Traditional Method of Making Attar in Kannauj

Transcription

International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC)
Vol: 2, Issue:1, (June Issue), 2016
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
Traditional Method of Making Attar in Kannauj
Saba Tabassum1 , Prof. S. Asif , A. Naqvi2
Research Scholar, Department of Museology, AMU Aligarh
Professor,Department of Museology, AMU Aligarh
sabatabassum6865@gmail.com
asif_naqvi_200@hotmail.com
ABSTRACT : The term cultural heritage has changed considerably in recent decades, partially owing to
the instruments developed by UNESCO. Cultural heritage does not end at monuments and collection of
objects. It also includes traditions or living expressions inherited from ancestors and passed on to
descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge
and practices concerning nature or the knowledge and skill to produce traditional crafts1. Traditional
craftsmanship is perhaps the most tangible manifestation of intangible cultural heritage. However, The
General Conference of the United Nations Educational, Scientific and Cultural Organization
(UNESCO) meeting in Paris, from 29 September to 17 October 2003, [1]at its 32nd session gave the
convention for safeguarding ICH ,is mainly concerned with skills and knowledge involved in
craftsmanship rather than the craft products themselves. Instead of just focusing on preserving craft
objects attempts should be made for encouraging artisans to continue to produce crafts and to pass on
their skills and knowledge to others, particularly within their own communities. 2 There are numerous
expressions of traditional craftsmanship. India is known not only for its natural and cultural Heritage
such as lakes, majestic palaces, temples, monuments etc. The diversity of floral heritage specially
flowers and fragrance has always occupied a prestigious position in Indian culture. Nature has
provided India with abundant source of wonderful fragrance which can evoke deep feeling of joy,
excitement or serenity with us. The culture of attar production is the heritage of the people of Kannauj
has been known for natural attar from Mughal period or even earlier. The beginning of natural attar in
India which developed and progressed in and around Kannauj is quiet strong even now. The
perfumeries in Kannauj still use age old method to produce all natural scents to maintain attar
originality and quality. Attar making is labour intensive process requiring combination of great, talent,
skill and patience. Because of high cost of raw material and labour intensive nature of this process of
traditional attar making art is unfortunately declining and may be extinct if measures steps to
safeguard it are not taken timely. It is up to us, the consumer of attars to support the few remaining
attar makers as to maintain the naturality of attar culture and tradition. This is an area where
industries, Govt. NGOs, Heritologist , Museologist all have to work together. This paper is an attempt
to highlight the traditional attar making and thereby suggesting some means to keep this rich heritage
alive.
Keywords: Attar, Cultural heritage, intangible, museologist, tangible, Traditional craftsmanship
______________________________________________________________________
I. Introduction:
Heritages are things that we regard as important to preserve for future generations. They
may be significant due to their present or possible economic value, it create a certain emotion
within us or they a make us and feel as that we belong to something i.e. to traditional way of
life. They might be objects that can be held and buildings that can be explored or songs that
www.ijirssc.in
Page 71
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
can be sung and stories that can be told whatever shape they take these things form part of a
heritage. This heritage requires active effort on our part in order to safeguard it.
The General Conference of the United Nations Educational, Scientific and Cultural
Organization hereinafter referred to as UNESCO, meeting in Paris, from 29 September to 17
October 2003 [1], at its 32nd session adopted a convention for safeguarding Intangible
cultural heritage (ICH).[3] The “intangible cultural heritage” define as, the practices,
representations, expressions, knowledge, skills - as well as the instruments, objects, artifacts
and cultural spaces associated therewith - that communities, groups and in some cases,
individuals recognize as part of their cultural heritage (UNESCO 2003).[4] Intangible cultural
heritage, transmitted from generation to generation and is constantly recreated by communities
and groups in response to their environment, their interaction with nature and their history, and
provides them with a sense of identity and continuity, thus promoting respect for cultural
diversity and human creativity. The “intangible cultural heritage”, as defined by UNESCO is
manifested inter alia in the following domains:
• Oral traditions and expressions, including language as a vehicle of the intangible
cultural heritage;
• Performing arts;
• Social practices, rituals and festive events;
• Knowledge and practices concerning nature and the universe;
• Traditional craftsmanship.5
In 2007, there was a paradigm shift in museum definition. The phrase material evidence in the
definition was replaced by tangible and intangible heritage. Therefore, museums are also
concerned with safeguarding intangible heritage along with tangible.
Ittar or Attar or itr is a type of natural perfume extracted from flowers, herbs, spices or
barks into base oil such as sandalwood oil. It is very popular in the Middle East, South Asia
sand parts of Africa. The word ittar is derived from the Persian word atr, which means
fragrance. It‟s not new to the world, its history dates back to the Mughal era, as nobles in the
royal court would apply ittar. People dealing with ittar (Ittarwallahs) boast of selling their
perfumes to the erstwhile Mughal princesses, nobles, and the British clolonists. In the old
cities across India there are shops and agencies that have been producing and selling ittar for
centuries now..
II. Objectives of the Study:
The main objectives of the present research paper are as fallows.
1. To document the status of traditional methods and craftsmanship of attar making in
Kannauj.
www.ijirssc.in
Page 72
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
2. To find out the constrains and difficulties faced by practitioners of this traditional
techniques.
3. To analyze the various factors which are responsible for the decline of the
craftsmanship.
III.Database and Methodology
To collect the primary data following methods have been used:
1. Field survey
2. Interaction with craftsman and owners of manufacturing unit.
3. Audio visual documentation of raw materials, equipment and practices etc.
IV.Results and Discussion:
Attar is the most common form of concentrated perfumes. Attars are natural perfumes for
daily use and they are not injurious to health as alcohol based perfume can be and is
appropriate for both man and woman. It contains about 20%-50% concentrated perfumes. It is
a mix of various extracts and can be effective for about 10 years. The history of Indian
perfumes is as old as the civilization itself. Archaeological evidence shows the earliest
inhabitants of the Indian subcontinent held plants in great reverence. With the passage of time,
scented oils were extracted by pressing, pulverizing or distilling aromatics vegetable and
animal produce. Such processes led to the development of the art of alchemy, the earliest
indications of which are available from the perfume jars and terracotta containers found in
excavation of the Indus valley civilization. This art of perfumery has survived for centuries and
speaks volume for the Indian perfumes.6
Archaeological excavations of Indus valley civilization have revealed round copper stills
are called „degs‟. Following the seasons of the flowers, traditional attar-makers, with their
degs, travelled all over India to make their fresh attars on the spot. Even today, few traditional
“ittar- makers travel with their degs during harvesting period. Their equipment has changed
little. A large number of references to cosmetics and perfumes in Sanskrit literature were found
like in the Brihat-samhita is a 6th century Sanskrit encyclopedia by Varahmihira (505A.D. 587A.D.). Cosmetics and perfumes making were mainly practiced for the purpose of worship,
sell and sensual enjoyment. Gandhayukti gave recipes for making scents. It gives a list of eight
aromatics ingredients used for making scents. They were Rodhar, Usira, Bgnonia, A guru,
Musta, Vana, Priyangu and pathya. Gandhyaukti gave recipes for mouth perfumes, bath
powders, incense and talcum powder, the manufacture of rose water began perhaps in the
nineteenth century AD. The earliest distillation of ittar was mentioned in the ayurvedic text
Charaka Samhita, The Hurshcharita, written in 7th Century AD in northern India, mentions use
of agar wood oils.
www.ijirssc.in
Page 73
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
Ittar figures into some of the romantic stones of a bygone era. It patrons included great
poets like the legendary Mirza Ghalib. When Glialib met his beloved in the winter, he rubbed
his hands, face with ittar hina. In Ain-e-Akbari, Abul Fazal, has mentioned that Akbar used
ittar daily and burnt incense sticks in gold and silver censers. A princess‟s bath was incomplete
without incense and ittar. A very popular iitar with the Mughal princes was oud, prepared in
Assam.
Kannauj is situated on the banks of sacred River Ganges, 80km, from Kanpur in Uttar
Pradesh, well known in ancient time as „Harsh Vardhan City' today it prides itself as the „Attar
City‟ or the perfume city of India. Kannauj is a major attar producing city. Here, there is a
legend on how' die first ittars were made in the era. The forest dwelling faqir‟s and sadhu
(ascetics) used certain fragrant jungle herbs and roots in their bonfires during the winters. The
shepherds who grazed their sheep in that region found die perfume lingering in the burnt wood,
long after the ascetics left the place. Word spread about his incident and some enterprising
people searched and found die fragrant herbs and roots. Then the experiments on ittar began
and the first ittars to be made were Rose and Hina.
Method of Making Attar
Kannauj tradition still thrive today fondly preserved by artisanal craftsman and small producers
and passed on from generation to generation traditions like these often blur the distinction
between art and craft. As you watch traditional craftsman at work you will be amazed at how
modern old skills can be.
Equipments
The attar manufacturing for floral type takes place in remote places because the flowers are
required to be processed quickly after plucking. The apparatus & equipment used for
manufacture of attar are light, flexible, easy to repair with a fair degree of efficiency, keeping
in view the above facts, the traditional Deg & Bhapka process is being used for centuries and
even now.
The details of equipments are as follows:•
Deg or Still
The process is carried out in copper stills called „Degs‟ as was done centuries ago. The lid of
the still is called „Sarpos‟ and is also made of copper having opening for connections to one or
two receivers.
•
Bhapka or Receiver
The receiver is built of copper and is of round shape with long neck, for case in connection
with Deg via Chonga. It is known as Bhapka and it acts as condenser as well.
•
Chonga or Bamboo Condenser
www.ijirssc.in
Page 74
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
The still and receiver are connected by a Chonga. This is a hollow bamboo pipe wrapped with
twine for insulation.
•
Traditional Bhatti or Furnace
It is made up of bricks and clay. Normally wood or coal is used for heating. Heat is controlled
manually.
•
Gachchi or cooling water tank
This is the place where Bhapka, or receiver is kept and used for cooling the distillate from Deg.
•
Kuppi or leather bottle
These are the bottle made from leather of animals. The reason for making these bottles is their
semi-permeability towards water. It is used for removal of moisture from attars.
Raw Materials and their Sources:
Base Material : Sandal wood oil, Di-octyl Phthalate (DOP) & Liquid paraffin.
Floral Material: Flowers of Gulab, Kewra, Bela, Mehndi, Kadam, Chameli, Marigold, Saffron
& Maulshri.
Herb & Spices: A number of herbs and spices are used in this industry which includes
Oakmoss, Sugandh mantra, Laurel berry, Juniper berry, Cypriol, Indian valerian, Jatamansi,
Hedychium spicatum, Daru Haldi, Sugandha Bala, Sugandha Kokila, Kulanjan, Javitri/Jaiphail,
Cardamom, Cloves, Saffron, Ambergris & Musk.
Sources: Sandal wood oil – South India, Rose, Aligarh (U.P.), Palampur (H.P.), Kewra –
Ganjam (Orissa)
Manufacturing Process:
The attars are made using the centuries old copper vessels called Deg (Kettle) or Stills
and Bhapka (Receiver). The Deg & Bhapka system is based on hydro distillation technique is
also made of copper having openings for connections to one or two receivers. The Deg
capacity range between 10 and 160 Kilos of floral/herbal material. First, filing the plant in the
Deg with the requisite amount of water, the lid is sealed with a mixture of cotton and clay. The
Deg is heated on wood and cow dung cakes fire. The temperature is controlled by putting in
more wood/cow dung cakes or by removing the same. While boiling the raw material in the
Deg there is considerable increase in pressure inside the Deg. To prevent the lid from blowingoff, a leaf spring called Komoniis used on the top of the lid. The Bhapka is copper made and
generally round in shape with a long neck. The fragrance of flowers (raw material) is obtained
by condensing vapours into the base material, which is primarily sandalwood oil.
www.ijirssc.in
Page 75
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
The Deg and Bhapka are connected by a Chonga. The chonga acts as a condenser. The
mouth of the Bhapka is sealed by wrapping coarse cloth around the bamboo pipe and pushing
it inside the condenser. The Bhapka may contain up to 5-10 Kilos of base material and is kept
cool in a small water tank. The distillation is managed by highly experienced and skilled
workers known as Dighoo. The Dighoo knows by experience when enough vapours have been
condensed inside the Bhapka. The water of the tank inside of which Bhapka placed is changed
continuously to keep the Bhapka cool, when the desired quantity of vapours get condensed, the
Dighoo rubs wet cloth around the body of the still for a temporary pause in distillation and the
filled Bhapka is replaced by another Bhapka. The Bhapka is then allowed to cool. The mixture
of oil and water is then separated either directly from the Bhapka through a hole at the bottom
or pouring the mixture in an open trough. After the oil and water have been separated as two
different layers, the water is removed for an opening in the bottom which goes back to the Deg.
The base material remains in the Bhapka. If the desired concentration of attar is achieved, then
the final attar is poured into leather bottles, known as Kuppi, made of buffalo or camel leather
for sedimentation and removal of moisture from the attar. If the desired concentration level is
not achieved in the attar, then the attar is poured sback to the Bhapka. The Bhapka is then
attached to the Deg and the above explained process is repeated till the desired attar
concentration is not achieved [7]
www.ijirssc.in
Page 76
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
www.ijirssc.in
Page 77
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
www.ijirssc.in
Page 78
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
V. Conclusion:
One product found in every household in Kannauj is „attar‟ (perfume/essential oil). Rows
of sparkling ornate bottles of perfumes, attars and essential oils adorn every second shop of the
town, be it a restaurant, general store, clothes or utensil shop. The legacy of manufacturing and
selling attar in Kannauj dates back to the Mughal period and more than 60% of local
population is engaged in the business. Attar manufacturers claim the present government could
have helped Kannauj in many more ways like giving them training and financial assistance and
helping them approach multinational companies for bulk deals, an exporter says “the industry
www.ijirssc.in
Page 79
ISSN: (P) 2395-4345, (O) 2455-2909
© IJIRSSC
needs latest research and testing laboratories to meet international standards and quality of
products.
State government should have focused on improving the R&D of attar industry.” The
exporters also demand that government should try to reduce excise duty on attars and essential
oils which is presently, very high at 17.5%.
Manufacturers are happy with the state government‟s decision to reduce VAT on attars
from 13.5% to 5% and making gulabjal and kevra tax-free. A manufacturer says “much of our
profit margins were dented by excessive tax.”
The stakeholders, however, also want the state government to lift ban on production of
sandal oil. In UP, cutting of sandal trees and trade of sandalwood was banned more than 20
years ago. This move didn‟t go down well with the attar manufacturers as about 80% of the
essential oils comprise sandal oil. Following the ban, around 15-odd sandal oil plants were shut
down. Some manufacturers diversified business, while others migrated to Mysore, Karnataka,
or Madhya Pradesh.
This exodus dealt a huge revenue loss and hit livelihood. Government should lift the ban
and revive closed manufacturing units. Manufacturers are purchasing sandalwood at a higher
rate from other states. “Earlier manufacturers could get 1 kg sandalwood for Rs. 65-70,000, but
now they get it at Rs. 1.25 to Rs. 1.45 lakh per kg.” Besides, ban on tobacco and gutkha
consumption has also hit their business.
Government should also promote the use and usage of the attar over the synthetic
perfumes and other similar products.
References :
[1]
United Nations Education, scientific in cultural organization (2003 ,October 17)
[2]
United Nations Education, scientific in cultural organization (2016 May 5)
a. What is Intangible cultural heritage.
b. Retrieval from www.unesco.org/cultural /ich/en/what-is-intangible-heritage.
[3]
United Nations Education, Scientific in Cultural Organization (2016 May 1)
a. Traditional Craftsmanship
b. Retrieve from www.unesco.org/culture/ich/en/traditional-craftsmanship-00057.
[4]
Stefane, Michelle L, Davis Peter and Corsane Gerane, Safeguarding Intangible Cultural
Heritage, 2012. Touching the Intangible: An Introcution, Boyell Press, New York.
[5]
History of perfume.
a. https://en.wikipedia.org/wiki/history-of-perfume (visit it on 2016 May 1)
Fragrance, Flowers & Attar
a. Kannauj.nic.in/attar.htm (visit it on 2016 May 10)
All the figures referred are original contribution of author taken in kannauj refineries.
[6]
[7]
www.ijirssc.in
Page 80

Traditional Method of Making Attar in Kannauj

Transcription

Similar documents

family matters summer 2016 - Heritage Family Credit Union

I`m helping to end MS by participating in the 2016 Jayman BUILT MS

Summer - Heritage South Credit Union

Xero House

enREDo International Design Network

The Board of Directors of Qatar Fuel (WOQOD) is pleased to invite

AMTLabrador Art and

5 `S` Training Program at ABV-IIITM, Gwalior on 21.07.2016

Heritage Committee Monday, November 16, 2015 7:00 p.m. Council