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This art of silver inlay on metal has always kept historians guessing.
Various accounts exist about its origin and entry into India and subsequently
Andhra Pradesh.
If one were to believe the craftsmen themselves, they say that the art
originated in Iran seven centuries ago. It was brought down by
migrants. Zealously guarded by its practitioners, the art has
successfully expressed the experiences of the
Sufis, the aesthetic values of the Moghuls
and the yearning of warriors to decorate their ornaments of valour-swords,
daggers, lances and shields. Today, Bidri has been aptly contemporarised producing cufflinks, name plates and more. But always retaining the old grandeur that won
the heart of many a king, warrior, scholar and commoner.
Broadly speaking, there are four main stages in the manufacture of
Bidri They are (i) casting (ii) engraving (iii) inlaying and (iv) oxidising. The articles are
cast with the help of moulds of red clay into which the molten solution of
copper and zinc prepared in the ratio of 1: 16 is poured. The surface of
the rough cast of the articles is filed and smoothened with sand paper and then
rubbed with a solution of copper sulphate to impart a dark surface to provide a
suitable base for the next stage of tracing the design and engraving. The
designs are traced by hand, by the craftsmen with the help of chisels. Next,
pure silver wire or sheet (gold in rare cases) is hammered into the grooves of
the design and the surface smoothened with the help of sand paper and files or
with the help of a buffing machine. In the ultimate interesting stage,
the articles are heated gently and treated with a solution of sal-ammoniac and
earth taken from old fort buildings which has the effect of making the entire
surface turn jet black providing a distinct contrast to the shining silver
inlay. It is this contrast that lends Bidri a uniqueness
that no other metalware could possibly claim. Finally, oil is rubbed on
the piece to deepen the black matt coating.
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