Bidriware: The Deccan’s Iconic Inlay Metal Art Form

History
Influences
Techniques
Designs and Motifs
Bidriware Today
Challenges and Future
References

Introduction
Bidriware is a distinctive form of metal inlay work, known for its silver, gold, and brass designs against a dark background. The carving on this metal and its black colour are what give it a distinctive appearance. Bidri art is known for its inlay work, called “Koftagiri,” a system of ornamentation. This art form originated in Persia, but as suggested by its name, it developed at Bidar, now in Karnataka state, in Deccan India. It remains one of the most refined and historically significant metal crafts of the Indian subcontinent.

(Left to Right) Lid for a Bidri Pandan with Chevrons, Bidar, Karnataka, India, c. 1700, Zinc alloy with silver overlay, 15 cm diameter; Globular Ewer, Bidar, Deccan India, 18th century, Zinc and copper alloy; cast, engraved, inlaid with silver (bidri ware), 27.0 x 30.5 cm.

History

Deccan India has a long history of the Bidriware art form, with the earliest documented presence being in Deccan miniature painting during 1625. It is believed to have been developed under the Bahmani Sultanate in the 14th century. The production of Bidriware reached its zenith during the reign of Allauddin Ahmed Bahmani II, who made several initiatives to promote this art form, including encouraging artisans from Bijapur to settle in the capital. Later, in the 16th and 17th centuries, the technique flourished in other regions, such as Hyderabad, and it began to be exported to the Mughal and Rajput courts by the end of the 18th century.

Influences
In terms of design, we can see significant Islamic influence in Bidriware, especially during the first half of the seventeenth century, when Mughal decorative arts inspired the designs. A popular motif inspired by Mughal art was the poppy flower. By the mid-nineteenth century, the poppy design declined and was replaced by Kothmir (coriander). Later, we also see Chinese influence on design, visible in Purnia, due to its neighbouring regions such as Nepal and Sikkim. The art that developed in the kingdom was a mix of Persian, Turkish, and Mughal influences.

Techniques
The technique of creating Bidriware is a meticulous three-stage process, each handled by specialised artisans. The first stage involves casting the base with a zinc-copper alloy and sometimes with tin. The metal is melted and poured into clay moulds, set in iron frames called Darza. Once cooled, the object is shaped and smoothed using a lathe.

(Left to Right) Base for a Water Pipe (Huqqa), Deccan, India, Early 18th century, Zinc alloy, cast, engraved, inlaid with silver and brass, 21.9 cm, 18.4 cm diameter; Bidri Hookah Bowl with Roses, Bidar, Karnataka, India, c. 1650, Zinc alloy with silver and brass inlay, 18.5 cm, 16.5 cm diameter.

The second stage of making Bidriware involves engraving and inlaying. The blackened surface of the Bidriware is achieved by using copper sulphate to highlight the carving and designs. The inlay work is carved using a chisel, and the inlay techniques vary from region to region. For example, tarkashi (wire inlay), tehnishan (sheet inlay), zarnishan (low-relief), and zarbuland (high-relief) are some prominent styles.

The final stage involves treating the inlaid pieces with special clay rich in saltpetre; this chemical reaction darkens the alloy, giving Bidriware its unique black colour. A final polish with oil and charcoal completes the transformation, creating the signature contrast that defines Bidriware.

Designs and Motifs

Bidri Motifs and Design

Designs and motifs in Bidriware are a combination of Turkish, Arabic, Persian, and Indian influences. The motifs are deeply symbolic, ranging from floral arabesque vines to sacred symbols like the swastika and the lotus. Other common designs include Quranic verses in Arabic calligraphy and the Persian rose. Over time, these designs evolved from traditional to more modern tastes. There are several inlay styles from region to region, but they all define Bidri artistry:

Tehnashin – This is the most common style of Bidri centre. It involves deep engraving on the metal surface and inlaying it with gold and silver without creating any raised surface. Artisans in this style carve intricate floral motifs, resulting in a smooth and polished surface that glows against the matte darkened background.
Aftabi or Mehtabi – One of the most laborious and time-consuming styles. This design involves preserving the highlighted areas and carving away the background, creating a sharp contrast between the black base and gleaming silver, enhancing the depth.
Tarkashi – Features delicate wire inlay, where artisans carve into the surface and then inlay and fit the wire precisely. This style requires patience and steady hands.
Zarnashin – This style refers to low and high-relief inlays. Silver is placed over a lead pad, creating raised, almost sculptural patterns that add a dramatic three-dimensional effect. This particular style showcases remarkable craftsmanship and sets Bidriware apart from other art forms.
Bidri motifs adorn a wide range of items, including hookahs, vases, cutlery, and lamps, proving the versatility of this art form.

Bidriware Today

Bidriware has expanded significantly in recent years and has gradually been adopted by modern designers and artisans. Though its core technique and design remain the same, contemporary designers are now experimenting with new forms and ideas. Today, Bidri art is not limited to just vases and hookahs—it can be found on a variety of materials, including home décor items such as tableware, jewellery, and even sculptures.

Many designers are also collaborating with local artisans, resulting in fusion pieces that combine traditional and modern design. This opens up a new market for the Bidriware craft and positions it as both a folk heritage art and a lifestyle product.

Challenges and Future

Despite its relevance, the Bidriware art form continues to face many challenges. The rising price of silver makes it expensive for local artisans. The market is also flooded with replicated products, and a lack of governmental support further increases the difficulties. Another major concern is the scarcity of the black soil found in the Bidar Fort, which is a key material for Bidriware.

For Bidriware to thrive, artisans must continue to adopt innovative methods, such as experimenting with new materials and designs, while also preserving the traditional techniques that give the craft its unique identity. Collaborative efforts between artisans and the government can help the craft flourish, and better access to markets can ensure a sustainable future. By combining this traditional art form with innovation, Bidriware has the potential to grow significantly beyond the niche market and become a prominent symbol not just in the Indian market but internationally as well.

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