BRASSWARE

Gujarat has been the home of metal workers from as early as the Chalcolithic (Copper Stone) Age. It is well known that the Harappan man, whose remnants have been found in Abundance in Gujarat, had excelled in forging, hammering and casting of copper and bronze. Aryans too had, in all probability, known the use of a metal known as Ayas, which later on came to mean iron but had in that period perhaps denoted bronze or copper. Some of the most unique brass containers for storage of precious clothes, oranaments or even grain or water came from Kathis, the former rulers of Kathiwad. Each Kathi bride brought along with her dowry four brass utensils namely, Dablo, Kathrot, Karandio & Goli.
The practitioners of this craft are Kansaras who derived their names as they work on brass. They work in their name as they work on brass. They work in their own houses, generally in bands of five or six. The women help in burnishing the pots, working the lathe and all other processes that do not required heavy labour or specially found in Shihor, Kathiwad, Kadi and Visnagar.
The modern day and conventional uses of brassware made in Surendranagar Distirct at Wadhwan are traditional objects like Gagar, Ghada, Deghdu, Bhagona, Matli, Goli, Charodi, etc.

SINGLE IKAT

Ikat is a technique of resist dyeing either along the warp yarn or the weft yarn. Double Ikat uses this technique both along the wrap and the weft.
Single Ikat is a living craft and still finds commercial viability. Ikat may not have originated in Gujarat but the unique Patolas of Pathan are unparallel example of Double Ikat is now restricted to a lone surviving family of Pathan.
In district Surendranagar, Single Ikat is practiced widely and is also referred to as Single Patola. The Patolas are generally made of mulberry silk sourced from South India predominantly Bangalore. In Surendranagar the Ikat technique is practiced in the form of resist dyeing of the weft yarn. The single Ikat is practiced in various villages of muli, Limdi and Wadhwan talukas. About two hundred families are still practicing this art.
The Patola is a saree, generally associated with the wedding, it is also u sed as occasional wear for festivals. It has a unique color story and motif story and is still regarded as a traditional wear owing to its charm, elegance and simplicity. It is still a favourite among the ladies of Gujarat.

TANGALIA

Tangalia is a craft which is practiced only in Gujarat in the district of Surendranagar. The dangasia community is the sole producer of this craft. This community is limited to just this area.
Owing to the limited size of the loom Tangalia at its preliminary stage is made 20 by 2 feet in size, which is then cut into halves along the width and the two parts are stiched along the length. On Tangalia, while weaving motifs are with a particular technique which is called Dana work or Bead work. It is made of cotton fibers. Since this work started with Tangalia, it has become synonymous with Tangalia over a period of time.
Tangalia is a unique technique of lapping extra warp during the process of weaving. This is done in a very intricate manner so as to create unique motifs and patterns. Some of the motifs created are locally referred to as Ramraj, Charmalia, Dhusla, Gadia, Lobdi, etc.
The men of the Bharvads community have three blankets in their costumes. One tied around the head, second around the waist, and third thrown on the shoulder. Women wear petticoat and bodice open from behind, loose from the head.
Tangalia actually, is a sarong like garment worn by the Bharvad women on special occasions like weddings, or when they go to some relatives. The Ramraj Tangalia is a unique kind of motif story worn by Motabhai Bharvad community.

KHADI

Khadi primarily can be categorized as the process of fabric manufacture without any modern mechanization. Khadi gives us the spirit of independence. Khadi is not a craft but if a unique technique of is hand spinning and weaving that can be used for various applications . Khadi primarily produces a coarse Khaddar kinmd off fabric which appears to have a mélange type surface texture.
The versatility of the technique makes it applicable to various techniques finds major application in shawl weaving and ornamented fabrics, especially in the form that it practiced in district Surendranagar. Khadi weavers can be found in Wadhwan, Muli, Joravarnagar, Limbdi talukas. The conventional khadi weaving makes the survival of khadi difficult vis a vis mill/powerloom fabric, as khadi is associated with the use of coarser or semi coarser yarn.

STONE WARE

Stone Architecture in India probably doesnot need words for its articulation as it is renowned world over and has to its credit edifices, which are acknowledged to be wonders in the world. Stone architecture has not known any boundaries and the masterpieces could be seen across the entire nations.
Dharangadra in Surendranagar has been the home of Sompura architects who have passed on the tradition of Stone Carving, blending the art of carving with Vastushastra, Shilp Shastra and Temple architecture. These stone carvers or architects have for years passed on this tradition from father to son.
Sompura derive their name from Somnath temple, which has seen several instances of rebuilding and resurrection.
Further the practitioners of this trade have contemporaried to various modern day articles, which include exquisite stone furniture, idols, potsm pot stands, fountains, pillars. Dharangadra has a huge deposit of Sand Stone besides stone is also procurred from places in Rajasthan, and other reserves in Gujarat.
One can see the rich craftsmanship of these craftsman reflect through their products and many buildings in Dharangadra. NIFT Gandhinagar's cluster initiative aims at creating a holistic, sustainable and viable business model for these stone carvers by providing them the insight into design and linkages to markets