UNESCO (2009) defines craft as “industries which produce tangible or intangible artistic and creative outputs, and which have a potential for wealth creation and income generation through the fostering of cultural assets and the production of knowledge-based goods and services.” Craft, as an essential sub-sector within the creative and cultural industries, is tied to a region’s material culture, using natural materials, and human labour to create high-quality, timeless work.
“The craftsman’s hands become the bridge between yesterday and tomorrow,” and Cuttack’s tarakashi craft embodies it perfectly. Rooted in ancient trade routes, silver filigree has flourished here for over 500 years. Gaining prominence during the Victorian era, over 100 families of artisan families, colloquially called Ropyakaras, have preserved and passed down this delicate tradition known for its intricate designs, fine textures with dexterous foils and distinct snow-glass glow, which make Odisha’s filigree truly unique.
Craftsmanship hinges on five key parameters: materials, process, function, aesthetic, and concept. The Ropyakaras continue to hone their skills through experimentation with these elements, maintaining the human values and intrinsic worth of their craft despite new technological advancements.
However, the silver filigree industry is now in crisis, struggling to sustain itself amid changing market dynamics. This article delves into the major challenges threatening the craft and the efforts being made to preserve it.
Tarkasi craftsmen at work in Odisha
An artisan soldering the silver wires together
From Silver Blocks to Cultural Legacy
Filigree jewellery-making is a collaborative craft where artisans contribute their experience at various stages, from crafting fine wires to finishing products with iconic motifs. Deeply embedded in the artisans’ lives, the silver filigree sustains a tightly knit community, holding cultural and social significance while playing a vital role in religious rituals, symbolising purity and blessings.
These gleaming creations are both beautiful and functional, extending beyond jewellery to items like betel boxes, vermilion containers, and ceremonial spoons used in rites such as anna prasana– the ritual marking child’s first solid food. Over time, tarakasi has evolved beyond traditional jewellery; expanding to gifts, souvenirs, and home decor, yet it remains rooted in tradition.
More than an ancient craft, tarakasi is a living tradition, preserving the rich cultural heritage of Odisha. Whether worn by dancers, displayed in homes, or revered in temples, this extraordinary art form continues to thrive, carrying forward the timeless beauty and legacy of its artisans.
Problems Engulfing the Industry
Even today, silver filigree remains a lucrative profession for craftsmen. However, despite its rich heritage and artistic brilliance, filigree craft now faces several challenges threatening its sustainability and growth. Some of the key problems in the industry include:
- Artisan Numbers are Dwindling
Silver filigree requires a high level of skill, patience, and precision but only a few artisan families, mainly in and around Cuttack, are carrying on this ancient craft maintaining its originality. Due to insufficient government interventions and private investors’ disinterest, along with economic struggles, many artisans’ children are choosing more lucrative professions, leading to a gradual decline in skilled workers.
- Loss of Traditional Knowledge
With fewer artisans passing down their skills, there’s a real risk of losing the knowledge required to produce authentic silver filigree. With time, the younger generations are showing less interest in continuing the craft and the loss of the oral traditions threatens to put this craft into limbo. In the absence of formal training programs, apprenticeships, and education, the intricate methods honed over centuries may disappear.
- Dearth of Innovation and Modernization in the Industry
Artisans often focus on large and shoddy jewellery pieces, while modern consumers prefer less ornate smaller jewellery practical for everyday wear. The inability to adapt to changing fashion trends leaves filigree artisans struggling to meet current market demands.
- Taxing Labour with Low Economic Returns and Competition from Machine-Made, Low-Cost Alternatives
Artisans in the silver filigree industry earn a small fraction of the profits from their high-value products in comparison to the time and effort invested in creating intricate pieces. Consumers today, often prefer the lower-cost alternatives flooding the market. Although machines can mass-produce jewellery quickly, there is no match for the beauty and precision of handmade silver filigree.
Problems Arising due to the Unorganised System of the Industry
Artisans at work in a filigree warehouse
The filigree industry operates mainly as an unorganized sector, the artisans lack professional infrastructure like workshops, storage, packing spaces, and access to modern tools, machinery, and digital platforms; hindering production and market reach. Most artisans are uneducated, making it difficult to maintain stock records, access government schemes, and collect market information. The digital divide in rural areas, where many artisans are based, further isolates them from e-commerce opportunities, and they often lack the capital to modernise production technology and training to improve their products and reduce costs.
Fluctuating Costs of Raw Materials
Silver as a raw material for the filigree craftsmanship
The cost of silver, the primary material for filigree, fluctuates in the global market, impacting the production cost. Rising silver prices make it difficult for artisans to maintain profitability without raising product prices, which could further reduce demand. This instability adds financial strain to an already vulnerable industry.
Insufficient Marketing and Global Outreach
The silver filigree industry lacks proper marketing infrastructure, especially in international markets. Without effective promotion, branding, and online presence, artisans, mostly in rural areas, struggle to connect with global markets. Although government initiatives like exhibitions and handicraft emporiums aim to raise awareness, artisans need improved access to timely information to ensure their craft’s survival.
Working Capital, Government Support and Policy Issues
Artisans lack working capital and credit facilities making it difficult to fulfil bulk orders while catering to their families. Banks are hesitant to lend to filigree workers due to poor recovery rates and fund misuse, leaving artisans with poor bargaining power and forced to sell their creations at low prices. The absence of market linkages and organized associations isolates them, preventing access to new consumers through online marketing or malls.
Health Concerns Amidst Artisans
Artisan involved in silver heating process
Despite its beauty, silver filigree poses serious occupational hazards for the craftsmen. Exposure to metals like silver and chemicals used for cleaning and polishing can harm their lungs and skin. Long-term contact without appropriate protection can lead to significant health problems; compounded by environmental issues linked to the procurement of raw materials.
Research indicates that silver filigree workers frequently suffer from joint pains in the back, knee, and leg mainly due to awkward postures and repetitive movements involved in design-making of the craft. While finger pain is common from the fine work, artisans often report no discomfort probably because they adapt to faulty postures over time. This highlights the need for ergonomic interventions to raise awareness and educate workers on safe, sustainable practices.
Sustaining the Craft
The craft was already in peril but the coronavirus pandemic has added to setbacks, with losses estimated at Rs 20 crores due to the demand drop during cancelled festivals or weddings. Craftsmen have been expressing the difficulties of keeping the craft alive if their work doesn’t sell. A lot of artisans were obliged to look for other means to support their families.
The government, however, stepped in to provide some relief and dedicated Rs 5 crore to Utkalika, the state-operated handloom market to procure filigree work from the artisans. A Geographical Indication (GI) tag for Cuttack’s silver filigree work has also been obtained by the Odisha State Cooperative Handicrafts Corporation. This aids to enhance the prospects of the craft and the self-employed artisans.
To uphold the craft traditions of Odisha, the government is focussing on improving the artisans’ welfare while preserving existing practices. Measures include promotional activities that encourage consumers to visit the retail outlets and the production centre that deals with craft products. At the same time, the government of Odisha is also working with the Export Promotion Council for Handicrafts and Development Commissioner (Handicrafts) to enhance the world market for Odisha silver filigree.
Many interventions were designed to help support the artisans by providing them with training and marketing services, modernizing the crafts, and developing infrastructure. Among them are:
- Guru Shishya Parampara Training
- Master Craftsmen Training Program
- Craft Village Program
- Marketing Assistance and Publicity
- Silpi Unnati Yojana
- Modernization of Handicraft Industries
- Aam Aadmi Bima
- Yojana Handicraft Awards
- Exposure Visits for Handicrafts.
Stronger brand-building for these craft products, particularly with GI tags, will significantly enhance market presence in the digital age.
Collaborations in the Industry
Collaborative efforts between government and private organisations are reviving the ancient craft of silver filigree, helping it reclaim global prestige. Brands like Silver Linings and Okhai are merging traditions with modern sensibilities, creating contemporary designs that honour the essence of filigree while making it relevant in today’s market. These brands also work with artisans to promote the craft, raise awareness and ensure that the delicate craftsmanship of filigree remains appreciated and supported.
Artisans have expanded into producing silver filigree mementoes and souvenirs, such as the Konark Wheel and Jagannath Temple, that embody Odisha’s cultural heritage. High-profile collaborations with brands such as Reliance Jewels, Tanishq, and Maruti Udyog have further highlighted the craft. Additionally, legacy names like Lalchand Jewellers and Khimji Jewellers continue sourcing from Cuttack artisans, introducing new designs with oxidation, beads, and gems to meet growing demand. Sustainability has become a priority in the development of tarakasi. Artisans are turning towards “green materials” and repurposing old jewellery to maintain relevance and emotional significance in contemporary times.
Conclusion
Gustav Mahler once said, “Tradition is not the worship of ashes, but the preservation of fire.”
To secure the future of silver filigree, a comprehensive strategy is needed: promoting sustainable materials, creating contemporary designs, and improving market outreach. Despite the challenges, niche markets like heritage Odissi dance jewellery and religious accessories continue to thrive, with tourism generating demand for souvenirs. Providing artisans with improved resources and training will help their craft not only survive but thrive. Through innovative collaborations and evolving artistry, tarakasi blends tradition with modern trends, ensuring its legacy endures for future generations.
Shield with silver filigree design
Images from Kalabhoomi
Words by Rageshree Ranade, born in 1993, is a visual artist and writer based between New Delhi and Jabalpur. She holds an M.F.A. from Shiv Nadar University (2019) and a B.V.A. from Maharaja Sayajirao University (2016). Rageshree has exhibited at prestigious venues like the Kiran Nadar Museum of Art, Art Konsult, and Shiv Nadar University, and has contributed to respected publications such as Art & Deal and MASH. Her leadership roles include Editor-in-Chief, Editorial Consultant, Content Strategist and Content Officer at organizations like MASH, Utsha, Mezink, and TEDx. She has directed projects at the various organisations like India Art Fair and Palette Art Gallery. A dedicated advocate for art & culture writing, Rageshree has served as a guest lecturer at Raja Mansingh Tomar University and Dr. Hari Singh Gour Vishwavidyalaya, and is currently invited to share her journey at SEMS Welfare Foundation.
