RAW MATERIAL The large rough chiks used for screening the outer facades of building are made of strong parallel sliced bamboo sticks while the finer chiks are made of munj stalks, saccharum munja, sarkhanda and sikri which are woven together with cotton cord.The grass, saccharum munja grows to a height of 12-15 feet in the monsoon months. It is seen growing all over the plains of North India in tall masses of narrow green leaves from the center of which feathery flower stalks rise. Growing by roadsides, riversides and surrounding agricultural plots. In fact in some areas it covers whole tracts. Almost all parts of the grass are made use of including the leaves that are used for thatching of dwellings. The flower stalk sheath is shredded finely to form ban- munj that is used for string making. The higher part of the flower stalk that grows in uniform thickness is cut to make chiks. While the tapering top of the stalk is cut to form sirki that is also used for fine chik making. The thin fine upper end stalk is tilli that is used to make products like baskets, winnows, trays, paper baskets etc. that are decorative and finely embroidered with coloured cords.There are several grasses that resemble the saccharum munja though they grow to a shorter height these are saccharum sara and saccharum ontaneum.The bamboo also popularly used is not indigenous to the areas where chik making is practiced and is bought by the artisans from traders who import it from Assam, while sarkhanda and sirki is obtained mainly from Haryana and Uttar Pradesh.

PROCESS TECHNIQUE Broadly there are two varieties of chiks that are crafted, the fine close meshed variety that is used within homes and offices for doors and windows and the other hardier variety using bamboo that is stronger, rougher and more suitable for enclosing outer areas like verandahs, balconies and public areas.To make the chiks the craftsperson use either bamboo or sarkhanda or sirki grass as their base material. When making bamboo chiks the artisan first splits the bamboo into fine sticks, these sticks are vigorously rubbed on to a hard surface, usually the ground, to achieve a smooth finish and to reduce the protuberances at the joints. The bamboo sticks are then dried in the sun for a few days as this makes them more manageable. The bamboo is then ready for weaving on the chik-making loom. Coloured or white cotton warp is used with the bamboo weft. The weaving is done in a fret like design so that a fine chik when hung at the window looks extremely delicate. Some chiks are sold straight after their edges are trimmed and the hanging mechanism is in place. Wooden pulleys with cords passing through them are used us a convenient system to roll up chiks. Most other chiks are edged with cotton tape (newar) and a backing of fabric is often provided to strengthen them and allow for greater protection from the sun. When used in verandahs or out of doors the chik is backed by rain proof plastic sheeting that provides protection against the monsoon rain.The practitioners of this craft create their products on the basis of individual requirements and specifications. Each size is measured and custom made according to the customers needs, their design preference and the amount that they wish to spend.

PRICING The rate for chiks varies according to the raw material used, with the sirki chiks being the most expensive followed by sarkhanda and then bamboo. The rate is also determined by the design to be implemented and the quality of the backing used. Another criteria for price is that the narrower the gap between the slats of a chik the more its price.

DESIGNS The design are named according to their shape, the repertoire includes the barfi (rectangle) jaal, choori (bangle) jaal, makdi (spider) jaal, and glass jaal. Of late, chiks are becoming popular substitute for fabric curtains in urban homes. The craftspersons are building upon the standard repertoire and introducing innovations such as cutouts, dyed bamboo sticks, printed cloth backings, and decorative tassels.

MARKETING Chiks are sold in many different ways. Some chik artisans and traders retail from pukka shops or their homes, other string up their samples on trees along high frequency traveled roads and often even do the finishing of their products under the shady trees on the road side. Many others can be seen carrying their samples on cycles along the streets of the city as they hawk their products to house owners and offices.Chik makers are now facing stiff competition from the cheaper machine made chiks that are readily available in rolls and only require to be cut up and finished with cotton edging and are therefore made up and completed in a far shorter time and at a lower cost. However enterprising chik artisans are now offering these chiks along with their own creations to the customers.As opposed to curtains drapes, chiks are light, easy to maintain, long lasting and economical. Due to the light that filters through the chiks slats the enclosed space given a feeling of space and air.

TRADITIONS Wall paintings, by their nature, are transitory and celebratory. Every daily activity depicted in these paintings - grinding flour, pounding rice, sowing seeds - was enlivened with a song. The paintings depict the hustle bustle of tribal life - ceremonies, deities, socio-economic activities, flora and fauna, and even the toys the children play with. The art-form was also integrated symbiotically with the larger 'natural' context of this area in the Western Ghats, deriving substantially from nature natural cycles, and natural elements.

PRACTITIONERS & LOCATIONS 'The Deewaru tribals' huts spell magic with their age-old chittara Wall paintings ador[n]ing their walls…'. The villages of Hasunvanthe, Honemaradu, and Majina Kaanu (in Shimoga district of south Canara) are known for the chittara mural craft. Traditionally done by the women of Malnad, in south west Karnataka, for special occasions such as weddings, festivals and auspicious days, chittara wall paintings encapsulated an entire socio-cultural tradition, in which each motif and pattern symbolised an aspect of nature or depicted the religious, social or agricultural practices of the community. COLOURS & MOTIFS The community makes its own colours, deriving them from natural sources, such as barks of trees, rocks, minerals and vegetables. While the designs on the paintings are common across the entire community, the colours used distinguish one family or clan from another.

• White is derived from a mixture of rice (threshed and pounded rice, made into a paste) and white mud

• Red is made from crushed stone and the abundant red mud in the region

• Black is also made from rice, which is burnt and then pounded

• Yellow is made from the seeds of the gurige tree, special to Shimoga and Sagar districts in Karnataka.

According to National Award Winner Eshwar Naik, chittara painting 'has an unbroken connection' with 'Stone Age cave paintings'. The motifs derive from everyday life and include geometrical shapes and tribal figures celebrating various aspects of life. The figures are usually stylised - representing brides and grooms, fertility symbols, the sowing of the auspicious paddy, birds, trees and animals. The designs are not particular to any one family, and are instead shared by the community. (However, different families have chosen 'auspicious' colours, though for the majority it is white.) The painting is part of a much larger context of creativity and celebration. According to Pushpa Chari, 'And lilting music fills the air as Deewarus draw and paint! For every situation and chore depicted on the wall, [there is] a relevant song, which too has been revived by Eshwar Naik.' The delineation is done with fine jute pundi brushes, derived from the fibres of the pundi plant. Drawing is free hand.

CONTEMPORARY TRENDS Chittara art has been given a broader forum in which the art-form is now found not only in Deewaru huts, but also on a range of artefacts that can access a much larger urban market. The community also makes decorative artefacts with the characteristic Chittara motifs on them. Chittara painting is being done on hand-made rice paper. The traditional paddy husk kalash can be found painted with chittara art, as can papier mache and terracotta vases. Cane baskets coated with red mud, bamboo pen stands, torans or door hangings made of dried paddy, hidi (small brooms made of hittade grass), sibala (baskets made of hittade grass), pettige (small box), irike (doughnut shaped ring of woven grass, ichala chaape (palm mat) are other items that can be found decorated with chittara motifs. This adaptation has faced some opposition from elders in the community who strongly feel that the art-form and traditions should be kept within the community and not 'displayed' to the outside world.

THE REVIVAL Eshwar Naik is the craftsperson who almost 'single-handedly' resurrected chittara painting, as well as ' the entire culture of music, myth, belief and philosophy encapsulated in each line and motif'. Naik, when young, had moved away to dabble in street theatre and in literacy campaigns. The distance, he feels, helped him realise the need for documenting the rich legacy of his own community and cultural heritage before it was irrevocably gone. Naik's sister Lakshmi was the sole surviving chittara artist at the time that Naik began to resurrect this art-form. Naik learnt the painting from his mother and sister, and collected motifs and myths from village elders. Owing to his efforts a large amount of the motifs have been recovered and documented. He even set up a training centre at Hasuvanthe - here young Deewarus rediscover their traditions and learnt the craft that their ancestors were proficient at.

THE NEPALESE CHUNARI & THE INDIAN LEHERIYA The wave pattern on the textile is achieved by dyeing cloth that has first been tied with nettle yarn to a pre-determined pattern to create a resist design. This technique, the origin of which is lost in antiquity is still a robust tradition in Rajasthan (India). (Interestingly the term chunari in Rajasthan is used for the tying of fabric in roundels or rings, while the term lehariya, literally waves, is used for the wrap resist described as chunari in Nepal.) It is conjectured that the tradition of the tie and dye chunari was introduced into Nepal by the Rajputs. Just as the gift of a chunari marks the auspicious time in a woman's life in Nepal, so different types of tie-dyed fabrics are worn to mark the seasons, the festivals, and rites of passage in Rajasthan. TECHNIQUE & PROCESS The cloth used as a base for tie-dyeing the chunari is fine cotton fabric, usually muslin (malmal, khapi). This is the preferred choice as it allows the dye colour to penetrate the entire tightly rolled up textile material. The technique used is that of wrap resist. The whole cloth is first soaked in water and then thoroughly washed and dried to remove starch and other impurities and to soften the fabric. The malmal cloth is rolled up and tied at intervals to form stripes. The fabric is rolled from one corner diagonally to the selvedge and is tied at intervals with strings. The string used to tie the chunari traditionally is made from the fibres of stinging nettles. Thus, the reserved portions appear in the form of stripes and not in the form of rings or circles. For every new dyeing, new ties are applied, while some of the old ones are sometimes opened for over-dyeing. Two or three muslin lengths can be dyed together. The dye does not penetrate those parts that are tightly tied and the reserved parts are therefore left un-dyed, thus creating a resist pattern. PATTERNS The method of tying and the skill of the chippa determines the pattern of the chunari and the quality of the end product. When the cloth is rolled diagonally from one corner it forms a stripped pattern; when the fold emanates from a corner it forms a stripped pattern; and when the fabric is folded like a fan it produces a zigzag design. After the dyeing is completed and the fabric dried in the sun, the threads when opened show the pattern created: the tied nettle threads resist the dye and create the chunari effect. These coloured and patterned chunaris are also often created in multiple colours with complex squares and patterns. Re-tying the muslin cloth in an additional or opposite diagonal pattern after the first dye bath, results in patterns in the second colour. The tied portions remain un-dyed; the untied area of the muslin is coloured. At the edges there is a feathery blurring of the colours.

SOURCES Maithil culture has its own language and rich literary traditions - as a part of this cultural and religious tradition, the women paint striking murals on the external walls of their homes, while in the homes pottery storage containers and internal mud pillars carry intricate designs. This (women's) tradition of painting and craft has been passed down for generations and the villages near Janakpur showcase this living museum on the mud walls and homes. Paintings are often derived from Hindu mythology - they can be derived from complex symbols (sometimes with a distinct mandala-like quality), represent abstract figures (including hand-stencils, peacocks, pregnant elephants, and fish), or contain a narrative quality (representing religious stories).

TRADITIONS Different castes and different regions have developed distinctive styles and symbols, which are passed down from mother to daughter. Traditionally, painting and decoration is not undertaken purely to create an aesthetic result but largely springs from cultural and religious motives. The act of painting, as a part of a ritual has been considered more important than the finished result; completed paintings serve as charms, prayers, and meditation aids. Painting traditions vary from caste to caste. High castes, including the Brahmins and Kayasthas, have developed extremely elaborate, abstract forms, while lower-caste paintings, though simpler and more realistic, possess an energetic expression, and retain a strong sense of formal design. The art of Brahmins and Kayasthas is closely tied to religious ritual, as exemplified in the making of aripana. To make an aripana, the women grind rice and mix it with water to make a paste called pithar. Using their fingers, they create graceful, lace-like designs on the mud floor of homes and courtyard. Colour is added with the blood red vermilion powder (sindur) in the form of dot-like patterns.

A large repertoire of designs are drawn on for worship of household deities, for rituals related to marriage, and for marking auspicious days on the calendar. Brahmin women decorate a maraba, a pavilion made out of mud plaster, on the occasion of upanayan (a boy's haircutting ceremony) with images of gods. On the occasion of weddings, Kayastha women pay special attention to the decoration of a wedding chamber called the kohbar. The kohbar is a room in the bride's house where the couple will spend their first four nights together. It is decorated with an ornate tantric design, also called kohbar, consisting of a stylised central stalk of bamboo (symbolising the male) surrounded by circles that are lotus leaves (symbolising the female). The kohbar also contains parrots, images of happy union, and turtles and fish, which represent Vishnu's incarnation and also male and female sexuality. Other images painted in the kohbar include parrots with bamboo, symbolic of the generations to come, Lord Shiva riding his bull, and Lord Krishna playing the flute in a kadamba tree, where he has mischievously hung the saris of the bathing maidens (gopis). On the wedding night, the bride and groom perform a ritual in which they apply sindur to the kohbar. While the imagery of the Kayastha and Brahmin tradition is perhaps the more refined and religious in character, painting is done by all the castes. The villages around Janakpur are their liveliest at the time of the autumn festival of Deepawali. Just before Deepawali, women cover their houses with a smooth mixture of mud, dung, and rice husk. They form relief designs on the walls of the house and make decorations around the wood columns of their verandas. The night before Deepawali, when Laxmi, the goddess of wealth, is worshipped, they paint the house walls to attract a visit from the goddess. Pregnant elephants, symbolising prosperity, and auspicious peacocks are painted often. During the dry months, women of all castes make large vessels called kothi out of mud, dung, and rice husk. These vessels are used for the storage of grain and lentils. Kothi are frequently built in the shape of turtle and fish. A typical kothi is square with five storage areas, and is called a panch (five) kothi. Often at least one room in the house is filled with large kothi that reaches almost to the ceiling. Shelving is fashioned out of mud, as are stoves for cooking with fire. The art created by the women is transient. Rains destroy the mud and painted designs or in the spring, during a New Year festival called Jursital, paintings are covered over with mud.

INTERVENTIONS: MAITHIL PAINTINGS & THE JANAKPUR WOMEN'S DEVELOPMENT CENTRE Maithil paintings from Madubani in Bihar (India) have been discovered by the international art world. Until fairly recently, little interest was taken in the art produced on Nepal's side of the border. This changed with the foundation of the Janakpur Women's Art Project (in 1989), with the dual aim of promoting traditional Maithil painting skills and empowering the women painters. The project is housed in the Janakpur Women's Development Centre and it's possible to visit the Centre to see the women working, and to buy what they produce. The project includes women of diverse castes and backgrounds and the art that is created reflects this variety: wedding paintings, pregnant elephants, gods, and abstract tattoo designs are just some of the subjects. Increasingly the paintings are changing to include scenes from the women are also producing ceramics (plates and figures), papier mâché, patchwork tapestry, silk-screen prints, and woven wall hangings. While the Kayastha caste has had a tradition of making paintings on paper to wrap gifts at the time of marriage, for most Maithil women the practice of painting on paper was fairly new. Janakpur is now famous for its colourful paintings on paper, yet this 'tradition' began in the first days of the JWDC when, under a grant from the Ella Lyman Cabot Trust, a talented group of women were selected to learn how to transfer their wall designs to paper. They travelled from their villages to the Centre in Janakpur where, without losing their originality, they developed skills in composition as well as in the use of colour and line. After various experiments, it was decided to paint on Nepali handmade lokta (Daphne) paper, which has the rough texture of mud walls. Then, after trying pens and sticks, the women decided on brushes, and after experimenting with their own dyes and pigments, which they mixed with milk, they found that acrylic paint worked best on Nepali paper and could be used as spontaneously as the dyes and home-made paints that were applied on house walls.

Since the establishment of the JWDC, the Maithil art of Nepal has developed in a different direction. Just as is characteristic of Madhubani art, figures are shown without perspective, often in profile and with large eyes. Natural images from wall paintings - such as leaves, lotus flowers, parrots, and fish - fill empty space in all types of scenes. Careful attention is paid to colour and pattern, as on a fish or a sari. The designs found around doors and windows or at the bottom of a wall are the designs that border the page. But just as bold, often humorous, designs were painted on their mud walls, now women paint with similar spontaneity on handmade Nepali lokta paper. These fresh, lively scenes on Nepali paper are today known as Janakpur art. Proud of their traditional culture, the women continue to illustrate Maithil rituals or to make paintings of Ram and Sita who, according to legend, married in Janakpur. And in the 'office' where they sang songs or told tales of the Hindu gods, they naturally painted scenes from the Hindu epic Ramayana or from Maithil songs and folktales. Many women have enjoyed painting the Maithil tale of Anjur, a tale in which a new bride is made to do impossible tasks by her jealous sisters-in-law, and is helpeed, each time, by sympathetic birds or snakes. They often mix images of other tales in with Anjur's tale, and similarly gods will appear in scenes of family planning. This mixing of themes is a reflection of the real world of the Janakpur artists today. Artists associated with the Janakpur Women's Development Centre are earning recognition as some of the finest contemporary artists in Nepal. The range of products now being produced include paintings, and painted products like cards, mirror frames, photo frames, wall hangings, boxes, etc.

PRACTITIONERS & LOCATIONS The casting of metal objects using the lost wax method has been practised for centuries by craftsmen from the Newar community known as kasa. Within this classification, there are basically two castes that dominate: the shakyas or those who work with brass or bronze; and the tamrakars or those who work with copper or brass. The shakyas come from a relatively high caste and tend to be Buddhist. Unlike the shakyas, who focus more on metal cast objects, the tamrakars are well known for their work with brass and copper sheets that are beaten into shape using a special hammer. Metal casting is a craft/ occupation that uses the skills of every member of the family, with each member being given a specific role and responsibility. Traditionally, the skilled tasks in the casting process were carried out by men, while the less skilled tasks were performed by women and children.

The production of metal crafts by this process of casting is centred chiefly at Lalitpur where it has been a household industry for centuries; the work is done by the kasa who are professional metal-workers. Metal casting is done, to some extent, by the kasas of the Kathmandu Valley specially those from Bhaktapur and outlying regions such as Tansen (Palpa district, west Nepal), Pokhara (west Nepal), and Bhojpur (east Nepal) - Tansen, Chainpur, and Bhojpur still remain centres for the production of brass and bronze household items, though the tradition is a languishing one. Ten years ago in Bhojpur, there were 40 families making cast objects using the lost wax method; today, this number has dropped to eight families. Similar changes have also occurred in Tansen and Chainpur. RAW MATERIALS In the casting process used for utilitarian vessels, pitchers, and bowls, two basic alloys are found (most often) - bronze (kasa), the more sought after combination of metals, consists of copper and tin in a ratio of 3:1, and brass (pittal), consists of copper and zinc in a proportion of 3:1. Bronze products are more expensive to purchase as the cost of tin is much higher than the cost of zinc. Copper is relatively inexpensive to buy. In addition to price, there is also a significant difference in the appearance of these two metal combinations. Bronze, which is a harder alloy, has a silvery colour. It is considered by craftsmen to be easier to work with because of the speed at which it melts and cools. Brass, on the other hand, has a yellowish tint. Utensils are also cast from discarded brass and bronze (khu) that has been combined, melted down, and recast. The colour of these objects varies depending upon the concentration of either brass or bronze and the quality of the metals used. PROCESS & TECHNIQUE The process followed has some similarities to that used in casting icons. A general rule is that any items taller than 20 cm are made in two halves at the wax moulding stage; these separate pieces are later joined together after the casting step. Beeswax (maina) - collected in the more remote hill and mountain districts - is repeatedly heated over hot coals and continuously kneaded until it is soft and pliable. While working the craftsman rubs oil into his hands to prevent the wax from sticking to his fingers. Once softened, the wax is roughly formed by hand. To acquire the appropriate shape, thickness, and smoothness, the wax shapes are refined using a horizontal, hand-powered rotating wheel (charkha). In the past, this device required two persons to operate it - one person to crank the wheel and the other to manipulate the wax piece. Now however, motorised versions are available, thus reducing the arduous nature of this step. This charkha is now often operated by the women folk. Using a thin layer of heated wax, the wax product is skilfully placed onto the wheel. Once centred, additional wax is melted to ensure that it is firmly attached.

With the charakha turning at a constant rate, sharpened, chisel-like tools (baaks) are used to create a smooth finish and to ensure that the wax model conforms to the proper thickness. The baaks are also used by the craftsmen to shape, refine, and provide details to the wax model. This might include a line or series of lines around the rim, mid-section, or base - depending on the design, an entire range of baaks might be required. Throughout this meticulous process, a small piece of furniture (kunsi) is used to steady the workman's arm. Once this initial step has been completed, the wax model is gently removed from the wheel, using a sharpened baak. A three-pronged, tripod shaped piece of the model. This attachment will act as the passageway for the molten metal during the casting stage. There are three steps required to make the actual mould used for casting metal objects. To carry out these steps, four basic ingredients are needed: water, cow dung, ordinary rice husk, and a special type of clay that is yellow in colour, dry and quite brittle. As part of the first step, each wax model is dipped into a thin solution made of 60 per cent clay and 40 per cent cow dung mixed with water. This liquid mixture (masy) has a very fine consistency and can easily pick up the features of the wax model. The process is carried out a total of three times. Between each application, the coated models are allowed to dry thoroughly, avoiding direct sunlight to ensure that the wax does not melt prematurely. Depending on the weather, it can take up to two days to dry each layer. If the models are not dried properly, they can break once the molten metal has been applied.

As part of the second step, a combination of 40 per cent rice husk and 60 per cent clay is added to water to melt the wax inside. A small hole is created at the top of the three-pronged nowcha to allow the liquid wax to be poured out. Although approximately half of the wax is recovered, the rest is absorbed into the walls of the mould itself. This is where the phrase 'lost wax method' is derived from. The mould is then heated to a red-hot state again and set aside for the next step. Since beeswax is expensive to buy, after it is retrieved from these moulds it is refined to remove impurities and used again. The hole where the wax was retrieved will later be used as the passage for pouring the molten metal into the mould itself. As part of this stage, the actual casting of the mould is performed. A melting bowl or crucible is created for each mould from a mixture of 75 per cent clay and 25 percent smooth husk. This bowl is made large enough to hold the required quantity of metal to cast each object. The amount of raw metal needed is calculated by multiplying the weight of the initial wax model into nine. Once determined, the metal is placed into the melting bowl that is then physically attached to the moulds using a mixture of 60 per cent clay and 40 per cent husk. The bowl is placed in such a way that it covers the hole produced at the nowcha. Once this step has been completed, the entire mould/melting bowl combination is placed into a heated casting oven (kwajhya) with the melting vessel facing downwards. Bronze requires two hours to melt while brass requires an additional hour. Using a long, pointed pair of tongs (sanyasu), the red-hot models are removed from the charcoal, shaken, and then tipped over to allow the molten metal to drain inside through the nowcha. The mould and the molten metal must be at the same temperature for this step to be successful - otherwise the metal will not flow properly. After allowing the moulds to cool for 30 minutes, the metal object is removed by chipping the layers of mud/rice husk away. It is then washed in water. At this point, the metal is very soft and has a rough, grey, and oily appearance. By heating the object until it is red-hot and then plunging it into a pail of cold water the metal is instantly rendered hard. As part of the final stage, the inside and outside of each metal piece is filed using a tool called retti. This process removes any defects or deformities and brings out the true colour of the metal. It also allows the craftsman to create a smooth, flat surface for areas that will later be joined and removes any excess material resulting from the casting process, especially near the points where the molten metal entered the mould. In the case of a utensil that needs to have additional pieces joined together, this is done using thin layers of a special metal combination that is melted to hold the different segments together. For bronze, a 50 per cent tin and 50 per cent lead mixture is often used; and for brass, a 75 per cent brass and 25 per cent zinc mixture is used. As part of this step, a small quantity of the joining metal is placed between the pieces that are to be combined. Tree sap is sometimes used to hold the items in place. The joints are then covered with hot coals until this metal mixture has melted completely. After removing the coals, if any molten material has come out of either side of the seam, it is smeared with a small sap covered stick. Likewise, if there is not enough metal in the seam, a thin rod made from the joining material is used to fill in the gap. Pressing the rod up against the hot object, a soldering technique is used to add more metal. While still hot, cold water is poured on to the object to harden the metal. After cooling, the assembled vessel is filed and polished several more times. Using a thin layer of wax, the object is attached to the charkha wheel. A variety of different baaks are used to further file the inside and outside surfaces of the vessels. In some cases, a combination of water and brick dust (sikhachu) is used to polish the item. A mixture of water and wood ash (karani) is used to carry out the final polish. This combination, which is less abrasive, provides a nice bright shine. Following these steps, the object is finished and ready for sale.

DESIGNS Using the lost wax method, objects such as batukas, ankhoras, and karuwas can be made with elaborate designs along the outside. For example, many akhoras have a series of oval-shaped medallion patterns, depicting images of Lord Krishna, Krishna and Radha, flowers, peacocks, or Lord Buddha. Others might contain a composite abstract pattern that completely covers the outside of the object. In addition to these motifs, there might also be a set of continuous rings in the form of flower vines that encircle the container. To create a given design, an additional step is required during the formation of the wax models. Small printing blocks made out of a smooth, flat, textured stone are required for this step. These blocks are prepared using a sharpened, iron pencil to etch a particular design on to the stone itself. In some cases, several different etchings are made on a single piece. Since the quality of the stone used determines the texture of the print created, care is exercised when selecting the stone. Once prepared, these etched stones can be used for many years. To use the print blocks, a small quantity of wax is heated until it is soft and then smeared over the etching on the stone, often using one's fingers. To prevent the wax from sticking to the stone print, either vegetable oil or just plain saliva is used. It is not uncommon for the workman to lick the block directly in an effort to save time. The thin layer of wax, which contains the impression etched onto the stone, is then peeled off. A pair of scissors or a small blade is used a trim the print into the desired shape. Depending on the number of objects being created, hundreds of these wax patterns might be prepared by the craftsman in a given session. The etchings are heated and then placed on to the wax model. Care is needed to ensure that the individual peelings are well positioned. For example, the circumstances of a given container must be measured to ensure even spacing of the patterns. The goal is to place each of the oval medallion pieces onto the object with equal distance between each one. It is not uncommon to find objects for which the spacing of these designs was miscalculated. For example, some peacock batukas and ankhoras have one of the medallions cut in half to fill in a remaining space. Between each oval pattern, there are often thin decorative strips used fill in the spaces. These are made using the same process. To create the continuous flower rings around an object, small rectangular or square wax patterns are placed next to each other to act as the building blocks for this design. Once attached, the wax models go through the series of steps described above.