgrims arrive in the Gaya city dur-ing the Pitripaksh Mela for GayaJi sraddha or Pind Dan Earlier pind Dan was performed around the year.

How To Reach Gaya:

By Rail: The nearest railhead is Gaya itself and all the major trains pass through the station. Patna is another railhead from where you can board trains for other destinations in India. Patna is linked with all the major cities of India including the metros of New Delhi, Kolkata, Mumbai and Chennai. The Mahabodhi Express is a special train that runs between Delhi and Gaya daily and non-stop and takes just 16 hours to reach Gaya from Delhi.

By Road: GT Road connects Gaya from major cities of north India. Gaya is well connected with Ranchi, Jamshedpur, Raurkela, Hazaribagh, Kol-kata, Varanasi, Allahabad, Kanpur, Delhi and Am-ritsar.Gaya is well connected by Roads (National Highways) as well.

By Air: Gaya has its own international airport and is connected with major cities of India. Gaya is also connected with cities like Colombo, Bangkok, Singapore and Paro. One can get down at Patna


airport too and hire taxis or buses to reach Gaya.The place called Bodhgaya is considered to be one of the most significant and holy locations in the entire world for the Buddhist pilgrimages. The tree present here, which is the Bodhi Tree, marks the sacred location, in which Buddha sat through his entire meditation and the ‘Knowledge’ was ob-tained by him. The place of Bodh Gaya is located in the district of Gaya, which is a district in the In-dian state of Bihar.

TOURIST PLACES IN BODH GAYA

Akshayabat (Bodhi Tree)Akshayabat is the Banyan tree under which Gau-tam Buddha did meditation in the search of eternal truth. It is situated inside the Mahabodhi temple at Bodh Gaya, which is at a distance of 12 km from the Gaya city. It is one of the major attraction points for the visitors on Gaya tour.

Mahabodhi TempleEmperor Ashoka is believed to be the founder of Mahabodhi temple. It is a Buddhist temple and lit-erally means ‘Great Awakening Temple’. Holy Bo-dhi tree, under which Gautam Buddha got enlight-enment, is also located next to the temple. It was constructed about 250 years after Lord Buddha at-tained enlightenment and attracts a large number of devotees on tour to Gaya.

Ancient Railings: Another interesting historical piece is the archaic railings, which are present encircling the temple. The existence of these railings can be traced back to 1st century BC.

Chankaramana:This location is famous and is considered to be

holy since it mirrors the 3rd week following the holy enlightenment of Buddha during his meditation. As per the legends, a lotus appeared wherever Bud-dha’s feet touched.

Animeshlochana:As per the legends, one week was spent by Lord Buddha at this location. He spent the time by glanc-ing at the Mahabodhi Tree in appreciation without

even blinking once. Ratnagar:As per the legends, one week was spent by Lord Buddha at this location. During this time, it is be-lieved that as many as five colors appeared from Buddha’s body.

Lotus Tank: As per the legends, one week was spent by Lord

Bodh Gaya


Buddha at this holy tank called the Lotus Tank.OTHER PLACES OF INTERESTTibetan Monastery, Thai Monastery, Myanmar Monastery, Chinese Monastery, Bhutanese Monastery, Japanese Monastery, Sri Lankan Monastery80 feet Gaint Buddha,Sujataghad

HOW TO REACH BODH GAYA

By Air: Gaya has the closest air terminal and the next closest air terminal is the airport at Patna. The distance between Gaya and this place is 7 Kms and that between Patna and this place is 135 Kms.

By Rail: The railway station in Gaya is the closest railway station.

By Road: Bodhgaya has excellent road linkages to places such as Gaya, Nalanda, Rajgir, Patna, Varanasi and Calcutta.

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4. Cluster Informations


Today, there are only handfuls of craftsmen located at Gaya District, these units are located at three locations Gaya, Bodhgaya and Khukri village in the district.

The craftsmen mostly make the Buddha’s statue because the crafts is totally dependent on pilgrims/tourist from China, Japan, Malaysia, Singapore, Korea, Taiwan and Europe who come to visit Bod-hgaya, This is a recognized Holy place for the Buddha’s followers. The products which is carved by the craftsmen has a strong psychological, spir-ituals and religious significances with the pilgrims, the pilgrims/tourist whom comes to visit Bodhgaya wants to keep something from Buddha’s enlighten-ment place as a remember able or gifts for some-one. These religious bonding with the pilgrims cre-ates a big opportunity for the wooden crafts cluster.

Woodcarving craftsmen are mostly unaware and Unexposed to the marketplace and its customer

value. Mostly the craftsmen sell their products to the retailers of local market at Bodhgaya only and here the 60-80 percent margins of the products goes to the retailers. Lack of language knowledge and economical condition the craftsmen are not di-rectly connected to the market place and custom-ers group.

At present time most of the craftsmen are strug-gling from economical imbalance, this cost to their creativity, productivity and innovative thinking’s. During the visit to cluster units, most of the crafts-man were expecting some economical support.

The Woodcarving craftsmen are skillful, talented and open to innovation, especially when it creates opportunities to access new markets. Woodcarv-ing cluster from production to customer is a result of a brilliant human network

4.1. Introduction of Cluster:


4.2. Cluster Location Maps:

BIHAR

Gaya

U.P.

M.P. Jharkhand

Chattisgahr

Khukhri village


According to a veteran craftsman Shri Ramchan-dra Gour ji, Gaya wooden crafts cluster driven from stone carving.The stone carving craft evolved at Gaya in 1787 AD when the Queen of Indore, “Ma-harani Ahillyabai Holker” brought a stone carving cluster from Rajasthan to construct a Vishnu tem-ple at Falgu river bank of Gaya. The temple at pre-sent time called as “VISHNUPAD TEMPLE”.

At that time the artist family who came for the tem-ple constructions purpose, they were from “Gour community”. The construction took several years, in that period of time some of them from the same community settled down at Pattharkatti (Gaya). Pattharkatti is the place where the raw material (Stone) was procurement by the cluster at that pe-riod. The main reason behind settling down at Pat-tharkatti was availability of raw materials for their own occupation (stone carving) opportunities.

After the completion of the Vishnupad Temple, the community was producing Shivling and Kharal (stoneware for medicine grind) from Pattharkatti Village for their live hood. At that time those prod-ucts were marketed at Kolkata and Varanasi. Vara-nasi was the most demanding market for Shivling at that time. Gradually they shifted to Lord Gautam Buddha and other Hindu God and Goddess statue.

Generation by generation this art is carried by Gour community artist of Pattharkatti village. Slow-ly-slowly so many artist who were not from the Gour community but they also shifted to stone and wood carving crafts.90 percent of the Stone Carv-ing cluster situated at Pattharkatti village. Slowly – slowly the Pattharkatti effected the near by village Khukhri also. There are most of the craftsmen who are not from the Gour community they also learnt from them and interred into this crafts. There is a

another reason behind sifting other communities to this art because they were free after cultivation and this crafts required only extra talent, passion and some tools that can be get easily from the lo-cal vender and market. Who were talented they jump into this business. At present time the cluster spared out all over the Gaya and Bodhgaya.

In the early 1980s Bodhgaya came into light and tourists started to visit those places. This how the craft got a new market and present time this is the main product range (Lord Buddha’s statue became the most selling). In starting of 20th century pilgrim-

age started to visit all over the world for this holy pilgrimage of Buddhist.

This woodcarving cluster is only 20-25 years old, earlier there was only stone carving. This wood-carving came into light just since the pilgrims cre-ated a demand for the material to be wood from “PIPLE TREE”. “PIPLE” is a kind of Banyan tree, which has a religious significance for Lord Bud-dha’s Followers. Under the “PIPLE TREE” (Ban-yan tree) Gautam Buddha did meditation in the search of eternal truth and attained enlightenment. Consequence of demanding PIPLE WOOD was

4.3. History of cluster:


that the craftsmen started to work on this wood but the wood was good for carving as was required. Thus they explored a new kind of wood, which had been used for making furniture by the local carpen-ter. This wood is lightweight and softer than other wood that suitable for carving.

Gradually the tourist/pilgrimage started to visit in large quantity at Bodhgaya and craftsmen got a new market for them. The wooden craft came in to light just because of the material and its demand. The tourists started preferring the wood carving statue rather than a heavy stone statue because this material is not delicate as stone and so light that they can carry it easily. Progressively this ma-

terial created its own market and in the present time the demand of wood carved statue is equal to that of thestone carved statue. all craft prod-ucts belong to Lord Buddha’s life event. Most of the figures are inspired from early statue of Bud-dha’s from different place like Sarnath, Patiliputra, Magadh and Ajanta Caves.

There are many craftsmen who work in wood and stone as per the retailers order at Khukhri village. These craftsmen are flexible and versatile with both the materials. They work as per the order. When they get wood, the work on wood when they get order for stone they work on stone carv-ing. Their economical condition does not support

them to work on one material. If they want to work for one material, they may be they have to wait without work till the next order. At present scenario there are some craftsmen who shifted to Gaya and Bodhgaya for better market opportunities. Here at Gaya also, there are some craftsmen who are in-fluenced by the carving cluster, but are not from the “Gour” community.They shifted to the carving art for better earning opportunity and for their inter-est in this field.

The art, which is alive in Gaya District is just be-cause of the “Gour” community; credit goes to this community for spreading and keeping alive art in Gaya.


Bodhgaya is considered to be one of the most sig-nificant and holy locations in the entire world for the Buddhists. The tree present here, which is the Bodhi Tree, is the Banyan tree under which Lord Gautam Buddha did meditation in the search of eternal truth.

Bodhgaya is a religious site and place of pilgrim-age associated with the for Buddhists, Bodhgaya is the most important of the main four pilgrimage sites related to the life of Gautama Buddha, the other three being Kushinagar, Lumbini, and Sar-nath. Bodhgaya is one of the major attraction points for the tourist and pilgrims.

The pilgrims are spiritually attached to Lord Bud-dha, so when they visit to Bodhgaya want to keep something related to Buddha’s life place as an auspicious, good luck and memorable. So in gen-eral the products are belonged to Buddha’s life event and created to keep in mind of pilgrims and tourist insist. The products are mainly Buddha’s statues,different types of “DHARMA MUDRA”, kept in temples or homes for worship purpose by the customers and pilgrims.

4.4. Cultural and Religious Significance of the products


4.5.1. Craftsmen and CraftswomenLocal craftsmen/women are members of the wood carving cluster units or they are locals from the same village or even from different villages. There are some craftsmen who are belong from “Gour” community, who have come ,due to both economic hardships motivated by few job opportunities in the region and developments in the selling busi-ness of the Woodcarving products. The Craftsmen work for 12 to 14 hours daily and craftswomen also helps them after completing their household chores. Most of the craftsmen’s’ children are not involved in this activity.

4.5.2. Woodcarving Units OwnersThe Woodcarving units Owners many a times out-source their work to local craftsmen. The raw ma-terial is distributed and finished products collected from the craftsmen. A few units employ individuals to come and work at their units. The craftsmen are paid on a monthly salary basis or their income de-pends on the quantity produced. These craftsmen earn somewhere between Rs. 1500 – Rs. 7500 per month.

4.5.3. Local RetailersLocal retailers of the Woodcarving products are the

local shopkeepers from the Bodhgaya. They buy the Woodcarving products from local craftsmen/ units and sell it to the directly tourist/pilgrims in Bodhgaya. These retailers have the full command on the craftsmen, crafts products pricing and mar-keting.

4.5.4. Tourists (customers)The customers are tourists/pilgrims who comes to visit Holy Place of Buddhist at Bodhgaya. They mostly interact with the local shopkeepers through their guide or directly go to their shop for buying the Lord Buddha’s statue.

4.5. Key Player of Woodcarving cluster


4.5.5. GuidesTourist Guides also play an important role to sell the products. Mostly guides have their own con-nection between the shopkeepers at local market. They get some of percentage of the sold products from the shopkeepers. They have languages skills, which is helps to the customers as well as shop-keepers to selling and buying the products. They are not directly connected to the craftsmen.

4.5.6. Timber merchantsTimber merchants are a key player of this crafts who procure the raw materials for the craft. They import the Gambhar wood from different parts of

the country as well as from other countries like Thailand, Malaysia, Nigeria and Myanmar. The whole craft depends on this material only, if the Raw material (wood) price increases, then prod-ucts price also increase proportionally.

4.5.7. Tools and chemical supplierThe local businessmen sell the cluster tools and others material in the local market at Gaya city on reasonable price. The raw material like sand pa-per, wax polish is brought from Gaya city. The ad-hesives for the product-making purpose are locally available or are brought from Gaya city. The tools like chisel, hammer, right angle, clamp, pencils are

available at Gaya.

4.5.8. Local toolmakers (Lohaar)In this craft, craftsmen need some specialized tools for woodcarving. The craftsmen make it from his required size and design from the local vender. The tools, mainly called “BATALI” (small carving chisels) are made by local lohaar (Blacksmiths) at Khukhri village only, which is 45 kilometer far from the Gaya City. The “BATALI” is made at Khukhri village only and this the best in quality, which avail-able to the craftsmen. One cannot get it in Gaya City. These Blacksmiths are specialized in making these kinds of tools. They charge only Rs.10 per.


4.6.1. Primary unit:The Craftsmen work directly from home and earn as per piece produced. The craftsmen get their production orders from the retailers in Bodhgaya or they produce the product on their own. If the order is given by retailers, then they produce what the retailers want. The units do not command the prices of their products and its mainly set by the shopkeeper based on the size and consumption of raw materials. As a result they earn very less profit for the time and effort they put in the pro-duction. There were only two craftsmen who also sold their product to the tourist directly. They have small, temporary stall on the footpath of Bodhgaya.

The complete task from sketching to making final product is done by the craftsman. The Craftsmen work for 12 to 14 hours daily and craftswomen also helps them after completing their household chores. Mostly craftswomen do not work on carv-ing part, they help them in finishing the products like sanding, wax polishing and buffing the prod-ucts. The Craftsmen family earn between Rs 200 to Rs. 250 everyday on the basis of number of pieces produced. The unit owner manages the de-livery of raw materials and the finished items. The unit owner does the temporary deliverable pack-aging and logistic of the final produced items and the management of its delivery to the retailers at Bodhgaya.

4.6.2. Secondary unit:

4.6.2.A. Fixed SalaryThe Secondary unit is run by the unit’s owner. The Secondary unit engages a few Craftsmen directly for work. Everyday the Craftsmen works on an average of eight hours. At some units Sunday or festivals day is a holiday. The work starts at 9 a.m.

(approx.) in the morning. The Craftsmen take a break for lunch and rest for 1 hour at workshop and continue till 6 p.m. (approx.). The Craftsmen earn salary on a daily basis. The Craftsmen earn Rs. 50 - 200 (approx.) on an average per day based on their skill.

4.6.2.B. Based on piece wiseThey earn for every piece of item they produce. In the case of high production order, the Crafts-men work more and therefore earn more. So they come early and work more hours. The complete task from sketching to making final product is done by the craftsman. There are fixed rates for differ-ent - different size (heights wise) of statue. Prices of their products is mainly set by the shopkeeper basis on the size. Some times this rate fluctuates on demand. The Craftsmen earn Rs. 150 - 250 (approx.) on an average per day based on their skill. The unit owner manages the delivery of raw materials and the finished items. The unit owner does the packaging and logistic of the final pro-duced items and the management of its delivery to the retailers at Bodhgaya.

4.6.3. Tertiary unit:The Craftsmen/primary unit owner who are directly engaged with the Secondary Unit and in the latter case they work from home. Everyday they visit the Secondary Unit or collect the raw material and sub-mit the finished items to the Secondary Unit. Most of the Craftsmen who are engaged with the Sec-ondary Unit, work at home for 4 to 5 hours daily. The craftswomen also helps them after complet-ing their household chores. Mostly craftswomen do not work on carving part, they help them on finish-ing the products like sanding, wax polishing and buffing the products. The Craftsmen family earn between Rs 100 to Rs. 150 everyday on the ba-

sis of number of pieces produced. The Secondary unit owner manages the delivery of raw materials and the finished items. The Craftsmen/primary unit owner does the temporary deliverable packaging and logistic of the final produced items and its de-livery to Secondary unit owner.

4.6. Woodcarving Clusters Units Structure


The understanding and competences require pro-ducing attractive products. The craftsmen have passed from previous generation to the newer. With the changing demand for different kind of product designs from shopkeepers, the craftsmen have adapted themselves, accordingly.

In the local village of Khukhri, Woodcarving and Stone carving craft training school called “Stone-ware Institutional Center” established in approxi-mately 1954-55 by Upendra Maharathi ji, which is peresent time supported by Department of In-dustrial Development, Gaya-District (Jila Udhyog Kendra), where hundreds of local artist attend the training.

Woodcarving cluster has successfully contributed to the local economy. It hasmade possible re-sources of livelihood to hundred of families in the region of Gaya District. Although many younger people are moving to cities in search of job oppor-tunities, the Woodcarving craft and its business re-mains a foundation of satisfied living for the people engaged with it.

4.9. Financial SupportThe cluster units have tried to avail loans from the local banks but have failed as the banks do not entertain their application due to lack of proper pa-pers, property and other support.

4.7. Woodcarving craft and it’s training

4.8. Contributions to the local economy

There are some craftsmen in the past have taken part in the State and national level craft fair or ex-hibition. Currently they don’t participate because of their economical condition, if they are participating in the exhibition then whole expenditure has to be spent by them. Earlier the craftsmen were sup-ported by the state government and central gov-ernment for this kind of Crafts Fair and Exhibitions.

RECOMMENDATION The state government and central government should facilitate the participation of the unit mem-bers in various national and international fairs and exhibitions for better exposure

4.10. Woodcarving Crafts Fairs & Exhibitions:


Cha

pter

-5

5. Cluster - Production to Customers


5.1.1. Raw material: IntroductionThe main raw material used in the woodcarving cluster is Gambhar wood. The Gambhar wood is bought from Gaya’s only local market. In the Gaya region Gambhar wood has become so much in demand that the resource has become panic and local supply of Gambhar wood does not fully meet the raw material demand. Gambhar wood is brought from Shiliguri (west Bengal) and Assam to meet the excess raw material needs.

5.1.2. About Gambhar Tree:Botanical Name: Gmelina arboreaSanskrit Names: Gambhari, gumhari, khamariEnglish Name: Beechwood, Gmelina, Goomar teak, Kashmir tree, Malay beechwood, White teak, VemaneHindu Name: gambhar, gomari, gumhar, kambhari, sewan

Gmelina arborea is a fast growing deciduous tree, which grows in different localities and prefers moist fertile valleys with 750–4500 mm rainfall. It does not thrive on ill-drained soils and remains stunted on dry, sandy or poor soils; drought also reduces it to a shrubby form. The Gmelina arborea tree at-tains moderate to large height up to 30 m with girth of 1.2 to 4 a chlorophyll layer just under the outer bark, pale yellow white inside.

5.1.3. Tree characteristics: Gmelina arborea scientific name for Gambhar Tree wood is pale yellow to cream coloured or plukish-buff when fresh, turning yellowish brown on exposure and is soft to moderately hard, light to moderately heavy, lustrous when fresh, usually straight to irregular or rarely wavy grained and me-dium course textured. Flowering takes place dur-

5.1. Raw materials: Gambhar wood


ing February to April when the tree is more or less leafless whereas fruiting starts from May onwards up to June. The fruit is up to 2.5 cm long, smooth, dark green, turning yellow when ripe and has a fruity smell.This tree is commonly planted as a garden and an avenue tree; growing in villages along agricultural land and on village community lands and waste-lands. It is light demander, tolerant of excessive drought, but moderately frost hardy. It has good ca-pacity to recover from frost injury. Gambhar trees coppices very well with vigorous growth. Saplings and young plants need protection from deer and cattle.

5.1.4. Distribution of Gambhar Tree:In India, Gmelina arborea (Gambhar Tree) oc-curs extensively from the Ravi eastwards in the sub-Himalayan tracts, common throughout Assam and adjoining areas of Northern West Bengal, also in South Bihar and Orissa, sporadically found in western and southern India and planted elsewhere on a large scale. Gambhar most commonly occurs in West Bengal forests in mixed forests.

It also occurs naturally in Myanmar, Thailand, Laos, Cambodia, Vietnam, and in southern provinces of

China, and has been planted extensively in Sierra Leone, Nigeria, Malaysia, and on experimental ba-sis in other countries as well.

5.1.5. Utilization of the Gambhar wood:Gmelina arborea timber is reasonably strong for its weight. It is used in constructions, furniture, car-riages, sports, musical instruments and artificial limbs. Once seasoned, it is a very steady timber and moderately resistant to decay and ranges from very resistant to moderately resistant to termites.Its timber is highly esteemed for door and window panels, joinery and furniture especially for draw-ers, wardrobes, cupboards, kitchen and camp furniture, and musical instruments because of its lightweight, stability and durability. It is also used for bentwood articles. In boat building it is used for decking and for oars. Gmelina arborea is a popular timber for picture and slate frames, turnery articles and various types of brush backs, brush handles and toys.

5.1.6. Medicinal uses of Gambhar Tree:The root and bark of Gmelina arborea are claimed to be stomachic, galactagogue laxative and anthel-mintic; improve appetite, useful in hallucination,

piles, and abdominal pains, burning sensations, fevers, ‘tridosha’ and urinary discharge. Leaf paste is applied to relieve headache and juice is used as wash for ulcers.Flowers are sweet, cooling, bitter, acrid and as-tringent. They are useful in leprosy and blood dis-eases.In Ayurveda it has been observed that Gambhar fruit is acrid, sour, bitter, sweet, cooling, diuretic tonic, aphrodisiac, alternative astringent to the bowels, promote growth of hairs, useful in ‘vata’, thirst, anaemia, leprosy, ulcers and vaginal dis-charge.The plant is recommended in combination with other drugs for the treatment of snakebite and scorpion sting. In snakebite a decoction of the root and bark is given internally.

http://en.wikipedia.org/wiki/Gmelina_arboreahttp://www.ayurwiki.info/wiki/gambhari

5.1.7. Advantage of Materials:The Gambhar wood is much superior in compared to its competing materials such as stone, glass, plastic, resin-dust based, plaster of Paris and metal in terms of texture, luster price, light weight, fragility.


findings about the plants, medicinal and furni-ture use.

4. Woods that imports from the outside countries like Malaysia, Burma, does not yield a good quality wood. It has low-density fiber quality and harder than Shiliguri wood that not well for carving.

5. Demand of local market is not fulfilling by the Asam and Shiliguri wood. So some time they have to be work on imported wood also and it makes more costly of the products.

6. There is some more wood like Chandan, Pipale (Banyan tree), mango, Karam, Kemu used by the craftsman on demand of the customer.

7. Mostly Buddhist monk and pilgrims demands idol of “Pipale wood” because this tree has a religious significance for Buddhist followers, under this tree Gautam Buddha did meditation in the search of eternal truth and achieved en-

5.1.8. Gambhar Wood Price: Current market price of Gambhar wood is Rupees 1250/- per Sq feet. This rate fluctuates on stock and demand of the materials. This rate fixed by the local Timber merchants.

5.1.9. Gambhar Wood (Raw Material): Find-ings

1. The Gambhar wood used as a raw material in the Woodcarving craft is the nuclei of the crafts.

2. A majority of the Gambhar wood sold in the lo-cal market comes from outside the region and as a result it is expensive for the local Wood-carving units.

3. Many studies from past have done by scien-tists and researches have shown promising

lightenment. 8. The Gambhar wood is valuable for the local

economy (craftsmen, carpenter as well as tim-ber merchant) and the products made form it hold a high commercial value in the local furni-ture and crafts market.

9. There are some farmers cultivating personally Gambhar plant that is also good for carving aspect.

5.1.10. RECOMMENDATION:Encouraging the Gambhar plant cultivation in the region instead of outsourcing from the other part of the country and foreign country. The aim is to cut down cost of the raw material and help achieve Gambhar raw material sustainability in the region.

A financial facility should be set up which arranges to buy raw material in bulk from the suppliers.


5.2.1. (Sirish Patta) Sand Paper:Craftsmen using various grades of sand papers, which locally called “Sirish Patta”. Sand paper mostly use for rubbing the surface to make smooth the products. They generally use 50 number, 80 number, number, and 120 number of sand paper that can be easily get from the local market of Gaya. Price of sand paper approximately Rupees 10 to 15 per piece that depend on number and Quality. They start rubbing from 50 number of sand paper that more efficient to terminate the rough surface. Gradually they use 80 and 100 number of sand paper for more finishing, and at the end they use 120 number, which give the final smooth surface before using the wax polish.

5.2.2. Wax Polish:The wax polish is an important material for this crafts, it use for final touch to the products. After sand paper wax polish use for glossy and shiny surface. This wax polish can be found from the Gaya market, it comes in 500gm packaging which price is around Rs. 240/- to 260/-, at present time there are three brand (Mension, Million and Lovely brand) of wax polish available in the market.

5.2.3. Adhesives:Craftsmen uses adhesive rarely, if during the carv-ing, take place any kind of fiber splitting or miss sculpt by mistake then they use adhesives. They use Fevicole, Feviquick, Quickfix and other brands, but mostly they use Feviquick which take less time and better results than others adhesives. These adhesive can be purchased easily from the local market on reasonable price.

5.2. Other materials


The Gambhar wood is not consistent in quality such as softer and high-density fiber. These quali-ties vary because of the weather condition where it had grown.

The units buy raw materials such as wood, sand paper and wax polish and adhesives separately.

The Gambhar wood is quite expensive for the craftsman so they buy as per the economical con-dition of that time, as a result it is always expensive for them instead if they buy in bulk together.

The market price always varies for raw materials, in rainy season it becomes cheaper than other season and in winter it becomes costly because that time market demand is high.

5.3. Raw Materials Procurement:


The tools used are simplistic in design and easily available in the local market in Gaya at an afford-able price. A few of the tools widely used by all the Woodcarving units are as following:

1. Guniya Chota (right angle small) 2. Guniya chota(right angle big) 3. Shikanja (wise)4. Batali (Big chisel)5. Taaki (small chisel)6. Hathori (hammer)7. Mughur (mallet)8. hand made Chota mughur (small mallet)9. Fita (measuring tape)10. Paimana (measuring scales)11. Daagi (Line Marker)12. Aari (saw)13. Prakaar bada (compass) 14. Prakaar chota (compass)15. Prakaar golai (compass)16. Pencils17. Hand drill18. Randa (planner)19. Magnifire glass20. sheel (stone)

Designed or tools: 21. chisel gripper22. Handmade tools: sandpaper holder23. Thumb gripper24. Handmade tools: waistcloth pieces25. wooden stand26. gripp designed Taaki27. Tooth brush28. Production Diagram29. Sanding plate30. Boraa (for sitting purpose)31. Pida (for sitting purpose)32. Lamp (hardening sand papers)

5.4. Tools using by the Woodcarving Cluster


Tools Findings:

1. Craftsmen have designed many tools that make them comfortable while they are work-ing.

2. Almost from the time when woodcarving crafts started they have been the initiator for the tool design. Most of the tools design evolved from the need of craftsmen requirements. They make the tools from the local blacksmiths (Loohaar) who makes tool for them as per the order of customer.

3. Instead of that there are so many existing tools like hammer, planer, compass, chisel they use for carving. They have variety of chisels for carving purpose.

4. The tools are seen lying around in open in the workplaces and which is not safe for the members if they are unaware of the same. It is a matter of concern since the workplaces or units are mostly part of craftsmen house and any member of the family especially children might get hurt.

RECOMMENDATION:There has been no design improvement done by any design expertise for them. The tool design needs to be improved to speed up the productivity and quality as well as ergonomically aspects.


There are handful machines used by woodcarving units, like sander grinder, lathe machine and drill machine. All these are used by the craftsmen who making temple only. Those who carve Buddha idol they usually do not use this kind of machine, be-cause it need specialize machine for carving which is costly.

1. Electronics drill machine2. Marking and small carving machine3. Lathe machine (tow side holder)4. Buffing machine5. Small Sanding machine6. Carving maching7. Round carving machine8. Lathe machine (single side holder)9. Circuler Saw and buffing machine 10. Electronic Cutter Machine

Machine and technology Findings:

• Mostly these machines use for Temple making and others products.

• Machine usually not use for Buddha’s Idol carving.

• The tools they are using right now is tradition-ally and out dated.

• Many of the craftsmen do not have their own machine to work.

RECOMMENDATION:Providing tools and their using trainings.

5.5. Machine used


Woodcarving craft is the art of making a range of statue of Lord Buddha from the Gambhar wood. People from all different castes connected with it in the Woodcarving cluster of Gaya district.

Raw Materials Sizing:The Gambhar wood is prepared as per the speci-fications to produce the statue at “Aara Machine” (timber merchant place). The outer skin is of the wood removed to reveal the inner soft pale white

portion of the trunk and then the inner portion is split into different sizes as per the requirements. These entire processes occur at timber merchant place, under the guidance of craftsman who needs the materials.

Measurements:After slicing the wooden piece as per the require size for statue, craftsman do the proportional measurement by the PRAKAR (compass) on wood

block. This proportional measurement is always constant for same posture statue. There are differ-ent proportional measurements for Standing Bud-dha, Sitting Buddha and Sleeping Buddha.

Sketching:Once the proportional measurements have been done by the craftsman, they do a rough sketch by pencil on the basis of measurement. This stage is needed to get a rough idea that how the wood

5.6. Process: Making of Buddha’s Statue

Raw Materials sizing

Measurements

Sketching

Rough carving

Fine carving

Detailing

Sanding

Polishing

Buffing


piece is going to carve.

Rough carving:After the sketching stage, in the rough carving stage the craftsman gets full idea of the statue and carves the big portion of the block roughly by the help of big chisels, hammer and saw. In this stage craftsman mostly removes the unnecessary mate-rial and shapes it for next stage.

Fine carving:After the rough carving craftsman starts carving in more details. At this stage craftsman carves all body parts in details and every unnecessary mate-rials is removed.

Detailing:At this stage craftsman receives an almost de-veloped statue from the last stage carving. In this stage craftsman does the detailing on eyes, nose, finger, cloths and hairs. This is the last stage for carving and almost ready from main craftsman side. The next stage is done by mostly helper, learner or craftswomen.

Sanding:After the final carving stage the statue is handed over to helper, learner or craftswomen, where they do the surface finishing of products by various number of sand papers. They start rubbing from 50 number of sand paper that is more efficient to smoothen the rough surface. Gradually they use 80 and 100 number of sand paper for more finish-ing, and at the end they use 120 number, which gives the final smooth surface before using the wax polish.

Polishing:After sand paper, wax polish is used for glossy and shiny surface. This wax polish is applied on the whole surface of statue through finger or brush and left or 12 hours in a dry & shadow condition.

Buffing:After 12 hours of implementing the polish, it reach-es partially dry stage. At this time craftswomen or helpers rub the surface with a piece of cloth until they receive a glossy and shiny surface.


Sitting Buddha:1. head2. Body height = 4.5 Head3. Shoulder = 1.25 head4. sholder to elbow = 1.5 head5. elboe to palm join = 1.5 head6. total arm = 2.5 head7. palm with finger = 1 head8. both leg width = 4 head9. chest = 2 head10. knee to toe = 2 head

Sleeping Buddha1. Body height = 7.5 Head2. Shoulder = 1.25 head3. sholder to elbow = 1.5 head4. elboe to palm join = 1.5 head5. total arm = 2.5 head6. palm with finger = 1 head7. both leg width = 4 head8. chest = 2 head9. knee to toe = 2 head

Standing Buddha1. Body height = 7.5 Head2. Shoulder = 1.25 head3. sholder to elbow = 1.5 head4. elboe to palm join = 1.5 head5. total arm = 2.5 head6. palm with finger = 1 head7. both leg width = 4 head8. chest = 2 head9. knee to toe = 2 head

5.7. Proportion measurements of Buddha’s Figure

1

1

1

8

9

107

6

5

3

42


The Lord Buddha’s statues are made as per the order from the shopkeepers. The shopkeepers de-fine the design of the product and its quantity. The complete order is produced at the cluster’s all three types of units, based on the demand and needs of the shopkeepers.

There are mainly three types of products are noted in this reason listed bellow:

1. Buddha’s all kind of Statue 2. Bodhisatwa Temple 3. Other products

5.8. Cluster Production and Products Range


Workplace:Workplaces can either be the physical location of the Craftsman’s home (primary unit) or the Units owners (secondary unit)??????what?. Most of the craftsmen do not have enough space inside and most of workers work sitting on the floor. The Sec-ondary Units are better equipped, and have better facilities.

Workplace Findings:The workplaces at the units are messy and unor-ganized. Due to lack of enough space the crafts-men keep the materials, semi finished goods, tools and the final products at the same place.

5.9. Work Space and Ergonomics

In rainy season it is impossible to work in the open as the wood gets wet and in summer the wood get dry. In both conditions, it is not suitable for raw material and carving to be done in an open space. So most of the time they have to work in home or in shaded spaces

The workplace lacks proper sunlight during the daytime and due to unavailability of electricity, it is difficult for the craftsmen to carry out the detail works.

Workplace Recommendation:Ideal workspace has to be designed and optimized for minimizes human effort and increase produc-tive.

Ergonomics:The craftsmen work for long hours while sitting on floor. They need to hold the piece of wood with their leg most of the time during the carving. So they do not keep any back- rest because it dose not pro-vide a suitable carving position for the craftsman, These results pain and discomfort while working for long hours.


Raw materials Storage:There is no proper way to store Gambhar wood. The wood is kept in the ceiling or kept under the bed.Gambhar material gets spoilt in water. As a result the raw materials have to be always kept in dry condition.

Products Storage:Due to lack of enough space the craftsmen keep the mate-rials, semi finished statues, tools and the final products at the same place.If they have some delicate works then they keep it in room or in cupboard.

Craftsmen cover the big statue by plastic plotline sheets and keep it any where on free space at home even on the side of bed, under the bed also.

Gambhar woods get termite attack in moisture place. As a result the finished products have to be always kept in dry and safe condition.

5.10. Products and Raw materials Storage


The waste produced from the carved wooden stat-ue is very common in this craft. The waste is used as fuel for cooking or making fire for heating in win-ter season, so the family members of the crafts-men usually collect the waste materials for home use only.

There is no recycle and reuse of the products be-cause this is a religious and auspicious product for the users. If the products are damages,they just abandone it.

Products manufactured from wood are used on the auspicious occasion, and people decorate their houses and temples with Lord Buddha’s statues.

5.11. Waste materials 5.12. Recycle and Reuse 5.13. End use of products


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6. Woodcarving crafts market Scenario


In Bodhgaya the Woodcarving business expanded in the late 1990s when more and more sell-ers realized the potential of this lightweight, non-fragile wood product’s.

Consumers (tourists) of other countries use wood products much more than in India. Japan, Korea, Thailand, Bhutan, Myan-mar, Singapore and China are a few countries where maximum us-age of Woodcarving products has been reported.

On 7 July 2013 at around 5.15 a.m. a low intensity bomb blast took place in the 1500 year old Mahabodhi Temple complex. Ac-cording to the Craftsmen and Lo-cal Retailers, market sell become down due to this incident.

Competition scenario:Competition within local re-tailers: The local retailers have competition between others retail-ers for selling the products. They do not have any kind of competi-tion for outsourcing the manufac-tured products.

Alternate material products:The Wooden craft is facing tough competition from products made in alternate materials such as stone, plastics, printed media, brass, copper and plaster of Paris.

6.1. Crafts Present market Scenario


Market scenario Findings:

Market 99% selling depends on tourist/pilgrims only.

Peak time of the business is October to January because at that time tourists/pilgrims come to the India

Tourists/pilgrims are spiritually attached to Lord Buddha, so most of the products belong to Bud-dha’s life event.

Same kind of Buddha’s statue is being made and sold from the many years, so no one willing to take the market risk with the new products range.

The products that are available in the local market are traditional Buddha’s idol and does not reach out to the new trends and other lifestyle products.

Because of the high cost of the raw materials and

lack of innovation in design, most of the existing products are same.

The craftsmen whose designs are inspired from Buddha’s life events, are done mostly in the Indian style carving.

There is no product diversification.

The craftsmen get their production orders from the shopkeeper in Bodhgaya and they have no clue about the buyers.

The craftsmen cannot sell to the tourist directly due to lack of the various language knowledge like Chi-nese, Japanese etc. here shopkeeper have advan-tage to create his market through guide.

Shopkeeper also gives margin to Guide. Guide gets some percentage of the total selling.

The craftsmen do not have any way forward due to

lack of time, money and expertise to explore new markets and opportunity for new products by them-selves.

Market Recommendation:

There is full scope for redesigning the products for national and international markets.

Design can be improved according to the latest trendy products with the help of designers.

There are tourist coming from so many countries like China, Japan, Korea and they have developed their own style of Buddha so the existing traditional Idol can be made of other country’s style. Buddha can be made in Chinese style, Japanese style and Korean style.

Apart from spiritual and devotional products there is a need to focus on decorative and lifestyle prod-ucts.


The Craftsmen units do not get advance money with the production orders from the shopkeeper, as result the Craftsmen are not able to buy sufficient raw materials and so they are not able to take up enough orders, every time.

If shopkeeper orders 10 thousand rupees worth order, then they will give advance only 1 or 2 thou-sand rupees.After the order is ready, the shop-keeper pays the craftsman 5 thousand and rest of the money will be kept by the shopkeeper as a guarantee for next time work. (this whole sentence is confusing)

The products produced by the units are further pro-cessed and sold by the shopkeeper. As a result the Craftsmen do not earn any credit for their creations in the local, Indian and International markets.

Shopkeeper’s Control Findings:

The shopkeepers are very strict about delivery.

In case the products get damaged during trans-portation, the shopkeepers do not accept the dam-aged pieces and consequently it has to pay by craftsman from his own pocket.

The shopkeepers sell the Buddha’s statues made by the craftsmen at super premium prices in the foreign currency at Bodhgaya market.

The shopkeepers do not give any credit or ac-knowledge to the any craftsmen.

Even craftsmen are not allowed to write their con-tacts or name on the products.

6.2. Shopkeeper’s control and craftsmen


Production Price: The production price is defined by the shopkeep-ers, on the basis of size and consumption of the raw materials. As per the inch every rate is decided by the shopkeeper.If the raw materials are provid-ed by shopkeeper’s then rate will be different than non-provided finished products. All this determined the rate as per market demand.

Finished Products Market Price: there is no fixed rate for the products, it depends on the customers and their bargaining capabilities. The shopkeepers sell the Buddha’s statues made by the craftsmen at super premium prices in the foreign currency under their own name.

6.3. Woodcarving products pricing:


6.4. Packaging of the Products

Packaging by craftsmen:The craftsmen are not aware of the importance of packaging.After the finishing of the products, they just do the temporary group packaging of produced products in a carton that is bought from the local general stores. These cartons are basi-cally cartons of soap, shampoo and others goods packaging items, which is sold by the local general stores shopkeepers.

Packaging by Shopkeepers:On the other hand the shopkeepers consider that customers who are buying the products mostly tourists and they will be carrying lot of stuffs with them. As a result if shopkeepers provide any kind of packaging, it would occupy extra space in the bag as well as gain weight, which is not good for traveling purpose. At present time, shopkeepers using out-dated newspapers and plastic bubble wrappers for packaging. The shopkeepers say that this is more preferred by the tourist because of being lightweight.


6.5. Branding and Visual IdentityThe craftsmen directly are not connected to the market and customers. After finishing the products they hand them overto the retailers for selling so the craftsmen think they do not need any branding from their side.

One the other hand the retailers think that custom-ers will not be visiting the shop or the country ever again in their lives. According to the retailers this is not an everyday use product, so its not necessary to brand their. The retailers keeps their sticker on backside of the products as an identity, which con-tain information only of theretailer’s name, phone number and email Id. The retailers say that rarely they get order through this kind of Visual Identity.

BRANDING FINDINGSThe cluster lacks visual identity, as there the shop-keeper is the middleman between the craftsmen and the customers.

Most of the craftsmen carry there own work images in an album to show to someone. There is no prop-er record or catalogue of the woodcarving products that are made in the cluster.

RECOMMENDATION The cluster needs to brand itself in the eye of the modern business approach in terms of creative its identity. The unique identity will highlight the clus-ter units as original producers and help establish them in the global market.

6.6. Display of the products

In the local market of Bodhgaya, shopkeepers have displayed their products in proper way with light and glass shelves. They have variety of all kinds of Lord Buddha’s statue in various materi-als like stone, copper, brass, glass and plastic. Be-sides of the Buddha’s statue they keep also other handicrafts products like home-office decorative products lifestyle products and gift items.


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7. The 22 Units and Craftsmen Profile


It’s very easy for any visitor to Gaya region to no-tice that the wood – stone carving cluster and its products. These crafts are very important to the livelihoods of the people of the region, as they pro-vide the main means of generating income.

The 22 Woodcarving units together demonstrated a perfect skills set, size of business and the com-plete positioning of their products and their position in the market. The 22 units were spread over nine different locations in the Gaya district. The 9 areas are listed below:

1. Manpur - Mallaha toli, (Gaya) 2. Nayi Sarak, (Gaya)3. Nawagari, (Gaya)4. Vishnupad Road, (Gaya)5. Pitamaheshwarpur, (Gaya) 6. Mangla Gauri, (Gaya)7. Dahariya mor, (Bodhgaya)8. Moh. Mastipur, (Bodhgaya)9. Khukhri Village, (45 Km far from Gaya City)

The interaction was done with all craftsmen of the unit and the family members of the unit owners. A total of forty two individuals from the Woodcarv-ing cluster units were engaged in interviews and discussions.The clusters members included both craftsmen and craftswomen and their ages ranged form six-teen to sixty five years.

7.1. Introduction:


Name: Dheeraj Kumar VarmaFather’s Name: Shri Kuldeep Narayan VarmaAge: 36Present Address: Manpur, Mallaha toli, thana - Mufasil, post - Buniyadganj, Distt. Gaya - Bihar - IndiaPermanent Address: Same AsWork Experience: 22 yearsEducation:Spouse: Smt. Nitu VarmaChildren: 2 sons, 2 daughtersothers Information: State Awarded/ Employeed at Ramchandra GaurContacts no: 9835687497


Name: Neeraj Kumar VarmaFather’s Name: Shri Kuldeep Narayan VarmaAge: 28Present Address: Manpur, Mallaha toli, thana - Mufasil, post - Buniyadganj, Distt. Gaya - Bihar - IndiaPermanent Address: Same AsWork Experience:Education:Spouse: Smt. Pushpa DeviChildren: 1 son, 1 daughterothers Information: joint work with brother Dheeraj Kumar/have extra bussines jwellery makingContacts no: 9835687497


Name: Vinod Kumar SoniFather’s Name: Age:Present Address: Nayi Sarak, Maulaganj, near Karnatak Post- Chand Chauraha, Thana- Civil line,Bhawan, Distt. Gaya - Bihar - IndiaPermanent Address: Same AsWork Experience:Education:Spouse:Children: 2 sons, 1 daughterothers Information: direct sell to shopkeeper at bodh gaya / less space for workContacts no: 9234749832


Name: Deepesh SoniFather’s Name: Lat. Jagdish PrasadAge:Present Address: Nawagari, Maulaganj, Kharkata-ganj (Andar Gaya) Distt. Gaya - Bihar - IndiaPermanent Address: Same AsWork Experience: Education:Spouse: Smt. Manju VarmaChildren:others Information: Only works on Wooden Tem-pleContacts no: 9931604540 or 9835232189


Name: Ramchandra GourFather’s Name: Lat. Bhagwan Das GaurAge: 66Present Address: Vishnupad Road, Post- Chand Chauraha, Thana- Civil line, Distt. Gaya - Bihar - IndiaPermanent Address: Same AsWork Experience: Education:Spouse:Children: 1 son 1 daughterothers Information: run unit, state award winner.Contacts no: +91 905896929

Name: Deepak Kumar GourFather’s Name: Shri. Ramchandra GaurAge: 40Present Address: Vishnupad Road, Post- Chand Chauraha, Thana- Civil line, Distt. Gaya - Bihar - IndiaPermanent Address: Same AsWork Experience: 25 yearsEducation:Spouse:Children: 2 daughtersothers Information: Unit owner and Contractor of Crafts also other bussiness Contacts no: +91 234873100


Unit Owner - Ramchandra Gour & sons Deepak Gour

Empolyees

Dheeraj Kumar Varma Jagreet Kumar Gurda Dinanath Varma Ranjan Sharma Naveen Kumar


Name: Jagreet Kumar GurdaFather’s Name: Shri. Somnath GurdaAge: 20Present Address: Vishnupad Road, Post- Chand Chauraha, Thana- Civil line, Distt. Gaya - Bihar - IndiaPermanent Address: Same AsWork Experience: Education:Spouse: UnmarriedChildren: ----others Information:Contacts no: +91 8083830715


Name: Dinanath Varma Father’s Name: Shri. Dharamdev PrasadAge: 41Present Address: Pitamaheshwarpur, Post - Chowk, Thana- Civil line, Distt. Gaya - Bihar - IndiaPermanent Address: Same AsWork Experience: Education:Spouse: Smt. Sangeeta VarmaChildren:others Information: Employeed at Ramchandra GourContacts no: +91 7277530347


Name: Ranjan SharmaFather’s Name: Lat. Ramdev SharmaAge: 42Present Address: Mangla Gauri, Post- Chand Chauraha, Thana- Civil line, Distt. Gaya - Bihar - IndiaPermanent Address: Same AsWork Experience: Education:Spouse:Children:others Information: Employeed at Ramchandra GourContacts no: +91 9122610691


Name: Gopal PrasadFather’s Name: Shri. Jagannath PrasadAge: 40Present Address: C/O- Shailendra Varme, Nayi Sarak, Kathgacchi Gali, Post- Chand Chauraha, Thana- Civil line,Bhawan, Distt. Gaya - Bihar - IndiaPermanent Address: Same aboveWork Experience: Education:Spouse:Children:others Information: Only works on Wooden Tem-ple.Contacts no: +91 939298908 or +91 8409285436


Name: Ranvijay DasFather’s Name: Shri. Nunnu dasAge: 29Present Address: Mangla Gauri, Post- Chand Chauraha, Thana- Civil line, Distt. Gaya - Bihar - IndiaPermanent Address: Vill. And Post. Khukhri, Tha-na- Neemchakbathani, Distt. Gaya - Bihar - IndiaWork Experience: Education:Spouse:Children: 1son, 2 daughtersothers Information: brother of Rajesh Kumar DasContacts no: +91 9931492085


Name: Rajesh Kumar DasFather’s Name: Shri. Nunnu DasAge: 26Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children: 1 son, 1 daughterothers Information: Self-employed, brother of Ranvijay who works in GayaContacts no: +91 7766077170


Name: Sudama ChaudhariFather’s Name: Lat. Prayag ChaudhariAge: 30Present Address: Moh. Mastipur, Thana & Post- Bodhgaya, Distt. Gaya - Bihar - IndiaPermanent Address: Vill. And Post. Khukhri, Tha-na- Neemchakbathani, Distt. Gaya - Bihar - IndiaWork Experience: Education:Spouse:Children:others Information: Temporary stall on foothpath at Bodhgaya,infront of Thailand Bodh temple, rental house at Bodhgaya.Contacts no: +91 9006638230


Name: Kailash ChaudhariFather’s Name: Lat. Prayag ChaudhariAge: 40Present Address: Moh. Mastipur, Thana & Post- Bodhgaya, Distt. Gaya - Bihar - IndiaPermanent Address: Vill. And Post. Khukhri, Tha-na- Neemchakbathani, Distt. Gaya - Bihar - IndiaWork Experience: Education:Spouse:Children:others Information: Temporary stall on foothpath at Bodhgaya, near 80 feet bodh statueContacts no: +91 9939995399


Name: Deshraj ChaudhariFather’s Name:Age: 40Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children:others Information: Self-employed, Brother of Su-dama & Kailash Chaudhari who works in BodhgayaContacts no: +91 8294235742 (son)


Name: Ravishankar KumarFather’s Name: Lat. Kamta PrasadAge:Present Address: Thana & Post- Bodhgaya, Distt. Gaya - Bihar - IndiaPermanent Address: Vill. And Post. Khukhri, Tha-na- Neemchakbathani, Distt. Gaya - Bihar - IndiaWork Experience: Education:Spouse: UnmarriedChildren:------others Information: Contacts no: +91 7870102807


Name: Subhash Kumar Father’s Name: Shri. Jamuna PrasadAge: 20Present Address: Thana & Post- Bodhgaya, Distt. Gaya - Bihar - IndiaPermanent Address: Vill. And Post. Khukhri, Tha-na- Neemchakbathani, Distt. Gaya - Bihar - IndiaWork Experience: Education:Spouse: UnmarriedChildren:----others Information: Father also works in Stone at Khukhri village. Contacts no: +91 9934712630


Name: Satyendra KumaraFather’s Name:Age:Present Address: Dahariya mor, Thana & Post- Bodhgaya, Distt. Gaya - Bihar - IndiaPermanent Address:Work Experience: Education:Spouse:Children:others Information: works on light, and gift itemsContacts no: +91 9031015014


Name: Deepak SharmaFather’s Name: Shri. Ramsharan SharmaAge: 18Present Address:Permanent Address:Work Experience: Education:Spouse: Unmarriedothers Information: learning period, employeed at NaveenContacts no: +91 8757613928


Name: Naveen KumarFather’s Name: Shri Ashok SharmaAge: 25Present Address:Permanent Address:Work Experience: 9 years Education: 8th passSpouse:Children:others Information: Contacts no: +91 9852217885


Name: Dheerendra KumarFather’s Name:Age: 32Present Address: C/O- Ravishankar Kumar, Shakya temple, Moh. Mastipur, Thana & Post- Bod-hgaya, Distt. Gaya - Bihar - IndiaPermanent Address: Disst. Nalanda (Bihar) - IndiaWork Experience: Education:Spouse:Children: 1 son, 1 daughterothers Information: learnt from brother in law (Kamta Prasad) and live at Bodhgaya in brother in law house. Contacts no: +91 9608611510


Name: Naresh DasFather’s Name: Shri. Ramnandan DasAge: 38Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: 20 years in Stone carving and 5-6 years in wood carvingEducation:Spouse:Children:others Information: Self-employed, 3 brothers / joint family, work togetherContacts no: +91 9572052020


Name: Jeetendra DasFather’s Name: Shri. Ramnandan DasAge: 31Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children:others Information: Self-employed, 3 brothers / joint family, work togetherContacts no: +91 9931711107


Name: Ranjeet DasFather’s Name: Shri. Ramnandan DasAge: 26Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: 10 yearsEducation:Spouse:Children:others Information: Self-employed, 3 brothers / joint family, work togetherContacts no: +91 8757524266


Name: Rambharan DasFather’s Name: Lat.Age: 43Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: 30-35 years.Education:Spouse:Children: 2 sons, 3 daughterothers Information: Self-employedContacts no: +91 9934807251


Name: Ganesh Prasad Father’s Name:Age: 35Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education: 10th PassSpouse:Children: 1 son, 3 daughtersothers Information: Self-employedContacts no: +91 9934214703


Name: Jogendar DasFather’s Name: Shri. Sitaram DasAge: 32Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: 20 yearsEducation:Spouse:Children:others Information: Self-employed and also some time works with Ganesh prasad on daily wage.Contacts no: +91 7762052262


Name: BirjuramFather’s Name:Age: 57Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children:others Information: Unit Owner, State AwardedContacts no: +91 9931440567 or +919431477831


Unit Owner: Shri Birjuram ji

Empolyees


Name: Mangu DasFather’s Name: Shri. Bramhadev DasAge: 16Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children:others Information: employed at BirjuramContacts no: +91 880900035


Name: Sanjay ChaudhariFather’s Name: Shri. Ramashish chaudhariAge: 28Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children:others Information: employed at BirjuramContacts no: +91 9955005355


Name: Pramod KumarFather’s Name: Shri. Haricharan DasAge: 18Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children:others Information: employed at BirjuramContacts no: +91 9955107561


Name: Ranjay Kumar ChaudhariFather’s Name: Shri. Ramashish chaudhariAge: 20Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children:others Information: employed at BirjuramContacts no: +91 9955005355


Name: Akhilesh DasFather’s Name: Lat. Lothu DasAge: 28Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children: 2 sons, 1 daughterothers Information: employed at BirjuramContacts no: +91 9199376265


Name: Balmiki ChaudhariFather’s Name: Shri. Ramchandra ChaudhariAge: 35Present Address: Vill. And Post. Khukhri, Thana- Neemchakbathani, Distt. Gaya - Bihar - IndiaPermanent Address: Same AboveWork Experience: Education:Spouse:Children: 3 sons, 1 daughterothers Information: employed at BirjuramContacts no: +91 8294497252


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7. Findings & recommendations


Craftsmen and Units:FINDINGSThe Craftsmen are totally dependent on the shop-keeper for their business,since the craftsman do not have any exposure in the Bodhgaya market and their product value.

The current design scenario of design is driven by shopkeeper and his demand. Limited products are made again and again which is entirely dictated by the shopkeepers.

Every Craftsman produces the same kind of Bud-dha’s idol and there is no product differentiation or uniqueness of these units. The units lack variety in their product range.

Due to limited number of shopkeepers at Bodh-gaya, the competition between the local Craftsmen is rising to grab the same orders from the shop-keepers.

The unit owners wish to get into the contact with direct customers but they lack the basic knowledge about the product stocks and various language skills.

They do not have the desire and ability for product differentiation and increase the overall product in-novation lever of the cluster.

The units do not command the prices of their prod-ucts and its mainly set by the shopkeeper and as a result they earn very less profit for the time and effort they put in the production.

RECOMMENDATION Cooperation and understanding between the clus-ter units is to be established to deal with shop-

keeper. As a result the units can have more say in pricing of products.

The cluster can be more efficient and can save cost if the craftsmen work details together and buy raw materials in bulk.

Facilitating a better practice of research and devel-opment to keep the cluster in tune with the trends for around the world market is needed.

Skill diversification should be undertaken to ensure that the units practicing this craft could use the al-ternative materials.

The Gambhar wood is costly compared to other wood because of the demand. So there is an op-portunity to use other woods and create a new design. Combining less Gambhar wood in com-bination with different wood can be a new design direction.

A strategic plan is required to bring the cluster units in direct contact with the end customers or the buy-ers.

Design awareness and understanding of market demand is required.

There is a need for training in making other kinds of products of Buddha’s life, life . Decorative prod-ucts are also an opportunity.

Gambhar Wood:FINDINGSThe Gambhar wood used as a raw material in the Woodcarving craft is the nuclei of the crafts. A majority of the Gambhar wood sold in the local market comes from outside the region and as a re-

sult it is expensive for the local Woodcarving units.

Many studies from past have done by researches have shown promising findings about the plants, medicinal and furniture use.

Woods that imports from the outside countries like Malaysia, Burma, does not yield a good quality wood. It has low-density fiber quality and harder than Shiliguri wood that not well for carving.

Demand of local market is not fulfilling by the Asam and Shiliguri wood. So some time they have to be work on imported wood also and it makes more costly of the products.

There is some more wood like Chandan, Pipale (Banyan tree), mango, Karam, Kemu used by the craftsman on demand of the customer.

Mostly Buddhist monk and pilgrims demands idol of “Pipale wood” because this tree has a religious significance for Buddhist followers, under this tree Gautam Buddha did meditation in the search of eternal truth and achieved enlightenment.

The Gambhar wood is valuable for the local econ-omy (craftsmen, carpenter as well as timber mer-chant) and the products made form it hold a high commercial value in the local furniture and crafts market.

There are some farmers cultivating personally Gambhar plant that is also good for carving aspect.

RECOMMENDATION:Encouraging the Gambhar plant cultivation in the region instead of outsourcing from the other part of the country and foreign country. The aim is to cut down cost of the raw material and help achieve


Gambhar raw material sustainability in the region.

A financial facility should be set up which arranges to buy raw material in bulk from the suppliers.

Tools:FINDINGSCraftsmen have designed many tools that make them comfortable while they are working.

Almost from the time when woodcarving crafts started they have been the initiator for the tool design. Most of the tools design evolved from the need of craftsmen requirements. They make the tools from the local blacksmiths (Loohaar) who makes tool for them as per the order of customer.

Instead of that there are so many existing tools like hammer, planer, compass, chisel they use for carv-ing. They have variety of chisels for carving pur-pose.

The tools are seen lying around in open in the workplaces and which is not safe for the members if they are unaware of the same. It is a matter of concern since the workplaces or units are mostly part of craftsmen house and any member of the family especially children might get hurt.

RECOMMENDATIONThere has been no design improvement done by any design expertise for them. The tool design needs to be improved to speed up the productivity and quality as well as ergonomically aspects.Workplace Findings:

Workplace:FINDINGSThe workplaces at the units are messy and unor-ganized. Due to lack of enough space the crafts-men keep the materials, semi finished goods, tools and the final products at the same place.

In rainy season it is impossible to work in the open as the wood gets wet and in summer the wood get dry. In both conditions, it is not suitable for raw material and carving to be done in an open space. So most of the time they have to work in home or in shaded spaces

The workplace lacks proper sunlight during the daytime and due to unavailability of electricity, it is difficult for the craftsmen to carry out the detail works.

RECOMMENDATIONIdeal workspace has to be designed and optimized for minimizes human effort and increase produc-tive.

Market scenario:FINDINGSMarket 99% selling depends on tourist/pilgrims only.

Peak time of the business is October to January because at that time tourists/pilgrims come to the India

Tourists/pilgrims are spiritually attached to Lord Buddha, so most of the products belong to Bud-dha’s life event.

Same kind of Buddha’s statue is being made and sold from the many years, so no one willing to take the market risk with the new products range.

The products that are available in the local market are traditional Buddha’s idol and does not reach out to the new trends and other lifestyle products.

Because of the high cost of the raw materials and lack of innovation in design, most of the existing products are same.

The craftsmen whose designs are inspired from Buddha’s life events, are done mostly in the Indian style carving.

There is no product diversification.

The craftsmen get their production orders from the shopkeeper in Bodhgaya and they have no clue about the buyers.

The craftsmen cannot sell to the tourist directly due to lack of the various language knowledge like Chi-nese, Japanese etc. here shopkeeper have advan-tage to create his market through guide.

Shopkeeper also gives margin to Guide. Guide gets some percentage of the total selling.

The craftsmen do not have any way forward due to lack of time, money and expertise to explore new markets and opportunity for new products by them-selves.

RECOMMENDATIONThere is full scope for redesigning the products for national and international markets.


Design can be improved according to the latest trendy products with the help of designers.

There are tourist coming from so many countries like China, Japan, Korea and they have developed their own style of Buddha so the existing traditional Idol can be made of other country’s style. Buddha can be made in Chinese style, Japanese style and Korean style.

Apart from spiritual and devotional products there is a need to focus on decorative and lifestyle prod-ucts.

Crafts Fairs & ExhibitionsRECOMMENDATION The state government and central government should facilitate the participation of the unit mem-bers in various national and international fairs and exhibitions for better exposure

Branding & Visual IdentityFINDINGSThe cluster lacks visual identity, as there the shop-keeper is the middleman between the craftsmen and the customers.

Most of the craftsmen carry there own work images in an album to show to someone. There is no prop-er record or catalogue of the woodcarving products that are made in the cluster.

RECOMMENDATION The cluster needs to brand itself in the eye of the modern business approach in terms of creative its identity. The unique identity will highlight the clus-ter units as original producers and help establish them in the global market.


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7. Workshop Report


Date: 28th Nov 2013: (DAY-1)

10.00 AM to 10.30 AM Registration of Participants11.00 AM to 11.30 AM Tea Break02.00 PM to 02.30 PM Lunch Break02.30 PM to 03.30 PM Sharing of the NAS Report 03.30 PM to 04.30 PM Participatory discussion by all Key find ings from Survey and Discussions on the needs identified and short terms remedial

solutions04.30 PM to 05.30 PM Inauguration of Design Clinic workshop 05.30 PM to 06.30 PM Question-Answer & Discussion.


10.00 AM to 10.30 AM Registration of any new participants. 10.30 AM to 02.00 AM Interaction with individual MSMEs on re-

medial solutions as per their issues and concerns

02.00 PM to 02.30 PM Lunch Break02.30 PM to 03.30 PM Sharing knowledge on Buddha’s pilgrim age places and their crafts style in India.03.30 PM to 04.30 PM Discussion on competitor and different material products available in market.04.30 PM to 06.00 PM One to one interaction with participants.


10.00 AM to 10.30 AM Registration of any new Participants.10.30 AM to 11.30 AM Discussion on current customer needs identified at present market scenario.11.30 AM to 12.00 AM Tea Break12.00 PM to 02.00 PM One to one interaction with participants. 02.00 PM to 02.30 PM Lunch Break02.30 PM to 03.30 PM Discussion on eastern country Buddha

style.03.30 PM to 04.00 PM Tea Break

5 Days Programme Schedule of Design Clinic Workshop28th Nov-2nd Dec 2013 at Gaya District, Bihar

(Supported by Ministry of MSME, Govt. of India, NID & UMSAS Patna)

04.00 AM to 05.00 PM Discussion on design, production and production friendly process.

05.00 PM to 06.00 PM One to one interaction with participants.

Date: 1st Dec 2013: (DAY-4)

10.00 AM to 11.30 AM Discussion on Value of standardizes a product and its impact through design.11.30 AM to 12.00 AM Tea Break12.00 PM to 02.00 PM One to one interaction with participants. 02.00 PM to 02.30 PM Lunch Break02.30 PM to 03.30 PM Combination with other wood option in craft and its implementation through new design. 03.30 PM to 04.00 PM Tea Break04.00 AM to 05.00 PM Sharing the Western Sculpting style and The Great Sculptor “Michle Angelo’s”

work.05.00 PM to 06.00 PM One to one interaction with participants.

Date: 2nd Dec 2013: (DAY-5)

10.00 AM to 11.30 AM Discussions on New products range for Spiritual, decorative, gifts and lifestyle products and its development.11.30 AM to 12.00 AM Tea Break12.00 AM to 12.30 AM Discussion about Design intervention and its value.12.30 PM to 02.00 PM One to one interaction with participants. 02.00 PM to 02.30 PM Lunch02.30 PM to 03.30 PM Discussion on waste materials and reuse of it through design.03.30 PM to 04.00 PM Tea Break04.00 AM to 05.00 PM Sharing other materials knowledge and how to enhance the existing products.05.00 PM to 06.00 PM Feedback session and closing ceremony

of Workshop.


WorkshopDAY-1 [28-11-2013]


(DAY-1) Date: 28th Nov 2013

Registration of Participants:The Workshop started with Resistration of partici-pation.

Discussion About Workshop:There was a confusion among the artisans about what will be the outcome of the workshop.



Inogration:01. The Workshop was Innograted by Hounrable Industry Minister Dr. Renuka Kumari Kushwaha [Department of Industries, Govt. of Bihar]

01



01. Addressing to the craftsmen by Chief Guest: Naveen Kumar Verma, Principal Secretary [Department of Industries, Govt. of Bihar]

01



NAS Report Discussion:

The Workshop was started with the discussion on the NAS Report as it clarified all the questions the artisans had regarding the workshop and what to expect from it.

Presentation:Presentation was done on laptop, the NAS Re-port and each section was explained in detail.



MSMEs Progrram Discussion:

Topic Discussed:

• Brief summary on Design Clinic Scheme for MSMEs

• Contribution of DCS and UMSAS for Woodcarving cluster

• Purpose of Wood carving cluster NAS report

• Scope of NAS for Wood carving Cluster• How Design can be one solution for wood

carving Cluster.



Interaction with individual MSMEs on remedial solutions as per their issues and concerns:

Topic Discussed:

• Presentation on workstation design.• Need of ergonomically better environment.• A short presentation was made showing the problem-

atic postures of working of the artisans.• How to create a workspace with better ergonomics.• Raw material Storage.• Termide killer and its uses• Products Packaging.• Design Problems.



Sharing knowledge on Buddha’s pilgrimage places and their crafts style in India.

Topic Discussed:

• Ajanta and Ellora Cave Buddha’s Sculpture Style, Proportion, carving style.

• Ajanta and Ellora Cave Buddha’s Painting Style, col-our and composition, topic of the paintings.

• Laddakh Monestry Buddha’s Style and its proportion.• Sarnath Buddha’s Style and religious importance.• Other Buddha’s Life event places sculptures.



Discussion on competitor and different material products available in market.

Topic Discussed:

• Woodcarving Products Strength and weakness.• As a material Gambhar wood positive points.• Value mapping of other Materials.• Discussion on Stone carved Buddha.• Discussion on Bronz and Copper casting Scupltures.• Discussion on molded Iron and Aluminium Scupl-

tures.• Discussion on Plastic molded Buddha’s Idol.• All competitor Materials weakness and strength.• Competition with other products


WorkshopDAY-3 [30-11-2013



Discussion on current customer needs identified at present market scenario.

Topic Discussed:

• Targeted Pilgrims and Tourist Needs.• Discussion on modern Life-style Products.• Worship and Temple: Discussion on foriegn custom-

ers preferences products.• Everywere Lord: Targeted customer- Exucutive offic-

ers and their table top acessoriess. • Learning through Buddha’s Life: (targeted customers-

Kids)• Home Decore Products• Presentation on current trendy products.



Discussion on eastern country Buddha style.

Topic Discussed:

• China Buddha style • Importance of Feng-sui and Yin-Yan in Chinees cul-

ture and its impact on lifestyle.• Japanees Buddha style• Thailand Buddha’s style• Others Eastern country Buddha’s style.• Discussion on lughing Buddha.



Discussion on design, production and production friendly process.

Topic Discussed:

• Design and its Importance.• Problem solutions by Design• Need identification of targeted customer throug Design• Relation between Design and Production.• How a design can be production friendly.• Presentation on some Design intervention.• Uses of Time.• Involvment of family member in production


(DAY-4) Date: 1st Dec 2013

Discussion on Value of standardizes a product and its impact through design.

Topic Discussed:

• How to standarize a products.• Importance of standarisation a products.• How standraisation helpfull in production• Products size and production.• Uses of techniqual drawing• Measurements and Process maping.



Discussion on Combination with other wood or materials option in craft and its implementation through new design.

Topic Discussed:

• Other alternative wood ( lower price range)• Combination of two different materials• Combination of Locally avaiable materials• Combining the electronical equipements.• New techniques and finshing of the products.



Sharing the Western Sculpting style and The Great Sculptor “Michle Angelo’s” work.

Topic Discussed:

• Purpose of shareing the work of Great Sculpter Micle Angelo’s work to inspireing them and knowledge about Western Sculptures.

• Shared Sculpture and Painting by short presentation.


(DAY-5) Date: 2nd Dec 2013

Discussions on New products range for Cluster.

Topic Discussed:

• Home decorative Products.• Kids Products, Toys & Games• Executive officers Table top acessoriess• Spritual and Worship Products• Commercial reception products• Lighting products• Gifts and memorable products• Special occassional products• Life-style products



Discussion about Design intervention and its value.

Topic Discussed:

• Indial Design interventions• Western Design Interventions• How Design made life easy



Discussion on waste materials and reuse of it through design.

Topic Discussed:

• Different design of waste materials• How it can be helpfull for the cluster.• Where can be use the cluster waste materials.• What kind of new design can be created by waste

materials.• Reuseing the materials.• how to achive low wastage.• storage of waste materials.



Sharing other materials knowledge and how to enhance the existing products.

Topic Discussed:

• Wooden Polish• Varnish and using techniques• Using Fevicole and wood dust for finishing.• Wood coating materials.• Changing the colour effects of wood• Different techniques for sufrace development.


Prot

otyp

e

7. Developed Design Prototypes


Developed Design projects: The proposed design intervention will provide the relevant inputs to transform this prototype into a cost effective and popular product both in domestic and international market.

The design intervention will specifically address these all targeted customers catagories.

• Home decorative Products.• Kids Products, Toys & Games• Executive officers Table top acessoriess• Spritual and Worship Products• Commercial reception products• Lighting products• Gifts and memorable products• Special occassional products• Life-style products

Product List which developed during workshop:1. Wall hanging clock2. Stationary holder3. Candle light and Agarbatti stand4. Criss-Cross Align game5. Bussiness Card Holder6. Mobile stand7. Yin-Yan Diya base8. Pen-Pencils holder9. Baniyan (Piple) leaf decoration frame10. Agarbatti Stand11. Wall hanging Key ring holder12. Wall hanging ambience light

01 02

03

05 06

04


07

09

10 11 12

08


Product Specification: Wall hanging clockProduct Catagory: Decorative Products | Targeted Customer Group: Upper/Upper middle class family, (Tourist + Domestic), Commercial recep-tion, hotel reception, office area | Used materials & Equipments: Gambhar wood and clock machine | Diamenssion: 14” x 6” x 1”

PROJECT - 01


Product Specification: Wall hanging or standable LED Lights setProduct Catagory: Decorative Products | Targeted Customer Group: Upper/Upper middle class family, (Tourist + Domestic), Commercial reception, hotel reception, | Used materials & Equipments: Gambhar wood and LED stripe light + electronic equipements | Diamenssion: 16” x 3” x 2”

PROJECT - 02


Product Specification: Standable Lord Buddha Candle & Agarbatti setProduct Catagory: Spritual and Worship Products | Targeted Customer Group: Upper/Upper middle class family, (Tourist + Domestic), Commer-cial reception, Temple, Religious Organisations | Used materials & Equipments: Gambhar wood and Copper bowl | Diamenssion: 8” x 8” x 3”

PROJECT - 03


Product Specification: Mobile StandProduct Catagory: Home and Life-style products | Targeted Customer Group: Upper/Upper middle class family, (Tourist + Domestic), Home and Office, Gift Products | Used materials & Equipments: Gambhar wood | Diamenssion: 5” x 3” x 2”

PROJECT - 04


Product Specification: Stationary HolderProduct Catagory: Home and Executive officers Table top acessoriess | Targeted Customer Group: Upper/Upper middle class fam-ily, (Tourist + Domestic), Home and Gift Products | Used materials & Equipments: Gambhar wood | Diamenssion: 6” x 6” x 1.5”

PROJECT - 05


Product Specification: Tic-Tac Toe Aling GameProduct Catagory: Kids Products, (Toys & Games) | Targeted Customer Group: 8 to 12 Yrs. old children age group, (Tour-ist + Domestic), Home and Gift Products | Used materials & Equipments: Gambhar wood | Diamenssion: 6” x 4” x 1”

PROJECT - 06


Product Specification: Bussiness Card HolderProduct Catagory: Home and Executive officers Table top acessoriess | Targeted Customer Group: Upper/Upper middle class fam-ily, (Tourist + Domestic), Home and Gift Products | Used materials & Equipments: Gambhar wood | Diamenssion: 7” x 3.5” x 1”

PROJECT - 07


Product Specification: Lord Buddha Yin-Yan Candle standProduct Catagory: Spritual and Worship Products | Targeted Customer Group: Upper/Upper middle class family, (Tourist + Domestic), Commer-cial reception, Temple, Religious Organisations | Used materials & Equipments: Gambhar wood and Bronz bowl | Diamenssion: 8” x 8” x 1.5”

PROJECT - 08


PROJECT - 09

Product Specification: Wall hanging or standable Leaf FrameProduct Catagory: Decorative Products | Targeted Customer Group: Upper/Upper middle class family, (Tourist + Domestic), Com-mercial reception | Used materials & Equipments: Gambhar wood and wall fixing equipements | Diamenssion: 8” x 8” x 2”


PROJECT - 10

Product Specification: Bodhisatwa Temple Agarbatti standProduct Catagory: Spritual and Worship Products | Targeted Customer Group: Upper/Upper middle class family, (Tourist + Domestic), Commercial reception, Temple, Religious Organisations | Used materials & Equipments: Gambhar wood | Diamenssion: 8” x 2” x 1”


Product Specification: Wall hanging Key Ring HolderProduct Catagory: Home Decorative Products | Targeted Customer Group: Upper/Upper middle class family, (Tourist + Domestic), Home and Hotel Rooms | Used materials & Equipments: Gambhar wood and wall fixing equipements | Diamenssion: 8” x 6” x 2”

PROJECT - 11


PROJECT - 12

Product Specification: Pen-Pencil HolderProduct Catagory: Home and Executive officers Table top acessoriess | Targeted Customer Group: Upper/Upper middle class fam-ily, (Tourist + Domestic), Home and Gift Products | Used materials & Equipments: Gambhar wood | Diamenssion: 6” x 5” x 1”


Conclusion:From the beginning to end at every stage the craftsmen are depended on the others stakehold-ers of the crafts. At present, the crafts and crafts-men are fully dependent on retailers. Due to their economic condition, lack of business and language knowledge they are in a difficult situation. For the sustainability of the cluster the craftsmen should be introduced to a stronger and a sturdier cluster model, which includes a face-to-face interaction and direct selling to the customers, improvement of language skills, design awareness, business model and market needs.

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