Bidriware is a metal handicraft from the city of Bidar in Karnataka, India. It was developed in the 14th century C.E. during the rule of the Bahmani Sultans. [1] The term "bidriware" originates from the township of Bidar, which is still the chief center of production. [2] The metal used is white brass that is blackened and inlaid with silver. [2] As a native art form, Bidriware obtained a Geographical Indications (GI) registry on 3 January 2006. [3]
The origin of Bidriware is usually attributed to the Bahamani sultans who ruled Bidar in the 14th–15th centuries. Bidriware techniques and style are influenced by Persian art. It was first brought to India by noted Sufi Khwaja Moinuddin Hasan Chisti in the form of utensils. [2] The art form developed in the kingdom that was a mix of Turkish, Persian and Arabic influences which were intermingled with the local styles and thus a unique style of its own was born. Abdullah bin Kaiser, a craftsman from Iran was invited by the Sultan Ahmed Shah Bahmani to work on decorating the royal palaces and courts. [2] According to some accounts, Kaiser worked with local craftsmen and the partnership resulted in bidriware under the rule of Ahmed Shah and his son Second Alauddin Bahmani. Along with local artisans, the art spread far and wide and was handed over to generations as time passed.
Bidri art researcher Rehaman Patel shares that the awardees also had shown their skills by exhibiting varieties of Bidri art in foreign countries.
There are craftsmen in this art practice who took this practice to national and international recognition. According to the census of India in 1961, Syed Tassaduq Hussain, a first National awardee in 1969, was the head of the Gulistan Cooperative Society in Bidar. The other notable national awardees are Abdul Hakeem, Mohammed Najeeb Khan, Shah Majeed Quadri, Mohammed Moizuddin, Mohammed Abdul Rauf and Mohammed Saleemuddin.
Shah Rasheed Ahmed Quadari is a recipient of several awards including a National award which he received in 1988, Karnataka state award in 1984, Rajyostava award in 2006, Great Indian Achievement award in 2004, and District Rajyotsava award in 1996. [4] The Government of India awarded him with Shilp Guru award in 2015.
Shah Rasheed Ahmed Quadari, a 67-year-old Bidri craftsman was awarded Padma Shri Award in March 2023 by President Droupadi Murmu.
Bidriware undergoes an eight-stage process: moulding, smoothening by file, designing by chisels, engraving by chisel and hammer, pure silver inlaying, smoothening again, buffing and finally oxidising by soil and ammonium chloride. [5]
Bidriware is made from cast white brass (copper-zinc ratio of 1:16). First, a mould is formed from soil made malleable by the addition of castor oil and resin. The molten metal is then poured into it to obtain a cast piece which is later smoothened by filing. The casting is now coated with a strong solution of copper sulphate to obtain a temporary black coating over which designs are etched freehand with the help of a metal stylus. This is then secured in a vise and the craftsman uses small chisels to engrave the design over the freehand etching. Fine wire or flattened strips of pure silver are then carefully hammered into these grooves.
The article then is filed, buffed and smoothed to get rid of the temporary black coating. This results in rendering the silver inlay hardly distinguishable from the white brass.
The bidriware is now ready for the final blackening process. Traditionally, the craftsmen of Bidar use soil taken from the grounds of a 15th century fort in Bidar, which is rich in potassium nitrate. [6] The soil is mixed with ammonium chloride and water to produce a paste which is then rubbed onto a heated brass surface. The paste darkens the brass but not the silver inlay.
The black patina is a mixture of zinc oxide and copper(II) oxide (Cu2O). It is the copper oxide that gives the patina its black color (zinc oxide is white). The ammonium chloride that is applied to the bidriware selectively dissolves the zinc on the surface of the brass, leaving a copper-rich surface that is oxidized by the potassium nitrate. [7]
The paste then rinsed off to reveal a shiny silver design that is striking in contrast against the black surface. As a finishing touch, oil is applied to the finished product to deepen the matte coating. The finished product appears black with brilliant silver inlay.
There are several techniques employed in making of bidriware, tarkashi (Inlay of sheets), tainishan (inlay of sheets), zarnishan (low relief), Zarbuland (high relief), aftabi (cut out design in overlaid material sheet). It is not compulsory to use a single technique for an object, generally two or more techniques are combined. Most common combination is tarkashi and tainishan, seldom combinations of zarnishan or tainishan and tarkashi or aftabi are also used in different compositions. Majorly silver inlay is used as it provides better contrast with black metal, in few cases copper or precious metal as gold is also used. [8]
Most common types of motifs used are either floral or geometrical, with influences from Persian, Southern India, and later from Europe. Traditionally, flower motifs consists of asharfi-ki-booti, leaves (vine creepers), geometric designs, human figures, stylized poppy plants with flowers, etc. are commonly found on the items. Demand for the patterns of Persian roses and passages from the Quran in Arabic script are also in great demand in the West. [8]
Earlier, bidriware was used for hookahs, paan-holders, and vases but now keepsakes, bowls, earrings, trays, ornament boxes, other jewelry and showpiece items are made from it. [3]
In Aurangabad, artisans also make patterns of motifs from Ajanta Caves especially Ajanta Padmapani which have become very popular among foreign tourists
Bidri artisans blacken their wares using soil obtained from a 15th-century fort in Bidar. They say that in some parts of the fort, the soil does not receive sunlight or rain for years on end, and this gives the soil its desired properties. When the artisans go to the fort looking for such soil, they identify it by taste. The fort is a tourist attraction, protected from development but accessible to the public, and the guards do not mind the artisans sneaking out small quantities of soil every now and then. [9]
Chemical analysis of the aforementioned soil shows it to be rich in alkaline nitrates. It is believed that the nitrates oxidize the copper in the brass to create copper(II) oxide, which is black in color. [7] [10] Sunlight breaks down nitrate, which would explain why the soil in the parts of the fort that are sheltered from sunlight is rich in nitrates.
This artistic metallic work is on the revival path after the introduction of innovative designs and a variety of new patterns. The designs range from Indian to international themes with the latest in home and lifestyle accessories. Innovative designs are developed by the National Institute of Fashion Technology (NIFT). Karnataka State Handicrafts Development Corporation Limited is keen on promoting the Bidri art form. [3]
The traditional art which is identified with a limited set of designs is now trying to diversify and find a foothold in the present-day market and appeal to younger patrons. New items include USB drive covers, office stationeries such as paper clips, key bunches, lockets, envelope openers, pen stands, lampshades and even floor tiles. National Institute of Design has come up with novel and lighter items that use less silver and therefore cost less. [11]
While Bidar in Karnataka and Hyderabad in Telangana are the most vibrant centers, this art is also practiced in few other parts of the country like Purnia in Bihar, Lucknow in Uttar Pradesh and Murshidabad in West Bengal. The designs are mostly conventional, including creepers, flowers and sometimes human figures.
In Bellori, a village near Purnia, local craftsmen known as the Kansaris are engaged in molding and turning bidri vessels. The sonars (goldsmith) then do the engraving and polishing. Also found here is the gharki, a less sophisticated variant of the Bidri. Another variant of the bidriwork can be seen in Lucknow's Zar Buland, where the ornamental designs are raised above the surface.
In Aurangabad, the Bidri art was introduced by the Nizam of Hyderabad as it was a part of Nizam's empire then. As Aurangabad has its own rich legacy of art and craft, the Bidri work mingled into the local arts soon.
Gulbarga-based artist Rehaman Patel has done extensive research on Bidri art, collecting evidence of the historical background of Bidri, methods of making Bidri, critical review of Bidri collections in India and non-Indian museums, and the introduction of Bidri artisans. Patel was a fellow of Karnataka Shilpakala Academy Bangalore for the year 2014–15. He submitted documentation on "International collection of Bidri Art".
The Indian Royal Academy of Art and Culture has published a book in Kannada title Karnatakada Bidri Kale (Bidri Art of Karnataka) under the financial assistance of the Department of Kannada and Culture, Government of Karnataka in the year 2012. An English version on Bidri art was published by Karnataka Historical Research Publication in 2017.
Kalaburagi, formerly known as Gulbarga, is a city in the Indian state of Karnataka. It is the administrative headquarters of the Kalaburagi district and is the largest city in the region of North Karnataka (Kalyana-Karnataka). Kalaburagi is 568 km north of the state capital city of Bangalore. It was incorporated into the newly formed Mysore State through the States Reorganisation Act in 1956.
The Deccan Sultanates were five late-medieval Indian kingdoms—on the Deccan Plateau between the Krishna River and the Vindhya Range—that were ruled by Muslim dynasties: namely Ahmadnagar, Berar, Bidar, Bijapur, and Golconda. The sultanates had become independent during the break-up of the Bahmani Sultanate. The five sultanates owed their existence to the declaration of independence of Ahmadnagar in 1490, followed by Bijapur and Berar in the same year. Golconda became independent in 1518, and Bidar in 1528.
The Bahmani Sultanate was a Muslim empire that ruled the Deccan Plateau in South India. The Bahmani Sultanate came to power in 1347 during the Rebellion of Ismail Mukh after Ismail Mukh abdicated in favour of Zafar Khan, who would establish the Bahmani Sultanate. The Bahmani Sultanate was in perpetual war with its neighbors, including its rival, the Vijayanagara Empire.
Bidar (/biːd̪ər/) is a city in the north-eastern part of Karnataka state in India. It is the headquarters of Bidar district, which borders Maharashtra and Telangana. It is a rapidly urbanising city in the wider Bidar Metropolitan area. The city is well known for its many sites of architectural, historical and religious importance. Bidar City have a population of more than 2 lakh and are likely to get upgraded to municipal corporation in the next 5 years.
Bidar district is the northernmost part of the Karnataka state in India. The administrative headquarters of district is Bidar city. Geographically, it resembles the "Crown of the State", occupying its northeastern end. It is bounded by Kamareddy and Sangareddy districts of Telangana state on the eastern side, Latur and Osmanabad districts of Maharashtra state on the western side, Nanded district of Maharashtra state on the northern side and Kalaburagi district on the southern side.
Bidar sultanate was one of the Deccan sultanates of late medieval southern India. The sultanate emerged under the rule of Qasim Barid I in 1492 and leadership passed to his sons. Starting from the 1580s, a wave of successions occurred in the rulership of the dynasty which ended in 1609 under the last Sultan Amir Barid III who was eventually defeated in 1619 by the Bijapur sultan Ibrahim Adil Shah II. Bidar became annexed into the Bijapur Sultanate.
Ahmed Shah Al Wali Bahamani was the ruler of the Bahmani Sultanate from 1 October 1422 to 17 April 1436, and was a great patron of arts and culture. He brought Persian artisans from Iran, including the metal-worker Abdulla-bin-Kaiser, who was the master of Bidriware, the inlaying of zinc alloy with silver and gold.
Bidar Fort is located in old city area, Bidar, Karnataka, India. The fort, the city and the district are all affixed with the name Bidar. Sultan Ahmad Shah I of the Bahmanid dynasty shifted his capital from Gulbarga to Bidar in 1427 and built his fort along with a number of Islamic monuments. There are over 30 monuments inside Bidar fort.
The Gulbarga Fort is located in Kalaburagi in the Kalaburagi district of North Karnataka. This fort was originally constructed by a hindu king Raja Gulchand, it was subsequently significantly enlarged in 1347 by Al-ud-din Hasan Bahmani of the Bahmani Dynasty after he cut off his ties with the Delhi Sultanate; Islamic monuments such as mosques, palaces, tombs, and other structures were also built later within the refurbished fort. The Jama Masjid built later, within the fort, in 1367, is a unique structure built in Persian architectural style, fully enclosed, with elegant domes and arched columns, which is unlike any other mosque in India. It was built to commemorate the establishment of the dynastic rule of the Bahmani kingdom at Kalaburagi fort between 1327 and 1424. It remained the capital of the Bahmani Kingdom till 1424 where after the capital was shifted to Bidar Fort, as Bidar had better climatic conditions.
The Bijapur Fort is located in the Bijapur city in Bijapur District of the Indian state of Karnataka. Bijapur fort has a plethora of historical monuments of architectural importance built during the rule of Adil Shahi dynasty.
The crafts of India are diverse, rich in history, culture and religion. The craft of each state in India reflect the influence of different empires. Throughout centuries, crafts have been embedded as a culture and tradition within rural communities.
Deccani Architecture refers to the architectural styles developed during the Deccan sultanate period. The Deccan sultanates were five dynasties that ruled late medieval kingdoms, namely, Bijapur, Golkonda, Ahmadnagar, Bidar, and Berar in south-western India. The Deccan sultanates were located on the Deccan Plateau. Their architecture was a regional variant of Indo-Islamic architecture, heavily influenced by the styles of the Delhi Sultanate and later Mughal architecture, but sometimes also directly from Persia and Central Asia.
The Thanjavur Art Plate is an artifact which is exclusively made in Thanjavur, Tamil Nadu, India. It is a circular plate made as a gift item. It is a handicraft consisting of metals such as silver, bronze, and copper embossed with figures of gods and goddesses at its center. The artwork has been registered for protection under the Geographical indication of the Trade Related Intellectual Property Rights (TRIPS) agreement. It is listed at item 63 as "Thanjavur Art Plate" of the GI Act 1999 of the Government of India, with registration confirmed by the Controller General of Patents Designs and Trademarks. Only the size of the article is permitted to be different while other metal compositions and particularization have to remain the same as per GI approval.
Mysore Rosewood Inlay covers a range of techniques used by artisans in around the area of Mysore in sculpture and the decorative for inserting pieces of contrasting, often coloured materials like ivory shells, mother-of-pearl, horn and sandalwood into depressions in a rosewood object to form ornament or pictures that normally are flush with the matrix. These artifacts are manufactured in around the region of Mysore, these artifacts have been awarded Geographical Indication tag from the Government of India in 2005 due to its historic representation as an artifact depicting the region and the design and style used by the local artisans
Swamimalai Bronze Icons refers to bronze idols and statues manufactured in Swamimalai, Tamil Nadu. It has been recognized as a Geographical indication by the Government of India in 2008–09.
The Deccanis or Deccani people are an ethnoreligious community of Urdu-speaking Muslims who inhabit or are from the Deccan region of Central and Southern India, and speak the Deccani dialect of Urdu. The community traces its origins to the shifting of the Delhi Sultanate's capital from Delhi to Daulatabad in 1327 during the reign of Muhammad bin Tughluq. Further ancestry can also be traced from immigrant Muslims referred to as Afaqis, also known as Pardesis who came from Central Asia, Iraq and Iran and had settled in the Deccan region during the Bahmani Sultanate (1347). The migration of Muslim Hindavi-speaking people to the Deccan and intermarriage with the local Hindus whom converted to Islam, led to the creation of a new community of Urdu-speaking Muslims, known as the Deccani, who would come to play an important role in the politics of the Deccan. Their language, Deccani Urdu, emerged as a language of linguistic prestige and culture during the Bahmani Sultanate, further evolving in the Deccan Sultanates.
The Bahmani tombs complex at Bidar is the necropolis of the Bahmani dynasty, located in Bidar, in the Indian state of Karnataka.
The Haft Gumbaz, also spelt Haft Gumbad are a group of tombs of the Bahmani dynasty situated in Kalaburagi, in the Indian state of Karnataka. Built during the 14th and 15th centuries, the tombs are examples of early Indo-Islamic architecture. There are seven tombs in total, with four being tombs of the rulers of the Bahmani dynasty. The tomb complex is a monument of national importance, maintained by the Archeological Survey of India. The tomb complex is part of the "Monuments and Forts of the Deccan Sultanate", which is an ensemble of various structures added to the tentative list of the UNESCO World Heritage Sites.
Shah Rasheed Ahmed Quadri is an Indian bidriware craftsman. He is known for keeping the 500-year-old art alive. Recently he was awarded Padma Shri by President Droupadi Murmu.
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