IGNOU BHIS-183 Solved Question Paper PDF Download

IGNOU BHIS-183 Previous Year Solved Question Paper in Hindi

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Q1. What do you understand by Shreni? Discuss the legal rights and duties of Shreni.

Ans. The Shreni refers to a guild or association of artisans, craftsmen, merchants, and professionals in ancient and medieval India. These organisations were formed by people belonging to a specific craft or trade to protect their interests, maintain quality standards, and ensure the welfare of their members. They played a vital role in the Indian economy and society. The Shrenis enjoyed considerable autonomy and had their own set of rules and regulations, known as ‘Shreni-dharma’ , which were binding on all members. Legal Rights:

• Judicial Rights: Shrenis had the right to adjudicate disputes arising among their members. Their decisions were recognised and enforced by the state.
• Financial Autonomy: Shrenis functioned as banks. They accepted deposits from the public, provided loans, and invested their funds. They could also levy taxes on their members.
• Right to Contract: As a corporate body, a Shreni could enter into contracts with temples, monasteries, or the state and undertake projects collectively.
• Property Ownership: Shrenis could collectively own, hold, and sell property.

Duties:

• Quality Control: It was the foremost duty of the Shreni to maintain high standards of quality for the goods produced and services rendered by its members.
• Price Regulation: They fixed fair prices for their products and services to protect the interests of both the members and the consumers.
• Welfare of Members: Shrenis took care of their members and their families, especially in times of illness, death, or other crises.
• Training: They were responsible for imparting training to the new generation of craftsmen and ensuring the transfer of skills.
• Public and Charitable Works: Many Shrenis also contributed to the construction of temples, arrangement of water sources, and other community welfare activities.

In essence, the Shrenis were self-regulating pillars of economic and social life in ancient India, vested with significant rights and responsibilities.

Q2. Describe the utility of crafts as a weapon for attainment of Swaraj.

Ans. During the Indian freedom struggle, especially under the leadership of Mahatma Gandhi, crafts were utilized as a powerful weapon for the attainment of Swaraj (self-rule). This was not merely an economic program but a profound political, social, and moral philosophy. 1. Economic Self-Reliance: Gandhi believed that the root cause of India’s poverty and its dependence on Britain was the destruction of its indigenous industrial system. He promoted the Charkha (spinning wheel) and Khadi (hand-spun and hand-woven cloth) as symbols of boycott against British mill-made textiles. By reviving Khadi and other village industries, Gandhi aimed to make villages economically self-sufficient. This would provide employment and income to the rural populace, freeing them from British economic exploitation. 2. Political Symbolism: The Charkha became a potent symbol of Indian nationalism and the aspiration for freedom. The act of spinning was an act of non-violent resistance against British imperialism. The Swadeshi movement urged people to boycott foreign goods and adopt Indian-made products, especially handicrafts and Khadi. This instilled a sense of national pride and unity among Indians. 3. Social Equality and Dignity: For Gandhi, manual labour, particularly spinning, symbolized the dignity of labour. He viewed it as a ‘yajna’ (sacrifice) in which all Indians, irrespective of their caste, class, or religion, could participate. It helped bridge the gap between the rich and the poor, the intellectual and the labourer, laying the foundation for a more egalitarian society. 4. Decentralization: Gandhi was a critic of large-scale industrialization as it centralized power and wealth. In contrast, handicrafts and village industries promote a decentralized system of production, which places power in the hands of the common people. This was in line with his concept of political Swaraj, where every village would be a self-sufficient republic. Thus, craft was a multi-faceted weapon for Swaraj, combining the ideals of economic freedom, political mobilization, social reform, and self-reliance.

Q3. Discuss the concept of learning by practice.

Ans. Learning by practice is an educational philosophy and methodology that posits that knowledge and skills are best acquired through direct experience, repetition, and practical application, rather than just theoretical instruction. This concept is at the heart of Indian craft traditions, often expressed through the ‘Guru-Shishya Parampara’ (master-disciple tradition). The key features of this system are:

• Learning by Doing: Disciples learn not just by watching or listening, but by actively participating in the process of craft-making. A young apprentice starts with simple tasks, like cleaning tools or preparing materials, and gradually moves to more complex techniques under the guidance of the guru. This hands-on engagement embeds the skill deeply within the body and mind.
• Observation and Imitation: The disciple closely observes the master (ustad) at work. They try to imitate the master’s every move, body posture, and use of tools. This process is not mere copying but an assimilation of the subtle knowledge and rhythm behind the craft.
• Tacit Knowledge: A significant amount of craft knowledge is tacit—it cannot be easily articulated in words. For example, feeling the right consistency of clay, or recognizing the colour of metal when it’s heated to the perfect temperature. This knowledge can only be gained through constant practice and sensory experience.
• Learning from Mistakes: Making mistakes is an essential part of the learning process in practice. The guru allows the disciple to make errors and then guides them in correcting them. This iterative process is crucial for achieving mastery.
• Holistic Development: Learning by practice is not just about developing technical skills. It also cultivates values like discipline, patience, an aesthetic sense, and respect for materials in the disciple. It is a holistic learning process that shapes the character of the individual.

In short, learning by practice is an experiential and holistic approach that views knowledge as a living, embodied reality, which can only be effectively transmitted across generations through direct participation and practice.

Q4. Write short notes on any two of the following : 5+5 (a) Craftsman as the maker of Beauty (b) Types of crafts in pre-colonial period (c) Condition of crafts at the time of independence (d) Characteristics of crafts knowledge

Ans. (a) Craftsman as the maker of Beauty A craftsman is not just a maker of utilitarian objects, but also a creator of beauty . Their creations display a remarkable fusion of function and aesthetics. Through their art, craftsmen express their cultural heritage, beliefs, and individual creativity. They transform natural materials—clay, wood, metal, thread—into artefacts using their imagination and skill. This process is not merely mechanical; it involves the craftsman’s emotions, sensibilities, and aesthetic judgment. The touch of their hands, the choice of forms, the combination of colours, and the ornamentation, all combine to elevate an object to a work of art. In this way, the craftsman shapes the aesthetic sense of society and infuses art and joy even into everyday objects. (c) Condition of crafts at the time of independence At the time of India’s independence (1947), the condition of the country’s traditional crafts and handicraft sector was extremely poor . The policies of the British colonial rule had systematically dismantled Indian crafts. The import of cheap, machine-made goods from British factories drove Indian handmade products out of the market. Furthermore, the British dismantled the patronage of Indian princely states and feudal elites, who were traditionally the main patrons of craftsmen. This process is known as ‘De-industrialization’ . As a result, millions of weavers, potters, metalworkers, and other artisans became unemployed and were forced to move into other professions like agricultural labour. At the time of independence, the sector was struggling with a lack of patronage, markets, and organizational support, and many traditional skills were on the verge of extinction.

Q5. Are machines necessary for humans? In what context do they become harmful for humans and nature? Explain.

Ans. Yes, to a certain extent, machines are necessary for humans. Machines can reduce human drudgery, increase productivity, and perform tasks that are dangerous or impossible for humans. Tools like a simple wheel, a spinning wheel, or a sewing machine augment human skill and make life easier. They act as extensions of human capabilities, allowing people to use their creative energy more effectively. In this context, machines are beneficial tools for progress and development. However, machines become harmful to both humans and nature in certain contexts: Harmful for Humans:

• Deskilling and Unemployment: When machines completely replace human skill, it leads to mass unemployment. Large-scale factories displace traditional craftsmen and artisans from their occupations, leading to a loss of livelihood and the disappearance of centuries-old knowledge.
• Dehumanization: Working on a factory assembly line is often repetitive, monotonous, and dehumanizing. It alienates the worker from the final product of their labour, destroying the sense of pride and satisfaction in work. Mahatma Gandhi criticized large-scale industrialization for this very reason.
• Inequality: The ownership of machines and technology tends to become concentrated in the hands of a few, leading to widening economic inequality in society.

Harmful for Nature:

• Over-exploitation of Resources: Large-scale industrial production requires vast amounts of raw materials, water, and energy. This leads to the over-exploitation and depletion of natural resources like forests, minerals, and water sources.
• Pollution and Climate Change: Factories and machines run on fossil fuels, leading to the emission of harmful greenhouse gases. Industrial waste pollutes rivers and land, causing severe damage to ecosystems and contributing to climate change.
• Loss of Biodiversity: Land acquisition for industrialization often leads to the destruction of forests and natural habitats, resulting in a massive loss of biodiversity.

In conclusion, machines become harmful when their use is not human-centric and sustainable, but is driven solely by profit and mass production. Gandhi’s idea was of

‘production by the masses’

, not ‘mass production’, which emphasizes the appropriate and humane use of technology.

Q6. What are the different components of the craft value chain? Discuss with example.

Ans. The Craft Value Chain describes all the stages, processes, and activities through which a handicraft product journeys from raw material to the final consumer. At each stage, some ‘value’ is added to the product. Understanding the craft value chain is crucial for supporting the craft sector and improving the incomes of artisans. Its main components are as follows: 1. Raw Material Sourcing: This is the first stage of the chain. It involves procuring the necessary materials for making the craft, such as cotton, silk, wood, metal, clay, natural dyes, etc. Quality and cost are critical factors at this stage. 2. Design and Production: In this stage, the artisan transforms the raw material into a finished product using their skills, creativity, and tools. It includes creating the design, producing the object, and finishing it. This is the stage where the artisan’s unique skill adds the most value. 3. Aggregation and Processing: Often, individual artisans produce on a small scale. Intermediaries, cooperatives, or NGOs collect (aggregate) these products from various artisans. They may also perform tasks like quality checking, sorting, packaging, and branding. 4. Marketing and Distribution: This stage involves bringing the product to the market. It includes sales through wholesalers, retailers, exporters, and e-commerce platforms. Effective marketing creates awareness and generates demand for the product. 5. Retail and Final Consumer: This is the final stage of the chain, where the product is sold to the end customer in shops, exhibitions, online stores, or directly by the artisan. Customer feedback can influence future designs and production. Example: Bagh Printing

• Raw Material: Artisans in the Bagh region of Madhya Pradesh procure cotton fabric from Gujarat. They prepare natural dyes from locally available materials like harada fruit, pomegranate peel, and iron filings.
• Design and Production: Artisans carve traditional geometric and floral designs onto wooden blocks. They then use these blocks to hand-print the fabric, which is later boiled and washed in the Baghini river to fix the colours.
• Aggregation: A master artisan or a local cooperative might collect the finished fabric from several artisan families.
• Marketing and Distribution: These fabrics are sold to wholesalers in big cities like Delhi or Mumbai, or supplied to large retailers like ‘Fabindia’.
• Retail: Finally, customers purchase these Bagh print sarees, stoles, or dress materials from urban showrooms or online websites.

Value is added at each stage of this chain, but often, artisans do not receive a fair share for their contribution.

Q7. Describe some of the government initiatives to boost the handicraft sector in Bharat.

Ans. The Government of India has launched several initiatives to preserve, promote, and boost the country’s rich handicraft sector and improve the livelihoods of artisans. These initiatives focus on skill development, financial support, market access, and social security. Some of the key government initiatives are: 1. National Handicraft Development Programme (NHDP): This is a comprehensive scheme that includes several sub-schemes. It aims to provide integrated support to artisans, including:

• Pehchan Card: Artisans are provided with a biometric identity card, which helps them avail benefits of government schemes.
• Guru-Shishya Parampara Scheme: Financial assistance is given to master craftspersons to train apprentices to preserve and transfer traditional skills to the younger generation.
• Toolkit Distribution: Artisans are given modern and improved tools free of cost or on a subsidy to improve their efficiency and quality of work.

2. Marketing Support Schemes:

To provide a platform for artisans to sell their products, the government supports various initiatives:

• Dilli Haat and Urban Haats: These are permanent marketplaces where artisans can sell their goods directly to customers.
• Crafts Bazaars and Exhibitions: The government organizes and sponsors the participation of artisans in fairs and exhibitions across the country and internationally.
• E-commerce Portals: The government is helping artisans list their products on online portals like the ‘India Handmade Bazaar’.

3. Mudra Yojana:

Under this scheme, artisans can easily avail loans without any collateral to start or expand their businesses.

4. Establishment of Shilpgrams:

‘Shilpgrams’ (craft villages) have been set up in different parts of the country, which act as hubs promoting crafts, culture, and tourism.

5. Geographical Indication (GI) Tag:

The government helps in securing GI tags for unique crafts associated with specific geographical regions, such as Kanchipuram Silk or Bastar Dokra. This ensures the authenticity of the product and increases its brand value.

6. Awards:

Outstanding artisans are honoured through prestigious awards like the Shilp Guru Award and National Awards, which gives them recognition and encouragement.

These initiatives aim to make the handicraft sector more organized, profitable, and sustainable.

Q8. Write short notes on any two of the following : 5+5 (a) Dokhra metal craft (b) Bagh Printing (c) Fabindia (d) Decline in artisanal labour

Ans. (a) Dokhra metal craft Dokra (or Dhokra) is an ancient metal casting art in India that uses the ‘lost-wax casting’ technique. This art is nearly 4,000 years old, and a famous example is the ‘Dancing Girl’ figurine from Mohenjo-daro. This craft is primarily practiced by tribal communities in Jharkhand, Chhattisgarh (especially Bastar), Odisha, and West Bengal. In this process, the artisan first creates a model from beeswax, then covers it with a layer of clay. When heated, the wax melts and drains out, leaving a clay mould. Molten metal, like brass or bronze, is then poured into this empty mould. Once the metal cools and solidifies, the clay mould is broken, revealing a unique, rustic-surfaced metal artefact. Dokra artefacts often depict tribal deities, animals, birds, and scenes from daily life. (d) Decline in artisanal labour The decline in artisanal labour in India is a serious socio-economic problem with multiple causes. The most prominent reason is the competition from mass-produced, cheaper machine-made goods, which push handmade products out of the market. Secondly, artisans often face rising costs of raw materials and exploitation by middlemen, which leaves them with very low-profit margins. Thirdly, the social prestige associated with traditional crafts has diminished, and the younger generation does not see it as an attractive or viable career option. They prefer to migrate to cities for better opportunities. Furthermore, lack of patronage, inadequate credit facilities, and limited market access also contribute to this decline. As a result, many traditional skills and knowledge systems are not being passed on to the next generation and are in danger of extinction.