Gi Journal 77

GI Journal No.
77 1 November 30, 2015

GOVERNMENT OF INDIA
GEOGRAPHICAL INDICATIONS
JOURNAL NO.77
NOVEMBER 30, 2015 / AGRAHAYANA 09, SAKA 1936
GI Journal No. 77 2 November 30, 2015

INDEX
S. No. Particulars Page No.
1 Official Notices 4
2 New G.I Application Details 5
3 Public Notice 6
4 GI Applications
Guledgudd Khana - GI Application No.210 7
Udupi Sarees - GI Application No.224 16
Rajkot Patola - GI Application No.380 26
Kuthampally Dhoties & Set Mundu - GI Application No.402 37
Waghya Ghevada - GI Application No.476 47
Navapur Tur Dal - GI Application No.477 53
Vengurla Cashew - GI Application No.489 59
Lasalgaon Onion - GI Application No.491 68
Maddalam of Palakkad (Logo) - GI Application No.516 76
Brass Broidered Coconut Shell Craft of Kerala (Logo) - GI 81
Application No.517
Screw Pine Craft of Kerala (Logo) - GI Application No.518 89
6 General Information 94
7 Registration Process 96

OFFICIAL NOTICES
Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods
(Registration & Protection) Rules, 2002.
1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 77 of
the Geographical Indications Journal dated 30 th November 2015 / Agrahayana
09th , Saka 1936 has been made available to the public from 30th November 2015.

NEW G.I APPLICATION DETAILS
App.No. Geographical Indications Class Goods

530 Tulaipanji Rice 31 Agricultural
531 Gobindobhog Rice 31 Agricultural
532 Mysore Silk 24, 25 and 26 Handicraft
533 Banglar Rasogolla 30 Food Stuffs
534 Lamphun Brocade Thai Silk 24 Textiles

PUBLIC NOTICE
No.GIR/CG/JNL/2010 Dated 26th February, 2010
WHEREAS Rule 38(2) of Geographical Indications of Goods (Registration and

Protection) Rules, 2002 provides as follows:
“The Registrar may after notification in the Journal put the published
Geographical Indications Journal on the internet, website or any other electronic
media.”
Now therefore, with effect from 1st April, 2010, The Geographical Indications Journal
will be Published and hosted in the IPO official website www.ipindia.nic.in free of
charge. Accordingly, sale of Hard Copy and CD-ROM of GI Journal will be
discontinued with effect from 1st April, 2010.
Registrar of Geographical Indications

Advertised under Rule 41 (1) of Geographical Indications of Goods (Registration & Protection)
Rules, 2002 in the Geographical Indications Journal 77 dated 30th November 2015
G.I. APPLICATION NUMBER – 210

Application Date: 29-07-2010
Application is made by, Guledgudd Handloom Weavers Production& Marketing Co-

operative Society Limited, Ward No.5, Bhavanipet, Guledgudd, Taluk: Badami, District:
Bagalkot – 587 203, Karnataka, India Facilitated by the Commissioner for Textile
Development and Director of Handloom and Textiles, Government of Karnataka for
Registration in Part A of the Register of GULEDGUDD KHANA under Application No:
210 in respect of Textiles and Textiles Goods not included in other classes falling in Class –
24 is hereby advertised as accepted under Sub-section (1) of Section 13 of Geographical
Indications of Goods (Registration and Protection) Act, 1999.
A) Name of the Applicant : Guledgudd Handloom Weavers Production

& Marketing Co-operative Society Limited.
B) Address : Guledgudd Handloom Weavers Production

& Marketing Co-operative Society Limited,
Ward No.5, Bhavanipet, Guledgudd,
Taluk: Badami, District: Bagalkot – 587 203,
Karnataka, India
Facilitated by the Commissioner for Textile

Development and Director of Handloom and
Textiles, Government of Karnataka
C) Types of Goods : Class 24–Textiles and Textiles Goods

not included in other classes
D) Specification:
The blouses made out of Guledgudd Khana (or dyed fabric) compliments the Ilkal
Sarees as this combination is widely used not only in the northern part of Karnataka
but the Marathawada and Vidarbha regions of Maharashtra also. The Ilkal Sarees and
Guledgudd Khana in their best combinations are used extensively in Urban and Rural
parts of Karnataka and Maharashtra.
The unique designs produced by using dyed yarns represent the traditions followed by
people of some regions of Karnataka and Maharashtra states. The motives used for the
designs in Guledgudd cluster are extracted from nature, ancient stone sculptures of
Badami and from the Hindu Mythology. These designs are well accepted by the
people in this region and they have a strong belief in them. These Khana materials are
manufactured approximately for the last 200 years and till today they are so popular
that, except these traditional designs no ot her designs are accepted by the users of
Khana.
E) Name of the Geographical Indication:
GULEDGUDD KHANA

F) Description of the Goods:
The blouses made out of Guledgudd Khana (or dyed fabric) compliments the Ilkal
Sarees as this combination is widely used not only in the northern part of Karnataka
but the Marathawada and Vidarbha regions of Maharashtra also. The Ilkal Sarees and
Guledgudd Khana in their best combinations are used extensively in Urban and Rural
parts of Karnataka and Maharashtra.
The unique designs produced by using dyed yarns represent the traditions followed by
people of some regions of Karnataka and Maharashtra states. The motives used for the
designs in Guledgudd cluster are extracted from nature, ancient stone sculptures of
Badami and from the Hindu Mythology. These designs are well accepted by the
people in this region and they have a strong belief in them. These Khana materials are
manufactured approximately for the last 200 years and till today they are so popular
that, except these traditional designs no ot her designs are accepted by the users of
Khana.
G) Geographical area of Production and Map as shown in page no: 15
Guledgudd is a hobliin the Badamitaluk of the Bagalkot district of Karnataka state. A

hobli is a cl uster of villages and several hoblis together form a taluk. The Bagalkot
district is located in the northern part of Karnataka and borders Belgaum, Gadag,
Koppal, Raichur and Bijapur districts. This districts was formed by carving out the
Bijapur district in the year 1997. T his bifurcated Bagalkot district consists of six
taluks namely, Badami, Bagalkot, Bilgai, Hunugund, Jamakhandi and Mudhol.
Guledgudd is around 24km from Badami and when some emigrants came and settled
by the side of a hill, it began to be called as Guledgudd, meaning Emigrants Hill.
During the rule of Ibrahim Adilshah – II, a fort was erected here in 1580, by a Bijapur
Officer Singappa Naik Desai and later the place came under the Mughuls. On the site
of a dry lake, the present town was built in 1705. It fell into Tippu in 1787 and later
came under the Marathas. The Choli (Khana or Blouse) cloth manufacture at this
place is very famous and in great demand. The town comprises of large number of
weavers.
Badamitaluklies between 15º55’ North Latitudes and 75º40’ East Longitudes.
H) Proof of Origin (Historical records):
Historically, Badami was the capital of the Early Chalukyas, who ruled most of the
regions of the present Karnataka and Andhra Pradesh states between the 6th and 8th
centuries. It was founded in 540 A.D. by Pulakesi-I (535-566 AD), an early ruler of
the Chalukyas. His sons Krithivarman (567-598 AD) and his brother Mangalesha-I
(598-610 AD) constructed the cave temples in this region. The greatest among them
was many kings including Pallava King Mahendra Verman-I and extended the
kingdom.
The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th
centuries. The four cave temples represent the secular nature of the rulers then, with
tolerance and a religious following that inclines towards Hinduism, Buddhism and
Jainism. Cave 1 i s devoted to Shiva and Caves 2 a nd 3 a re dedicated to Vishnu,
whereas Cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved
images of the various incarnations of Hindu gods are strewn across the area, under

boulders and in the red sandstone. From an architectural and archaeological
perspective, they provide critical evidence of the early styles and stages of the
southern Indian architecture.
The Pallavas under the king Narasimhavarma (also called Mamalla Pallava) seizd it in
642 A.D. Vikramaditya I of Chalukyas drove back Pallavas in 654 A.D. and led a
successful attack on Kanchipuram, the capital of Pallavas. The Rashtrakutasabsorbed
the Karnataka including Badami around 757 A D and the town lost its importance.
Later the Chalukyas of Kalyani defeated them and were able to keep the region from
973 A.D. to 1189 A.D., when it was occupied by the Hoysalas.
Then it passed on to Vijayanagaraempire, The Adil Shahis, The Savanur Nawabs, The
Marathas, Hyder Ali. The Britishers made it part of the Bombay Presidency.
Many clusters of Karanataka are home to traditional designs and intricate weaving
methods. The most famous traditional sarees of Karnataka are the Molkalmuru Sarees
and Ilkal Sarees of Bagalkot.
There is no de finite historical evidence as to when the handloom weaving industry

started at Ilkal and Guledgudd. But according to the popular belief and circumstances,
it might have been started in the 8th century when the Chalukya Dynasty was in power
in this region. As per the 1881 c ensus, the population of Guledgudd was 10650, of
which there were 500 families of handloom weavers. The blouses made out of
Guledgudd Khana (or dyed fabric) compliments the Ilkal Sarees as this combination is
widely used not only in the northern part of Karnataka but the Marathawada and
Vidarbha regions of Maharashtra also. The Ilkal Sarees and Guledgudd Khana in their
best combinations are used extensively in Urban and Rural parts of Karnataka and
Maharashtra.
Like in the other parts of Karnataka, the weaving community of this region also
belongs to Devanga, Padmasali, Veerashaiva castes and Muslims. They are the
traditional weaving community in almost all parts of South India also. The God
fearing nature of this community could be seen in the weaving designs also. Most of
the designs of the Guledgudd Khana are replicates of the (i) Suryanarayana, the face
of the Sun God, (ii) Siddeswar Mukuta, the face of Siddeswar God, (iii) Theru, the
Chariot, (iv) Ane Hejje, the footsteps of elephant, (v) Tulsi Pan, the Tulsi leaf, (vi)
Sooji Mallige, a fragrance giving flower etc.
(I) Method of Production:
The production of traditional Khana fabric involves various processes. These

individual processes are carried out by big weavers who own large number of
handlooms. Some small weavers procure the warp directly from ‘preparatory houses’
and carry out weaving. In these houses, the preparatory activities such as yarn
winding, twisting, dyeing etc. are carried out and supplied to weavers in the form of
warp and weft. The ‘Khana’ merchants, who own the handlooms, hire small weavers
(on paying advance amount) and supply the necessary materials for weaving. The
weavers’ carries out the weaving of the fabric and hand it over to Khana merchant.
The weaver is paid on piece rate basis.
Besides, there are Handloom Co-operative Societies, who supply yarn to its member
weavers.

The activities in the production process of the Guledgudd Khana are (i) winding and
twisting of yarn including pirn winding, (ii) hank preparation, (iii) dyeing of yarn
(wherever necessary), (iv) Warping, (v) Gumming, (vi) Drawing and denting; and
(vii) weaving. The description of these activities are summarised below:
Raw Material:
The basic raw material of the cluster is Silk and Art Silk (Viscose) and Cotton yarn,
procured in the form of hank. While silk yarn is procured from the traders
Ramanagaram and Bangalore, the viscose yarn is procured mainly from Mumbai.
The Cotton yarn are sourced from the spinning mills of Tamil Nadu especially from
Coimbatore and surrounding places. The Cuprammonium is imported from Italy
through agencies. The dyes and accessories are mainly sourced from Mumbai and
Surat.
Silk Warp Preparation:
Raw silk is procured from silk traders in Ramanagaram and Bangalore. Raw silk in
the form of hank is wound onto double flanged bobbins, which in turn is taken to up-
twister machine for twisting. This twisted silk yarn is again converted into hank form
suitable for degumming and dyeing.
The twisted silk yarn (of required denier) in the form of double flanged bobbins is
taken to warping machine where a short length of warp is wound which is sufficient to
weave a few meters length of Khana.
Sizing:
Sizing is a process where starch and a gummy substance is coated on the warp yarns
for imparting strength; enhance abrasion resistance to withstand the stress and strains
exerted during the weaving process. This process is carried out in the open and known
as street sizing. In this cluster, the warp yarn from warping machine is then taken to
sizing process. The yarn is tied between wooden stand for straightening and removing
any entanglements in the yarns and making the yarns perfectly parallel to each other.
The sizing paste (starch and a gummy substance) is then applied to the yarns by using
a hand brush and dried in the sun light. Then the warp is taken on t o the handloom
(pit/frame) and used as warp material for weaving.
Some of the preparatory processes involved in the manufacture of Khana are

completely manual, tedious and laborious. In most of the time, these cumbersome
processes are carried out by the family members of the weavers themselves.
Dyeing of Cotton:
Colouring – creating a desired colour- on grey/bleached yarn with any kind of

pigment (colouring matter or dyes) is called dyeing. Dyes are classified into many
groups based on t heir method of application, chemical constitution, physical
properties etc. The dye which is predominantly used for dyeing the yarn meant for
Guledgudd Khana is Indigo dyes.
The dyeing of cotton carried out by the Guledgudd artisans of Khana manufacturing is
unique. This uniqueness is one of the reasons for the popularity of Guledgudd Khana
which cannot be imitated by anybody and anywhere else. The dyeing of cotton with

Indigo dyes is carried out in special earthen pots/copper vats which are buried in the
ground. This will enable the dyer to maintain the required temperature conditions. The
stability of temperature is also achieved by this method. The cotton yarn is also dyed
with other class of dyes with other class of dyes including sulphur and reactive
colours.
Dyeing of cotton and silk yarn is conventionally carried out in open copper vessels
using fire wood in open oven. This requires lots of fire wood and leads to wastage of
heat energy and time. Therefore, the dyers modified this conventional method and set
up a new type of oven in which fire wood is utilized economically and loss of heat
energy is reduced. The chimney fitted to this modified oven helps to avoid the smoke
and keep the working place smoke free area.
Dyeing of Silk:
Silk used in the manufacture of Guledgudd Khana is procured from Bangalore and
Ramnagaram areas are in the raw form. Then it is de-gummed in the dyeing house
using soap solution in boiling water. Silk is dyed using acid dyes in the hank form
using open bath method and dried in the sun light.
Prin Winding:
Winding is the process of transferring yarn from one type of package to another, i.e.
from hank to bobbin or prin. Prin winding is the process of transferring the yarns from
the hanks into small bobbin/prin to be put in the shuttle used in the weft while
weaving. The yarn in the form of prin is used in the weft while weaving. The weft
required for weaving of Khana is prepared manually by using wooden rods and pegs
and then wound by a hand driven device on a small bobbin (used as prin in weaving).
Aged women are usually involved in the process of prin winding.
Weaving:
The Process of interlacing the warp and the weft yarns to form the fabric is known as
weaving. The devices which are used for weaving Guledgudd Khana are handlooms
and power looms. The handlooms are either pit or frame looms. The power looms are
mainly plain looms with dobby attachments. The handlooms are made up of wood and
all the operations carried out in the weaving process are manual. Weaving of the
Khana material requires special skill and lot of patience. As small and intricate
designs are the specialities of these materials, it requires a d obby mechanism for
shedding which is made-up of wood. Simple mechanisms and devices are
incorporated in the loom using wooden sticks, ropes, levers twines etc. Many looms
working in Guledgudd are as old as hundreds of years. Most of the family members in
the family can operate the loom and weave the fabrics. Even children in their leisure
time assist their parents in the weaving activities.
Quality Checking & Packing:
The quality of the woven products are checked thoroughly and taken up for packing.
First it is folded properly and then packed according to the specification.

(J) Uniqueness:
The uniqueness of the Guledgudd Khana are described below:
The structure of the loom and the processes adopted for manufacture of handloom
products are subject to geographical variations and hence each cluster has its own
specialities and uniqueness. The unique designs produced by using dyed yarns
represent the traditions followed by people of some regions of Karnataka and
Maharashtra states. The motifs used for the designs are extracted from nature, ancient
stone sculptures of Badami and from the Hindu Mythology. These designs are well
accepted by the people in this region and they have a strong belief in them. These
Khana materials are being manufactured approximately fromlast 200 years and till
today they are so popular that, except these traditional designs no ot her designs are
accepted by the users of Khana. The uniqueness in the product, Guledgudd Khana,
and its production processes are listed below:
• Women in north Karanataka and some parts of Marathwada and Vidharbha

regions of Maharashtra use Guledgudd Khana fabric as blouse material in
combination with Ilkal sarees. The speciality of this material is its unique design
and the raw material. Most of the raw materials used are Silk and Cotton. Silk
being a natural fibre possesses special properties like high moisture absorption,
good lustre and comfort to wear. The extreme hot climatic conditions in these
regions made these people to wear Khana. Because of the high cost of Silk, the
Khana materials were also produced in combination with cotton as weft.
• Silk is regarded as symbol of purity, elegance and pride. Silk being hygroscopic in
nature readily absorbs moisture and gives cool feeling to the user. It is highly
praised for its comfort in hot and humid weather conditions in summer season.
Women can wear this material and work in outdoors in fields without any
difficulty or discomfort.
• The warp yarn from warping machine is taken to sizing process. This process is
carried out in the open and known as street sizing. The yarn is tied between
wooden stands for straightening and removing any entanglements in the yarns
making it perfectly parallel to each other. Sizing paste (Starch and a gummy
substance which is retrieved from a tree called “Jali”) is applied on to the yarns by
using a hand brush and dried in the sun light. Natural materials are used for sizing
the yarn.
• The dyeing method followed by the dyers is unique and quality of water used for
dyeing give the best results. The fastness properties of dyed materials are superior
which is also one of the specialities of Guledgudd Khana Material.
• Indigo dyeing: The dyeing of cotton carried out by the Guledgudd artisans for
Khana Manufacture is unique. This uniqueness is one of the reasons for the
popularity of Guledgudd Khana which cannot be imitated by anybody and
anywhere else. The dyeing of cotton with Indigo dyes is carried out in special
earthen pots/copper vats which are buried in the ground. This will enable the dyer
to maintain the required temperature conditions. The stability of temperature is
also achieved by this method. The cotton yarn is also dyed with other class of dyes
including sulphur and reactive colours.

• Dyeing of cotton and silk yarn is also conventionally carried out in open copper
vessels using fire wood on open oven. The quality of dyeing is special and the
reason is attributed to the weather conditions and quality of water they use for
dyeing purpose. Colour fastness of dyed cotton Khana materials is superior which
cannot be produced in any other place than Guledgudd.
• The geographical region falls in a downhill area and as a result its invigorative
climate is most helpful to carry on weaving smoothly. Weaving of this Khana
material requires a special skill and lots of patience. As small and intricate designs
are the specialities of these materials, it requires a dobby mechanism for shedding
which is made-up of wood. Simple mechanisms and devices are incorporated in
the loom using wooden sticks, ropes, levers twines etc. many looms working in
Guledgudd are as old as hundreds of years.
• Intricate Design motifs: The small design motifs produced in these khana fabrics
are the speciality of these fabrics. These designs are produced by using extra
threads and make the motifs appear bolder and enhance the attractiveness of the
fabrics. The design motifs are based on floral designs, traditions of the community
and replica of the religious deities. Examples are Tulsi Pan, Sooji Mallige,
Siddeshwara Mukuta, Suryanarayana, Chariot, lamp, jasmine, elephant footsteps
etc.
• Reversible: The small design motifs produced by using extra threads allow the
fabric to use both sides and hence they are reversible.
• The extra thread design motifs produced on open ground structure make the fabric
air permeable and breathable. Therefore these fabrics are cool and hence most
preferred for summer wear. Especially the fabrics made from hygroscopic fibres
like cotton and silk are extraordinarily cool. The Khana materials produced from
cotton are comfortable and less expensive. Though the durability of these
materials is less, they are very much suitable for hot and humid conditions of
summer and rainy season in these areas.
• Climatic condition: The climatic condition of Guledgudd region, which is

surrounded by hills is most conducive to produce such unique fabrics particularly
in cotton and silk.
• Cultural heritage: The art of weaving Khana fabrics is part of cultural heritage of
the region which is transformed from one generation to another as a traditional art.
• Cottage industry: It is observed that the production of Khana fabrics has been a
family activity involving all family members. The processes involving
preparatory, dyeing, weaving, packing etc. are carried out by men, women and
children in the family and earn their livelihood.
K) Inspection Body:
1. The Deputy Director, Handlooms and Textile Department, Zilla Panchayath,

Navangar, Bagalkot.
2. The Managing Director Cauvery Handlooms, Karnataka State Co-operative
Handloom Weavers Federation Ltd., No.49, Model House Street, Basavangaudi,
Bengaluru – 560004.

3. The Assistant Director, Handlooms and Textile Department, Zilla Panchayath,
Navanagar, Bagalkot.
4. The Secretary, Guledgudd Handloom Weavers Production & Marketing Co-
operative Society Limited, Ward No. 5, B havanipet, Guledgudd, Taluk Badami,
District Bagalkot – 587203.
5. The Secretary, Shri Sanganabasaveshwara Handloom Weavers Co-operative
Society Limited, Guledgudd, Taluk Badami, District Bagalkot – 587203.
6. The Secretary, Shri Mookeshwari Karimagga Reshme Khanagala Utpadak
Sahakari Sangh, Ni., Guledgudd, Taluk Badami, District Bagalkot – 587203.
7. The Secretary, Shri Saleshwar Kaimagga Nekarar Sahakari Sanga, Niyamit.,
Guledgudd, Taluk Badami, District Bagalkot – 587203.
8. The Secretary, Shri Shivashankara Handloom Weavers Co-operative Society
Limited, Ward No.5, Bhavanipet, Guledgudd, Taluk Badami, District Bagalkot –
587203.
9. The Secretary, Shri Mankandeshwara Handloom Weavers Co-operative Society
Limited, Guledgudd, Taluk Badami, District Bagalkot – 587203.
10. The Secretary, ShriShivappaiah Handloom Weavers Co-operative Society
Limited, Nagarkhanpet, Guledgudd, Taluk Badami, District Bagalkot – 587203.
L) Others:
The traditional Guledgudd Khana (fabric for Choli or Blouse) compliments the Ilkal
saris as this combination is widely used not only in the northern part of Karnataka but
the Marathawada and Vidarbha regions of Maharashtra also. While the aged ladies
wear the Ilkal Saris and Guledgudd Khana in their traditional Maharashtrian style, the
younger generation wears it in their modern fashionable style. As a result, Ilkal Saris
and Guledgudd Khana in their best combinations are used extensively in Urban and
Rural parts of Karanataka and Maharashtra. Be it a marriage or any other big or small
function or any other celebration or ceremony, the combination of Ilkal Saris and
Guledgudd Khana are being used widely as this combination has been the treasure of
beautiful, dignified, ultra-modern fashions of sixteen years old girls and that of sixty
year old traditional dressed housewives too.
Therefore, even during these utra-modern competitive designs and fashionable ladies
dresses flooding the markets, the demand for Ilkal saris and Guledgudd Khana is
getting expanded throughout the region. No lady feels her collection complete and
rich unless she adds at least one pair of Ilkal sari and Guledgudd Khana.


Application is made by Padupanambur Primary Weavers Services Co-operative Society

Limited, L. No. 800, Haleangadi, Taluk: Mangalore, District: Dakshina Kannada – 574 146,
Karnataka, India, Facilitated by the Commissioner for Textile Development and Director of
Handloom and Textiles, Government of Karnataka for Registration in Part A of the Register
of UDUPI SAREES under Application No: 224 in respect Clothing falling in Class – 25 is
hereby advertised as accepted under Sub-section (1) of Section 13 of Geographical
A) Name of the Applicant : Padupanambur Primary Weavers Services Co-

operative Society Limited,
B) Address : Padupanambur Primary Weavers Services Co-

operative Society Limited,
L. No. 800, Haleangadi, Taluk: Mangalore,
District: Dakshina Kannada – 574 146,
Karnataka, India
Facilitated by the Commissioner for Textile

Development and Director of Handloom and
Textiles, Government of Karnataka
C) Types of Goods : Class 25 – Clothing
D) Specification:
The hank yarn dyed (or coloured) and hand-woven Saree, known as Udupi Saree, is
the major traditional product manufactured in the Dakshina Kannada and Udupi
districts of Karnataka. These Sarees are produced either with check design in the body
with solid border or Plain Saree with Butta designs. The weavers in the
entrepreneurial sector, who were engaged in the production of the Udupi Sarees were
organised and brought under the co-operative fold of the handloom sector.
The major items manufactured in the handloom sector in the Dakshina Kannada and
Udupi districts vary from products made out of fine cotton yarn to coarser yarn.
Though the products like lungi, Bairas (Towel), etc. are produced in the cluster,
Udupi Sarees are the most famous hand-woven item produced here. The traditional
Udupi Sarees are woven with coloured cotton yarn (dyed yarn) of finer counts along
with coloured art-silk yarn and half fine zari.
UDUPI SAREES

with solid border or Plain Saree with Butta designs.
The major items manufactured in the handloom sector in the Dakshina Kannada and
Udupi districts vary from products made out of fine cotton yarn to coarser yarn.
Though the products like lungi, Bairas (Towel), etc. are produced in the cluster,
Udupi Sarees are the most famous hand-woven item produced here. The traditional
Udupi Sarees are woven with coloured cotton yarn (dyed yarn) of finer counts along
with coloured art-silk yarn and half fine zari.
The handloom weaving is a home based cottage industry in Udupi as well as in

Dakshina Kannada district of Karnataka. The co-operative movement initiated in the
erstwhile Madras State in the year 1912 as part of the National Movement for the
freedom of the country has its waves in the erstwhile Dakshina Kannada region of
Karnataka. This movement has organised the handloom weavers of this region into
the co-operative fold. As a result, many handloom co-operative societies were formed
much before the independence. Presently, there are eight handloom co-operative
societies working in Udupi and Dakshina Kannada districts. Handloom weavers are
located in all the taluks namely, Kundapura, Karkala and Udupi of the Udupi district
and Mangalore, Beltangadi and Buntwal taluks of Dakshina Kannada district. Of the
eight handloom co-operative society Limited, (i) Udupi Primary Weavers Service Co-
operative Society, Limited, Adiudupi, (ii) Shivalli Primary Weavers Service Co-
operative Society Limited, (iii) Brahmava Primary Weavers Service Co-op Society
Limited, Udupi and (iv) Basrur Primary Weavers Service Co-op Society Limited,
Basrur are located in Udupi district and the remaining four namely, (i) Mangalore
Primary Weavers Service Co-op Society Limited, Mangalore, (ii) Talipady Primary
Weavers Service Co-op Society Limited, Kinnigoli, (iii) Mijaru Primary Weavers
Service Co-op Society Limited, Shibrikere and (iv) Padupanambur Primary Weavers
Service Co-op Society Limited, Haleangadi are in Dakshina Kannada district. The
production of Udupi sarees is carried out in these societies. Apart from these societies,
Karnataka Handloom Development Corporation also produces the Udupi Sarees in
their production units at Mangalore and Udupi.
The geographical location of Dakshina Kannada district is between 12.84◦ North

Latitudes and 75.24◦ East Longitudes and the co-ordinates of Udupi district are 13.35◦
North latitudes and 74.75◦ East longitudes.
The communities or castes in Karnataka have diverse origins owing to various

migrations and later consolidation under a single identity. All weaver castes in
Karnataka have either Tamil or Telugu origins. The collective identity for weavers in
Dakshina Kannada and Udupi districts is Saliga or Padmashali. The main weavers’
castes of South India are Sale, Devanga and Kaikkolar. Among these the first two
castes are native to Kannada and Telugu speaking regions by inscriptional evidences
whereas Kaikkolar community is native of Tamil speaking region. It should be noted
here that the earliest mention of Kaikkolar as weavers comes in an 8th century Jain

lexicon, but weavers known as Kolika (a Prakit word for weavers; Sanskrit: Kaulika)
had their guilds during Satavahana period in Andhra region.
One comes across weavers named Jeda (Kannada: spider or weaver), Jadam Sedan
(Tamil) and Chetan (Malayalam) in various literature. A famous 12th Century Saivite
poet Jedara Dasimayya was a weaver, with caste identifier jeda attached in his name.
However, the official caste name of majority of Karnataka is Devanga though
colloquially they are still called jedaru in North Karnataka. That is, Saliga (or
Chaaliyan or Saali or Saale) is a w eavers’ caste found mostly in Southern coastal
Karnataka and Northern Kerala. This community is historically spread in the districts
of the present Kerala state.
Before migrating from Tamil Nadu to this region, these people were known as
Chettiyar. Due to the strong influence of the local community in Dakshina Kannada
and Udupi, the weavers used the surname of Shetti. But there is a possibility that, the
influential and strong Bunts didn’t like the usage of their surname by the outsiders,
and converted the surname of the weavers as Settigar.
The handloom weaving in the Tulu region dates back to the era of 19th century. The
region comprising the districts of Dakshina Kannada and Udupi of Karnataka and the
Kasaragod district of Kerala are called as Tulu Nadu, as Tulu is the major language in
the region. The present Udupi, which was part of the Dakshina Kannada district, was
bifurcated and formed a new district in 1997. T he handloom weaving in Dakshina
Kannada district dates back to the era of the 19th century. In the history, it is recorded
that the handloom weaving was introduced in 1844, on a commercial scale in the
district through the pioneering efforts of Rev. Metz, belonging to the Basel Mission,
in 1844. The German based Basel Mission, which started its ministry in Mangalore in
1834, later extended its services to other parts of the country. This mission brought
many industries in Mangalore and surrounding areas. Mr. Hallen, a trained weaving
specialist who succeeded him in 1851, i ntroduced the first handloom fitted with the
fly shuttle. During that period, not only the people belonging to Saliga, Jedar, Billava
and Bunt community but Muslims and Christians were also engaged in the weaving
activities. In those days, Saligas and Jedars in certain Villages in Mangalore taluka
used to weave on pi t-looms, but Christian, Muslim, Billava and Bunt weavers used
frame looms introduced by Basel Missionaries. These Missionaries has introduced the
frame looms in the Malabar region and hence it is called Malabar looms. Nowadays,
majority of the weavers belong to Saliga and Jedar community and also use frame
looms for producing dyed cotton sarees. These looms are fitted with fly-shuttles and
generally with dobbies for making designs on borders. The important centres of
handloom weaving are Basrur, Jeppu, Padil, Kankanady, Kulashekara, Konebady,
Surathkal, Panambur, Mulki, Kinnigoli, Mijar, Siddakatte, Haleangady,
Padypanambur, Buntwal, Panemangalore, Udupi, Brahmavara, Udyavara, Athrady,
Parkala, Adi Udupi, Basrur and Shiva.
I) Method of Production:
with solid border or Plain Saree with Butta designs. The weavers in the
entrepreneurial sector, who were engaged in the production of the Udupi Sarees were
organised and brought under the co-operative fold of the handloom sector. Hence,

presently the production of the Udupi Sarees is mainly centred on t he Co-operative
Handloom sector of these districts.
The activities in the production process are summarised below:
Raw Material:
The basic raw material of the product is cotton yarn, procured in the form of hank by
the co-operative societies directly from the yarn bank. At present, the yarn bank is
operated by the Padupanambur Primary Weavers Service Co-op. Society Limited,
Haleangadi, which is the franchisee of National Handloom Development Corporation
(NHDC). The cotton combed yarn of counts 80s, 60s etc and Art Silk yarn of 120
Denier (120D) are used for the manufacture of Udupi Sarees. The Art silk yarn is
mainly used for the weft. Apart from this, half – fine zari is also used to make buttas
and border designs of the saree. While the cotton yarn is sourced by the co-operative
societies from the yarn bank, Art Silk yarn is procured from Salem in Tamil Nadu and
the half – fine zari from Bangalore.
Washing & Scouring (Boiling):
The first activity in the production process is to boil the grey yarn, which is in the
hank form, in a solution of normal water, caustic soda and soda ash at an appropriate
temperature for at least 24 hours to remove the impurities except the natural colouring
matter. This will help to carry out the subsequent processes without any difficulty.
The same is again got washed in normal water and squeezed manually. Again the yarn
is boiled in normal water to remove the impurities before taking up for further
processes like bleaching and dyeing etc.
Bleaching:
The yarn is bleached in hot water mixed with bleaching powder for about 30 minutes
and dried before dyeing.
Dyeing:
Colouring – creating a desired colour- on grey/bleached yarn with any kind of

pigment (colouring matter of dyes) is called dyeing. Dyes are classified into many
groups based on t heir method of application, chemical constitution, physical
properties etc. Though Vat dyes are predominantly used for dyeing the yarn meant for
Udupi Sarees, marginally they use Napthol and Reactive dyes also. If light shades are
required, the yarn undergoes the process of bleaching, otherwise, for dark shades; it
will be dyed directly after the process of scouring and washing. To remove the
particles of the bleaching powder, the yarn is washed in water with diluted sulphuric
acid.
The first step in the dyeing process is the preparation of recipe or dye bath meant for
dyeing. Like any other dyeing, the medium for dyeing with Vat dyes is also water.
Caustic soda and Hydrosulphate are added at the required quantity to hot water along
with the Vat dyes and the dye bath is prepared. The dye bath preparation is the most
important step in the dyeing process. The Dyeing Master, who is well aware of the
dyestuffs which are available for matching combination shades, and their chemical,
physical and functional properties, decides the quantity of dyes/combination of dyes

required for a particular colour. After the dye bath is prepared, the yarn is put in the
dye bath for about 30 to 45 m inutes and rinsed properly for absorbing the dye
uniformly throughout the yarn. Once this process is over, the yarn is squeezed through
a squeezing machine (hydro-extractor) and then washed in ordinary water. This dyed
yarn is then dried in shade for two days. This will help for proper oxidation and
thereby more strength and original colour to the dyed yarn. This dyed yarn is made in
the form of bundles before taking up for the next process called winding.
Winding:
Winding is a process of transferring yarn from one type of package to another, i.e.
hank to bobbin or prin. The dyed yarn for the warp and the weft are separately taken
up for winding. For warp, the dyed yarn in the hank form (from bundles) is converted
into bobbins through manual process called bobbin winding. Once the winding is
over, the yarn in the bobbin form is taken up for further processes. On the other hand,
the yarn which is used in the weft does not require any further processing and hence it
is wound into a prin with the help of a small, hand-driven charkha and is called prin
winding. Prin winding is the process of transferring the yarns from the hanks into
small bobbin/ prin which is used in the shuttle while weaving. The yarn in the form of
prin is used in the weft while weaving.
Warping:
The warping is a process of making desired length and width of warp sheet by
combining many small packages of bobbins/ spools according to the desired patterns.
There are various types of warping by which yarns from a large number of warper’s
bobbins are collected together and made into a suitable form of package. The process
of warping used in Udupi and Dakshina Kannada districts is known as vertical
warping. Vertical warping process is carried on a wooden frame from a wooden peg
creel. A suitable frame called bobbin creel to hold the required number of bobbins in
such a way that the yarns from them can be drawn separately without touching each
other. The bobbins are put on the creel according to the pattern of the warp and the
required number of yarn is then drawn to the wooden drum. The yarn in the form of
warp is released from the wooden drum in the form of chain or loop; and then taken to
the next process called beaming. Unlike other saree weaving clusters, one of the
specialities of Udupi Saree weaving is the lengthy warp which can produce up to 36
sarees.
Beaming & Preparation of Loom:
The process of transferring warp sheet to a weavers beam to mount on loom is called
beaming. All these processes are carried out manually without using power.
The process of beaming is followed by looming, which finally prepares the loom
beam for weaving. Preparation of loom is broadly classified into two categories of
work, known as Drafting and Denting. Drafting is the process of passing the warp
yarn through the healds of the loom as per the design. This helps to keep the warp
yarn in parallel form over the width of the loom and in locating a broken yarn during
the process of weaving. In this case of denting, the warp yarn ends are passed through
the reeds. The warp threads are then joined with the old warp threads with a local
method of twisting by hands.

Sizing:
Sizing is a process where starch is coated on t he warp yarns for imparting strength;
enhance abrasion resistance to withstand the stress and strains exerted during the
weaving process. Sizing is required for cotton yarn for imparting strength by using the
sizing mixture with the help of a sizing brush. Unlike other clusters, in Udupi and
Dakshina Kannada the method of “loom sizing” is practiced. Here the sizing material
is applied directly to the yarn while the weaving is in progress. That is, the sizing
material is applied to that portion of the warp yarn which is about to pass through the
healds and reeds while weaving. Hence, the sizing is normally carried out in the
weaving shed itself. Natural materials such as rice and maize starch are the important
ingredients of the sizing material, which is boiled and diluted as per the climatic
conditions and requirement. A special brush is used to brush the yarn during the
process of sizing. The sizing reduces the yarn breakage and improves the quality and
efficiency of weaving. Moreover the on-loom sizing imparts additional stiffness and
shining finishes to the product.
Though the yarn is sized in which the individual threads are laying in a parallel
condition, the threads are not free from sticking to one another. To rectify this defect,
the cow fat (boiled and prepared as a paste) is applied to the sized yarn using the
brush to effect separation and softness to the threads.
Weaving:
The looms used for weaving Udupi Sarees are frame looms known as Malabar looms
are very strong looms with fly shuttles. These frame looms can weave heavy
furnishing material, bed sheet of greater warp (upto 100-110” width), towels, dress
material, striped check material, gauze cloth, and so on. M oreover, it is suitable for
sarees with plain solid border, with extra warp and cross border designs. The
Missionaries of the German Basel Mission, commenced its activities in India in 1834
at Mangalore, has introduced the frame looms in the Malabar region and hence the
name Malabar looms. The looms are equipped additionally with dobby and jacquard
according to the design of the sarees woven. The dobby is used to produce extra warp
design on the border of the saree. The Jacquard is used to weave designs with extra
warp or extra weft or both. The Jacquard lifts the required threads in the warp and the
Butta Designs are laced in the body of the Saree with extra weft by hand. The other
important technique widely used in the cluster is the Cut border technique for creating
solid border for the Saree.
First it is folded properly and then packed according to the specification.
J) Uniqueness:
Handloom creations are products of the artistic traditions of the area of production.
Different geographical areas are renowned for its characteristic fabrics, which are the
fruit of a long association between the weaver and the equipment and technique that
weaver employs. The structure of the loom and the processes adopted for manufacture
are subject to geographical variations and hence each cluster has its own specialities

and uniqueness. The uniqueness of the product, Udupi Sarees, and its production
processes are listed below:
• The Handloom industry in Udupi and Dakshina Kannada district has the unique
reputation of using the best quality combed cotton yarn of counts 80s and 60s and
Art Silk yarn of 120D for weft.
• The dye which is predominantly used for dyeing the yarn meant for Udupi Saree
is Vat dyes. The Vat dyes are preferred by the manufacturer of Udupi sarees over
all other groups of available dyes due to its excellent colour fastness property.
These dyes are the fastest dyes available for dyeing cellulosic fibres. The Udupi
Sarees are famous for its luster and colour fastness due to the best dyeing quality
and techniques.
• In almost all the cases, the yarn for pallav portion of the saree is dyed in dark
shade. The extra weft designs are woven with attractive colours to get more
attraction and enrichment of saree pallav by using one type of tie & dye method.
Tie and dye method is applied while preparing the warp. Firstly, entire warp of the
saree is dyed with one colour and the yarn for pallav with another colour
(matching to the body) is applied and the rest of the warp yarn is tied using rubber
tubes.
• Since natural materials such as fire wood and coconut shells are used for boiling
of yarn and preparation of dye bath etc., there is limited pollution of the
environment and hence more eco-friendly.
• Sizing is also done differently in Udupi and Dakshina Kannada districts from most
of the other handloom clusters. Sizing is a p rocess by which a n atural starch
solution is applied to warps to strengthen the yarn in order to protect it from
abrasion in the healds and reeds of the loom. In these districts, unlike other
handloom centres, the method of ‘loom sizing’ is practiced. Here the sizing
material is applied directly to the yarn while the weaving is in progress. That is,
the sizing material is applied to that portion of the warp yarn (say about 2 metres),
which is about to pass through the healds and reeds while weaving. Hence, the
sizing is normally carried out in the weaving shed itself. Natural materials such as
Rice or Maize form the important ingredients of the sizing material, which is
boiled and diluted as per the climatic conditions and requirement.
A special brush with bristles made from the parts of a typical palm tree is used to
brush the yarn during the process of sizing. The sizing reduces the yarn breakage and
improves the quality and efficiency of weaving. The on-loom sizing provides good
stiffness and shining finishes to the woven Saree. Though the yarn is sized in which
the individual threads are laying in a parallel condition, the threads are not free from
sticking to one another. To rectify this defect, the cow fat (boiled and prepared as a
paste) is applied to the sized yarn using the brush to effect separation and also for
softness to the threads.
Besides, the bristles of the brush used for sizing is also specially made from one type
of palm tree which prevents damage to the yarn.
A special brush with bristles made from the parts of a typical palm tree is used to
brush the yarn during the process of sizing. This prevents damage to the yarn while
sizing.

The looms used for weaving Udupi Sarees are frame looms known as Malabar looms.
The Malabar looms are very strong looms with fly shuttles. These frame looms can
weave heavy furnishing material, bed sheet of greater warp (upto 100-110” width),
towels, dress material, stripped check material, gauze cloth, and so on. Moreover, it is
suitable for sarees with plain border, with extra warp and cross border designs. The
Missionaries of the German Basel Mission has introduced the frame looms in the
Malabar region and hence it is called Malabar looms.
Rampant usage of modern or improved devices such as lattice dobby and jacquard for
making intricate designs using dyed yarn in the border, cross-border, pallav (or Pallu)
and also for buttasin the body is prevalent in this cluster. The looms are equipped
additionally with dobby and jacquard according to the design of the sarees woven.
The dobby is used to produce extra warp design on t he border of the saree. The
Jacquard is used to weave designs with warp or extra weft or both. The Jacquard lifts
the required threads in the warp and the Butta Design is laced in the body of the Saree
with extra weft by hand. Generally small and medium sized floral buta designs are
woven. The other important and unique techniques widely used in this cluster are Cut
Border technique for creating solid border for the Saree.
The uniqueness of the saree is its contrast colour in pallav and border portions as
compared to the colour of body portion.- i.e. one colour in pallav and border and
another colour in the body. In order to get this specification, the Cut border technique
is used. In this technique, three shuttles are used i.e. two shuttles for the borders and
pallav and one shuttle for body portion. The Cut Border technique is generally used
for the manufacture of check sarees. In cut border technique two/three shuttles are
used depending on the design on the body of the saree. In this technique the weft yarn
of the body and the saree is inserted across the body and the border. The border is
then woven with the help of the two shuttles kept for weaving the border. Again the
first shuttle is used to insert the weft yarn across the saree. This is achieved by using
the four pedals with the help of which the healds are changed. Further, single yarn is
used for weaving the body and double yarn is used to weave the border.
K) Inspection Body
1. Even the co-operative societies involved in the production and marketing of the
unique traditional products are also stipulating specific quality while placing
orders to the weavers on the basis of demand patterns in the market and
subsequently inspect the various stages of production and final product before
procurement. Besides this, the weaving master in the co-operative society has their
own quality control mechanism. During the process of production like winding &
warping, creation of butas, weaving, etc., the weaving master use to inspect the
different predetermined parameters and the quality before permitting
final/finishing stage of production.
Udupi.
Dakshina Kannada, Mangalore.
4. The Managing Director Cauvery Handlooms, Karnataka State Co-operative
Handloom Weavers Federation Ltd., No.49, Model House Street, Basavanagudi,
Bengaluru – 560004.
5. The Managing Director, Padupanambur Primary Weavers Service Co-operative
Society Limited, Haleangadi, Dakshina Kannada – 574146.

6. The Managing Director, Udupi Primary Weavers Service Co-operative Society
Limited, Sanskrit College Road, Udupi – 576101.
7. The Managing Director, Shivalli Primary Weavers Service Co-operative Society
Limited, Malpe Road, Adiudupi, Udupi – 576103.
8. The Managing Director, Brahmawara Primary Weavers Service Co-operative
Society Limited, Brahmawara, Udupi District – 576213.
9. The Managing Director, Basrur Primary Weavers Service Co-operative Society
Limited, Basrur, Kundapur Taluk, Udupi District – 576211.
10. The Managing Director, Talipady Primary Weavers Service Co-operative Society
Limited, Kinnigoli Dakshina Kannada District – 574150.
11. The Managing Director, Mangalore Primary Weavers Service Co-operative
Society Limited, Shibrikere, Mangalore Taluk, Dakshina Kannada District –
574164.
L) Others:
The Udupi Sarees are socio-culturally associated with the people of Karnataka
especially to the southern part of the coastal region due to its confluence with the
religious and other festivities of these regions.


Application is made by Rajkot District Weavers Association, Sarvoday Society, B/h. Virani
High School, Rajkot – 360 002, Gujarat, India for Registration in Part A of the Register of
RAJKOT PATOLA under Application No: 380 in respect of Textile and Textile goods not
included in other classes falling in Class – 24 is hereby advertised as accepted under Sub-
section (1) of Section 13 of Geographical Indications of Goods (Registration and Protection)
Act, 1999.
A) Name of the Applicant : Rajkot District Weavers Association
B) Address : Rajkot District Weavers Association,

Sarvoday Society, B/h. Virani High School,
Rajkot – 360 002, Gujarat, India
C) Types of Goods : Class 24– Textile and Textile goods not

included in other classes
D) Specification:
• RAJKOT PATOLA are pure silk Single ikat fabrics

• RAJKOT PATOLA are pre-industrial creations and have rare and unique texture
• Length of RAJKOT PATOLA is from 5 to 8 vards
• Weight of Rajkot PATOLA is from 460 to 520 grams
• RAJKOT PATOLA are totally hand created and no machine is used
• Approximately 20 -22 denier x 6 ply (total 160 to 176 filaments) special pure raw
silk is used
Length of the weft thread is as per the design unit (i.e)
Unit Length (Aprox)

30 1450 inch
40 1950 inch
48 2025 inch
52 2525 inch
60 2920 inch
72 3510 inch
Minimum 2 pieces of saree of same colour combination and design are prepared. Each
saree is a single piece with or without Blouse piece.
The following raw materials are used for manufacturing RAJKOT PATOLA:
Raw Silk: 20 - 22 denier pure raw silk derived from cocoons of silk worms from
Mulberry trees. Such raw silk is imported from China or Japan also procured from
Karnataka, India by the applicant Association.Pure jari is a Gold plated silver thread
wound over silk thread. Silver or copper jari is also used as per the design

requirements
Various motifs used in the sarees are made up of either silk or Jari
Specifications
For one silk saree the technical parameters will be as follows:

Length…………… 6 yards + 80cm Blouse
Width……………. 48”
Fibre used………. Pure silk
Weight…………… 500 to 550 grams
Denier……………. 28-32 warp 3 ply, weft 4 ply
Reed………………72
Pick………………..60
Vegetable Dyes
Eco-friendly dyes are made of turmeric powder, iron rust, pomegranare skin, Indigo,
kirmaj [cochineal], bojgar, and some Indian tree extracts are used to dye the yarn
Chemicals used as dyes and fixing agents
Tin Cloride, Alum, potassium dichromate, Copper Sulphate, Farrus Sulphate,

potassium pennanganate, potassium di-phosphate, naptholetc
RAJKOT PATOLA
Single Ikat woven sarees of Rajkot: Rajkot Patola
Designs of Single Ikat woven saree:
1. NariKunjarbhat: Dancing girl, elephant and parrot design; often other birds, trees
and human figures are added.
2. Chandabhat: Square design
3. Manekchok: Identical design in 4 c orners, in the middle one circle: Like Char
Rastha
4. Pan bhat: Leaf design representing sacred papal leaves

5. Daliyabhat:Dotted design (Bandhani type)
6. Chhabadibhat: Basket design
7. Chowkhadibhat : Diaper with double outline floral design
8. Navratnabhat: Nine dimonds in one motif
9. Rasbhat: RasGarbha design (Dancing pattern)
10. Ratanchokbhat: Cross or diamond design
11. VaghKunjarbhat: Tiger and Elephant design, alternating two animals
12. Phulvadibhat: Floral Design
13. Haathibhat : Elephant design
14. Galowalabhat: Plain body, border, paalu design
Geographical Location of Manufacturing of Rajkot Patola in Gujarat are:
Rajkot District
There are total 8 districts in Saurashtra region of Gujarat State. Among of them,
Rajkot district constituted from the central region of Saurashtra. It is located at
20.57 north latitude to 23.07 east latitude and between

70.20 east longitude to 71.40 north longitude.
On the north of the Saurashtra there is huge Rann of Kutchh, on t he east side
Bhavnagar & Surendranagar districts located, on the south of the Saurashtra Junagadh
& Amreli districts located and on the west of the region Jamnagar district is situated.
Surendranagar District
Surendranagar District of Gujarat is situated between
22°00' to 23°05' North altitude and

69°45' to 72°15' East longitudes.
The District has Ten Talukas including Vadhvan, Muli, Sayala, Limbadi, Chotila,
Chuda, Lakhtar, Dasada, Halwad and Dhrangadhra. Ahmedabad and Rajkot, two main
industrial and commercial centres of Gujarat and Saurashtra, are at equal distance
from Surendranagar.
Single Ikat woven Silk saree (Rajkot)
The term ikat stems from the Malay-Indonesian expression ‘mangikat’, meaning to
bind, knot or wind around. In principle, ikat or resist dyeing involves the bundled yarn
to a predetermined color scheme prior to weaving. The three basic forms being single
ikat, where either warp or weft threads are tied and dyed prior to weaving. While
numerous legends and oral traditions indicate the existence of the single ikat
technique in India in prehistoric times, the 6th century frescoes of the Ajanta Caves
provide the first visual records of it. Silk saree patterns were discovered in the 16th
and 17th century frescoes in the South Indian temples and palaces of
Padhmanabhpuram and Tiruchirapalli.

This single Ikat woven saree is about sixty year’s old art. The silk fabric made in
Rajkot (Saurashtra). They are ikat textiles but usually patterned only in the weft with a
monochrome red warp. With regard to motifs, colors, arrangement of patterns and size
are over marketed under this name as patola made in Gujarat. They come from the
workshop and weaving school of Karamchand Godhamdas in Rajkot in 1951. A s a
young man this member of the Kumbhar (Potters) caste worked in the workshop of
the Laherchand Salvi clan in Patan, acquiring enough knowledge there at least to
produce the fabrics patterned in the weft itself. With the support of All India
Handicrafts Board he has explained his workshop and modernized the weaving
process to such an extent as to be able to sell his goods for more cheaply than can the
patolu weavers of Patan.
He has founded a school in Rajkot where young people are taught Ikat weaving.
Besides as part of the movement for the revival of handicrafts, the Khadi and Village
Industries Commission (KVIC) financed Single Ikat weaving in Rajkot. Since then
the craft has come in to existence and grow in that region and spread to the adjacent
district of Surendranagar.
Rashtriya Shala, Rajkot
Rashtriyashala in Rajkot invited one of the Salvi Patola experts from Patan and held
aikat workshop in the campus providing training to weavers in that area. With time
these weavers developed their own style of Ikat using similar patterns but with a
different color palette and material range. Government is patronizing the low-cost
Patola weaving as it promotes employment for many handloom weavers in rural areas.
A number of welfare and sustenance projects are being run by the government to
popularize this patola weaving in Gujarat. Private traders also support this variant as it
has vast market of readily available customers from Indian middle class and lower
middle class who otherwise cannot afford a genuine Patola. With the huge cost
savings in production and a perceived liking due to affordability factor, the
Surendranagar and Rajkot Patola has became very popular in local markets of Gujarat
in the previous decade. This has brought in positive changes in the lives of the many
handloom weaver families who otherwise were not finding enough work.
Rajkot Patola Saree Exhibits in Vadodara Museum
Exhibit Display Identification

1 S.P.C 1083
2 S.P.C 1085
3 S.P.C 1086
Besides Rajkot Ikat sarees are mentioned in several publications as follows:

1. Ikat Textiles of India, Chelna Desai, Graphic Sha Publishing Co. Japan 1988,
pp30, 31,44,45,50,54
2. Craft of Gujarat, Vibrant Gujarat, Urban Summit, Government of Gujarat, 2007
3. Indian Ikat Textiles, Rosemary Grill, V&A Publications, 1998
4. Reviving an ancient weave, The Economic Times, Kolkatta, Saturday, November
6, 1993
5. Certificate on Handloom Patola Sarees, Rajkot, Expo 2010, N ational Vendor
Development Program cum – Industrial Exhibition, Success through partnership,

MSME – Development Institute, Ministry of MSME, Government of India,
Ahmedabad
6. Bubler, Alfred and Eberhard Fischer, The Patola of Gujarat, Vol 1 a nd Vol 2,
KREBS, AG, Basle, Switzerland 1979
Ikat or yarn resist dyeing involves sequence of tying and dyeing sections of bundled
yarn to a predetermined colour scheme or pattern, prior to weaving. Thus the dye
penetrates into the exposed sections, while the tied sections remain undyed. The
patterns achieved by this process on the yarn are then woven in to fabric. The
characteristic blurred or fuzzy-edged appearance of ikat textiles is caused primarily by
the dye, which has a tendency to “bleed” in to tied areas, due to capillary action along
the yarn. Within the three ikat categories, single ikat involves tying & dyeing of weft
threads.
Yarn Preparation:
Skeins of yarn are wound individually on hand reels and then piled together in groups
of 12 threads. This is followed by the process of degumming and bleaching. The yarn
is left to dry and then wound.
Wrapping and Dyeing:
Weft yarns are stretched on tying frames and marked. Designs are normally worked
out from memory or on graph paper. This is the most intricate part of the process
where mathematical precision is called for since the design artist has to clearly
visualize the pattern, he has in view and to locate the colour shades on t he yarns in
their proper places in perfect exactitude failing which the pattern will not emerge in
the final product.
The yarn for weft is arranged in different frames and grouped in to different sections.
The next manoeuvre of the designer is to mark the yarns with charcoal so as to
indicate the position of different shades of colour. The pattern artist thus holds the
highest rank among silk saree artisans though he does not do the actual weaving.
The marked yarn now go to the pattabandha or the tie expert who ties knots with
waxed strings the areas which are not to receive the first shade of dyeing. The process
of tying is to be continued after each dying until the darkest desired colour is
obtained. The dyeing job is performed by the weavers themselves beginning with
lighter shades and ending with the darkest. Evidently there is a close coordination
between the tie expert and the dyer.
Damp cotton yarn is used for tying process. In all wrappings are applied three times
and removed three times. The dying sequence usually practiced is as follows:
Red is first dyed followed by yellow or orange, followed by green or blue. Black is
obtained by over dyeing red and blue with iron fillings. A needle with wooden grip is
used for untying. After dyeing the yarn is thoroughly wrung and immersed in
developing solutions. Later it is washed in cold water and hung out to dry. All knots
are removed and different shades emerge at predetermined lengths of yarn.

(1) Weaving Preparatory:
a) Weft yarn:
Silk is produced from Bangalore in Hank form. It is opened through Charkha and
wound in cones or Bobbins. Hank is available in Kg.
The weft yarn is prepared on an instrument consisting of a beam in to which a wooden

peg and an iron rod are fixed. The position of this rod can be changed and also
wooden peg can be adjusted according to the width of the required cloth to be woven.
The weft yarn is then wound horizontally around wooden peg and the iron rod in such
a way that always after two windings one separate cord is inserted so that the
combinations of these threads form a set. The work is carried out continuously till the
number of sets necessary for one pattern is ready. The weft for one piece is prepared
at a time. All the bundles and subdivisions are carefully kept in order by placing cross
threads between them. The cords will then be removed and the weft yarn will be taken
to the winding frame.
To make koripati there is a horizontal wooden stand (Ada) in which six rounds of 24
stands which have been made from bobbin stands
This will be wound on a stand for making design and measurement will be as per the
loom width (including selvedge). Based on the pre prepared design graph tie-dye will
be made. The No. of tie-dye will vary depending upon design of the final product.
The yarn will be colored as per the design through tie-dye. After opening all the ties,
the colored/ designed hank will look like this.
The woven saree from the above weft patterned yarn will look like this:
Then the colored opened hank will be put on the wooden Charkha
Then 24 t hreads will be wound on firki (Wooden) in two parts (12-12). Again from
firki another firki will be made of 6-6 yarns, then the another firki will be made of 3-3
stands each. Then another firki will be made of 2-2 yarns and lastly on another firki 1-
1 yarns will be made and it will be wound on pirn to put in shuttle for inserting weft.
b) Warping:
3400-3500 ends (warp),

One saree Length= 6 yards+ Blouse piece 34”
1 warp for 4 sarees means 29 yards length.
Warp Stand:
The yarn will in Grey Hank (pure silk) form. This length of 29 yards will be divided
into 4 pieces (For making 4 sarees) and will be marked accordingly. Each saree length
of yarn will be dyed in different colors or all 4 sarees length yarn will be dyed in the
same color depending upon the color scheme.
Even the body portion of the saree Border and pallu can also be distinguished for the
colour pattern and will be colored accordingly. This warp yarn is dyed through tub-
dip method. Pallu and Border will be made full of zari (original zari is purchased from
Surat).

One silk saree costs Rs. 2500 t o 25000. For preparing 1 s ilk saree, it will take one
week for a team of five persons (Family members).
c) Sizing:
Starch is made up of Maida. For preparing 4 s arees 100 grams Maida is used. Two
gram oil (groundnut oil) is added in recipe. Maida will be boiled with groundnut oil
There will be 4 different vessels (tapela) for different colored sarees. If only single
colored sarees, there will be only one vessel- No. of vessels as per No. of color of a
saree. The warp yarn will be dipped in the sizing solution for 10 to 15 minutes. Then
it will be taken up out for drying to make it straight horizontally tied between the 2
wooden stands. The warp yarn will be dried in to 2 hours.
d) Beaming:
These sized warp yarn will be wound on a wooden beam, manually.
e) Weaving:
Then each warp yarn will be put on the nylon heald to weave one beam of 29 yards
length. Thus 4 s arees will be prepared in one month by a weaver. Two persons are
involved in the process of weaving. Around one meter of fabric is woven in a day
Motif:
The motifs of all Ikat textiles compared of sets of identically patterned threads, which
results into the block-like quality of the patterns so characteristic of these fabrics. This
quality increases as the number of threads per set grows larger and diminishes as the
number of threads per set decreases. But even if the smallest set size technically
possible- two threads were used. The formation of truly curved motif outlines could
not be achieved. This characteristics feature of Ikat patterns also reveals itself in
Patola in spite of the delicacy of the silk thread used for then in fact; the block-like
shapes are particularly marked in these fabrics because relatively large sets of at least
six but sometimes considerably more threads are standard.
The first small motifs are achieved by putting together the (rectangle) form elements.
We shall term these motifs form parts became although like the form elements. They
are above all parts of which large single motifs are constructed. There are various
ways in which element, can be put together into form parts, as a few examples will
demonstrate.
The simple lining up of rectangular or square elements yields stripes or bands (bara).
From a technical point or view there are two different kinds: for a forms part of this
type running warp ways the respective warp section can be wrapped continuously
during the applications of resists, whereas the same section of the weft is composed of
parts of various sets and thus also of the corresponding number of single wrapping
units. A band running weft ways is conversely, made up of a continuous section of
weft and a complementary warp made up of several parts. The same principle holds
true for all form parts. In this their simplest form, stripes, bars of bands are always the
same width in one direction as a set of identically patterned threads. But they can be
of any length.

For more varied form parts result from simultaneously putting together form elements
warp ways and weft ways. The simplest compositions of this kind are angles. But
even they can vary a great deal, either because of variation in the length of the sides or
by the arrangement in four (with equilateral sides) or eight different positions. All the
angles in this group as well as the three following groups of form parts are made up of
one-sided rows, i.e. nowhere are they wider than one set.
When the rowing up of the form elements in the second direction is not at one end of
the other part as in an angle, but between the ends of the other part, more possibilities
are offered. The lengths of the two components can be chosen at one’s discretion, and
the spot where the parts are to meet can be picked out, too. Further more, there are
then four different positions for all the forms if they are to be in mirror symmetry and
even positions if they are to be a symmetrical.
If a part, made up of at least three form elements in the same direction has additions
attached in two places, a u-shaped construction results, assuming that the additions are
made at both ends, but they can also be made at one end and between the two ends.
These possibilities hold true for three or more additions, too, and in this group there
are once again four possible positions for symmetrical construction and eight for a
symmetrical ones.
The forms of the next group are characterized by additions of set width made in two
opposite direction. The possibilities for variation and positioning are as numerous
here as in the preceding group. The crosses oft en found scattered over patola or then
as parts of larger patolu motifs constitute a special form, only those crosses whose
bars are not wider than one set of threads belonging to this group under the aspect of
mode of formation.
When equally large additions in the second direction are made over the whole length
of the part stretching in the first direction, squares of rectangles which are longer and
wider than the form elements result.
The only type of variation possible here is with respect to size and for rectangles there
is the additional possibility of positioning them transversely or longitudinally. Form
elements, bars or larger rectangles of the above mentioned kind on one side or in
several places. There can be one or more such “outgrowths”. Forms in mirror
symmetry once again have four possible positions and a symmetrical construction
eight. Crosses where bars are thicker than a thread set either in part or throughout
should be classified as a group of their own.
Equipments used for Manufacturing
1. Nail stand (to hold Bobbins) 24 Bobbins:

2. Koripati (Wooden) to make Warp, Hank in Grey form:
3. Stand for making design:
4. Charkha (Wooden):
5. Firki (Wooden):
6. Pirn winding machine (Rentiyo):
7. Shuttle:
8. Sizing stand:
9. Wooden beam:

10. Nylon Heald:
11. Handloom/Ghoda Shal:
12. Drawing-in with Nylon Healds:
13. A stand of drawing Zari (Warp Yarn) 40 Bobbins will be hung:
J) Uniqueness:
Uniqueness of Rajkot Patola is listed as below:
(i) Variety of designs: The single Ikat sarees of Rajkot known as Rajkot Patola
with plain coloured warp and pre designed weft through tie-dye are woven in
such a way that a beautiful design pattern emerges once it is finished. A large
number of unique designs of sarees are woven in this art. Around 20 design
patterns of saree with unique design with various colour combinations are
woven in this variety of sarees.
(ii) Combination of two ethnic art: Traditional designs are combined with ikat
designs. For example, Gharchola sarees are woven with ikat design in Rajkot
Patola saree
(iii) Cost Effective: The sarees are made up of either natural silk or synthetic yarn
and are sold in the market at much lesser price compared to Ikat sarees
manufactured elsewhere in India.
(iv) Motifs: The motifs of comprised of sets of identically patterned threads, which
results into the block-like quality of the patterns so characteristic of these
fabrics. This quality increases as the number of threads per set grows larger
and diminishes as the number of threads per set decreases. But even if the
smallest set size technically possible- two threads were used. The formation of
truly curved motif outlines could not be achieved. This characteristics feature
of Ikat patterns also reveals itself in Patola in spite of the delicacy of the silk
thread used for then in fact; the block-like shapes are particularly marked in
these fabrics because relatively large sets of at least six but some times
considerably more threads are standard.
(v) Ikat Saree with Jari: One of the uniqueness of the Rajkot Patola is the usage of
jari either in Pallu, Border or Body also in all the three in the saree. Also
Lagdipatta in both the borders of the saree.
(vi) Shades of Saree: Different shades are used in warp and weft and the resultant
effect will be third shade emerges in the saree after weaving.
(vii) Full Tissue Saree: Uniqueness of this type of saree is that the Warp is Jari and
weft with ikat designed silk yarn
(viii) Motifs generated with hand: Motifs in the saree are unique in Rajkot, they are
woven by adjusting the warp and weft with fingers without using Dobby or
Jacquard. Motifs are generated using only Jari and woven motif with silk.
(ix) Ikat Saree with Blouse: Rajkot Patola sarees are woven with Blouse

K) Inspection Body
The inspection and quality control are undertaken by the Expert Artisans at the first
instance who employ high standards of quality control. Subsequently the final product
is inspected by a committee consisting of President, Secretary and a member of the
Rajkot District Weavers Association to add another layer of Quality control and
Inspection. Apart from the above prevailing two-tier inspection system, the other
members of the association also act in an advisory capacity to the Expert Artisans.
An independent neutral testing body would be created at Rashtrya Shala, Rajkot to

facilitate production with applicable quality standards
L) Others
Environmental Concern (Treatment and Disposal of Chemical and effluent water)
• Production of Rajkot Patola sarees does not harm the environment. Rajkot patola
sarees are produced through 40 (forty) looms located across the Rajkot district but
are mainly located in various localities of the vast Rajkot city. The forty looms
produce 400 s arees in a month and in all a maximum of only 800 litres of
processed water is discharged across the entire district, that works out to be 15-20
liters of per loom per month.
• For weaving Rajkot Patola sarees, dyed warp is procured from manufacturing
units mainly from outside Gujarat and therefore only weft yarn is dyed and
chemically treated and hence the amount of effluent water is minimal for a given
production unit in a given locality
• A production unit – usually one or two handlooms weaving Rajkot Patola sarees is
located with in the dwelling unit of weavers and processed effluent water is much
less than the household drainage water discharged for a given point of time.
• As these 40 l ooms spread across the Rajkot district, the amount of effluent
generated that need to be processed before discharged is negligible.


Application is made by The Chairman, Kuthampully Handlom Cluster Charitable

Society Consortium, (Registration No. R – 70/2009), Weavers Common Facility Centre,
10/569, Anappara, Kaniyarkode P.O., Thriuvilwamala, District: Thrissur – 680 594, Kerala,
India, for Registration in Part A of the Register of Kuthumpally Dhoties & Set Mundu
under Application No: 402 in respect of Clothing falling in Class – 25 is hereby advertised as
accepted under Sub-section (1) of Section 13 of Geographical Indications of Goods
(Registration and Protection) Act, 1999.
A) Name of the Applicant : Kuthampully Handloom Cluster Charitable

Society Consortium.
B) Address : Kuthampully Handloom Cluster Charitable

Society Consortium,
(Registration No. R-70/2009),
` Weavers Common Facility Centre,
10/569, Anappara, Kaniyarkode P.O.,
Thiruvilwamala, District: Thrissur – 680 594,
Kerala, India
C) Types of Goods : Class 25 – Clothing
D) Specification:
The major items manufactured in Kuthampully cluster are Set Mundu (Mundum
Neriyathum or Mundu and Neriyathu or Pudava and Kavani), Double Dhoti (also
known as Double Veshti or Double Mundu), Grey Saree (Kuthampully Saree or Set
Saree) and Ladies Dress Material (Punjabi Dress or Salwar Kurta). These traditional
products are woven with kora white cotton yarn (grey or unbleached or non-dyed
yarn) of finer counts. The combination of Dhoti and Shirt is the traditional attire of the
adult male in Kerala. The traditional attire of the women folk is Grey Saree or Set
Mundu, which is a combination of Dhoti for covering the lower part of the body and
Neriyathu to warp around the upper portion of the body like a Dupatta. The Set
Mundu had been the traditional wedding dress of the Hindu brides in most part of the
state. Though most of the younger generation now prefers to adorn Ladies Dress
Material (of kora cloth) as the traditional wear, sizable women still prefer to wear
Grey Saree or Set Mundu on special occasions.
The other specially of the Kuthampully products is the Half fine zari and dyed yarns
used to create geometric, floral and nature- inspired patterns between the extra weft in
the cross border. The unique pattern of these set mundu lies in the weaving technique
where the above designs in the cross border are created by using hand-lacing with
jacquard design. Another cross border pattern is the use of half fine zari (golden
colour) strips intermittently cut the dark coloured brocade in the cross border.

E) Name of the Geographical Indication :
KUTHAMPULLY DHOTIES & SET MUNDU
F) Description of the Goods :
1. Double Dhoti or Double Mundu or Double Veshti or Kuthampully Dhoti

2. Set Mundu or Mundum Neriyathum (Mundu & Neriyathu)
3. Neriyathu or Kavani
G) Geographical area of Production and Map as shown in the page no: 46
The Kuthampully village, in the Tiruvilwamala Panchayath of the Thalapally Taluk of

Thrissur District, is bounded by the rivers ‘Bharatha Puzha’ and ‘Gayathri Puzha’ (or
Ponnani river), and situated nearly 5 kms from Tiruvilwamala, is well known for
kasavu handloom weaving of traditional attire of kerala.
Initially the products were originated from Kuthampully but with the increase in
demand or the products, more and more artisans from the adjacent areas are also
adopted weaving of traditional Kuthampully handloom products as their main
avocation. Presently, the prominent places of manufacture of Kuthampully Dhoties
and Set Mundu are spread over various villages of the Thalappally taluk of Thrissur
district and Chittur, Palakkad, Alathur and Ottappalam taluks of Palakkad district of
Kerala State.
The villages in the Thalapally taluk of Thrissur district include Kuthampully,

Eravathodi, Thriuvilwamala and Kondazhi. The geographical areas of production in
the Palakkad district include Kallanchira and Elappully of Palakkad taluk, Chittur-
Thathamangalam municipality, Devangapuram, Erattakulam, Manchira, Vallengi,
Nallepilly and Kollengode of Chittur taluk, Karimpuzha, Palappuram and
Karumanam Kurissi of Ottappalam taluk, and Pallan Chathannoor, Puthucode,
Pazhampalacode of Alathur taluk.
The origin of the Kuthampully hand-woven products trace back to the end of the 18th
century AD, as the product is closely associated with the Royal family of Kochi.
History says that the members of Devanga Chettiar, a community of traditional
weavers and has roots in the then Mysore state of the present Karnataka, were brought
by the Kochi Royal family to weave dress materials exclusively for the palace. It is

also believed that the Devanga Chettis from Mysore left their country on account of
Tipu Sultan’s persecution and settled in this out-of-the-way village about the end of
the eighteenth century.
Kuthampully is situated on t he banks of the river ‘Bharatha Puzha’ and ‘Gayathri

Puzha’ (or Ponnani river) in the Tiruvilwamala Panchayat of Talapally Taluk in the
Thrissur district. Traditionally the members of the Devanga Chettiar community are
skilled weavers of silk and cotton clothes. Since they are having good market in the
entire region of the present Kerala and some parts of Tamil Nadu. Over a period of
time, this place has earned goodwill for Dobby/Jacquard designs in fabrics and
Kasavu Sarees (zari sarees). Subsequently, many Kannda Devanga Chettiars are
settled down in many villages of the neighbouring Palakkad district also and started
the production of Kuthampully handloom products such as Dhoties, Set Mundu and
Sarees.
At present the Kuthampully Dhoties and Set Mundu are manufactured not only in
Kuthampully but also in many villages in the Palakkad district aslo. Thus the
production of Kuthampully Dhoties, Set Mundu and Sarees of cotton fabrics are
spread across the Thrissur and Palakkad districts. However, the main marketing
activities of these products are centred on Kuthampully area. Due to the economic
benefit derived out from the production and sale of cotton handloom clothes in
Kuthampully and other geographical areas of production today provide jobs to
thousands of families belonging to different castes and communities like Ezhava,
Thandan, Mudaliar, Muslims and others, mostly belonging to the weaker sections of
the society.
Due to the economic benefit derived out from the production and sale of cotton
handloom clothes in Kuthampully, the weaving activity was no longer confined to the
members of the Kannada Devanga Chettiar community alone. The handloom industry
in Kuthampully and other geographical areas of production today provide jobs to
thousands of families belonging to different castes and communities like Ezhava,
Thandan, Mudaliar, Muslims and others, mostly belonging to the weaker sections of
the society.
Contents from Annexure
The communities or castes in the present Kerala have diverse origins owing to various
migrations and the later consolidation under a single identity. All weaver castes in
Kerala have either Tamil/Telugu or Kannada origins. The Malayali collective identity
for weavers in Kerala is Chaliyan. This may show that majority of Malayali weavers
belong to Sale or Sali community of South India. The main weavers’ castes of South
India are Sale, Devanga and Kaikkolar. Among these, the first two castes are native to
Kannada and Telugu speaking regions by inscriptional evidences whereas Kaikkolar
community is native to Tamil speaking region. It should be noted here that the earliest
mention of Kaikkolar as weavers comes in an 8th century Jain lexicon, but weavers
known as Kolika (a Prakit word for weavers; Sanskrit: Kaulika) had their guilds
during Satavahana period in Andhra region.
One comes across weavers named Jeda (Kannada: spider or weaver), Jada, Sedan
(Tamil) and Chetan (Malayalam) in variour literature. A famous 12th century Saivite
poet Jedara Dasimayya was a weaver, with caste identifier jeda attached in his name.
However, the official caste name of majority of weavers in Karnataka is Devanga

though colloquially they are still called jedaru in North Karnataka. That is, Saliya (or
Chaaliyan or Saali or Saale) is a weavers’ caste found mostly in Northern Kerala and
Southern coastal Karnataka. This community is historically spread in the northern
districts of the present Kerala.
Thus the reputation of the Kuthampully handloom products acquired by the Kannada
Devanga Chettiar community has now been enjoyed by a large number of people
especially those belonging to economically and educationally backward sections.
The hand-woven Dhoties, Set Mundu and Sarees are the major products in the cluster.
The activities in the production process are summarised below:
Raw Material:
The basic raw material of the cluster is cotton yarn, procured in the form of hank or
cone by the co-operative societies/weavers/master weavers from the local yarn dealers
or through the yarn bank or from state level agencies like The Kerala State Handloom
Weavers Co-operative Society Ltd. (HANTEX) and Kerala State Handloom
Development Corporation (HANVEEV). Nowadays cotton yarn is procured in the
form of sized beam also. Besides cotton yarn, the cluster also uses golden or half-fine
zari.
Curing & Washing:
The first activity in the production process is to cure the yarn meant for the warp in
normal water and also with rice-soup to remove the impurities and cleaning. This will
help them to carry out the subsequent processes like winding, warping, sizing etc.
without any difficulty. The same is again got washed in normal water and dried in
sunlight before taking up f or further processes. In most of the cases, the weft yarn
does not undergo the process of curing.
Winding:
Winding is a process of transferring yarn from one type of package to another, i.e.
hank or cone to bobbin or prin. The yarn for the warp and for the weft is separately
taken up f or winding. The yarn is normally received by the weavers in the hank or
cone form. The yarn in the hank or cone form is converted into bobbins by the
winding process. In case of warp yarns, recently the manual process has been replaced
by a motorized machine. Once the winding is over, the yarn in the bobbin form is
taken up for further processes. On the other hand, the yarn which is used in the weft
does not require any further processing and hence it is wound into a prin with the help
of a small, hand-driven charkha and is called prin winding. Prin winding is the
process of transferring the yarns from the hanks into bobbin/prin to be used in the
shuttle as weft while weaving. The yarn in the form of prin or the zari, wherever is
required, is used in the weft while weaving. Since the warping and sizing activities are
not undertaken presently in this cluster, the weavers carry out only the prin winding of
cotton yarn and half-fine zari.

Warping:
The warping is a process of making the desired length and width of warp sheet by
combining many small packages called bobbins/spools. There are various types of
warping by which yarns from a large number of warper’s bobbins are collected
together and made into a suitable form of package. The process of warping used in
Kuthampully is known as vertical sectional warping. Vertical sectional warping
process is carried on a wooden drum from a wooden peg creel. A suitable frame
called bobbin creel to hold the required number of bobbins in such a way that the yarn
from them can be drawn separately without touching each other. The bobbins are put
on the creel and the required number of yarn is then drawn through a comb to the
wooden drum. The warped yarn is then taken to the next process called sizing.
Sizing:
Sizing is a process where starch (boiled Rice or Kanji) is coated on the warp yarns for
imparting strength; enhance abrasion resistance to withstand the stress and strains
exerted during weaving process. Though sizing is not carried out in Kuthampully
cluster, the traditional method of ‘street warping’ and ‘brush sizing’ is practiced for
the yarn meant for this cluster. Natural materials such as rice starch, coconut oil and
rice gruel form the important ingredients for sizing. Sizing is required for cotton yarn
for imparting strength by applying the residue after rice preparation called “Kanji” in
local language with the help of a sizing brush (brush with grass bristles). The sizing is
normally done in the streets earmarked for it. The process of sizing reduces the yarn
breakage and improves quality and efficiency of weaving.
Although the yarn is sized and dried in the sheet form, in which the individual threads
are lying in a parallel condition, the threads are not free from sticking to one another.
To rectify this defect, dividing rods, i.e. lease rods are used to effect separation of the
threads. A brush is used to brush the yarn during the process of sizing.
Warping and sizing activities are not undertaken in this cluster for the past 20 years
due to shortage of skilled manpower for this activity. Since there was no regular work
and also due to less income compared to other work, the new generation of the
weavers are not taken up the warping and sizing activities as their profession.
Nowadays cotton yarn of the required count is procured and supplied to the job
workers based at Ammapet in Salem and Negamam in Pollachi districts of Tamil
Nadu, who undertake the warping and sizing, where this activity is undertaken on a
larger scale and hence cost effective. It takes about one week to get back the yarn in
the warp form from the job workers after sizing and warping. Even, some of the
weavers’ procure the yarn in the form of sized beam also.
Beaming & preparation of Loom:
In Kuthampully and other manufacturing centres of the cluster, the yarn is received/
purchased in the form of ball warp by the weavers after the processes of warping and
sizing. Hence the weavers take up the pre-weaving activities such as beaming and
preparation of loom.
The process of transferring warp sheet to a weavers beam to mount on the loom is
called beaming. Preparation of the loom for weaving includes the processes of
drafting, denting and twisting-in the threads with the old warp threads. In almost all

the handloom clusters, the process of beaming is followed by looming, which finally
prepares the loom beam for weaving. But in Kuthampully, the sequence of these
processes is in the reverse order. Here, the loom is first prepared and then taken up for
beaming. Preparation of loom is broadly classified into two main categories of work,
known as Drafting and Denting. Hence, drafting, denting and the twisting-in the
threads with the old warp threads are carried out first. Drafting is the process of
passing the warp yarn through the healds of the loom as per the design. This helps to
keep the warp yarn in parallel form over the width of the loom and in locating a
broken yarn during the process of weaving. In the case of denting, the warp yarns are
passed through the reeds and the healds. The warp threads are then joined with the old
warp threads with a local method of twisting by hands. Once the twisting-in of the
warp threads are over, the entire set of healds and reeds alongwith the ball warp is
taken out in the street for beaming. All these activities are carried out manually
without using power or machinery.
Weaving:
Though Pit looms are the most widely used handlooms in Kuthampully and other
geographical regions for producing the traditional varieties, Frame looms are also in
use for some varieties. The pit looms are of two types; throw shuttle pit looms and fly
shuttle pit looms. Fly shuttle pit looms are mainly used for weaving traditional
products in this cluster. In order to save the space for installing the looms in the
weaving shed, the weavers normally put one loom in a pit and the other one, which is
opposite to that, in a raised platform. Due to this arrangement, the space for keeping
the warp beams meant for weaving would be common for both the looms and hence
saves a lot of space. The pit loom is of simple construction and there is no wooden
super structure to support its parts. The sley is of light construction. The healds for
these fly shuttle pit looms are prepared locally by Nylon wire, popularly known as
Bombay Type healds is most suitable for weaving finer count yarn. As fine cotton
yarn is used, the pirn is of smaller size and therefore there is no ne ed for wider
shedding. These healds allows only small shedding and hence prevents breakage of
yarn and also helps to prevent the yarn from loosing the effect of sizing. Since the
shedding is of smaller width, the pirn and also the shuttle used are of smaller size
compared to other handloom manufacturing centres. The pirn meant for the weft
insertion is normally kept in rice water (or rice soup) while the weaving in progress
and inserted into the weft one by one. The finest varieties of fabrics, known for their
beautiful designs and textures with half-fine zari are produced on fly shuttle pit looms.
As the name implies, the loom stands over a pit and the process of picking is done by
beating the shuttle across the shed by hand and beaten by suspended sley. The
traditional varieties are woven on fly shuttle pit looms in this cluster. The half-fine
zari used in the border as extra warp, it is tied by a dead weight system to keep the
yarn tight while weaving. Though Dobbies and Jacquards are widely used in this
cluster for big designs in the cross border (or pallav) or in the body of the fabric, small
designs are woven by the method of hand lacing. The Jacquard lifts the required
threads in the warp and the Butta Design is laced in the body/pallav of the fabric with
extra weft by hand.
First it is folded properly and then packed according to the specification. Women are
mostly employed for these activities.

J) Uniqueness:
The uniqueness of the Kuthampully Dhoties and Set Mundu are listed below:
• Kuthampully Handloom industry has the unique reputation of having the weaving
facility for manufacturing finer count cotton combed yarn of counts 80s and 72s.
The traditional handloom Dhoties and Set Mundu of Kuthampully are made out
of the finest cotton yarn of counts 80s and 72s (Super combed cotton yarn of
counts 80s and 72s). Very few clusters are using finer count cotton yarn in India.
• Usage of Hal-fine Zari in the border, cross-border or pallav of the traditional

products is rampant in this cluster. That is, Half-fine zari is used for extra warp,
extra weft and for motifs in the fabric. Traditionally the weavers in this cluster
used Pure Zari for border, cross-border and for buttas in the body. But due to the
exorbitant rise in the price of the pure zari, the weavers are now shifted towards
other kinds of zari, known as half- fine zari, powder guilt etc. Coloured yarn is
also used as an alternative to the zari in the border and cross border of the Dhoties
and Set Mundu.
• No bleaching or dyeing is involved in the process except for the dyed yarn used
in the weft for the border or cross-border. This coloured yarn is used as a
substitute for the half-fine zari. Otherwise, the yarn used is of natural coloured
grey cotton yarn. Thus the products are eco-friendly and cause no ha rm to the
body of the user.
• The types of looms, installed in the cluster are (i) Fly Shuttle pit looms; and (ii)
Frame looms. Even though all these looms are in use for the production of
handloom products of the cluster, the weavers use fly-shuttle pit-looms for the
production of exclusive traditional products with half-fine zari. In order to save
the space for installing the looms, the weavers normally put one loom in a pit and
the other one, which is opposite to that, in a raised platform. Due to this
arrangement, the space for keeping the warp beams meant for weaving would be
common for both the looms and hence saves a lot of space. The usage of dobby &
jacquard for intricate designs using half-fine zari, dyed yarn in border, cross-
border, pallav and buttas on the body of the fabric is rampant in this centre.
• Another specialty in the technology used in Kuthampully cluster is the “Healds”

used in the weaving looms which are made out of Nylon twine. These Healds are
locally known as Bombay type healds. This, according to the traditional weavers,
is most suitable for weaving finer count yarn. Besides, the shedding is of smaller
width and thus helps them to withstand the breakage of yarn and also helps to
retain the sizing effect of the yarn. The sley is of light construction. The shuttle
and the pirn used are peculiar and are small in nature as the shedding in the looms
is small. It is through these techniques of hand weaving and the particular nature
of the looms used by the traditional weavers that makes the products look very
fine and comfortable for use.
• In almost all the handloom clusters, the process of beaming is followed by

looming, which finally prepares the loom beam for weaving. But in Kuthampully,
the sequence of these processes is in the reverse order. Here, the loom is first

prepared and then taken for beaming. Preparation of loom is broadly classified
into two main categories of work, known as Drafting and Denting. Hence,
drafting, denting and the twisting-in the threads with the old warp threads are
carried out first. Once the twisting-in of the warp threads are over, the entire set
of healds and reeds alongwith the ball warp is taken out in the street for beaming.
Due to this, they are able to produce longer length warp beams. All these
activities are carried out manually without using power or machinery.
• The technique to weave with Half-fine Zari or dyed yarn in the border or cross-
border or pallav (extra warp or extra weft) is one of the specialties or skills
acquired by the weavers in this cluster. While weaving half-fine zari or dyed yarn
in the border of the fabric as extra warp, it is tied by a dead weight system
developed locally to keep the zari/yarn tight while weaving.
• Rampant usage of modern devices such as Dobby, Jacquard and Jala are common
in this cluster for making intricate designs using half-fine zari or dyed yarn in the
border, cross-border, pallav and also for buttas in the body. In case of small
designs, the Jacquard lifts the required threads in the warp and the Butta Design is
laced in the body of the fabric with extra weft by hand. This technique of laced
weaving is practiced at Kuthampully and its surrounding places.
• The technique to weave with half-fine Zari in the border or cross-border or pallav
(extra warp or extra weft) is one of the specialties or skills acquired by the
weavers in this cluster. While weaving zari in the cross border of the fabric, the
weavers create a r ib weave effect in it. Due to this weave, there is a s eries of
horizontal ribs (cross bar effect) in the cross border of the woven products.
• The other specialty of the Kuthampully products is the Half fine zari and dyed
yarns used to create geometric, floral and nature- inspired patterns between the
extra weft in the cross border. The unique pattern of these set mundu lies in the
weaving technique where the above designs in the cross border are created by
using hand-lacing with jacquard design. Another cross border pattern is the use of
half fine zari (golden colour) strips intermittently cut the dark coloured brocade in
the cross border.
K) Inspection Body:
1. The Department of Handlooms & Textiles, Government of Kerala,
2. Development Commissioner (Handlooms), Govt of India are supporting the

weavers in quality control of the products. (3) Besides the master weavers in the
entrepreneurial sector and weaving master in the co-operative societies have their own
quality control mechanism. During the process of production like winding, creation of
motifs, weaving, etc., these master weavers/ weaving masters use to inspect the
different predetermined parameters and the quality before permitting final/finishing
stage of production. However, providing the specification of the quality inspection of
the master artisans is difficult as it v aries from one master weaver to another. (4)
Textiles Committee, a statutory body under the Ministry of Textiles, Government of
India, known all over the country for quality inspection and testing of different
textiles and clothing products is also actively participating in educating the weavers
and other stakeholders about maintaining the quality and its importance, marketing

strategies, brand building of the product, and other development activities relating to
the stakeholders of Kuthampully Dhoties and Set Mundu.
Even the traders and exporters involved in the marketing of the unique traditional
products are also insisting specific quality while placing orders to the manufacturers
on the basis of demand patterns in the market and subsequently inspect the various
stages of production and final product before procurement. But in the present
scenario, it has been decided that the Textiles Committee, Government of India,
Mumbai having Regional offices at Kannur and Coimbatore along with the master
weavers and the Department of Handlooms, Government of Kerala will provide
inspection mechanism for maintaining quality of the product in the post-GI
registration scenario.
L) Others:
The Kuthampully Dhoties and Set Mundu are socio-culturally associated with the
people of Kerala especially to the Cochin and Malabar regions due to its confluence
with the religious and other festivities of these regions. From time immemorial, the
entire cloth requirement of the Cochin royal family is woven by weavers of this
production centre. Hence, the textile cluster of this area is as old as the history of the
Cochin dynasty in Kerala and bears generational legacy.


Application is made by Jai Tulajabhawani Shetakari Bachat Gat, At Post: Deur, Taluka:
Koregaon, District: Satara – 415 501, Maharashtra, India for Registration in Part A of the
Register of WAGHYA GHEVADA under Application No: 476 in respect of Ghevada falling
in Class – 31 is hereby advertised as accepted under Sub-section (1) of Section 13 of
Geographical Indications of Goods (Registration and Protection) Act, 1999.
A) Name of the Applicant : Jai Tulajabhawani Shetakari Bachat Gat
B) Address : Jai Tulajabhawani Shetakari Bachat Gat,

at Post: Deur, Taluk: Koregaon, District: Satara
– 415 501, Maharashtra, India
C) Types of Goods : Class 31 – Ghevada
D) Specification:
• Waghya Ghevada is very popular in Maharashtra as well as in North India.

• This variety is established in the market since 1970
• These 'Waghya' beans are very tasty.
• These beans are rich in proteins
• Color of beans: Faint pink having red lines on it.
• Cultivation period: 78-80 days.
• Pods per crop: 12-14.
WAGHYA GHEVADA
Waghya Ghevada is very popular in Maharashtra as well as in North India. Also the
‘Varun’ variety which is hybrid of this Waghya variety is getting popular now a days.
However, the Varun variety does not bear red strips hence it has less demand in Delhi
market. Therefore, preference of consumer is for Waghya variety and the variety is
established in the market since long. These 'Waghya' beans are very tasty. These
beans are rich in proteins. Color of beans is Faint pink having red lines on it. These
red lines resembles the tiger skin hence this variety is known ‘Waghya Ghevada’. The
total cultivation period is 78-80 days. 12-14 pods are obtained from one crop. It is

also famous as ‘Bamani Pik’ in this area. The Waghya Ghevada is a drought resistant
variety. It has good protein and carbohydrate contents. It is a potential agriculture
product and it has high nutritional value and calories.
 Area Under Cultivation
Total Area under cultivation of Waghya Ghevada is 12,733.85 hectare. Out of which
9,580.35 hectare area is from Koregaon taluka and 3153.50 he ctare area is from
Khatav Taluka. T otal number of villages under cultivation of Waghya Ghevada is
152 (i.e. 131 in Koregaon taluka and 21 in Khatav taluka. The Waghya Ghevada is the
cash crop in this area cultivated by 20,000 farmers approximately.
Satara: 17.68°N 73.98°E

Koregaon: 17.75°N 74.10°E
Khatav: 17.6545°N 74.3614°E
Satara disctrict has an average elevation of 742 meters (2434 feet). Its location can be
best described as 'Heart of the Western Maharashtra'. The height from mean sea level
of Koregaon is 2080 feet.
Waghya Ghevada is a traditional local variety of Western Maharashtra which is

mainly cultivated in north Koregaon taluka of Satara District. According to Mr.
Vishwanath Kashinath Mahajan (owner of Mahajan Sheti Farm), Waghya Ghevada
had been cultivated for the 1st time in North Koregaon in the year 1950. H e stated
that his father Late. Mr. Kashinath Mahajan bought its seeds from one of the traders
of Pune in 1950, a fterwards this bean got popularity as ‘Waghya Ghevada’ in this
area. Mahajan family descendants are a l iving testimony to the history of Waghya
Ghevda. Moreover, the Government of Maharashtra also described the huge
production of Ghevda in Satara region.
This famous cash crop is also known as “Koregaon Rajma” or “King Rajma” which
has great demand in North India.
This variety is sown in Kharif season particularly in dry land farming and in draught
prone area. Total harvesting period is 75 – 80 days.
Seed: Local seeds mainly selected from previous year’s stock of seed bins.
The seed requirement is 40-50 Kg/ha.
Method of Cultivation:
1. As a preparatory tillage, one deep plough in the month of May is done.
2. Then harrowing is done twice. Leveling of field is done in the month of May
before sowing.
3. After harrowing 10 - 12 cart-loads/ acre farm yard manure is spread over soil and
mixed well with one harrowing.

4. Sowing is done by seed drill in the month of mid-June. As Koregaon is under rain
shadow region, in the mid-June climate in the Koregaon becomes cool and cloudy
due to raining in the Mahabaleshwar. This particular climate is required for
Waghya Ghevada. During sowing, row to row distance is maintained 30 cm and
the seeds are sown at a depth of 5 to 7 cm.
5. Seedlings get germinated within 8-10 days.
6. The drizzling rain in this period is suitable for Waghya Ghevada
7. Inter cultural operation such as hoeing and weeding are done after three weeks to
control the weeds.
8. After 30 t o 45 da ys of sowing, flowering starts and color of flowers become
whitish pink.
9. 45 days after sowing, pods start growing.
10. Green pods mature in 70 days with 8-10 cm. in length.
11. The pods show grayish colored strips at maturity which is observed within 80
days. Also on maturity, beans turn yellow with red strips on it.
12. The harvesting is done only after maturity i.e. when the pods turn brown in
colour.
13. Harvested crop is dried for 2 to 3 days in the sun and threshed by machine. The
clean and good beans are preserved and stored in seed bins to use it in next year.
14. Dropping of leaves at the stage of harvesting improves the soil fertility and
productivity.
15. After threshing, Waghya Ghevada is packed in gunny bags and sent to the market.
J) Uniqueness:
Geographical Significance
 Soil
Soil in the Koregaon and Khatav talukas is medium black, well drained loamy soil.
Soil type is medium in texture. Its pH value ranges from 6.5 t o 8. T his soil type is
suitable for Waghya Ghevada. It has good fertility. The soil fertility mainly depends
upon various physicochemical and microbiological properties. Most of the soil region
of Koregan taluka shows the good soil quality index. The rhizospheric bacterial
diversity was observed in this area as well as chemical analysis of the soil samples
shows high fertility in terms of organic carbon and organic matter content of soil. It
has Nitrogen fixing ability also thereby improve soil fertility and productivity.
Physicochemical properties of soil
Following table shows soil analysis report of Koregaon Taluka.

Soil content of Koregaon Taluka
Observation
Report No.
Contents 13S20110154046 13S20110154045 13S20110154027
pH 7.8 7.8 7.8

Organic Carbon (%) 0.339 0.431 0.422
Potassium (Kg/ha) 725.76 295.68 739.20
 Rainfall
The rainfall in Koregaon and Khatav talukas is very less as they fall in the rain
shadow area and are perennially drought-prone. Average rainfall of Koregaon taluka
is 600 to 650 mm.
 Climate
Koregaon has dry and cool weather. The climate of Koregaon taluka becomes hot and
dry in Kharif season. Maximum height of Koregaon taluka from mean sea level is
4877ft. Koregaon is situated on the basalt plateau commonly known as “Deccan
Trap”. There are two rivers near Koregaon - Tilaganga and Vasana.
Uniqueness of Koregaon Waghya Ghevada:
• Taste of Waghya Ghevada beans is sweeter than other varieties of Rajma.

• It is a drought resistant variety.
• It is the potential agriculture product due to high nutritional value and calories.
Highly nutritional value due to its protein and carbohydrate content.
• Color of beans: Faint pink having red lines on it.
• Cultivation period: 78-80 days.
• Pods per crop: 12-14.
K) Inspection Body
Jai Tulajabhawani Shetakari Bachat Gat has constituted an Inspection structure to

oversee the standards and quality assurance system for inspection of every step of
production of Waghya Ghevda and statutory compliances thereof.
This Inspection Body consists of President / Vice-President / Secretary / Treasurer of

the Applicant Organization, Farmer Members, GI Experts, and Agriculture Experts.
The quality of Waghya Ghevda will be monitored by an Internal Watchdog

Mechanism in order to maintain the original physical and chemical characteristics as
per GI registration.
The system of internal watchdog mechanism will consist of following committee

members:
i. Representative of Producer group of Waghya Ghevda

ii. Three (3) Producers from the area
iii. GI Experts

This committee will also help to regulate the use of Geographical Indications for the
welfare of local producers’ community. The committee will frame the terms and
conditions to use brand name of Waghya Ghevda by any of the marketing agency.
The logo of Waghya Ghevda GI will be used to create brand image.
L) Others
Uses:
• Fresh beans from green pods of this variety are used in diet.
• High calories food, which increases body temperature in cold season. In cold
season it is a part of regular diet in northern regions of India like Haryana, Punjab,
Uttar Pradesh, Kashmir, Delhi, and Himachal Pradesh.
• It is a leguminous crop which helps in conditioning soil by fixing atmospheric
Nitrogen.
• Straws of this crop and cover of dry pods are used as feed for domestic animals.
• Dry leaves and roots are used as an organic matter. Thus, helps to improve soil
fertility.
• This crop is good for rotation.


Application is made by Baliraja Krushak Bachat Gat, Dhanrat, Taluk: Navapur, District:
Nandurbar – 425 418, Maharashtra, India for Registration in Part A of the Register of
NAVAPUR TUR DAL under Application No: 477 in respect of Tur Dal falling in Class – 31
is hereby advertised as accepted under Sub-section (1) of Section 13 of Geographical
A) Name of the Applicant : Baliraja Krushak Bachat Gat
B) Address : Baliraja Krushak Bachat Gat,

Dhanrat, Taluk: Navapur, District: Nandurbar –
425 418, Maharashtra, India
C) Types of Goods : Class 31 – Tur Dal
D) Specification:
‘Navapur Desi Tur / Redgram’ is local variety of pigeon pea which is white in color
and known as ‘Desi Tur’, ‘Gawran Tur / Pandhari Tur’, ‘Diwal Tur’, ‘Khokali’
locally.
‘Navapur Tur Dal / Redgram’ is especially famous for its unique taste and aroma
along with high nutritional contents.
This variety has a small grain size as compared to the other varieties of red gram
found in Maharashtra.
Cooking period of this local variety is less as compared to other varieties.
Traditional method of preparation of ‘Tur Dal’ which is a distinct method which

increases the aroma and taste of the ‘Tur Dal’.
NAVAPUR TUR DAL
 Navapur Tur Dal / Redgram’ is white in color. It is also known as white tur,
because it is white seeded local strain. Locally it is popular with various names
such as ‘Desi Tur’, ‘Gawran Tur / Pandhari Tur’ – because of local traditional

variety golden white in color, ‘Diwal Tur’- as it s tarts coming in market from
Diwali , ‘Khokali’ – indication of maturity of crop when pods creates sound due
to the wind flow.
 Farmers are in practice to cultivate this variety in intercropping method with crops
like rice (paddy), soya bean, hybrid sorghum (rarely).
 Farmers stick to use of preserved seeds from previous year’s cultivation.
 These seeds are preserved in a specially made compartment called ‘Kothi’ made
up of cow dung & sand which plays a role of natural air conditioner under the
ground level.
 ‘Navapur Tur Dal / Redgram’ can be recognized with its small grain size as
compared to the other varieties of Tur found in Maharashtra.
 The crop is rain fed as it is grown during kharif season, hence does not require
additional irrigation.
 This variety not only takes a lesser amount of time for cultivation i.e. around 90 to
120 days but the plant height is also a bit shorter than the other varieties of
pigeonpea/red gram in Maharashtra.
 Farmers follow their traditional method to prepare de-hulled split cotyledons from
seeds of red gram i.e. ‘Tur/redgram Dal’ which includes roasting of pigeon pea
seeds with ash on l arge pan on a n earthen stove. It gives a thorough heat
application to seeds and helps in de-hulling of outer soft & sticky covering of
seeds. Sometimes, these heated seeds are grinded in hand operated traditional
grinding stones called ‘Chakki’ or ‘Jata’ or quern. This process adds more aroma
to the ‘Navapur Tur Dal /red gram Dal’ and makes it tastier.
 Cooking time of de-hulled split cotyledons of ‘Navapur Tur Dal /Redgram’ seeds
is very fast in order to prepare ‘Dal’ (thick soup for eating with bread and rice)
after which this variety increases in volume also. This ‘Dal’ has a particular
fragrance which increases appetite.
 As stated above, ‘Navapur Tur Dal /Redgram’ is a white seeded variety and white
seeded varieties of pigeonpea/ red gram contain relatively less amount of anti-
nutritional factors such as polyphenols, phytolectins compared to red seeded
varities.
Geographical area of production:
‘Navapur Tur Dal’ or red gram is one of the main constituents of daily diet of people
from Navapur region along with rice. Hence, almost all farmers are in practice of
intercropping of ‘Navapur Tur Dal / red gram’ with rice, soyabean or groundnuts.
This indicates that all farmers cultivate ‘Navapur Tur Dal / red gram’ variety for
domestic consumption and if surplus production of this crop is there, then only
farmers take it to market for further trading.
There are around 160 villages recorded at Taluka Agricultural Office, Tal. Navapur,
occupying land of 4879 ha for cultivation of ‘Navapur Tur Dal / red gram’ variety.
Geographical Location:
Nandurbar district is located at 21.37⁰North and 74.25⁰ East.

Navapur taluka is located at 21.15⁰North and 73.80⁰ East.

‘Navapur Tur Dal / Redgram’ variety is being cultivated since a long period of time in
this region. From the primary findings of field visit, it is stated that local tribes are
migrated from the times of ‘King Maharana Pratap’ – King of Mewad province, when
the ‘Akkarani’ – sister of ‘Maharana Pratap’ was sent into this region for protective
measures along with a battalion of soldiers. Therefore, one of talukas from Nandurbar
district is termed as ‘Akrani’. And by the time, these soldiers settled in various parts
of hilly Navapur. These soldiers scattered and settled in different forms such as
‘Gaon’ – a small village; ‘Vasahat’- small colonies, ‘Pada’ – diminutive set of
abodes(mainly of tribals). People, who resided in ‘Gaon’ became ‘Gavit’, in ‘Vasahat’
became ‘Vasave’ and in ‘Pada’ became ‘Padave’. From that time, cultivation of this
variety of pigeonpea is considered as being a key component of daily diet of people
from this area.
‘Navapur Tur Dal /Redgram’ cultivation method follows stepwise activities as listed
below:
 By cleaning of all natural residues a f ull-size ploughing is done in the farm

generally from third week of May followed by two turns of cultivator.
 In accordance with the rain fall in between 15 June to 15 July, sowing is started
when tilth is achieved. Previous year’s preserved seeds are used for this purpose.
 With the help of seed drill, 3 lines of paddy or soyabeanin 30 x 30 cms scale are
sown along with ‘Navapur Tur Dal /Redgram’ at 120 cms.
 No fertilizers, pesticides are used for pigeonpea however for rice (paddy) some
amount of urea is applied.
 Sickling is done in the month of August. Some farmers plough the spaces between
pigeonpea lines for preventing the soil from evaporation or volatalization of
moisture. Moreover, soil support is also given to plants with this operation.
 When ‘Navapur Tur Dal /Redgram’ is matured, 3 to 4 seeds are seen in one pod,
and these pods create sound due to wind blow intimating farmers for harvesting.
 After harvesting, pigeonpea is kept in hand made rooms made using cow dung for
drying end.
 Once it is cured, shattering is done for cleaning and separating pigeonpea from
residues.
 To make split peas i.e. ‘Tur Dal’ from these pigeonpea seeds, farmers roast these
seeds along with ash on an iron pan with light flame. This helps in release of outer
soft, sticky covering of seeds and reducing moisture. Seeds do not get burnt out
being heated with ash which also gives a uniform and thorough heating to seeds.
 This unique method makes ‘Navapur Tur Dal /Red gram Dal’ more aromatic and
tasty.
J) Uniqueness
Soil:
The area surrounding Navapur taluka is enriched with black cotton soil which
enhances the growth of the crop being cultivated. Soil type is medium preferably
down stepped soil which does not hold water. Pigeonpea/ red gram plant is known to

provide several benefits to soil such as fixing atmospheric nitrogen, adding organic
matter and micro nutrients, and breaking hard plough pan with its long tap roots and,
thereby sometimes referred as ‘biological plough’. Naturally maintained cool
climate of Navapur surroundings tends to more degradation of organic carbon which
results into more nitrogen synthesis into soil hence helping the crop to sopping up
more amino acids. These amino acids are nothing but a form of proteins, which are
one of the main reason for special aroma to this ‘Navapur Tur Dal /red gram’ variety.
Climate:
Navapur taluka is surrounded by hilly area, it is situated at the the beginning of
Satpura Ranges. Annual average rainfall varies between 1200 m m and 1300 mm.
Average rainfall of last seven years is noted as 1261 m m. Rainfall is good and
satisfactory in Navapur region as compared to other regions in Nandurbar district.
Average annual temperature ranges between 270 C to 300 C. Hilly area and rainfall
helps to maintain natural coolness in the atmosphere. The good quality of ‘Navapur
Tur Dal /red gram’ leads in quality mainly due to its favorable climatic conditions.
Significance of Navapur Tur Dal/ Redgram in Navapur Taluka:

‘Navapur Taluka’ is well known for its unique variety of pigeonpea called as ‘Desi
Tur’ locally. Navapur is surrounded by hilly area and the habitat of scheduled tribes.
Being in a tribal area, rice and ‘Desi Tur’ /red gram are the main constituents of daily
diets of people.
Uniqueness:
1. ‘Navapur Tur Dal / Redgram’ is white in color. It is also known as white tur,
because of golden white color of seeds.
2. As stated above, ‘Navapur Tur Dal / Redgram’ is a w hite seeded v ariety and
white seeded varieties of pigeonpea/ red gram contain relatively less amount of
anti-nutritional factors such as polyphenols, phytolectins compared to red seeded
verities.
3. This variety has a small grain size as compared to the other varieties of red gram
found in Maharashtra.
4. This variety matures in 90 t o 95 da ys for cultivation. This is the shortest
cultivation period as compared to other varieties. Therefore, it completes its
lifecycle during monsoon period. Thus completes the life on n atural rainfall
during growth period.
5. Cooking period of this local variety is less as compared to other varieties.24
6. This crop belongs to leguminous family hence it increases soil fertility by fixing
atmospheric nitrogen, adds micronutrients and organic matter to soil, hence
important crop for rotation.
7. This variety is totally rainfed and natural, no external inputs are required such as
chemicals, fertilizers, pesticides, special irrigation. Hence, fewer expenses are to
be spent by farmers.
8. Traditional method of preparation of ‘Tur Dal’ which is a distinct method which
increases the aroma and taste of the ‘Tur Dal’.
K) Inspection Body
Baliraja Krushak Bachat Gat has constituted an Inspection Structure to oversee the
standards and quality assurance system for inspection of every step of production of
Navapur Tur Dal and statutory compliances thereof.

This Inspection Structure consists of President / Vice-President / Secretary / Treasurer
of the Applicant Organization, Farmer Members, GI Experts and Agriculture Experts.
welfare of local farming community. The committee will frame the terms and
conditions to use brand name of Navapur Tur Dal by any of the marketing agency.
The logo of Navapur Tur Dal GI will be used to create brand image.
L) Others
The plant of this variety is very useful in all dimensions such as food, feed, fuel and
household items. Food as in – Rich protein source and a main element in the daily diet
of people. Feed is to – its broken seeds, skin and pod w alls are fed to domestic
animals. The dry stems are used as domestic fuel, preparing compounds, walls, sheds
and thick sweepers.


Application is made by Kokan Kaju Samuh, Gopuri Aashram, Vagde, Tehsil: Kankavli
District: Sindhudurg – 416 602, Maharashtra, India for Registration in Part A of the Register
of VENGURLA CASHEW under Application No: 489 in respect of Cashew falling in Class
– 31 is hereby advertised as accepted under Sub-section (1) of Section 13 of Geographical
A) Name of the Applicant : Kokan Kaju Samuh
B) Address : Kokan Kaju Samuh,

Gopuri Aashram, Vagde, Tehsil: Kankavli
District: Sindhudurg – 416 602, Maharashtra,
India
C) Types of Goods : Class 31 – Cashew
D) Specification:
• Vengurla Cashew is traditional variety of cashew in Vengurla Tahsil of

Sindhudurg district.
• Vengurla Cashew variety V7 is especially famous for high juice content. In
variety V2 shelling percentage is 32 which lead to higher protection of kernel.
• Cashew is Cash Crop grown in Sindhudurg district mainly in Vengurla Tahsil.
• Cashew is known as ‘Wonder Nut’ as the seed is outside the cashew apple.
• Cashew crop is evergreen and needs very less maintenance.
VENGURLA CASHEW
In Vengurla, due to fantastic atmosphere, soil and climate for cashew crop, The
Regional Fruit Station was established in Vengurla in 1957. This research station has
developed and proved 7 varieties of cashew in Vengurla as V1 (Vengurla-1) to V7
(Vengurla-7). Following points are describing the Vengurla Cashew in particular.
Appearance: The shape of Kernel is kidney like.

Size: The size of Kernel increases from varieties V1 to V7 and is longest in V7.
Color: Creamish white.
The Kernel weight of V1 variety is 1.39gm which increases to 2.9gm in variety V7.
Taste: Sweet
Overall acceptability: Worldwide acceptance.
Vengurla Cashew apple has astringent taste and high content of vitamin C.
Vengurla tahsil is located 15.85 N orth latitude and 73.63 East longitude. It is
surrounded by a semicircular range of hills with lush green foliage mainly of cashew,
mango, coconut and different kinds of berry trees. The hills of Dabholi, Tulas and
Mochemad respectively lie in the north, the east and the south of Vengurla, while the
Arabian Sea is located on its west.
Cashew cultivation for the first time started in Ansur pal village in Vengurla Tehsil.
Cashew production is maximum in Math, Vetore, Bandh and Mochemad villages in
Vengurla. Due to the uniform environment all the eight tehsils have began good
production of cashew in with the variety Vengurla Cashew.
Tehsils Average Area under cashew Tehsil contribution

cultivation from 1990 to 2008 (in are in %
Hectare)
Deogad 1849.17 4.40 %
Dodamarg 1148.09 2.73 %
Kankavli 8569.91 20.36 %
Kudal 8081.94 19.20 %
Malvan 6070.52 14.42 %
Sawantwadi 10823.35 25.73 %
Vaibhavwadi 3754.81 8.93 %
Vengurla 1782.44 4.23 %
Total 42080.23 100 %
Table 1: Cashew Cultivation Area in Sindhudurg District (under Rojgar hami yojana from 1990-91 to
2007-2008).
Cashew nut (Anacardium occidentale L.) is the important crop from Anacardiaceae
family. Maximum cultivation of this crop is taken at the places in tropical countries in
coastal area. Native country of this crop is Brazil. The term “Cashew” has originated
from the Brazilian name ‘Acajaiba’ and the Tupi name ‘Acaju’ which the Portuguese
converted into ‘Caju’ and is commonly known as ‘Kaju’ in India. In 16th Century,
Portuguese brought this crop to India to restrict soil erosion.
The coastal states of India are the main cashew producers. India is one of the largest
producer of cashew nut in the world accounting 39.47% of world cashew production

in 2010. C ashew is important crop as it plays role to restrict soil erosion and also
develops balanced ecosystem.
Cashew was first introduced in Goa. From there, it slowly trickles down to the Kokan
coastline to Malabar and the rest of Kerala. Towards the last quarter of the 20th
century, it spread to other parts of India. Around 650,000 he ctares of land is under
cashew cultivation in India out of which 150,000 hectares is in Maharashtra.
Maharashtra is the leading cashew nut producer in India. It has an average of

111334.4 metric tonnes per annum production.
The Kokan area in Maharashtra comprises of Thane, Raigad, Ratnagiri and

Sindhudurg districts out of which Sindhudurg district takes the highest cultivation of
cashew crop because of the most suitable climate of quality cashew production.
Vengurla tehsil in Sindhudurg district highly cultivate cashew crop for its fruit cashew
apple as well as for its nut.
Because of perfectly suitable soil, climate, rainfall and other environmental factors
available in Vengurla tehsil, The Regional Fruit Station, Vengurla has been
established in 1957 which developed the Vengurla Cashew varieties, V1 to V7.
The history of Cashew processing units in Sindhudurg is almost a century old. The
first cashew-processing unit came up in 1920 in Vengurla and subsequently spread to
other areas of the district.
Planting:
For raising a new plantation in Vengurla, pits of l3 m are dig in summer at 7x7 or 8x8
distance. The pits are refilled to a depth of 30 cm with a top soil just before the onset
of monsoon. After first shower of rains, the remaining top of the pit is refilled with a
10 cm layer of dry leaves over which a layer of 8 cm soil is made. Planting of grafts is
done after receiving of 3-4 rains. Wooden stick is used to give support to the graft.
Manure and Fertilization:

Cashew responds, very well to manuring. The fertilizers should be applied within the
radius of 2 m of tree. The application of fertilizer may be done after complete
weeding and cleaning of basins of each tree to avoid the competition for nutrients
from weeds.
Irrigation:
Cashew is a hardy and rain fed crop. Its extensive root system is capable of absorbing
moisture from sub soil in Vengurla and similar places in Sindhudurg. The irrigations
are therefore, not required by this crop. However, it is advised to irrigate newly
planted grafts / s eedlings for the initial period of two years till th eir root system is
established well. The irrigation during flowering and fruiting period helps to reduce
the fruit drop.
Mulching:
Mulching in cashew plantation is helpful for Vengurla cashew growers in regulating
soil temperature and conserve soil moisture. It also prevents soil erosion and improves
soil fertility.

Harvesting:
Cashew planted by grails gives yield after 3-4 years after planting. Cultivation period
of cashew crop is depends on variety V1 to V7. Flowering commences in the month
of Dec - Jan on ne w shoots and fruits will be ready for harvest, after 50-55 days.
Harvesting and collection of nuts are done over a period of 10-12 weeks by Vengurla
cashew growers. Harvesting, commences, from February and continues up to May in
villages of Vengurla. The fruits are collected every day and the nuts are separated.
The nuts gathered are Sun dried for 2 - 3 days before storing.
Flowchart of Method of cultivation of Vengurla Cashew
Pit of l3 m is dig at 7x7 or 8x8 distance
Refilled to a depth of 30 cm with a top soil just before the onset of monsoon
First shower of rains
Pit is refilled with a 10 cm layer of dry leaves over which a layer of 8 cm soil is
made
Planting of grafts with support of wooden stick
Fertilizers should be applied within the radius of 2 m of tree
Irrigation during flowering and fruiting period
Mulching to regulate soil temperature and conserve soil moisture
Cashew yield after 3-4 years after planting
Harvesting, commences from Feb. and continues up to May
Fruits are collected every day and the nuts are separated.
The nuts gathered are Sun dried for 2 - 3 days before storing.
Growing process of cashew:

The cashew nut develops first and become fully grown but did not ripe completely.
Then after 30-40 days cashew apple develops completely. Full growth of cashew
apple results into ripening of cashew nut. At the end, cashew apple and cashew nut
fall together after both are completely ripe.

Yield:
The yield per tree is estimated at 13 to 24 kg of Vengurla varieties. However, the
maximum yield produced by Vengurla-1, Vengurla-2 and Vengurla-7 is 19kg, 24kg
and 18.5kg respectively.
Cashew nut storage:

As Vengurla cashews are produced for both cashew apple and cashew nut, Cashew
nuts should be dried 4-5 times in sunlight to remove moisture completely. After
cooling, nuts are packed in plastic bags and then plastic bags are kept in gunny. These
gunny sacks are stored in godown for further nut processing.
Storage precautions:
Storing place / godown should be at higher level from floor - for that 1feet heighted
wooden platforms are used to keep gunny. Exhaust should be there in the godown
(store house). Godown should be humid free, as cashew nuts become oily because of
higher humidity.
Cashew Nut Processing:
The procured Vengurla cashew is processed through a series of distinct steps in

various small scale cashew factories.
a) Steaming/Roasting:
Roasting is done to facilitate the removal of kernel from the shell. The raw nuts
are fed into boilers for 30mins at 1200C, which work on the principle of pressure
cookers. This process provides uniformity in drying, cooling is faster and the
product appearance is clean.
b) Cutting:
The heat applied to the nut makes the shell brittle, and allows the shells to be cut
by means of both, hand and leg operated cutters. Cutting is a skilled operation
done by women, and acquired through on-job training. On an average, about 12-
15 Kg of kernels are obtained (shelling percentage average of V1 to V7 is 29.9).
Then the wholes and pieces are separated. Cutters wear plastic bags around their
hands, cover their fingers with cotton or apply oil and ash to their hands to avoid
any direct contact with Cashew Nut Shell Liquid.
c) Drying:
To facilitate the removal of the outer skin attached to the kernel, drying is done in
an electric conventional oven, called “drier” for 8hours at 450C. The wholes and
splits are kept there to remove the moisture from the kernels. The capacity of drier
varies from 400-500 Kg. Then nuts are kept in moisturizer for 12 hours to avoid
breaking of nuts during polishing.
d) Polishing:
After moisturizing is done, testa(thin covering) become soft and can be removed
easily in pol ishing. This polishing requires 3-4 hours. Kernels ready after
polishing and require 30mins to 1 hour of drying for finishing cleaning process.

e) Peeling:
The peeling of the outer skin is a skilled operation, done manually by women
(with a small blade) if some pieces of testa present on few Kernels. The quantity
of skin obtained is 100 grams per kg of cashew kernel.
f) Grading:
Cashew can be classified in various types depending upon color, size, wholeness,
etc. Each factory displays the grading chart and the quantity of cashew kernels in
a Kg, so that graders, generally women, can verify their accuracy.
J) Uniqueness
Soil:
The soils of Kokan are broadly classified into five types as Laterite, Coarse shallow
soil, Medium black soil, Coastal saline & coastal alluvial soils and Reddish brown
soil. The soil formation in Sindhudurg is controlled mainly by climate. Most of the
soils are derived from Lateritic rocks. Laterites are soil types in Sindhudurg rich in
iron and aluminium, formed in hot and wet tropical areas. Nearly all laterites are
rusty-red because of iron oxides. They develop by intensive and long-lasting
weathering of the underlying parent rock. Laterite soils have high clay content, which
mean they have higher Cation Exchange Capacity and water-holding capacity than
sandy soils. However, if lateritic soils become degraded, a hard crust can form on the
surface, which hinders water infiltration and the emergence of seedlings.
The best soils for cashew are deep, friable well drained, similarly the soils in
Vengurla is light, well drained and fairly fertile. Coastal areas having humid and
warm climate are further best suited for cashew cultivation. Also, Sindhudurg’s
laterite soil gives fantastic taste to the cashew.
Rain fall:
Sindhudurg receives about 3500 m m annual rainfall. Cashew requires a minimum
rainfall of 600 m m and above and continued adequate soil moisture is, however,
necessary for the success of a cashew plantation. Vengurla witnesses rain for full four
months June, July, August and September.
Climate:
The temperature in Sindhudurg district hardly varies and ranges from 17.40C to
32.90C. As Vengurla being situated in coastal district, the climate is generally moist
and humid normally humidity ranges from 63 % to 88 %. Weather plays a decisive
role in Cashew nut production.
Uniqueness of Vengurla Cashew:
• High Juice content

There is 86% juice content in Vengurla cashew apple varieties V5 and V7 which
is almost 12% higher than average of other cashew varieties in India. Cashew
apple is a rich source of Vitamin C which is an essential nutrient. Cashew apple
gives 5 times more vitamin C than orange. Hence, the nutritional value of cashew
apple increases due to higher juice content. Also extraction of cashew apple juice
is highly and easily possible.

• Best Shelling
Vengurla variety V2 has the highest shell thickness about 32% which ultimately
gives the best protection to the Kernel. Due to thick covering Kernel is easily not
accessible to any damage caused due to environment or other factors. Also
keeping quality of kernel and cashew nut increases due to this and cashew nut can
be stored for longer period.
• Nut Yield
24Kg mean nut yield per tree is in Vengurla variety V2 which is highest among all
varieties in India. Maximum yield is beneficial as it gives good profit per tree.
• Less wrinkles
There are no or very few wrinkles on Vengurla Cashew as compared to Nandurbar
Cashew. Because of this Vengurla cashew has catchy appearance and hence
worldwide its demand is large.
K) Inspection Body
Kokan Kaju Samuh, Sindhudurg has constituted an Inspection structure to oversee the
standards and quality assurance system for inspection of every step of production of
Vengurla Cashew and statutory compliances thereof.

The quality of Vengurla Cashew will be monitored by an Internal Watchdog


members:
i) Representative of Producer group of Vengurla Cashew

ii) Three (3) farmers from the area under cultivation
iii) GI Experts
iv) Agriculture Expert.
conditions to use brand name of Vengurla Cashew by any of the marketing agency.
The logo of Vengurla Cashew GI will be used to create brand image.
L) Others
Uses of Vengurla Cashew
There are three parts of Cashew i.e. cashew nut, cashew apple and cashew nut shell.
All of these parts of Vengurla cashew are used in different ways.
• Cashew nut
The primary product of cashew nuts is the kernel, which is the edible portion of the
nut and is consumed directly by the consumers. Kernel is used in confectionery and

bakery products, for example, finely chopped kernels are used in the production of
sweets, ice creams, cakes and chocolates, both at home and industrially, and as paste
to spread on bread. Kaju Barfi is the famous product of Vengurla cashew. Kaju Barfi
is an Indian subcontinent dessert. Kaju literally means Cashew nuts and Barfi is a type
of Indian sweet, usually in the form of lozenge. Kaju Barfi having shelf life of 1
month and if vacuum packed then can remain as it is for 3 months. Another delicious
product made from Vengurla cashew is Kaju Modak. Cashew modak (a sweet) is very
much in demand during the festival of Lord Ganesh. Gopuri Ashram started to
produce cashew modak in 2002. Later on t wo more groups (both in Kudal, the
Sindhudurg Gramin Rojgar Vikas Samstha in Mangaon and the Omkar Youth Forum,
Kadaval) also started producing it. Locally manufactured modak contains good
quantity of cashew and no artificial colours are added. It is also attractively packed.
Furthermore, the spicy product from Vengurla cashew famous in Maharashtra and
especially in Kokan region is curry (Kaju curry). Unripe Kernel used in curry.
• Cashew apple:
The cashew apple or false fruit is an edible food rich in vitamin C. It can be dried,
canned as a p reserve, or eaten fresh from the tree. It can also be squeezed for fresh
juice. Cashew syrup is a famous product of Cashew apple in Vengurla. Syrup
increases appetite, improves digestion and has good long storage capacity up t o 1
year. Cashew apple squash, Cashew apple jam and Cashew apple chatuney are also
fantastic products prepared from Vengurla Cashew apple.
• Cashew nut Shell

Cashew shells of Vengurla Cashew are sold to CNSL (Cashew Nut Shell Liquid)
manufactures in Goa for Rs 2.5 – 3 a Kg. The outer layer peel (the testa, skin adhering
to cashew kernels) is sold at the rate of Rs 4 per kg to local agents, who in turn supply
it to leather and paint industries.

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Application is made by Baliraja Shetkari Gat, Kotamgaon Road, Lasalgaon, Taluka:

Niphad, District: Nashik – 422 306, Maharashtra, India for Registration in Part A of the
Register of LASALGAON ONION under Application No: 491 in respect of Onion falling in
Class – 31 is hereby advertised as accepted under Sub-section (1) of Section 13 of
Geographical Indications of Goods (Registration and Protection) Act, 1999.
A) Name of the Applicant : Baliraja Shetkari Gat
B) Address : Baliraja Shetkari Gat,

Kotamgaon Road, Lasalgaon, Taluka: Niphad,
District: Nashik – 422 306, Maharashtra, India
C) Types of Goods : Class 31 – Onion
D) Specification:
Lasalgaon onion:
Lasalgaon onion is light red in colour while other varieties are dark red in colour. Due
to its significant colour it has more demand in the market.
This variety is also known as Niphad red, Nashik red.
This variety is cultivated in Rabi season i.e. (Oct-Mar).
The lasalgaon onion has strong smell and having more pungent taste due to high
percentage of Sulphur in the Lasalgaon soil.
The size of onion bulb of lasalgaon Light red variety is bigger as compared to other
variety.
This variety has approximately 16-17 layers of outer dried intact scales. This number
of intact dried scales is more as compared to other varieties which leads to strong
protection to inner bulb of onion.
The Total Soluble Sugar Content is nearly 13°Brix
It also has Dry matter Content (17.67 to 17.27) % which is high. This high dry matter
content increases the shelf life of Lasalgaon Light red onion.
Due to high percentage of TSS and DMC, deterioration is less and the weight loss is
less.
The Storage life of this variety is near about 8-9 months which is very high as
compared to other varieties.

It contains Vitamin B2, Vitamin C and minerals Ca and Fe.
This variety is comparatively high yielding variety. The average yield from this
variety is 100 Q/Ha.
LASALGAON ONION
• Variety: Lasalgaon light red also known as Niphad red, Nashik red
• Cultivation period: - Rabi (Oct-Nov. to April-June).
• Duration : Oct -March
• Color: light red
• Taste: Strong pungent
• Aroma: Strong
• Bulb diameter : 4-6 cm (mean 5.48cm)
• Bulb length: 4-6 cm(mean 4.84 cm)
• Plant Height:40-50 cm
• Overall acceptability: Good
• Number of outer dried intact scales: 16-17
• TSS ( Total soluble sugars content ): 13°Brix
• Dry matter content (%): High (17.67 to 17.27)
• Shelf life of onion bulb: 8-9 months
• Level of deterioration – less
• Yield –High approximately 100 Q/ha
G) Geographical area of Production and Map as shown in page no: 74 & 75
Lasalgaon is situated in Niphad Taluka of Nashik district Maharashtra.
Geographical coordinate for Lasalgaon are:
Latitude : 20° 9' 0" North

Longitude: 74° 14' 0" East
Elevation: 5811 meters (1906 feet).
Lasalgaon is situated in Niphad Taluka, (Nashik, Maharashtra, India). Lasalgaon is

located at 20.15°N 74.23°E. It has an average elevation of 581 metres (1906 feet).The
area under cultivation in Lasalgaon is 600 -650 ha. In Lasalgaon 99% agricultural area

is used for cultivation of onion. More than 1000 farmers are involved in the onion
cultivation. Lasalgaon onion market annually handles about 2.5 lakhs tonnes of onion.
Lasalgaon has better market facility, more number of established traders, market
being very close to rail stations. These features accelerate onion marketing in this
area.
Lasalgaon is the biggest market for onions not only in India but also in Asian
continent. In Asian market, the rates for onion of are influenced by Lasalgaon onion
market rate.
Lasalgaon is situated in Niphad Taluka of Nashik district. Maharashtra is the biggest

producer of onions in India, contributing over one fourth of the total production of
onion. The onions from Lasalgaon Market are transported to many places in India and
exported to Singapore and Malaysia.
According to farmers from Lasalgaon, Lasalgaon light red onion variety has been
grown since many generations in this area. Lasalgaon has traditional method of onion
storage (chawl) and cultivation method practiced since last six decades.
The National Horticultural Research and Development Foundation (NHRDF) was

established by National Agricultural Co-operative Marketing Federation of India Ltd.
(NAFED) on 3r d November, 1977 unde r Societies Registration Act, 1860 at New
Delhi. During 1989, t he Head Office of NHRDF was shifted to Nasik. The aim of
establishment of NHRDF is to guide the farmers, exporters and others concerned for
improving the productivity and quality of horticultural crops in order to make
available sufficient quantity for domestic requirement and also to boost up export of
onion.
Generally the production of onion is taken in three seasons, i.e. Kharif (May-July to
Oct-Dec.) Late-Kharif (Aug-Sep. to Jan-Mar) and Rabi (Oct-Nov. to April-June).
The Lasalgaon Light red variety is grown in Rabi season which is October to March.
Best time for sowing of Lasalgaon Light red variety is October-November. The field
is ploughed to a fine tilth by 4 -5 times with a sufficient interval between two
ploughings. The ploughing is done by tractor ‘deshiplaugh’.
The field is then divided into beds and channels. It is good to have small sized beds
for proper irrigation and other farming activities. Seedlings are transplanted in flat
beds. Transplanting is done in November.
The spacing of 15 cm from line-to-line and 10 c m from plant to plant is ideal. For
getting quality bulbs, 1.5-2 cm sized bulblets are considered best for planting. Onion
is shallow-rooted crop. The water requirement of this crop at initial growth phase is
less. After 21 days irrigation is required.

Harvesting takes in 45-90 days from field setting for green onions and 65-150 days
for bulb depending upon variety / types. Onion for sale as dried bulbs or for storage
should be harvested after tops have started falling over.
The yield of Lasalgaon Light red onion is 100Q/Ha.
J) Uniqueness
Lasalgaon light red onion variety is popular due to its light red colour, pungent taste,
shelf life and its bigger size. Soil, Climate and rainfall at Lasalgaon plays vital role in
the production of best quality onion in this region.
Lasalgaon Onion is grown only in and around Lasalgaon region since many decades.
The climate and soil conditions of this region are highly suited for this Onion.
The black soil of Lasalgaon region has high alumina and carbonates of calcium and
magnesium with variable amounts of potash, low nitrogen and phosphorus. This soil
is moderately alkaline i.e. optimum range (6-8) which is helpful for good yield and
quality onion bulbs. The soil has high sulphur content because of which the taste of
onion becomes more pungent. As observed by the farmers, if Lasalgaon Onion is
grown in other parts of the State, the quality of onion is not similar to the onion grown
in and around Lasalgaon.
Lasalgaon Onion has got excellent export potential and is available for export
throughout the year owing to the Krushak (Krushi Utpadan Sanrakshan Kendra) the
technology demonstration plant set up by BARC (Bhabha Atomic Research Centre) at
Lasalgaon, for demonstration of low dose applications of radiation (prevents
sprouting) for preservation of agricultural commodities.
Soil:
Generally, onions can be grown on all types of soil provided the soils are deep friable
and highly fertile. Sandy loams to clay loam soils are best suited for onion cultivation.
For good yield and quality onion bulbs, the optimum soil pH range is required
between 6.5 to 7.5.
The black soil of Lasalgaon region contains high alumina and carbonates of calcium
and magnesium with variable amounts of potash, low nitrogen and phosphorus. The
degree of acidity or alkalinity of soil of Lasalgaon is found to be mildly, moderately
alkaline i.e. optimum range. The soil pH ranges from 6-8(alkaline).The soil has
electrical conductivity (EC) range as 0.092 to 0.93 values. ; indicate good quality soil
and having less soluble salt content. The soil has high sulphur content. Due to this
high content of sulphur the taste of onion become more pungent. Onions are very
sensitive to water logging.
Rainfall:
Nashik district has average rainfall 2600 and 3000 mm. There is wide variation in the
rainfall received at various blocks. Most of the rainfall is received at various blocks.
Most of the rainfall is received from June to September.

Temperature:
Temperature Range in Lasalgaon is near about 25-400.
Humidity:
The relative humidity ranges in this area is near about 43% to 62%.
The air is very humid during the south-west monsoon season. In the post-monsoon,
cold and summer seasons the air is dry. Thus weather and soil of Lasalgaon are
favourable for the production of good quality of Lasalgaon Light red variety of onion.
Uniqueness of Lasalgaon onion
• Lasalgaon onion is light red in colour while other varieties are dark red in colour.
Due to its significant colour it has more demand in the market. This variety is also
known as Niphad red, Nashik red, Lasalgaon light red.
• This variety is cultivated in Rabi season i.e. (Oct-Mar).
• The Lasalgaon onion has Strong smell and taste is more pungent due to high
percentage of Sulphur in the Lasalgaon soil.
• The Size of onion bulb of Lasalgaon Light red variety is bigger approximately
• Onion Bulb diameter: 4-6 cm
• Onion Bulb length: 4-6 cm.
• Due to this proper size the onion are easy for using (cutting) so there is less
wastage.
• This variety has approximately 16-17 layers of outer dried intact scales. This
number of intact dried scales is more as compared to other varieties. This leads to
increase the protection to inner bulb of onion.
• The Total Soluble Sugar Content is high approximately it is (17-18 °Brix )
• It also has high Dry matter Content (17.67 to 17.27%). This increases storage life
of Lasalgaon Light red onion. Due to high percentage of TSS and DMC,
deterioration is less and the weight loss is less.
• The Storage life of this variety is near about 8-9 months which is very high as
compared to other varieties.
• It contains Vitamin B2, Vitamin C and minerals, Ca and Fe.
• This variety has many medicinal properties.
• This variety is comparatively high yielding variety. The average yield from this
variety is 100 Q/Ha.
• Storage system6: Generally, the harvested onion bulbs are stored in locally
designed traditional structures all over the country, where 50 to 60 per cent losses
incurred due to improper aeration (Pandita, 1994). Sometimes the entire produce
is damaged so severely that it makes difficult to inhale in surrounding areas.
Resultantly, farmers have no opt ion to sale out their produces immediately after
harvest at marginal rate.
Traditionally Bamboo made Chawl is used for drying and storing harvested onion.
Now a days the improved storage structures for large scale commercial onion storage
have been built by NAFED at its Pimpalgaon and Lasalgaon complex in Nashik,
Maharashtra. These are multi-tier structure provided with bottom aeration. They are
constructed in raised platform avoiding direct contact with soil, sun or rain. The loss
in such structures is reduced to 27.7 % from 55.66% in ordinary conventional stores.

Comparison of Lasalgaon Light red onion with other varieties
Varieties Dark Red Light Red

Producing Area Other areas in Nashik, Lasalgaon
Chandwad
Cultivation period Kharif (May-July to Oct- Rabi (Oct-Nov. to March)
Nov.)
Color Dark Red Light Red
Taste Bit Sweet Strong Pungent
Storage 15 days 8-9 months
Yield 70-80Q/ha 100Q/ha
Moisture content High less
Outer dried intact Thin Thick1
scales
Plant Height 1 to 2 feet 1 feet to 1.5 feet
K) Inspection Body:
Baliraja Shetkari Gat, has constituted an Inspection Body has been duly constituted to
oversee the standards and quality assurance system for inspection of every step of
production of Lasalgaon Onion and statutory compliances thereof.

The quality of Lasalgaon Onion will be monitored by an Internal Watchdog

members:
i) Representative of Producer group of Lasalgaon Onion
ii) Three (3) farmers from the area under cultivation
iii) GI Experts
iv) Agriculture Expert.
conditions to use brand name of Lasalgaon Onion by any of the marketing agency.
The logo of Lasalgaon Onion GI will be used to create brand image.
L) Others:
Uses:
 Onion is one of the most important vegetable crops.
 Onion is used directly with daily meals. It is mixed in other vegetables and soups
as spice and flavouring agent.
 It is used both for cooking and as a condiment for flavouring
 It is used in making sauce, ketch-up and chutney.
 Dried onion chips and powder have great demand for export.
 It contains vitamin B and vitamin C and minerals Ca and Fe.
 It has medicinal properties and used against ear-ache, colicpain etc.

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Application is made by Development Commissioner (Handicrafts), Ministry of Textiles,

Government of India, Shastri Bhawan, 26 Haddows Road, Chennai – 600 006, India, for
Registration in Part A of the Register of MADDALAM OF PALAKKAD (LOGO) under
Application No: 516 in respect of Maddalam – Musical Instruments falling in Class – 15 is
hereby advertised as accepted under Sub-section (1) of Section 13 of Geographical
A) Name of the Applicant : Development Commissioner (Handicrafts),

Ministry of Textiles, Government of India
B) Address : Development Commissioner (Handicrafts),

Shastri Bhawan, 26 Haddows Road,
Chennai – 600 006, India
C) Types of Goods : Class 15 –Maddalam – Musical Instrument
D) Specification:
Maddalam is considered to be a divine instrument or "Deva Vadya" on account of its

inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to
13th Century. It is basically a percussion instrument used in Kerala as an
accompaniment to temple art forms like Kathakali, Krishna attam, Panchavadyam,
kelietc and one of the important instruments played in temple festivals in Kerala.
Cylindrical in shape maddalam till to day is chiseled out of a single piece of jack
wood. The hollow ends of this elongated chiseled out drum are tightly strapped with a
combination of cow and buffalo leather to create the required percussion impact. Cow
hide is used for the inner ring whereas for the outer ring buffalo hide is used. At the
centre of the right end is a permanent spot of black paste. This black spot helps the
drummer create special tones.
There are two varieties of maddalam - Suddhamaddalam and Toppimaddalam. The

former is tied around the waist of the drummer with a cloth while the latter is smaller
version suspended from the neck.
MADDALAM OF PALAKKAD (LOGO)

Maddalam dates back to 13th century is made in Palakkad district in Kerala

State.There are two varieties of maddalam- Suddha maddalam and Toppi maddalam.
The former is tied around the waist of the drummer with a cloth while the latter is a
smaller version suspended from the neck.
The raw materials used for manufacturing Maddalam are (i) Jack Wood and (ii)
Leather and adhesives.
Cylindrical in shape maddalam till to day is chiseled out of a single piece of jack
wood. The hollow ends of this elongated chiseled out drum are tightly strapped with a
combination of cow and buffalo leather to create the required percussion impact. Cow
hide is used for the inner ring whereas for the outer ring buffalo hide is used. At the
centre of the right end is a permanent spot of black paste. This black spot helps the
drummer create special tones.
The membrane in the hoop becomes strengthened with cow leather strips. The strips
are then stuck onto the membrane border, and it is pressed in its place. The heads are
pushed onto the drum and temporary fastening of the heads on the body is done. The
fastening brace is replaced by the permanent buffalo leather brace. After tightening of
the brace and tuning the Maddalam is ready. When finished the Maddalam is given a
hook in the middle so that it can be suspended horizontally from the waist of the
player.
Maddalam is made in Palakkad District (Latitude 12ºN to 10º N and Longitude 76º E
to 77º E) in Kerala State. Peruvembu in Palakkad district is the production centre not
only for Maddalam but also for other traditional musical instruments such as Tabla,
Chenda, Edakka and so on.
Panchavadyam is regarded as the one of the most sophisticated art forms in Kerala.
Panchavadyam, as ensemble of five percussion instruments, is traditionally associated
with temple festivals in Kerala. Panchavadyas (the five instruments) are the drums
timila, maddalam and edayakka, the cymbals ilathalam and the kombu horn.
Maddalam is considered to be a divine instrument or “Deva vadya” on account of its

inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to
13th century. The sound produced by Maddalam is considered to be Pranavam or the
sound of ‘Om’ or ‘Aum’. It is very similar to the mridangam. The maddalam is the
classical drum of South India and is used as an accompaniment for vocal, instrumental
and dance performances.
Maddalam begins in slow tempo in the Triputathala progressing to faster tempos and
culminating in a crescendo of rhythm.
During Kathakali, one of the highly stylized classical dance-drama performance

which is originated in Kerala Chenda, Maddalam and Edaykka are used as the
percussion- instruments. Maddalam is played with both hands. The instrumental-

music is functionally linked to the performance of the actors. Maddalam dominates
the scene when female characters act upon the stage.
Maddalam like any other percussion instrument used in Kerala is performed in temple
rituals and festivals or with temple theatres. Maddalam is an indispensable
accompaniment for the Kathakali, Krishna attam, Panchavadyam, keli etc.
Production Process:
The raw materials used for manufacturing Maddalam are (i) Jack Wood and (ii)
Leather and adhesives.
The instruments used for the production process are: (i) Valchuuli (bent chisel), (ii)
vattavayanuli (chisel with curved end), (iii) two irumbukotti (iron tools used for
hitting, used like a hammer), (iv) two kaiedatharanuli (special shaped chisels), (v)
Kodil (plier), (vi) Tiruli (pointed tool for making holes in leather), (vii) Tiruli
(without a sharp tip used for widening existing holes), (viii) Valkathi (used for
scarping surface of the leather), (ix) koluthu & kacha (hook & cloth tied around the
waist used for tightening the leather braces).
Wooden log is cut into the required size and chiseled out using hand tools. The edges
are smoothened using a file. The lathe machine is alternatively used to obtain the
required form of the maddalam. Appropriate leather is selected, which is first scraped
and then dried. The leather is then cut into circular form and also into strips which are
both used in making the madallam Firstly the leather thongs for tying the leather
hoops over the drum body are straightened. After which a circle cut of buffalo hide is
finely trimmed The inner face of a circular skin is cleaned by scraping it and the outer
surface is scraped to roughen its surface. Four holes are punched through the skins
with all the upper skins slightly shifted inward. After which slots are punched with
chisel. The composite of hide circles are fastened on the edge with four leather strips.
Marks are made for further slots with help of a template and the 34 slots are punched
for the hoop t o be interlaced through. Then a leather brace is threaded into the first
slot The plaiting work has thus begun, two further straps are. Inserted into the center
of the plait. The plait becomes tensioned after each threading. For pre-stretching, cow
skin is tied with a rope onto the drum and tied against the valayam at the other end.
The membrane in the hoop becomes strengthened with cow leather skips. The strips
are then stuck onto the membrane border, and it is pressed in its place. The heads are
pushed onto the drum and temporary fastening of the heads on the body is done. The
fastening brace is replaced by the permanent buffalo leather brace. After tightening of
the brace and tuning the maddalam is ready.
J) Uniqueness:
Maddalam considered tobe a divine instrument is a form of traditional /cultural

expression. It is an essential accompaniment of Panchavadya and is traditionally
associated with temple festivals in Kerala. Panchavadyas (the five instruments) are the
drums timila, maddalam and edaykka, the cymbals ilathalam and the kombu horn.
The hourglass-shaped drum timila and edaykka and the maddalam barrel drum
players improvise in turn. The huge brass cymbals ilatalam maintain the intricate

rhythm patterns, and the kombu C-shaped horn embellish and prolong the drum
strokes of the percussionists.
K) Inspection Body:
1. Regional Director (H) SR, Office of DC (Handicrafts), Chennai

2. Chairperson, Crafts Council of India, Chennai
3. A representative from Handicrafts NGO.
4. A representative from NID
5. A non-official Member associated with art and craft
L) Others:
The product is an important sound element in the traditional dance forms of Kerala.
Therefore it has tremendous importance in the traditional context of the State. The
product is bought by people involved and interested in the traditional dance forms like
Kathakali, Mohniattam etc. Maddalam has been bought and sold locally. There is a
good possibility of selling through Kerala handicrafts shops giving tags of the
manufacturer, so that the customer can contact the craftsmen directly for repair of the
instrument. A single maddalam takes one month to be made. During the rainy seasons
the craftsmen don't practice the craft due to the non-availability of dry wood. The
product is sold at Rs. 9000 b y the craftsmen which includes their one month labour
charges.



Government of India, Shastri Bhawan, 26 Haddows Road, Chennai – 600 006, Tamil Nadu,
India, for Registration in Part A of the Register of SCREW PINE CRAFT OF KERALA
(LOGO) under Application No: 518 in respect of Mat, Door Mats, Wall hangings, Bed Mats,
Prayer Mats falling in Class – 27 is hereby advertised as accepted under Sub-section (1) of
Section 13 of Geographical Indications of Goods (Registration and Protection) Act, 1999.


ShastriBhawan, 26 Haddows Road,
Chennai – 600 006, Tamil Nadu, India
C) Types of Goods : Class 27 –Mat, Door Mats, Wall hangings,

Bed Mats, Prayer Mats
D) Specification:
Screw pine weaving of mats is one of the oldest crafts practiced by the women folk in
Kerala.In and around Kodungallur, screw pine plants grow wild on t he banks of
rivers, canals, ponds and backwaters. They are used for fencing the fields. The root
structure of this plant is known for the prevention of soil erosion. The leaves are
sword shaped, with thorns on both edges and along the midrib of the leaves.
This craft is practiced by the women in their homes in Kerala for more than 800 years
ago. Screw-pine mats have played a significant role in the traditional customs of
Kerala. Traditionally mats were offered as seats to visitors. The visitors were offered
to sit on s crew-pine mat called Thadukku, Methapaya or Kachipaya. The traditional
weaving community belongs to Kurava, which fall into categories namely, Kunta,
Kuravan, Purn, Kakka and Pandi. Nowadays the screw-pine craft is practiced by all
communities of Hindu, Muslim and Christian, Scheduled Caste and Tribal population
as a livelihood option.
Leaves of Screw-Pine, Pandanusutilis are used for this craft. Craftsmen prefer the
female plant for its fine subtle leaves than the male plants coarse leaves. The two-ply
screw pine mat consists of a fine upper layer and a coarse bottom one, which stitching
at the edge. Super fine mats are made of very fine screw pine leaf splints placed 8 to
10 per inch. High quality mats of up t o 22 splints per inch can also be made by
experienced artisans.

SCREW PINE CRAFT OF KERALA (LOGO)
The products being made with screw pine include table mats, floor mats, cushion
covers, coasters, bags, box covers, beach hats, hand bags and wall hangings. The mats
are often embellished with fine hand embroidery. The two-ply screw pine mat is used
for sleeping. It consists of a fine upper layer and a coarse bottom one, with stitching at
the edge. Super fine mats are made of very fine screw pine leaf splints placed 8 to 10
per inch. High quality mats of up t o 22 s plints per inch can also be made by
experienced artisans.
The screw pine mat weaving is a home based women craft, production is carried out
in the artisans’ houses. The price of the product varies depending on quality. A good
quality Screw pine mat contains 12 c ounts per one inch. As the count increases per
inch the quality also increases.
The screw pine artisans are present in all the 14 Districts namely Thiruvananthapuram
District (Latitude 9° N to 8° N and Longitude 76° E to 78° E), Kollam District
(Latitude 10° N to 8° N and Longitude 76° E to 78° E), Alappuzha District (Latitude
10° N to 9° N and Longitude 76° E to 77° E), Pathanamthitta District (Latitude 10° N
to 9° N and Longitude 76° E to 78° E), Kottayam District (Latitude 10° N to 9° N and
Longitude 76° E to 77° E), Ernakulam District (Latitude 10.25° N to 9.75° N and
Longitude 76° E to 76.8° E), Thrissur District (Latitude 11.75° N to 10° N and

Longitude 75° E to 77° E), Malappuram District (Latitude 12° N to 10° N and
Longitude 75° E to 77° E), Palakkad District (Latitude 12° N to 10° N and Longitude
76° E to 77° E), Kozhikode District (Latitude 12° N to 11° N and Longitude 75° E to
77° E), Kannur District (Latitude 13° N to 11° N and Longitude 75° E to 76° E),
Kasaragod District (Latitude 13° N to 12° N and Longitude 74° E to 76° E), Wayanad
District (Latitude 12° N to 11° N and Longitude 75° E to 77° E), Idukki District
(Latitude 9.25° N to 10.35° N and Longitude 76.6 ° E to 77.45 ° E) and no other craft
in Kerala has such a wide coverage throughout the state. The highest number of
screw-pine craftsmen belongs to Kollam District. The main centers of the location
were screwpine products are manufactured are:
Within Kollam District:

1. Thazhava; 2. K S Puram; 3.Ochira; 4.Paryakadavu; 5.Karunagapally; 6.Kadathoor;
7.Punnakkulam; 8.Chavara
Within Kottayam District:

1. Thalayolaparambu; 2. Vaikom; 3.Kallara; 4.Vadayar; 5.Udayanapuram; 5.Vechur;
6.Thalayazham; 7.T V Puram; 8.Korickal; 9.Thalapara; 10.Ereth; 11.Adiyam;
12.Bhoothapuram; 13.Mathanam; 14.Bhoothekeri
Within Thrissur District:

1. Kodungallur; 2. Kottapuram; 3.Madavana; 4.Eriyad; 5.Methala; 6.Azhikode Jetty;
7.Azhikode
In Kerala, the screw pine grows in abundance on t he sides of rivers and streams. In
Travancore area, it is also planted as a soil binder. The antiquity of this shrub is borne
out by Raghuvamsa of Kalidasa which narrates that the pollen of the screw pine
flowers, scattered by the wind blowing over the Murala river (a river of Kerala)
scented the dress of the soldiers of Raghu (fourth chapter).
Screw pine belongs to Pandanaceae family. Botanically it is called Pandanus

odoratissimuc Linn or Pandanus fascicularis. They are identified by sword shaped
leaves, prickly margins, spiral arrangement and aerial roots, with a coarse foliage
texture. The screw pine plant may be classified as - Pandanus. Screw pine (Pandanus,

tectorius) is a gregarious shrub growing in abundance on t he sides of rivers and
streams. Screw pine is a m onocot and instead is a cl ose relative of grasses, orchids
and palms. Screw pines are dioeciously, meaning male and female flowers are born
on separate plants. Though male plants produce tiny fragrant flowers, craftsmen
prefer the female plant for its fine subtle leaves than the male plants coarse leaves.
The female plants leaves are much more fine and better for weaving. The screw pine
is capable of reaching a mature height of 60’ tall but is typically 25’ tall and 15’ wide.
The leaves of Kadakkaitha, Aanu Thazha (male screw pine) and Pennu Thazha
(female screw pine) are used in the making of mats and various other products. That
is, the plant species are categorized into male and female on the basis of the quality of
the leaf and the size of the plant. The male screw pine grows tall like a tree while the
female grows like a shrub. The leaves of the male plant is coarse and grows up to 8 to
9 feet, and that of the female category is soft, supple and grow up to 3 to 4 feet. They
are both cultivated as hedge plants. They produce large clusters of hidden flowers that
are male and female. The leaves grow in clusters right out of the ends of the branches.
They are shaped like long, thin swords, 3-9 feet in length. They are green or they may
be a combination of green with white or yellowish stripes. They have sharp tips and
little prickles along their perimeters and mid veins. The Male Screw pine is available
locally with ease, and is thick, harder and bulkier. The female screw pine is soft,
brighter, and more pliable. In dyeing basic dyes and colour powder are used. The
leaves of screw pine can be bleached and dyed and used generally for making table
mats, bags and various other products. The traditional use being fine quality mats that
are locally used.
Raw Material:
Screw-Pine, Pandanusutilis has a pyramidal, sometimes irregular, open, but much-
branched silhouette, the smooth, stout trunks topped with full, graceful heads of long,
thin leaves, three feet long and three inches wide, emerging spirally from stubby
branches. Screw pine is a monocot and instead is a close relative of grasses, orchids
and palms. The common name for this plant originated from the strap-like spiny
leaves spirally arranged around its branches. Screw pines are dioecious, meaning male
and female flowers are born on s eparate plants. Though male plants produce tiny
fragrant flowers, craftsmen prefer the female plant for its fine subtle leaves than the
male plants coarse leaves. The female plants leaves are much more fine and better for
weaving. The screw pine is capable of reaching a m ature height of 60' tall but is
typically 25' tall and 15' wide
Tools:
The work of cleaning the screwpine leaves before they can be used has to be done
very carefully or else it can lead to injury. The spine is removed using a coconut fiber
and the tender leaf cleaned carefully. Interestingly, only women craft the thazhapaya
or screw pine mats. Various tools are used from converting the raw screw pine leaves
into finished goods. They are Splicer, Hammer, Needle, Scales, Scissors, Cutter,
Pencil, Blade, Weighing Machine, Cutting machine, Compressor, Pasting machine
and Stitching Machine.
Process:
Cleaned leaves are spilt in half without disturbing the original length of leaves. This
long and narrow leaves are boiled and transferred and kept in fresh water overnight.
The leaves are dried and within one or two days it becomes ivory in color. Once dry
the leaf is straightened using a knife and kept rolled and bundled until the weaving
begins. The weave used is with one weft leaf going diagonally between two warp
leaves.

Tools used for making a reed.
The splints are either woven in their natural ivory color or are dyed in various shades.
The dyed screw pine, when woven has an interesting shaded affect, which is based on
the variations of the natural base color. A single layered thazhapaya takes
approximately 15 days to make if a person works 8 hrs a day. A two layered bed mat
takes up to 1 month to prepare. For value addition embroidery is done on the finished
product. The required pattern of the embroidery is traced on a tracing paper and the
paper is stitched on top of the product. The embroidery is done using the paper as a
guideline. After the embroidery is finished, the paper is torn from the top of the
product.
Production Process:
The processes adopted for converting the raw screw pine leaves into finished goods
are described below:
Cutting of Screw Pine:

The leaves of the screw pine tree are cut from the tree using a knife. This procedure is
conducted 4 times a year. Once the leaves are cut from the tree they grow within 4
months and the tree is ready for cutting once again. The leaves are then collected
together.
Removing of thorns of Screw pine:

The screw-pine leaves are cleaned before they are used. The cleaned screw pine
leaves are cut with a knife (known as kathi in Malayalam). Screw pine leaves are tied
to a coconut fibre between the thumb and index finger. Loops are made at the ends of
a long, thick coconut fibre and one loop is put on t he thumb and the other on t he
forefinger of the right hand. The fibre is then glided along the edges. Long and thick
coconut fibre is used to remove the thorny edges on the midrib of the leaves followed
by the splitting which done with thinner coconut fibre. The thorns from the sides and
mid rib is sliced apart cutting the leaves into two without disturbing the original
length of leaves and the tender leaf is cleaned. The screw pine is then tied carefully
and carried from the field to the workshop/processing centre.
Boiling and Drying of Screw pine:

The sliced leaves (in the raw form) are then rolled outwards to prevent it from curling,
giving an angular reel of approx.1-2 cms thickness. This long and narrow leaves are
boiled for one hour. After that the leaves are transferred, washed and kept in fresh
water overnight. The leaves are dried and within couple of days it becomes ivory
colour.
Straighteningof Screw pine:

Once dried the leaves are properly straightened using a knife and kept rolled the other
way (inwards) into a circular reel. The leaf strands in the reels is further split into two
or three by knife as per the required width as well as the width of the raw material.
The leaf is kept rolled and bundled until the weaving begins. The weave used is with
one weft leaf going diagonally between two warp leaves. After drying process, the
leaves go for slicing. It is done with the help of slicing tool.

Dyeing:
The leaf is dyed with basic dyes. The dyed screw pine leaves is used to make
interesting colour combinations for weaving. After dyeing screw pine is removed
from the vessel and washed with water to remove excess colour and dried.
Weaving the mat:
• Fine weaving mat:
One long strip is placed crosswise under the big toe facing the inner side upwards and
another strip is placed lengthwise. Then one more strip is placed parallel to the first
strip are folded and put straight along the lengthwise strip. Another strip is then
placed crosswire and then the process is repeated. New strips are added lengthwise
and crosswise and interlacing continues until the required dimensions are obtained.
The weaving is done with the inner side of the strips facing upwards so that the outer
side of the strips which is comparatively smoother may form the outer surface of the
mat. The method of weaving is done by hands. The edges are then tied together at
intervals with thread hemmed with narrow screw pine strips. The hemming is started
from one end of the mat by holding the material in left hand. The needle is inserted
into the edge of the fold from the upper layer and brought out on the other side. It is
then taken over to the upper layer. Skipping about four threads, it is again inserted and
brought out. Taking to the upper layer, it is inserted through the first hole, when the
stitches cross each other at theedge. Then skipping about eight threads, the needle is
inserted from the upper layer. The process is continued till the entire edge is hemmed.
It is then overcast with coloured strips in the same manner. The strips can be dyed in a
multitude of colours for ornamental designs. Superfine mats made of very fine screw-
pine leaf splints placed at 8 to 10 per inch are woven by the experienced craftsmen.
The commonly adopted method of weaving is a one up a nd one down plain weave
structure by hands. Twill weave structure has also been introduced by the artisans.
Processed leaves are woven, hand embroidered and shaped to make bed mats, carry
bags, table mats, boxes, purses, tea coasters, prayer mats and many more products.
The screw pine products having varying length of 6 to 60 cm, width of 4 to 40 cm,
height of 5 to 50 cm, diameter of 5 t o 40 cm or made in accordance to the specific
requirement and design of the products.
The splints are either woven in their natural ivory colour or are dyed in various
shades. The dyed screw pine, when woven has an interesting shaded affect, which is
based on t he variations of the natural base colour. For value addition embroidery is
done on t he finished product. The required pattern of the embroidery is traced on a
tracing paper and the paper is stitched on top of the product. The embroidery is done
using the paper as a guideline. After the embroidery is finished, the paper is torn from
the top of the product.
J) Uniqueness:

Screw pine called ‘thazha’ in Malayalam, grows abundantly in Kerala. The mats
manufactured in Kerala are famous for their finish and softness and the industry plays
a vital part in the economy of Kerala. The screw pine mats are believed to alleviate
arthritic pain. The roots descending from the Branches are used as an Ayurvedic
medicine. During summer season, it is widely used as a sleeping mat for its cool
effect. During winter period too, the screw pine mats are used for its warm effect as it
absorbs the cool moisture in the air.
Embroidery on s crew pine is commendable deviation from the ordinary cloth

embroidery.
The dyed screw pine, when woven has an interesting shaded effect, which is based on
the variations of the natural base colour. A single layered thazhapaya takes
approximately 15 days to make if a person works 8 hrs a day. A bed mat containing 2
layers takes up t o 1 m onth to prepare.This craft is practiced only in Kerala. Screw
pine is a unique craft practiced exclusively by Kurava community women of Kerala.
K) Inspection Body:
The Registered Proprietor, Development Commissioner (Handicrafts), Ministry of

Textiles, Government of India, West Block No 7. RK Puram, New Delhi to observe
the quality parameters relating to Screw pine Crafts of Kerala has to constitute an
Inspection body comprising:

5. non-official Member associated with art and craft
L) Others:
The screw pine is easily available in the State. And various screw pine fancy products
are made which are reasonably priced and is in a lot of demand with the tourists as
well as the inhabitants of the State and all over India. The fine embroidery done on
the screw pine products increase the aesthetic appeal of the products.



Government of India, Shastri Bhawan, 26 Haddows Road, Chennai – 600 006, Tamil Nadu,
India for Registration in Part A of the Register of BRASS BROIDERED COCONUT
SHELL CRAFT OF KERALA (LOGO) under Application No: 517 in respect of Articles
made of coconut shell falling in Class – 20 is hereby advertised as accepted under Sub-
section (1) of Section 13 of Geographical Indications of Goods (Registration and Protection)
Act, 1999.


Shastri Bhawan, 26 Haddows Road,
Chennai – 600 006, India
C) Types of Goods : Class 20 – Articles made of coconut shell
D) Specification:
Made from coconut shells carefully cut into shapes and carved using chisels, this
ancient art form is admirable and comes out in the form of beautifully made products
like cups, flower vases, snuff boxes, sugar basins, nut bowls, powder boxes and
spoons.
Brass Broidered Coconut Shell Crafts is a p opular craft in Kerala especially in the
Districts of Kollam, Ernakulam, Kottayam, Wayanad, Malappuram and
Thiruvananthapuram. A high degree of skill is required for carving brass broidered
items out of coconut shells, especially hookahs. The coconut shells are naturally hard.
The brass broidered decoration work is made through lost wax process which requires
high degree of skill and perfection.
Coconut shell has a high hardness and micro porosity which increases its durability
and absorption and retention capacity. The raw material needed is just fine quality of
coconut shell which is obtained from coconut trees abundantly cultivated in Kerala.
BRASS BROIDERED COCONUT SHELL CRAFT OF KERALA (LOGO)

Brass broidered coconut shell products like Malabar Hookahs, bowls, cups, small
boxes, flower vases, snuff boxes, sugar basins, nut bowls, spoons, key chains,
agarbathi stands, clocks, buttons, beads, necklace, lockets, hair clips, soap box etc.
Some of these items are produced with brass decoration work through lost wax
process. Colour combination of coconut shell with brass gives an excellent appeal.
The craft is practiced with the coconut tree (Cocos Nucifera L.) is called “The tree of
Life” because of the endless list of products and by products derived from its various
parts. Food, shelter, fuel – the coconut has it all. The coconut shell is the most
versatile part of the coconut – the shell which is organic in nature. Since it has good
durability characteristics, high toughness and abrasion resistant properties, it is
suitable for long standing use. The shell is similar to hard woods in chemical
composition though lignin content is higher and cellulose content is lower.
The coconut shell craft is widely practiced in Kerala especially in Kollam District
(Latitude 10° N to 8° N and Longitude 76° E to 78° E), Ernakulam District (Latitude
10.25° N to 9.75° N and Longitude 76° E to 76.8° E), Kozhikode District (Latitude
12° N to 11° N and Longitude 75° E to 77° E), Kottayam District (Latitude 10° N to
9° N and Longitude 76° E to 77° E), Wayanad District (Latitude 12° N to 11° N and
Longitude 75° E to 77° E), Malappuram District (Latitude 12° N to 10° N and
Longitude 75° E to 77° E), and Thiruvananthapuram District (Latitude 9° N to 8° N
and Longitude 76° E to 78° E). The main centers of the location were Coconut shell
brass broidered products are manufactured are:
Within Kozhikode District:
1. Quilandy or Koyilandy 2. Kunnathara
Coconut is a gift to the people of kerala. The coconut shell has been identified as one
such wonder material that should invariably find its place in all the homes, hotels and
institutions as a utility item that people will use in the form of cutlery, crockery or
stationary. Originally coconut shell must have been used as a cup. Slowly greater
possibilities of exploiting it must have opened up. H owever there is not much of
recorded history of its use in the past except a mention of coconut shell braided
hookahs having been crafted in Kerala to the amusement of Arabs. Sculptures and
other utilities carved out of coconut shell are indeed incredible artistic feats. And
they’ve a shelf life of over 100 years as coconut shell is a resilient organic material,
resistant to damage by termites and other insects. Coconut is a biodegradable material,
has the potential to replace synthetic materials and is less expensive than other raw
materials. This makes the products developed from coconut shell very affordable to
the different sections of people apart from being popular with the tourists and visitors
to the state.
Extract from Everyman’s Encyclopedia Vol.6. pp. 319- 1978 edition is furnished.
Coconut is a gift to the people of Kerala. In Topographia Christina of the 6th Century
A.D., Cosmas refers to ‘Argellia’, which it is presumed, is an erroneous translation of

the Sanskrit word ‘Nalikeram’ or ‘Narikelam’. The inevitable reference is that the
coconut palm would have been introduced in Kerala sometime between 1st Century
A.D. and the 6th Century A.D. Varthema, Barbosa, Barros and Garcia use the
Malayalam term ‘Thenga’ for coconut. Marco Polo describes the nut “of the size of
man’s head, containing, an edible substance that is sweet and pleasant to the taste and
white as milk. The cavity of this pulp is filled with a liquor clear as water, cool and
better flavoured and more delicate than wine or any other kind of drink whatever”.
The coconut tree and its produce formed the wealth of Kerala for ages are undisputed.
The coconut shell has been identified as one such wonder material that should
invariably find its place in all the homes, hotels and institutions as a decorative cum
utility item that people will use in the form of cutlery, crockery or stationary.
Originally coconut shells must have been used as a cup. Slowly greater possibilities of
exploiting it must have opened up.
Production Process:
The craftsmen of Kerala have created art and craft from the coconut shell which adorn
the showcase of homes across the world as collectors’ delight. The tools mainly used
are grinder, different files, hacksaw, mattor, akamthondi, hand driller, sand paper etc.
Grinder: A grinder which is developed is used to remove the outer layer of the
coconut shell which is of coir content .When the outer layer is removed the shell
surface will be dark brown in colour.
Files: Files are also used for the smoothening of the surfaces. fixing some portions
together.
Akamthondi: A tool for cleaning the inner surface of the shell. (Akamthondi is a
Malayalam word means something which cleans inner surface, in the case of coconut,
the inner portion is concave)
Mattor: A tool for making a perfect edging of the coconut shell.

Drill: To make small holes especially in the case of processing a button.
Paste: Vajram (natural paste) is widely used for fixing some portions together.
The raw material for this craft is the Coconut Shell, obtained from the coconut tress
(Cocosnucifera L.) abundantly cultivated in Kerala. Kozhikode has the largest area
under coconut cultivation. Kozhikode District has highest coconut production. The
shell is similar to hard woods in chemical composition though lignin content is higher
and cellulose content is lower. Coconut shell has a high hardness and micro porosity
which increases its durability and absorption and retention capacity. Since it has good
durability characteristics, high toughness and abrasion resistant properties, it is
suitable for long standing use.
The shell of required size is selected, its outer surface rubbed by a steel tool while the
inner part is smoothened with a chisel. A circular base and a handle separately made
with shell are attached to the cup by fixing screws. First boot polish is applied and
then a final coating of French polish is given for high class finishing. It also involves
the casting of whole bell-metal article for ornamentation.
Bee wax and charcoal are mixed and melted, filtered through a p iece of cloth and
deposited in cold water, heated again and pressed on a small square piece of lead with

a variety of designs. This is then pressed against wooden model of article under
preparation. When this model has been completely covered by wax, it is removed and
the wax mould given three coatings of a mixture of clay and chalk powder.
Sometimes paddy husk is also added and it is then dried in the Sun. After it gets
heated the wax comes out through the opening provided for the purpose. The mould is
then placed over a crucible in which copper and zinc are melted, and the positions of
the two are interchanged so that the liquid fills the cavity left by the melting of the
wax. When the metal cools, the mould is removed and the surface smoothened.
Then the coconut shell is fixed inside the frame with gum and a paste prepared by
boiling sealing wax in water, is rubbed over the coconut shell to get a shining.
J) Uniqueness:
The coconut shell products crafted by artisans of Kerala are so unique that they can
easily substitute daily utility products made of synthetics.
Another unique feature of coconut shell products is its eco-friendly bio-degradable

nature. The globally popular Malabar Hukka, among other brass broidered coconut
shell crafts of Kerala, has many significant specialities in its raw materials and
method of production. The major specialities of Malabar Hukka are:
• Purely handmade.
• Good finish
• Has artistic & utility values.
• Used in pharmaceutical industry: In the process of manufacturing Ayurvedic
medicines hookas are used as one among the instruments to extract the medicinal
vapour to mix with the medicine.
• Eco-friendly and bio-degradable
• Taste: When other hookas are made by glass and brass, the Malabar Hukkas are
made by eco-friendly coconut shells distinguished by taste when inhale tobacco
through other hookas
K) Inspection Body:

5. A non-official Member associated with art and craft
L) Others:
Coconut shell crafts attracts attention of the world due to its inherent natural hardness,
durability & bio-degradability and because of skilful workmanship. From ancient time
coconut shell has found immense use in production of kitchenware like spoons, cups,
bowls, ornaments etc. Sculptures and other utilities carved out of coconut shell are
indeed incredible artistic feats. And they have a shelf life of over 100 years as coconut
shell is a resilient organic material, resistant to damage by termites and other insects.

General Information
What is a Geographical Indication?

 It is an indication,
 It is used to identify agricultural,natural,or manufactured goods originating in
the said area,
 It originates from a definite territory in India,
 It should have a special quality or characteristics unique to the geographical
indication.
Examples of possible Geographical Indications in India:

Some of the examples of Geographical Indications in India include Basmati Rice,
Darjeeling Tea, Kancheepuram silk saree, Alphonso Mango, Nagpur Orange,
Kolhapuri Chappal, Bikaneri Bhujia etc.
What are the benefits of registration of Geographical Indications?

 It confers legal protection to Geographical Indications in India,
 It prevents unauthorized use of a registered Geographical Indication by
others.
 It boosts 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.
Who can apply for the registration of a Geographical Indication?

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.
Who is the Registered Proprietor of a Geographical Indication?

Any association of persons, producers, organisation or authority established by or
under the law can be a registered proprietor. There name should be entered in the
Register of Geographical Indications as registered proprietor for the Geographical
Indication applied for.
Who is an authorized user?

A producer of goods can apply for registration as an authorized user, with respect to
a registered Geographical Indication. He should apply in writing in the prescribed
form alongwith prescribed fee.
Who is a producer in relation to a Geographical Indication?

A producer is a person dealing with three categories of goods
 Agricultural Goods including the production, processing, trading or dealing.
 Natural Goods including exploiting, trading or dealing.
 Handicrafts or industrial goods including making, manufacturing, trading or
dealing.
Is registration of a Geographical Indication compulsory?

While registration of Geographical indication is not compulsory, it offers better legal
protection for action for infringement.

What are the advantages of registering?
 Registration affords better legal protection to facilitate an action for
infringement.
 The registered proprietor and authorized users can initiate infringement
actions.
 The authorized users can exercise right to use the Geographical indication.
Who can use the registered Geographical Indication?

Only an authorized user has the exclusive rights to use the Geographical indication in
relation to goods in respect of which it is registered.
How long is the registration of Geographical Indication valid? Can it be

renewed?
The registration of a Geographical Indication is for a period of ten years.
Yes, renewal is possible for further periods of 10 years each.
If a registered Geographical Indications is not renewed, it is liable tobe removed
from the register.
When a Registered Geographical Indication is said tobe infringed?

 When unauthorized use indicates or suggests that such goods originate in a
geographical area other than the true place of origin of such goods in a
manner which misleads the public as to their geographical origins.
 When use of Geographical Indication results in unfair competition including
passing off in respect of registered Geographical indication.
 When the use of another Geographical Indication results in a false
representation to the public that goods originate in a territory in respect of
which a Geographical Indication relates.
Who can initiate an infringement action?

The registered proprietor or authorized users of a registered Geographical indication
can initiate an infringement action.
Can a registered Geographical Indication be assigned, transmitted etc?

No, A Geographical Indication is a public property belonging to the producers of the
concerned goods. It shall not be the subject matter of assignment, transmission,
licensing, pledge, mortgage or such other agreement. However, when an authorized
user dies, his right devolves on his successor in title.
Can a registered Geographical Indication or authorized user be removed

from the register?
Yes, The Appellate Board or the Registrar of Geographical Indication has the power
to remove the Geographical Indication or authorized user from the register. The
aggrieved person can file an appeal within three months from the date of
communication of the order.
How a Geographical Indication differs from a trade mark?

A trade mark is a sign which is used in the course of trade and it distinguishes good
or services of one enterprise from those of other enterprises. Whereas a
Geographical Indication is used to identify goods having special Characteristics
originating from a definite geographical territory.

THE REGISTRATION PROCESS
In December 1999, Parliament passed the Geographical Indications of Goods

(Registration and Protection) Act 1999. This Act seeks to provide for the registration
and protection of Geographical Indications relating to goods in India. This Act is
administered by the Controller General of Patents, Designs and Trade Marks, who is
the Registrar of Geographical Indications. The Geographical Indications Registry is
located at Chennai.
The Registrar of Geographical Indication is divided into two parts. Part ‘A’ consists of
particulars relating to registered Geographical indications and Part ‘B’ consists of
particulars of the registered authorized users.
The registration process is similar to both for registration of geographical indication
and an authorized user which is illustrated below:
Filing an Application
Examiantion Objections Opportunity Refused

for Hearing
Acceptance
Advertised in the
GI Journal
Opposition if Allowed or Appeal to
any refused IPAB
Acceptance of
GI
Entered in the GI
Register Particulars of Regd.
GI entered in Part A
of the Register
Registration Particulars of Regd. GI

Certificate issued entered in Part B of the
Register

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GI Journal No.

77 1 November 30, 2015

NOVEMBER 30, 2015 / AGRAHAYANA 09, SAKA 1936

GI Journal No. 77 2 November 30, 2015

S. No. Particulars Page No.

2 New G.I Application Details 5

GI Journal No. 77 3 November 30, 2015

GI Journal No. 77 4 November 30, 2015

App.No. Geographical Indications Class Goods

531 Gobindobhog Rice 31 Agricultural

532 Mysore Silk 24, 25 and 26 Handicraft

533 Banglar Rasogolla 30 Food Stuffs

534 Lamphun Brocade Thai Silk 24 Textiles

GI Journal No. 77 5 November 30, 2015

No.GIR/CG/JNL/2010 Dated 26th February, 2010

WHEREAS Rule 38(2) of Geographical Indications of Goods (Registration and

Registrar of Geographical Indications

GI Journal No. 77 6 November 30, 2015

G.I. APPLICATION NUMBER – 210

Application is made by, Guledgudd Handloom Weavers Production& Marketing Co-

A) Name of the Applicant : Guledgudd Handloom Weavers Production

B) Address : Guledgudd Handloom Weavers Production

Facilitated by the Commissioner for Textile

C) Types of Goods : Class 24–Textiles and Textiles Goods

E) Name of the Geographical Indication:

GI Journal No. 77 7 November 30, 2015

G) Geographical area of Production and Map as shown in page no: 15

Guledgudd is a hobliin the Badamitaluk of the Bagalkot district of Karnataka state. A

Badamitaluklies between 15º55’ North Latitudes and 75º40’ East Longitudes.

H) Proof of Origin (Historical records):

GI Journal No. 77 8 November 30, 2015

There is no de finite historical evidence as to when the handloom weaving industry

(I) Method of Production:

The production of traditional Khana fabric involves various processes. These

GI Journal No. 77 9 November 30, 2015

Silk Warp Preparation:

Some of the preparatory processes involved in the manufacture of Khana are

Colouring – creating a desired colour- on grey/bleached yarn with any kind of

GI Journal No. 77 10 November 30, 2015

Quality Checking & Packing:

GI Journal No. 77 11 November 30, 2015

The uniqueness of the Guledgudd Khana are described below:

• Women in north Karanataka and some parts of Marathwada and Vidharbha

GI Journal No. 77 12 November 30, 2015

• Climatic condition: The climatic condition of Guledgudd region, which is

1. The Deputy Director, Handlooms and Textile Department, Zilla Panchayath,

GI Journal No. 77 13 November 30, 2015

GI Journal No. 77 14 November 30, 2015

G.I. APPLICATION NUMBER – 224

Application is made by Padupanambur Primary Weavers Services Co-operative Society

A) Name of the Applicant : Padupanambur Primary Weavers Services Co-

B) Address : Padupanambur Primary Weavers Services Co-

Facilitated by the Commissioner for Textile

C) Types of Goods : Class 25 – Clothing

E) Name of the Geographical Indication:

F) Description of the Goods:

GI Journal No. 77 16 November 30, 2015

G) Geographical area of Production and Map as shown in page no: 25

The handloom weaving is a home based cottage industry in Udupi as well as in

The geographical location of Dakshina Kannada district is between 12.84◦ North