Introduction of Mata Ni Pachhedi
Transcript of Introduction of Mata Ni Pachhedi
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Geographical IndicationGujarat`s Mata Ni Pachedi
Submitted to - Ms. Priti Gadhavi
Submitted By -Anamika Sachan
Palak AgarwalUpasana Singh
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Intellectual Property Rights and Geographical Indication
Intellectual property is the creation of human mind, human intellect and hence called
Intellectual property. The intellectual property is created by incorporating
information intangible objects capable of multiplying in an unlimited number of times
at different locations anywhere in world.
The property is basically in the concept, idea thought and thereafter in the actual
product work or process etc.
Intellectual property is usually divided into two branches
Patents, Designs, Trade Marks and Geographical Indications which is also termed
as Industrial Property and
Copyright and Neighboring Rights.
What is meant by Geographical Indication?
Geographical Indications of Goods are defined as that aspect of industrial property
which refers to the geographical indication referring to a country or to a place
situated therein as being the country or place of origin of that product. Typically, such
a name conveys an assurance of quality and distinctiveness which is essentially
attributable to the fact of its origin in that defined geographical locality, region or
country
.
India, as a member of the World Trade Organization (WTO), enacted the
Geographical Indications of Goods (Registration & Protection)Act, 1999 has come
into force with effect from 15th September 2003.
A geographical indication is a sign used on goods that have a specific geographical
origin and possess qualities, reputation or characteristics that are essentially
attributable to that place of origin. Most commonly, a geographical indication
includes the name of the place of origin of the goods.
Agricultural products typically have qualities that derive from their place of production
and are influenced by specific local factors, such as climate and soil. Whether a sign
is recognized as a geographical indication is a matter of national law. Geographical
indications may be used for a wide variety of products, whether natural, agriculturalor manufactured.
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An appellation of originis a special kind of geographical indication. It generally
consists of a geographical name or a traditional designation used on products which
have a specific quality or characteristics that are essentially due to the geographical
environment in which they are produced. The concept of a geographical indication
encompasses appellations of origin.
India and geographical indications act
An effective protection for GIs was of considerable importance for a country like
India, which was richly endowed with natural and agricultural products and which
already had in its possession renowned geographical names such as
'Darjeeling'(tea), 'Alphonso' (mango), 'Basmati' (rice), etc., there was no separate
legislation on GIs until the enactment of 'The Geographical Indications of Goods
(Registration and Protection) Act, 1999' (henceforth the GI Act).
The tea from Kenya, Sri Lanka, have often been passed off around the world as
Darjeeling tea, which originally denotes the fine aromatic produce of the high-
altitude areas of North-Bengal, from where it derives the name. Corporations in
France and the US have been producing rice based on Basmati varieties in those
countries, and registering trademarks that refer to Basmati, thereby seeking to gainfrom this renowned geographical name. The US-patent on Basmati Rice Lines and
Grains granted to Texas based Rice Tec Inc, which triggered a lot of controversy in
the recent past, is a glaring example of wrongful exploitation of a renowned GI from
India. So on and so forth.
It is in such a scenario, that the GI Act was enact formulated as part of the exercise
in the country to set in place national intellectual property laws in compliance with
Indias obligations under the TRIPS Agreement. Under this Act, which has come into
force with effect from 15th September 2003, the Central Government has
established the Geographical Indications Registry with all India jurisdictions at
Chennai, where the right holders can register their respective GIs. After a GI is
registered any person claiming to be the producer of the good designated by the
registered GI can file an application for registration as an authorised user. The GI Act
is to be administered by the Controller General of Patents, Designs and Trade
Marks- who is the Registrar of Geographical Indications
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Benefits of registration in India
Confers legal protection to geographical indications in India.
It prevents unauthorized use of a registered geographical Indication by others.
It boosted exports of Indian geographical indications by providing legal protection.
It promotes economic prosperity of producers.
It enables seeking legal protection in other WTO member countries.
Application for geographical indication in India
Any association of persons, producers, organization or authority established by or
under the law can apply:
The applicant must represent the interest of the producers
The application should be in writing in the prescribed form
The application should be addressed to the Registrar of Geographical Indications
along with prescribed fee.
Validity for geographical indications in India
The Registration of a Geographical Indication is for a period of ten Years. Renewal is
possible for further periods of 10 years each. If a Registered geographical indication
is not renewed, it is liable to be removed from the register.
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Introduction
Indian temples have been centers of art and architecture since ancient times. Each
temple according to geographic locations has their own art style, motifs,
representation of deities and their stories. Clothes of the deities, their adornments
and vibrant temple hangings have intensified the ambience of these temples. The
main textile art that evolves from the temples are depicted in the temple hangings.
These pieces of cloth are
embroidered or painted with stories
about the relevant God.
Although Gujarat is known for its
exquisite embroidery, the lesser
known art of Kalamkari is equally
appealing and unique. Kalamkari
refers to a method of painting natural
dyes onto cotton or silk fabric with a
bamboo pen or kalam. When one
thinks of Kalamkari it is usually
associated with the one that is done
in the South of the country (AndhraPradesh) predominately portraying a
variety of Hindu narrative themes, including the Ramayana, Mahabharata, and Shiva
Purana.
Kalamkari in Gujarat differs from that done in South with its central theme the
Mataji.
Mata ni Pachedi represents the art history, creativity and cultural heritage of the
Vaghri community now settled in Ahmadabad.
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Mata Ni Pachedi
Mata ni pachedi, which translates to behind the mother goddess, is a cloth that
features a temple of the Goddess.
When members of the nomadic
Vaghri community of Gujarat were
disallowed from entering temples,
they made their own shrines with
depictions of the Mother Goddess
on cloth. The boldness of the
paintings, which usually follow a
set pattern, is reinforced by the
starkness of red and black, theonly colors used. In the center is
the commanding figure of the Mata or Mother Goddess in various iconographic
forms, either sitting on a throne or mounted on an animal.
In Ahmedabad, artisans make these paintings using the same methods followed 200
years ago. Cotton fabric is first de-starched and then treated with harada paste, to
prepare it for absorbing the colour. The outlines of the figures are painted first, with
black colour prepared from jaggery and iron. After this, red colour, extracted fromtamarind seeds, is filled in and the areas supposed to be white are left blank.
After the application of each colour, the fabric is boiled in alizarin solution, to bring
out the colour, and then washed. For washing, the craftsmen go to Sabarmati (a river
in Gujarat) as the cloth must be washed in running water only, so that excess colour
flows away, instead of staining the cloth. It takes days of patience and dedication, to
prepare one piece. For instance, painting a cloth of 5x9 inches can take up to two
months.
The strong lines and bold use of colour, that reflect the power and energy of the
goddess, have now transformed to more artistic and detailed illustrations; but the
style of depicting mythical characters remains the same. The artists now incorporate
many more colours such as indigo, green and yellow in the paintings, using the age
old methods of extracting colour from natural materials.
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History
The Vaghri Harijans settled in Ahmadabad make their living by block printing and
painting shrine cloth known as Mata ni Pachedi or Mata no Chandarvo.
These imposing textiles are used as canopies over the image of the mother
Goddess. Traditionally the shrine cloths were made by the Vaghri Harijan community
who were not allowed to enter the temples.
They made the Pachedis as
an offering to the Goddesses.
The cloth has a formal
patterned quality, strong and
bold, reinforced by thestarkness of red and black.
Pachedis are used in religious
ceremonies and record the
myths and legends associated
with the living traditions of the
people.
Always, the goddess is the
destroyer of evil with weapons
in all her ten arms looking
fierce and commanding,
invoking awe and fear in the
onlooker. She is at the centre,
the focus of the painting with motifs of deities, priests, devotees, angels and animals
drawn around her. Often they are performing garba, a traditional dance in the honour
of the mother goddess. These are narratives from epics arranged in columns around
her. The themes, stories, dimensions and proportions of the motifs are interpreted
differently according to the artists sensibility and visualization. Many legends are
depicted in these Pachedis.
They are usually derived from Puranic myths. What remains constant is the Mataji,
who according to the Vaghri tribes, protects and helps people.
Traditionally maroon and black were the colors used, with the surface of the material
as the third color. The maroon and black colors were natural dyes sourced from
alizarin and oxidized metal.
To meet contemporary tastes, the Vaghris have started using other natural colours
adding yellow, blue orange, rust, grey and even pink to the colour palette.
Contrasts between positive and negative spaces formed an important balancer to thework.
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The maroon and black colours were natural dyes sourced from alizarin and oxidized
metal Maroon was associated with the color of the Earth mother or Gaea and
believed to possess healing powers. White was considered the color for purity and
contact with ancestral spirits, deities and other unknown spiritual entities. The color
black was meant to repel malevolent spirits and intensify spiritual energy.As time went by the community got introduced to pigment dyes which had begun
arriving in Gujarat for a fledging textile industry. Exposure to a. wider palette meant a
riot of color and shade in the Pachedi.
These are however not used for religious purposes and are purely decorative.
The most common motifs, apart from Mataji astride a bull or a tiger, include lady with
a flower, trumpeters, angels, flowers, the tree of life and animals such as peacock,
tiger,parrotetc.
All the materials used in the creation of Mata ni Pachedi are organic. The dyes, the
fabrics (such as cotton, khadi, silk etc), the bamboo stick kalams are all made up of
naturally available products. Extremely eco-friendly in its nature, Mata ni Pachedi
reinforces the use of non-polluting, wholesome materials which do not compromise
in making outstanding aesthetic pieces.
Red the colour of blood, of life, vitality red, the colour of the Mother Goddess,
the embodiment of power, the nurturer and destroyer the protector of the weak.
In a great battle between Shiva and the asura (demon), Raktabija, every drop of the
asuras blood that fell to the earth, gave rise to more and more demons. The gods
then turned to Shakti, the goddess Durga, to annihilate the asuras. The fierce
goddess pierced the demons body and drank all his blood, thus saving both the
worlds. The goddess in her seven forms is now worshipped during the nine days of
Navaratri festival.
Mata ni pachedi literally means
behind the mother goddess,
and is a cloth that constitutes a
temple of the goddess. When
people of the nomadic Vaghari
community of Gujarat were
barred from entering temples,
they made their own shrines with
depictions of the Mother Goddess
on cloth. This ingenuous solution
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is believed to be the origin of Mata ni Pachedi, the sacred art, which is now revered
by all.
Whether it is the richly
decorated with gold Pichwai
paintings of Nathdwara, or
the folk art of Mata ni
Pachedi, Hindus have
always decorated their
temples and shrines with
narrative illustrations that
depict stories of the gods and
goddesses.
Traditionally, red is the
main colour of the
paintings, the sacred
red that punctuates
every auspicious
occasion in the life of aHindu. White and black
form the backdrop for
the brilliant red. Using
just these three colours,
the imaginative artists
depict entire stories
laden with numerous
characters and motifs.
The painting usually has a set pattern, with the mother Goddess dominating the
central area in her mighty form, surrounded by deities and commoners worshipping
her with equal reverence.
Mata ni Pachedi is also known as the Kalamkari of Gujarat, owing to its similarity of
the Kalamkari practiced in Southern India and the use of pens (kalam) fashioned out
of bamboo sticks, for painting. To quicken the process and meet demands of
villagers, who would commission paintings to offer to the mother goddess on
fulfillment of wishes, the painters started using mud blocks for printing. These blocks
were large and coarse, and after using a few times, would be thrown in the river
where they returned to the soil. Over the course of time, wooden blocks replaced
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mud blocks, facilitating the use of finer motifs. Yet, the craftsmen still often make the
entire painting with the bamboo kalam, using blocks only for printing the borders.
In a small locality in Ahmedabad, artisans make these paintings using the
same methods followed 200 years ago.
Process
Cotton fabric is first de-starched and then treated with Harada paste, to prepare it for
absorbing the colour. Outlines of the figures are painted first, with black colour
prepared from jaggery and iron. After this, red colour, extracted from tamarind seeds,
is filled in and the areas supposed to be white are left blank.
After application of each
colour, the fabric is boiled
in alizarin solution, to bring
out the colour, and then
washed. For washing, the
craftsmen go to Sabarmati
River as the cloth must be
washed in running water
only, so that any excesscolour flows away, instead
of staining the cloth.
It takes days of patience and dedication, to prepare one piece of this beautiful folk
art. For instance, painting a cloth of 5 x 9 can take two months. The artists get a
rush of orders a couple of months before the Navaratri festival.
The strong lines and bold use of colour, that reflect the power and energy of the
goddess, have now transformed to
more artistic and detailed illustrations;
but the depiction style of mythical
characters remains the same. The
artists now incorporate many more
colours such as indigo, green and
yellow in the paintings, using the age
old methods of extracting colour from
natural materials. They use their skills to
make smaller souvenir pieces for thefascinated visitor, and also make
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products like wall hangings and stoles, using newer motifs.
While craftsmen are refining this folk craft to suit the changing times, yet the sanctity
of this religious artifact remains untouched. Creating Pachedis as well as newillustrations that are relevant in todays context, but in the same folk style, these
craftsmen have remained true to the cause of spreading the glory of the Mother
Goddess and her wonderful art.