Strategy for the Revival and Sustenance of Artisanship: A Critical Parameter for Conservation

Strategy for the Revival and Sustenance of Artisanship: A Critical Parameter for Conservation [The case of the loss of the traditional art and skill of lime plaster ornamentation (Stucco) of Lucknow] Ar. NISAR KHAN M. Arch. (Architectural Conservation) Asst. Professor, Faculty of Architecture & Ekistics, Jamia Millia Islamia, New Delhi 110025 ar.nisarkhan@gmail.com nkhan2@jmi.ac.in Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan &authuser=1&citation_for_view=OYgjCHgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JY yvc0kYiSTXWAmrMZtQLBQBfGfpk46XBcMI38PoQ-xi1rcE ABSTRACT Introductory Note: The paper addresses the critical situation of “Loss of Artisanship” of lime plaster ornamentation (Stucco) in the late medieval city of Lucknow and the implications on the conservation of the Built Heritage ipso facto. The stucco plaster ornamentation reached its apogee in the city of Lucknow, representing multiplicity of arabesque and geometric in its most sophisticated and vibrant manifestation seen in the entire world. The critical nature of Artisanship in the process of Conservation became more evident in this case The paper is based on the research and field work of the Author on the “Heritage Management of Traditional Architectural Artisanship in the Medieval India”. The paper conducts a reconnaissance of the issues pertaining to the severe depletion of the artisanship in the present scenario. Subsequently Author studies and conducts a comparative analysis of the traditional patronage vis a vis the present management setup. Finally Author formulates Policy, Strategy and Detailed Proposals for the REVIVAL, SUSTENANCE and PROPAGATION of the artisanship. Abstract: The city of Lucknow1 has about hundred buildings (belonging to 18th and 19th century) embellished with the finest lime plaster ornamentation. The buildings in different stages of deterioration belongs to various typologies and owned by Government agencies (ASI, SAD, others), Hussainabad trust and private residences. It is required to pay urgent attention for their conservation and restoration. This process of conserving the lime plaster ornamentation2 requires engaging competent (if not authentic) artisanship; otherwise the whole notion of Authenticity in Conservation3 becomes nullified. The genealogy of artisans is on the verge of extinction and it is the need of the moment to revitalize the existing human resources of Art and Skill; also replicating the Artisans by the process of Transmission of Knowledge to the next generation. Presently there are some ten artisans residing in Firangi Mahal, Kakori area of Lucknow City who are following the art traditionally and possess knowledge which can be imparted to the young generation and apprentice. With many challenges for the artisans to sustain their livelihood it becomes important to identify the cause of depletion of the artisanship and to work out a strategy for its revival. The paper is an attempt to address the issues and derive detailed strategy and proposals for the Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE revival, sustenance and propagation of the artisanship. Keywords: artisan, artisanship, traditional knowledge and skills, authenticity, conservation, revival, sustenance, propagation, training, strategy Chronological Order: Late 18th Century to Present Time. Geographical Region: Awadh-presently Lucknow: A city in the plains of North India (Hindustan) Lucknow the capital of Nawabs of Avadh Province during 18th and 19th centuries Lucknow witnessed unprecedented social and cultural development under the patronage of great Mughals. This was seen in the fields of religion, education and medicine, and in a variety of art forms such as calligraphy, ceramics, the Urdu language and particularly its romantic poetry, Dastangoi or the art of story-telling, Kathak dance, drama, music and painting. Pastimes such as pigeon-flying, kite-flying, cock-fighting, the martial arts, and many other forms of public entertainment were also developed to a high degree of finesse. Above all it was architecture and landscaping of the city that showcased the oriental culture of the city. 2 The lime plaster ornamentation is colloquially called as stucco, also some authors refer to lime plaster ornamentation as a kind of stucco. 3 Nara Document on Authenticity 1994 talks on the form and design, materials and substance, use, function, traditions and techniques, location and setting, and spirit and feeling, and other internal and external factors as the aspects of authenticity 1 Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE 1 PROLOGUE 1.1 Lucknow city The historic city of Lucknow was once the seat of a culture, which was a precious legacy of the Indo-Muslim civilization. According to the celebrated scholar Abdul Halim Sharar Lakhnavi (1864-1926), Indo-Muslim civilization was at its zenith when its cultural centre shifted from Delhi to Lucknow. The sophisticated culture of Lucknow flourished from the last quarter of the eighteenth century until the collapse of the monarchy in 1856. However, it continued to survive as long as the feudal system in this region, which was until the end of British rule in India. During the eighteenth and nineteenth centuries Lucknow witnessed unprecedented social and cultural development. This was seen in the fields of religion, education and medicine, and in a variety of art forms such as calligraphy, ceramics, the Urdu language and particularly its romantic poetry, Dastangoi or the art of story-telling, Kathak dance, drama, music and painting. Pastimes such as pigeon-flying, kiteflying, cock-fighting, the martial arts, and many other forms of public entertainment were also developed to a high degree of finesse. 1.2 Architecture of Lucknow Above all, it was architecture and landscaping which showcased the city. The architecture of the city represented hybridization of different styles viz; European, Persian, Egyptian with the Indo-Islamic prevalent in the region. These inputs from other parts of the world assimilated with the indigenous styles gave rise buildings which exhibits the urban evolution of the city. In the absence of the stone Nawabs used Bricks and Lime Plaster as the primary building materials. This form of Ornamentation was refined and developed as a highly intricate art in Lucknow. It was due to the influence of the Persian and European Artists and the idea of imitating Mughal style (of decoration on the building made of stones) evolved into a highly intricate art. Pic. 1: Lime Plaster Ornamentation (Stucco) of Lucknow as seen in the building of Mughal Sahiba, illustrating the variations in the intricate Islamic patterns Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE 1.3 Case: Conservation of the lime plaster ornamentation The Process of Conservation of this ornamentation requires engaging competent (if not authentic) artisanship; otherwise the whole notion of conservation becomes nullified. The genre of artisans is on the verge of extinction and it is the need of the moment to revitalize the existing resources of Art and Skill; also replicating the Artisans by the process of Transmission of Knowledge to the next generation of Artisans. 1.4 Present Scenario Presently there are some ten artisans residing in Firangi Mahal, Kakori area who are following the art traditionally and possess knowledge which can be imparted to the young generation and apprentice. The city of Lucknow has about hundred buildings possessing the ornamentation and in different stages of deterioration. They are of all types and owned by Government agencies (ASI, SAD, others), Hussainabad trust and private residences. Pic. 2: The state of deterioration in the lime plaster ornamentation as seen in various buildings of Lucknow 1.5 Primary Issue/ Concern: Loss of the Traditional Artisanship of Lime Plaster Ornamentation (Stucco) in Lucknow. 2 AIM & APPROACH 2.1 Aim: To formulate a STRATEGY and MODEL for the revival of the Artisanship of Lime Plaster Ornamentation of Lucknow. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE (The strategy has to be devised in a way so that it can be adopted for other Architectural Artisanship after necessary localization and modifications) 2.2 Approach: A HUMANE APPROACH rather than simple human resource management is required for the augmentation of the Social and Economical status of the Artisan. This approach helps in addressing to the issues categorized into:  Revival  Sustenance  Propagation with greater efficacy. 3 ISSUES & OBJECTIVES 3.1 Issues: Revival: • Loss of artisans; very few artisans left who possess the knowledge and skill. • Many incompetent artisans working. Sustenance: • Low remuneration; Rs170-250 per day. This payment does not correspond to the skills, ability and efforts of the Artisan. • Rate of payment not based on the Ability of the artisan and Quality of work. • Employment is on daily basis and doesn’t ensure livelihood for everyday. • There is no formal agreement with the employer agency/contractor which leads to their harassment. • Social status reduced to that of a mason/worker from an artisan. • Low degree of interaction between Artisan and Architect/Conservator. Propagation: • Non-availability of any Formal Training/ Certificate in the field. • New generation not interested in adopting the art as profession. • Scope of Growth in the profession is fewer. • No Social Honor attached with the profession. 3.2 Objectives:  Devising PROPOSALS for the revival of art and skill of lime plaster ornamentation of Lucknow.  Devising PROVISIONS for Patronization of the Artisans. o Augmentation of the livelihood and remuneration. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE o Providing a professional Identity and self respect.  Devising Proposals for the Propagation of the Skill and Art to the next generation of artisans. 4 METHODOLOGY Identifying ISSUES pertaining to the Artisanship specific to the Lime Plaster Ornamentation Lucknow. Understanding the TRADITIONAL Understanding the CONTEMPORARY SYSTEMS of ROYAL PATRONAGE, Human Resource Management systems GUILD SYSTEMS of the artisans. involving Artisans. Understanding the methodology of similar projects of revival of artisan skill under UNESCO and NGO’s through CASE STUDIES. COMPARING the Frameworks and finding out LOOP HOLES. FRAMING THE STRATEGY AND PROPOSALS Fig. 1: Research Methodology The significant and relevant part of the Methodology is to conduct a reconnaissance of the Traditional Patronage and GUILD SYSTEMS of the artisans as it will help in identifying the lacunae created in the Contemporary framework which degraded the Professional status of the Artisans and eventually leading them to shift to other professions. 5 Traditional Patronage and Organizational Setup Artisans and Craftsmen enjoyed a significant status and recognition in the society. They were respected and responsible elements of the social framework. Gradually with the time this status is reduced to merely of that of a manual labor. The Traditional Patronage and Organizational Citation SetupLink: is analyzed vis a vis the contemporary system to understand its failure and thus finding https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC the solutions. HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE 5.1 Ancient Period: The Artisan in Ancient India traced his descent from Visvakarma, who is mythological God of artisans. This mythological origin provided the Artisans with high religious status in the society and a spiritual incentive to give his best. [ Vishvakarma is described as lord of many arts, master of the thousand handicrafts, carpenter of the Gods, the architect of their celestial mansions, The designer of all ornaments, the first of all craftsmen. ] In ancient India Royal patronage of the crafts provided the incentives to the production of the things of artistic beauty and utility. In the early Buddhist period craftsmen were employed in the Royal courts and also played important role in the social-economic aspects of the community. The artisan is associated in with the life in one of these ways:  As a member of village community providing his services.  As a member of a Guild of the merchant craftsmen in a city.  As a feudal servant of the king or as a chieftain of a temple. 5.1.1 Guild Organization: The craftsmen were organized in guilds (srenis) as a co-operative group of craftsmen that wielded enormous local and political power through head (sreni mukhiya). Guild comprises of three levels of organization: King HEAD ARTISAN (SRENI MUKHIYA) ARTISANS (Traditional) Labours/ Apprentices Fig. 2: Guild organization in Ancient Indian Society; highlighting the Social Status of an Artist 5.1.2 Framework of Guild Organization of Artisans The main functions of the guilds were legislative, judicial and executive. Economic matters include distribution of profits and liabilities, investments and dividends. The master craftsmen are entitled to a double share of profits. The Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE finances of guild are through individual contributions, fines, kings’ subsidies and profits from execution of orders. Artisans were given incentives in the form of land for building houses so that they settle there. Also they were given concessions on carrying out business and tax exemptions on goods transported from one place to another. Thus it is clear that the status of the Artisanship was:  Considered Divine  Given higher Social Status  Guild System was evolved dealing with professional and financial matters  Provisions of Incentives were in place. 5.2 MEDIEVAL PERIOD (Indo-Islamic Period): Mughals elaborated the system of Building construction by creating an Organizational setup with personnel deputed on various posts. The entire staff, however, could be divided into two broad groups: officers and master builders; and artisans and workers. They consisted of workers and artisans of diverse sorts collected at the construction site, both local and those brought from different regions of the country. Paintings carry references that help us identify skilled and non-skilled labour: the latter, often scantily clothed, run about doing sundry jobs. Wages: There were two systems of payments to the artisans, firstly workers and artisans worked by the job (ijiira) for definite tasks of specified dimensions and Pic. 3: Mughal Miniature Painting theprobably details of measurements, while others were daily-wagers (rozznadiir). Ijaraillustrating workers construction of Fatehpur Sikri- the capital of Emperor Akbar (r. 1556-1605), now a World Heritage Site. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE got slightly higher wages. Moreover, wages were of three grades in the same craft, the amount varying a little. Differential wages in the same craft must have been related to the artisan's skill. Sometimes wages depended on the specialization of a particular artisan: for example, a sangtariish could be a mere stonecutter (siidakiir) or a skilled stonecarver (naqqiish). Abul Fazl distinguishes between sawyers (arrakash) and general carpenters (dariidgar, najjiir), and their wages thus differ. In the case of watercarriers (aibkash), wages varied, depending upon whether the carrier supplied water for mortar or distributed potable water to workers at the site. In one instance, a worker's wages varied with changes in the season: for example, the diver or wellcleaner (ghota khur) was given more in winter than in summer. Mir- Imarat/ Architect/Engineer ARTISAN GUILD Hastkar-i-imarat (Master Artisan) Mushrif (Accountant) Hastkar (Artisans) Over a period of time the Mazdoor used to get elevated as Artisan Daroga (Inspector) Shahna (Overseer) Mazdoor (Unskilled Labours) Fig. 3: The Organisational setup during Mughal rule (1525-1803 A.D.) The status of the Artisanship was:  Albeit the organizational framework became complex and disciplined, probably because of the scale of the building activity the Hierarchy and Remuneration remained Two Tier only, thus restricting the widening of Social and Economical Divide.  The Artisan was at par with other executives like Accountant and Inspector.  Guild System was in effect with regular enhancement of Mazdoor as apprentice and then to Artisan.  The remuneration (within the tier) was based on the Quality and Quantity of work and other conditions like climate etc. Thus ensuring that specialized Artisans earn more as per their skill and competency.  The numbers of workers and executives employed were sufficient for the quantity of the work. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE 5.3 BRITISH PERIOD: (Disintegration of Guild system) The British rule in India brought industrial revolution and capitalization. Use of machines in the production of goods and construction started which created a shift from human skill to machine perfection. Result was destructive in terms of traditional arts and skills, Artisans went jobless and changed profession to sustain themselves. British intended to get more work out of the Indian artisans, so they always employed least number required to perform the job (unlike Mughals) which resulted in the reduction of the status of the work from art to labour. The requirement to write reports in English for the Company rule was made mandatory thus it was almost impossible to find traditional artisans getting British patronage. Only those who possess certificates from Engineering College, Roorkee were acknowledged as architects/ engineers and were awarded positions to supervise the artisans and craftsmen. This reduced the status of native artisans to masons or labors, taking away their freedom to work and their chances of getting promoted to higher order without formal education. Factors which triggered the loss of skill due to British rule:     Growth of factory system of mass production. Import of Items from Europe. Disintegration of Joint family system of Artisans. Dissolution of the Guild Organization.  Political (oppressive) attitude of British towards Indian traditional skill. Architect/Engineer/ Factory manager ARTISAN GUILD DISINTEGRATED. GAP BETWEEN ARCHITECT AND ARTISAN WIDENS.  Foreman/accountant Overseer Artisan  Labour Fig. 4: Unidirectional Hierarchy in the British Setup led to the disintegration of the Traditional Guild System  One of the major causes for the loss of traditional artisanship and skills was the Disintegration of Guild System that happened during British Period. British system created a gap between Architects and Artisans and degraded the status of Artisans as labours and removed the chances of getting promoted to higher order. Wages didn’t correspond to the Quality and Quantity of the Work. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE 5.4 PRESENT LOCAL SETUP After Freedom we inherited the British system of management that involve a complex organizational setup and further widens the gap between the Artisans and executives. There are no provisions for the upliftment of the condition of the existing artisans and to encourage the next generation to carry on the skill. Some of the Artisans are residing in the Firangi Mahal, Chowk, Kashmere mohalla and Kakori area of Old Lucknow. They are engaged by the local agencies which involve, Archaeological Survey of India, State Archeology Dept., Hussainabad Trust, INTACH, Architects / Professionals working in conservation. At times they have brought in Artisans from as far as Orissa, Rajasthan to get their work done, rather than encouraging the local artisans to carry out work. Private Owners carry out some cheap repairs and seldom engage these artisans for the preservation of their buildings. The average earning of the artisan is Rs. 170-250 per day and Rs.100-150 for the unskilled labour. They are hired on the work basis sometimes. Remuneration is irrespective of the Quality or Intricacy of the work. The intention of getting work done fast both by the agencies and by the artisans has caused the loss of the skill. The main Bodies providing work to the artisans are mentioned above. None of these bodies have recruited artisans on permanent basis, neither the post lying vacant with ASI and SAD are filled. There individual frameworks are discussed below. Archaeological Survey of India Supervisor team doesn’t possess specialization, works on experience. Work done is merely a patch work. Superintending archaeologist Dy. Superintending archaeologist Conservator assistant (Graduate/Promoted) Most positions are lying vacant due to the retirement of the artisans creating a vacuum of skill in the depts... Draughtsman (ITI) Foreman (Graduate) Labour rates are not quoted as per the quality of the work in the contract, eventually artisans are underpaid. Contractor Artisans (Experience/ on the panel) Labours No formal training imparted to the artisan to the apprentice. Fig. 5: Present setup of Archeological Survey of India, the custodian of the Heritage of India, The setup Citation Link: is a Derivative of the British System retaining the Hierarchical arrangement. https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE State Archeology Department: Director PWD (WORK OUTSOURCED) Contractor Artisans Hired for 100 days Labours Fig. 5: Organisation of the State Archaeological Department Hussainabad Trust: President (Sadar) Secretary Manager doesn’t possess any specialization in the field and just looks after the work done by the artisans. Labour rates are negotiated with the small time (inexperienced) contractor. Remuneration to the artisans gets affected. Members Manager (mutwalli) Contractor (Experience/ on the panel) Artisans Labours Fig. 6: Organization of the Community Custodian of the Heritage The inheritance of the British Setup post independence reduced a skilled artisan capable of performing a task of Plaster Ornamentation; as complicated as Sculpting to merely a Mistry (Mason), called in local dialect. With no social recognition and livelihood the loss to traditional artisanship is imminent. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE 6 EXAMINING THE EXISTING POLICIES In order to identify the possibilities to revive the artisanship, the policies across the World are studied. In Japan individuals and organisations are designated as Living National Treasures- „The Holders‟ and „Organizational Holders‟ respectively. Seven categories of performing arts (36 specific skills) and nine in the applied arts (39 specific skills) had been selected as important intangible cultural properties. The skills were held by 52 individuals and 23 groups. In France "Maîtres d'art" (Master of Arts) is designated to Artisans. The Art Crafts Council was created in order to protect and develop rare and exceptional know-how held by professionals of the art crafts in the private sector. The Masters of Art are selected every two year among the presented candidatures and in accordance with certain criteria. Once designated the Masters of Art are invested with the task of transmitting their know-how to an apprentice over a period of three years with a yearly allocation during the period. UNESCO identifies the master artisans as living human treasures and calls upon to their official recognition and their acquiring further knowledge and transmitting to the next generation. UNESCO authorizes respective government departments or through a non-governmental organization temporarily created with governmental financial assistance to undertake the task and a Commission of Experts for identification and designation of the human treasures. In India Ministry of Culture has drafted a Citizens Charter with the vision to protect, conserve and propagate the cultural heritage of the country by supporting and sustaining cultural creativity and expressions, as a unifying factor within her rich diversity. To fulfill the vision the Charter outlines provisions for providing support and creating conducive environment to disseminate the creative expression of our artists through exhibitions, performances, publications and by supporting institutions and individuals engaged in the furtherance of these activities. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE Similar charter is in place by Ministry of Textile specific to the arts and skills related to the textile handicrafts where it outlines the mission by augmentation of income, increasing employment opportunities, higher exports and improving quality of life of the artisan community. Also in 1965 the Development Commissioner (Handicrafts and Handlooms) are conferring National Award called „Shilp Gurus‟ to the Weavers and Master Crafts persons, to recognize their contribution. Above stated policies in principle, are about IDENTIFYING the rare Artisans, providing them their due RECOGNITION and then TRANSMITTING the art and technique to the next generation. But no effective implementation mechanism is devised. Also in India there is a requirement of policies specific to the Artisans of Architectural arts and crafts on the similar lines of Ministry of Textiles. Thus it is the requirement to Frame a Policy, Strategy and Model for the effective revival, sustenance and propagation of the traditional artisanship of lime plaster ornamentation of Lucknow. The author has worked upon a comprehensive Policy, Proposals and Model for the revival of traditional artisanship specific to lime plaster ornamentation of Lucknow, but the same can be adopted with suitable modifications and localizations. 7 POLICY TO (RE)ESTABLISH THE SOCIAL AND ECONOMICAL RELEVANCE OF THE TRADITIONAL ARTISANSHIP OF LIME PLASTER ORNAMENTATION (Stucco) OF LUCKNOW. 7.1 STRATEGY  Revival of Guild System  Institutionalization The character of the Guild System was of that of an Institution, where it performed the functions of that of academic, legislative and executive. Thus the strategy is “INSTITUTIONALIZATION OF THE GUILD SYSTEM.”  Capacity Building of Local Artisans. (Localization is important to conserve the Art and Craft as foreign influence can alter the traditional knowledge) Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE 8 PROPOSALS Proposals are classified into the same identified categories of revival, sustenance and propagation same as issues. 8.1 REVIVAL: • Identifying and locating the artisans, preparing their directory containing following information: Table. 1: Inventory Format for the Registration Process of the identified Artisans INVENTORY FORMAT ARTISANS 1 1.1 NAME : PHOTO ADDRESS : TELEPHONE : INCOME : No. of days 2.1 employed in a month: 4 EXPERIENCE : 4.2 4.1 YEARS AGENCIES > 1 YEAR ASI 2 YEAR SAD 5 YEAR INTACH 10 YEAR TRUST 20 YEAR PRIVATE LIFETIME OTHERS CAPABILITY and QUALITY 5 INDICATORS : 5.1 EDUCATION : 5.2 SPECILISATION : A. DIPLOMA A. HELIX B. CLASS XII B. EMBOSS C. CLASS X C. MOULDING D. ILLITERATE D. FLAT 3.CATEGORY Master Artisan Head Artisan Artisan Assistant Apprentice 1.2 2 4.3 EARLIER WORKS 4.4 KNOWLEDGE TRADITIONAL PROFESSIONAL TRAINING 5.3 WORKING POSITION A. HEAD of ARTISANS B. PART OF GROUP C. INDIVIDUAL Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE 8.1.1Reviving the Guild organisation: • Designating the identified artisans as Master, Head, Artisan and Apprentice as per their lineage, calibre and experience to create a hierarchy in the Guild. The Master and Head Artisans to be employed in imparting training Apprentice and Heading the Plaster work on various projects. • Providing Identity Cards of registration as per the category and hierarchy in the Guild System. • Provisions of putting a signage at their residences could be made, which will have dual function of making it easier to locate the artisan by various employers and also will impart the much required social identity and relevance. • The incompetent artisans identified through the process are the prospective Artisans as they are already into the field, thus they should be designated as apprentice and trained under the Master. 8.2 SUSTENANCE: 8.2.1Remuneration: • Remuneration structure to be revised considering this as a specialized form of skill unlike the category of mason in the schedule of rates. • Payment rates to be framed in the categories depending upon the quality of the work, guild status of the Artisan. 8.2.2 Employment Generation: • Creating an information cell that can act as a facilitator between agencies and artisans and provide information about each other, thus generating employment opportunities. • Engaging Master and Artisan in training with an allocation for the training duration. • Recruiting on the vacant post in the agencies like ASI, SAD etc. 8.2.3 Up gradation of Organisational Structure: • Improving the organisational status of the master artisan by putting him at par with supervisor/foreman. • Improving the degree of interaction between Artisan and Architect/conservator by the organisational up gradation. 8.2.4 Incentives: • Providing Incentives in the form of tax exemption, housing schemes, easy loans, trips to the historical/pilgrim cities etc. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE • Starting a group insurance scheme for the artisans to ensure social security in case of any mishap. • Providing Free or Subsidized medical facilities. • Housing schemes (in collaboration with local development bodies) like “Artisan Village” especially for the artisans at subsidised rates. • Starting pension schemes. 8.2.5 Promotion: • Conferring Awards to the Master Artisans and Artisans for their work in the projects. 8.3 PROPAGATION: 8.3.1 Documentation: • Documentation of the Ingredients, composition, Process, Technique in detail for the future. • Creating a manual for the reference of the artisans and for imparting training to the artisans. 8.3.2 Training Programs: • Recruiting new apprentice from the incompetent artisans already working in the field, masons who wish to learn the art and skill and wards of the artisans opting for the occupation. • Providing stipend to the apprentice and running the training in the evening and weekly off days so it does not effects the routine occupation. • The training should be imparted by Designated Master Artisan for varying duration to the artisans and apprentice of different calibre. • Trainees and Artisans to be awarded with certificate at the successful completion of the training for the professional competence. 8.3.2.1Training Structure: The training is formulated in three components: 8.3.2.1.1 Instructional: Training through the Manual created after documentation of the technique to impart information about the constituent materials, their behaviour and properties, process and technique. To impart design scheme (geometry and proportions) of various patterns and motifs. 8.3.2.1.2 Practical in the laboratory: Doing the practical in the materials, process and technique in the laboratory. Also learning the design schemes by making their stencils. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE 8.3.2.1.3 Practical in the field: Undergoing training with the Master or Artisan on their work sites under their supervision. (This will generate employment to the trainees as well along with making them learn in the real site conditions.) 8.3.2.2 Certificate System and Promotion Criteria: (based on the successful Multilevel Certification System of highly successful Buddhist Sangha project of Unesco) 8.3.2.2.1 Apprentice Certificate: 1. Awarded after examination by the Artisan of Master 2. Allowed to undergo training of 6 months and work under artisan or master for 12 months 8.3.2.2.2 Artisan Certificate: 1. Awarded after examination by Master only after 12 months of work under an artisan or master after getting apprentice certificate. 2. After getting the Artisan Certificate the Artisan are allowed to train the Apprentice. 3. After getting the Artisan Certificate the Artisan are allowed to carry on the project work individually and impart training to the apprentice through engaging them under the supervision of a Master. 8.3.2.2.3 Master Certificate: 1. Awarded after examination by other Masters, after a period of two years work as an Artisan. 2. Masters are engaged in training the Artisans. 3. Masters can carry out their work individually. 4. Masters have to supervise the work of the Artisans under his training. 8.3.3 Developing an information and resource centre and virtual web site for providing info about the traditional knowledge and artisans for the Researchers, Employers to access. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE References Chandra, B. Sarath (2002-2004), “An approach to conserve ornament in architecture- British residency Hyderabad”, (unpublished M.Arch. thesis) School of planning and Architecture, New Delhi, India. Blochmann, H. (tr.) (1927, reprint 1993). “The Ain-I Akbari by Abu'l-Fazl Allami”, Vol. I, The Asiatic Society, preface (first edition), Kolkata, India. Feilden, Bernard M. (1982), “Conservation of Historic Buildings”, Architectural Press, Oxford. Flaharty.David, “Preserving Historic Ornamental Plaster”, 23- Preservation Brief, National Park Services, United States of America Page 12: Finding and Evaluation a contractor. Ghai, Manisha (1995-1996) “Lime- a conservation material with reference to Jaipur”, (unpublished M.Arch. thesis) School of planning and Architecture, New Delhi, India. Chapter 8: Management structure for various repair and restoration worksTraditional practice. Existing Organisation. Chapter 9: Recommendations. Appendix-I Questionnaire. Appendix-IV List of Craftsmen. Grimmer. Anne, “The preservation and Repair of Historic Stucco”, 22-Preservation Brief, National Park Services, United States of America. Page 2: Revival styles promotion use of stucco. Jain Jinisha (2004-2006): “Seminar for Cultural Heritage Management”, III Semester, M. Arch. School of Planning and Architecture, New Delhi, India. Jones, Rosie Llewellyn, (1992) “A Fatal Friendship”, Oxford University Press, Oxford. Talks about migration of artists from Europe and Persia to LUCKNOW and their Nawabi patronization along with wages paid to them, Degradation in the status of the artisans with the British. Khan, Nisar (2009), “Participatory Approaches in Urban Revitalization”, 7th International Conference mAAN, Vol 7. pp 125-137, New Delhi, India Khan, Nisar (2007) “Revival of Artisanship of Nawabi Lucknow” International Conference on Islamic Arts & Architecture Vol 2 No 2, New Delhi, India Mac Donald, Marylee, “Repairing Historic Flat Plaster- walls and ceilings” 21-Preservation Brief, National Park Services, United States of America. Page 10: Poor Workmanship Qaiser, A.J. (1988) “BUILDING CONSTRUCTION IN MUGHAL INDIA”, Center for Advanced Studies in History, Aligarh Muslim University, Oxford University Press. Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE (Provides detailed information about the activities involved in the building construction and royal patronage of the artisans during Mughal regime) Pages: 11- Artisans Pages: 12- Categories, Functions and Wages. Pages: 13- Work Discipline. Sharar, Abdul Halim (1994), “The Last Phase of an oriental Culture”, Oxford University Press, India Thornton, Jonathan and Adair William, “Applied Decoration for Historic Interiors, Preserving Composition Ornament”, 34- Preservation Brief, National Park Services, United States of America. Page 10: Existing Condition analysis. Varadhan, Saritha (2003-2005), “Strategy for conserving the architectural knowledge systems of Chettinadu mansions”, (unpublished thesis, M.Arch.) School of planning and architecture, New Delhi, India. Weaver, Martin E., “Removing Graffiti from Historic Masonry”, 38- Preservation Brief, National Park Services, United States of America. Page 10: Community Participation. Websites: www.unescobkk.com, www.moc.gov.in, www.indiagov.nic.in Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE CV of the Author: Nisar Khan completed M. Arch. with specialisation in Urban Conservation and Heritage Management from India’s premier School of Planning and Architecture, New Delhi. He is presently Assistant Professor at the Faculty of Architecture and Ekistics, Jamia Millia Islamia (A Central Government University), New Delhi. With the specialisation in Urban Conservation and Heritage Management, the Author has the distinction of working in the team formulating Hampi World Heritage Management Plan. He has accomplished many Architectural and Conservation Projects for various agencies like Archaeological Survey of India, Indian National Trust for Art and Cultural Heritage. He is interested in working on formulating Strategy, Policy and Management of Cultural Heritage and Tourism. He takes up academic research projects for the cause of conservation of Cultural Heritage of Islam and establishing its relevance in present scenario. He has published and presentation research papers in various International Publications and Conferences across the globe. He was organising coordinator of 1st International Conference on Islamic Arts and Architecture (ICIAA) in December 2007 in New Delhi. ICIAA 2007 was attended was 80 distinguished scholars from various countries, presented seminal research on the subject. The success of ICIAA was replicated in the next edition of the conference held in Lahore in November 2008. The upcoming ICIAA is scheduled to be held in Isfahan in May 2010. Contact Details: Nisar Khan Asst. Professor, Faculty of Architecture & Ekistics, Jamia Millia Islamia, (Central University of Govt. of India) New Delhi 110025 India Telefax + (91) (11) 26 98 31 69 Phone (O) + (91) (11) 24 50 30 66 Phone (R) + (91) (11) 26 84 32 48 Hand Phone + (91) 98 68 567 194 Email ar.nisarkhan@gmail.com Citation Link: https://scholar.google.co.in/citations?view_op=view_citation&hl=en&imq=Nisar+Khan&authuser=1&citation_for_view=OYgjC HgAAAAJ:Tyk-4Ss8FVUC&gmla=AJsN-F6RVNop91JH_OztiFwPO4G3mTMbtIEhzvpRBwybv5qiXIYpVJ6PO_1XScxV4ADQh1JYyvc0kYiSTXWAmrMZtQLBQBfGfpk4 6XBcMI38PoQ-xi1rcE