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Tarakashi work of Cuttack

Tarakasi is a type of silver filigree work from Cuttack, a city in Odisha in the eastern part of India.

Cuttack Tarkasi (silver filigree) pendant and ear rings

Origin

[edit]
Circa 1873 Archaeological Survey of India photo of tarakasi crafters at work in Cuttack

This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha.[1] Presently, the silver filigree workers are largely from the district of Cuttack, where the art flourishes.

Technique

[edit]

The filigree artists work with an alloy of 90% or more pure silver.[2] First, the lump of silver is placed into a small clay pot and the two are put into a bucket full of hot coals. The temperature is regulated through a bellows that is hand operated by a crank.

The melting process takes about ten minutes and then the silver is poured into a small, rod-like mold and cooled by submerging the rod in water. It is then placed into a machine that will press the rod into a long, thin wire. This tedious and physically demanding process had been done traditionally by hand and took two men to turn the crank.

Once the silver is pressed into a flat, workable wire, the wire itself can first be hand carved with intricate designs or immediately smoldered by a small kerosene fire, with one artist directing the small flame with a tube held in his mouth into which he can blow. This process makes it easier for the artisan to mold the wire into the desired frame for the piece before it is cooled. Next the wires are strung together and twisted and shaped into a design by the artist's precise fingers. Soldering is done by placing the piece into a mixture of borax powder and water, sprinkling soldering powder on it, and then placing it once again under the small flame. This insures that the detail of the design will stay intact.

Once this is done, the artist will take the warm piece and shape it into an ornament. Techniques such as granulation, snow glazing and casting are used in innovative ways to heighten the effect. Artisan Jagdish Mishra, speaking of the techniques employed says, "The tastes of the customers keep changing and artists must be up to date with to keep up with emerging trends". Such new methods and experimentation are increasingly being employed to produce highly polished and refined artifacts in keeping with the demands of customers. Platinum polishing is done to give a more lasting shine, whereas fusion of silver and brass or other materials is done to create interesting effects.

Tradition

[edit]

Forms of animals, birds, flowers and even miniature handbags and other souvenirs are made in Tarakasi work. The Konark Chakra and temple are great favourites as mementos. Scenes from the Mahabharata, in particular the still from the Bhagavad Gita depicting the chariot of Arjuna driven by Lord Krishna are quite popular. Over the years various famous monuments like the Taj Mahal, Eiffel Tower, and others have been made, garnering accolades from admirers of fine arts.

The filigree jewelry is particularly rich in patterns. In Odisha, the stress is on arm jewellery, necklaces, toe rings and especially anklets, which are a great favorite. They are considered auspicious as well. Intricate anklets, combining use of semi-precious stones are greatly preferred.

The Bela-Kanta, a traditional ornament

Vermilion boxes, brooches, pendants, earrings and hairpins are in great demand. A vermilion box is must in any Oriya marriage, but this tradition dying out. Waist bands made from Tarakasi work were used traditionally in the marriage. Oriya marriages are incomplete without Tarakasi anklets and toe rings.[3]

Odissi

[edit]

The jewelry worn in Odissi, one of the Indian classical dances originating from Odisha, are made from Tarakasi work. These ornaments adorn the head, ear, neck, hands, fingers and waist of the dancer. The ornaments include a choker, padaka-tilaka (a long necklace), bahichudi or tayila (armlets), kankana (bracelets), a mekhalaa (belt), anklets, bells, kapa (earrings) and a seenthi (ornament work on the hair and forehead). These ornaments are embellished with natural un-cut stones lined with silver and gold.

Durga puja

[edit]
Silver filigree work at Chaudhury Bazar Durga Puja pandal Cuttack

The introduction of the Sharadiya Utsav tradition in the city dates back to the visit of Chaitanya Mahaprabhu, a Hindu saint, in the 16th century when the consecration of the idol of Durga by using the mask pattern was conducted in his presence at Binod Behari Devi Mandap.

Every year, during Durga Puja in Cuttack, Tarakasi jewellery is used at many pandals to embellish the idols of Durga. One of the most famous idols is the one at Chandni Chowk, where the entire crown and accessories of Durga are made of silver, popularly known as Chaandi Medha. Other pandals using Tarakasi are Chauliaganj, Choudhury Bazar, Khan Nagar, Banka Bazar, Dargaah Bazaar, Balu Bazar, etc.

Every year more than 150 filigree artisans are engaged in making backdrop and ornament design.[4] The style was introduced at the Choudhury Bazaar puja pandal with a 250 kg (550 lb) chandi medha in 1956. Following suit, Sheikh Bazaar puja mandap installed a 350 kg (770 lb) chandi medha in 1991. In 2004, Ranihat puja committee joined the elite group with a 483 kg (1,065 lb) of silver filigree backdrop, jewellery and weaponry. In the following year, Haripur-Dolamundai puja committee superseded Ranihat when it installed 500 kg (1,100 lb) silver filigree. In 2006, the Sheikh Bazaar committee remodeled a new backdrop using 450 kg (990 lb) of silver. Chandini Chowk, Sheikh Bazaar, Alisha Bazaar, Chauliaganj, Badambadi, Ranihat, Haripur-Dolamundai and Balu Bazaar-Binod Behari puja committees are vouching for the filigree work. There is a competition to notch the best show every year among all puja committees in Cuttack.[5]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tarakasi

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from Grokipedia
Tarakasi, also known as Rupa Tarakasi or Tarakasi, is a traditional silver art form from in , , involving the meticulous crafting of thin silver wires into intricate, lace-like patterns for jewelry, decorative items, and religious ornaments. This centuries-old craft, with roots tracing back over 500 years, believed to have been introduced or flourished during Mughal influence in the region, earning the moniker "Silver City of " due to its prominence in the technique. The term "tarakasi" derives from "tara" (wire) and "kasi" (work), reflecting the core process of drawing molten silver into fine wires, which are then twisted, looped, and soldered by hand or precision tools to form elaborate motifs inspired by nature, such as foliage, roses, and peacocks, often incorporating gold or enamel for added detail. Tarakasi products range from wearable adornments like bangles, earrings, necklaces, and hairpieces—particularly favored by classical dancers—to utilitarian objects such as trays and boxes, as well as grand decorative pieces like miniature chariots and tableaux for festivals. It holds special cultural significance in , where artisans craft ornate silver embellishments for idols, blending artistry with devotion in a tradition passed down through generations in family workshops. In , Tarakasi received a (GI) tag from the Indian government, recognizing its unique origin and authenticity tied to 's skilled craftsmanship, with ambitions to position as India's Tarakasi hub. However, the art form faces existential challenges, including a sharp decline in practitioners—from dozens per workshop to just a handful—due to health risks like affecting 95% of artisans, competition from products originating elsewhere, and the migration of younger generations to urban employment amid insufficient financial support. Despite these hurdles, efforts by remaining artisans, such as adapting designs for modern tastes, underscore the craft's enduring resilience and potential for revival through government subsidies, promotion, and recent initiatives like the August 2025 foundation stone laying for a common facility center in .

History and Origins

Etymology and Introduction

Tarakasi is an intricate silver craft native to in , , characterized by the twisting and weaving of fine silver wires into delicate, patterns for jewelry, ornaments, and decorative artifacts. This technique produces lace-like structures that emphasize lightness and intricacy, transforming pure silver into ethereal forms. The name "Tarakasi" originates from the , combining "tara," meaning wire, and "kasi," referring to designing or winding tightly, which directly reflects the methodical process of and silver threads. Practiced predominantly in —renowned as the "Silver City" for its heritage—Tarakasi is an form with roots in regional dating back to at least the 13th century, developing into its specialized style over 500 years ago during the Mughal era and sustained by generations of local artisan families.

Historical Development

Tarakasi, the intricate silver craft of , originated in around 500 years ago during the early , coinciding with the establishment of Mughal rule in . This art form developed as a blend of Persian-influenced Mughal techniques, which emphasized delicate wirework, and indigenous Odia craftsmanship traditions rooted in earlier regional practices. The craft's introduction is attributed to the influx of artistic influences from the , transforming local silverworking into a specialized style known for its precision and ornamental complexity. From the 16th to 19th centuries, Tarakasi evolved significantly through its integration into temple jewelry and adornments for religious icons, reflecting 's deep spiritual heritage. The flourished under royal patronage from Mughal governors, Maratha rulers, and later British colonial administrators, as well as from local princely states, where artisans received commissions for elaborate pieces. This period saw the technique adapt to diverse motifs, including floral patterns and architectural elements, solidifying Tarakasi's role in both secular and sacred contexts across . In the , particularly after India's in , Tarakasi artisans increasingly concentrated in , where the craft's epicenter had long been established. Family-based guilds and hereditary workshops played a crucial role in preserving the techniques, passing skills from generation to generation amid economic shifts and urbanization. During the colonial era, key innovations included the introduction of new designs inspired by iconic structures like the and narrative scenes from the , broadening the craft's thematic scope while maintaining its traditional wire-twisting methods. In 2024, Tarakasi received a (GI) tag from the Indian government, recognizing its unique historical origin and authenticity tied to .

Materials and Tools

Materials Used

The primary material in Tarakasi is high-purity silver, typically an containing 90% or more silver, often 99.9% fine silver (999 purity) with about 2% , selected for its superior malleability that enables the of ultra-fine wires essential to the craft, as well as its enduring luster that enhances the intricate designs. This composition also provides properties, making it ideal for jewelry that contacts the skin without causing irritation. Secondary materials support the fabrication process and add functional or decorative elements. Borax serves as a flux during soldering, helping to remove oxides and ensure clean joins between silver wires. Traditional items may incorporate uncut or semi-precious gemstones as inlays, adding color and value to the filigree structures. Silver ingots for Tarakasi are traditionally sourced from major markets in Kolkata and Mumbai through local traders in Cuttack, known as India's "Silver City," where artisans rigorously test the metal's purity to prevent breakage during the demanding wire-drawing stage. While conventional sourcing emphasizes quality from regional suppliers, modern variants increasingly utilize recycled silver to promote sustainability and reduce environmental impact.

Tools and Equipment

Tarakasi artisans rely on a variety of specialized hand tools to manipulate silver into intricate filigree designs, emphasizing precision and manual dexterity throughout the process. For initial preparation, basic tools include earthenware pots known as ghadia, used alongside hot coals in a mud-lined furnace called bhati or unhei to melt silver bricks into molten form. Drawplates, or janta—iron plates with graduated grooves—serve as metal dies to extrude the molten silver into wires of varying thicknesses, enabling the creation of fine threads essential for filigree patterns. These tools process the silver alloy, the primary material, into workable forms without introducing additional alloys during this stage. Assembly requires delicate instruments such as chimuta tweezers and pliers for twisting, bending, and positioning the thin silver wires onto a base frame. Charcoal blocks provide a stable, heat-resistant surface for shaping the wires, while blowpipes or modern blowtorches deliver controlled flames for soldering joints, ensuring structural integrity without distorting the intricate designs. Finishing tools focus on enhancing the luster and cleanliness of the completed pieces, including polishing cloths and maskala brushes to buff the surface to a high shine, along with applicators for polish to achieve a reflective finish. Snow glazing brushes may also be employed for subtle texturing, contributing to the delicate, lace-like appearance characteristic of Tarakasi work. Traditional artisan setups feature simple workbenches equipped with magnification aids like loupes to facilitate close inspection of fine details during manipulation. In some contemporary workshops, this has evolved to incorporate modern electric furnaces for more efficient and safer melting, blending heritage techniques with updated equipment to sustain the craft.

Craftsmanship Techniques

Wire Preparation

The preparation of wires forms the foundational step in Tarakasi, the traditional silver filigree craft of Cuttack, , where high-purity silver (typically 90% or more) is transformed into delicate threads essential for intricate designs. Artisans begin by melting silver ingots or bricks in small clay pots placed over hot coals, using a manually operated to regulate the and achieve without impurities. This process ensures the silver remains uncontaminated, as any foreign matter could compromise the wire's integrity during later manipulation. Once molten, the silver is carefully poured into narrow, rod-shaped molds, often made of metal or clay, and then quenched in cold water to solidify into manageable rods of uniform diameter. The rods are then drawn into fine wires through a series of successive drawplates or a manual wire-drawing machine equipped with progressively smaller apertures, reducing the thickness to create threads as fine as human hair for detailed work. This labor-intensive drawing process, performed by hand or with simple mechanical aids, demands precision to maintain evenness; Twisting pairs of these fine wires together adds tensile strength, making them suitable for complex patterns while preserving flexibility. Variations in wire preparation cater to design requirements, with straight, untwisted wires used for linear elements and coiled or spiraled ones for curved, ornamental motifs that enhance structural complexity. These adaptations allow Tarakasi artisans to achieve the craft's signature lightness and intricacy, though the preparatory phase remains a specialized skill often handled separately from design work to uphold consistency across pieces.

Design and Assembly

The design phase of Tarakasi begins with artisans sketching intricate patterns by hand on or directly onto a base material, often featuring floral motifs, leaves, or animal forms inspired by nature and temple architecture. These sketches serve as blueprints for fine silver wires into frames, where thicker wires form the structural outline (known as farma) and thinner ones are twisted, looped, or coiled to create delicate, lace-like patterns. The prepared wires, drawn to varying thicknesses as described in prior stages, are meticulously shaped using and to fit precisely within the frame, ensuring an interconnected web of motifs without gaps. Assembly involves the wire components together to form a cohesive structure. Artisans apply a mixture of and silver dust to the joints, then use a controlled flame from a to fuse them, heating just enough to bond without melting the delicate wires. This process demands steady hands and acute vision, as even minor overheating can distort the . To achieve depth in complex pieces, such as jewelry or decorative frames, artisans build multi-tiered layers by assembling smaller wire motifs onto the primary frame, each layer sequentially for stability. This layering ensures structural integrity, particularly for wearable items like earrings or bangles, where the piece must withstand movement without fracturing. Larger assemblies, like chandi medhas (silver tableaux), may involve piecing together modular sections before final to manage scale. Key challenges in and assembly include maintaining precision to prevent or weak joints, as the fine wires require exact alignment under . The process is highly labor-intensive, with even simple motifs like a single taking 3-4 hours, while intricate jewelry or artifacts can extend over multiple days depending on complexity. Artisans often work in cramped workshops, relying on and seasonal conditions to avoid heat-related errors during .

Finishing Processes

After the intricate assembly of Tarakasi designs, the pieces require careful to remove flux residues from the process, ensuring a smooth surface free of impurities. Artisans traditionally immerse the silver work in a dilute solution for initial , which effectively dissolves residual without damaging the delicate wires. In Odisha's workshops, particularly during preparations for festivals like , this step involves scrubbing with brass brushes and natural agents such as reetha (soapnut), sura (a local solution), suaga ( ), and diluted sulphuric to thoroughly eliminate residues and prepare the surface for further treatment. Once cleaned, enhances the luster and highlights the fine details of the patterns, contributing to the craft's renowned aesthetic appeal. This is achieved by applying a specialized polishing solution with a soft brush and a brass-tipped tool, which gently buffs the silver to a brilliant shine while preserving the intricate weave. Traditional methods emphasize manual techniques to avoid abrasion on the thin wires, resulting in a smooth, reflective finish that accentuates the transparency and delicacy of Tarakasi work. In some practices, additional glazing techniques, such as snow glazing, are employed to impart a textured smoothness and heightened visual effect to the completed pieces. This final refinement ensures the durability and ornamental quality, aligning with centuries-old standards of precision in Odisha's silver tradition.

Cultural and Traditional Uses

In Performing Arts: Dance

Tarakasi silver plays a vital role in dance attire, providing both aesthetic enhancement and functional support for the dancer's expressive movements. Specific ornaments include silver chokers known as chika, which encircle the to accentuate the neck movements central to ; anklets or payal that chime softly with footwork; elaborate headpieces such as the matha patti (forehead ornament) and tahia (crown resembling a temple ); and waist belts called benga-patia, which define the torso's posture while complementing hand gestures or mudras. These pieces are crafted to harmonize with the dance's sculptural poses, drawing from Odisha's temple iconography to evoke the grace of traditions. The design of Tarakasi jewelry for emphasizes lightweight construction and flexibility, achieved through intricate twisting and soldering of fine silver wires into openwork patterns that avoid restricting motion during dynamic sequences like chauka and . This adaptability ensures the ornaments move with the dancer, amplifying the visual flow without adding undue weight. Temple-inspired motifs, such as miniature replicas of or shrines, floral lotuses, and peacock feathers symbolizing divine grace, are commonly incorporated, reflecting Odisha's architectural heritage and enhancing the performative narrative. Historically, Tarakasi's integration into attire evolved from the dance form's temple rituals, incorporating work to authenticate classical Odia heritage. Originating over 500 years ago in under royal patronage, the craft aligned with ancient mahari traditions, preserving cultural continuity. Culturally, Tarakasi symbolizes purity and divinity in , with silver's luster representing spiritual radiance and the 's delicacy evoking ethereal devotion, which heightens the dancer's embodiment of mythological figures like or . These ornaments transform the performer into a living temple idol, reinforcing themes of (devotion) and connecting the audience to Odisha's sacred artistic legacy.

In Religious Festivals: Durga Puja

In celebrations, particularly in , , Tarakasi silver is prominently featured in pandals through large-scale installations such as chandi medhas—elaborate silver tableaux that serve as backdrops for the goddess Durga's idols. These structures often include crowns, ornaments, and frames that adorn the idols, enhancing the festival's visual splendor and drawing thousands of devotees. For instance, in 2005, the Haripur-Dolamundai Puja Committee installed a 500 kg silver filigree backdrop, setting a benchmark for the craft's integration into the festivities. The design elements of these Tarakasi pieces typically incorporate intricate floral and animal motifs, alongside divine figures, which evoke themes of and triumph central to Durga Puja's narrative of good prevailing over evil. Artisans draw from traditional Odia to create these temporary yet opulent works, using fine silver wires twisted into delicate patterns that symbolize abundance and protection during the nine-day festival. Such motifs not only beautify the pandals but also reinforce the ritual's cultural depth, with pieces like 30-foot-high tableaux showcasing the craft's scalability behind the central idol. This application forms an annual tradition in , where artisans begin crafting these elements as early as March to prepare for the October-November Puja, solidifying the city's reputation as a premier destination renowned for its silver artistry. The process involves collaborative efforts among family-run workshops and community committees, with teams of 4-5 silversmiths working in specialized setups to produce the required volume. Post-festival, these ephemeral creations are dismantled and often melted down for reuse, underscoring Tarakasi's role in the transient, devotional spectacle of the event.

Other Traditional Applications

Tarakasi filigree work has been traditionally employed in crafting personal adornments, particularly jewelry items worn by Odia women. Common pieces include anklets and toe rings, which feature delicate intertwined silver wires forming floral and geometric motifs, often adorning the during marital ceremonies. Vermilion boxes, known as sindoor holders or dani, are another staple, designed as small lidded containers to store the sacred red powder applied by married women, symbolizing and prosperity. Bangles, sometimes engraved with intricate patterns inspired by epic narratives, complete these ensembles, emphasizing the craft's role in everyday and ceremonial wear. Beyond jewelry, Tarakasi artisans create decorative items for domestic use, such as small sculptures depicting animals, birds, and flowers, which serve as ornamental pieces in households. These forms, enabled by the precise twisting and of fine silver wires as described in traditional craftsmanship techniques, also extend to replicas of monuments like wheels and idols, often placed on home altars for aesthetic and symbolic enhancement. Such items reflect the craft's versatility in blending artistry with cultural reverence. Tarakasi is also used in temple decorations, including ornaments for deities like . In marital customs, Tarakasi holds a significant place within Odia trousseaus, where pieces like anklets, toe rings, and boxes are included as essential components gifted to the , symbolizing auspicious beginnings and familial bonds. These items are exchanged during rituals to invoke blessings for the couple's union, underscoring the craft's deep-rooted symbolic value. However, this is declining, with fewer families incorporating Tarakasi into modern trousseaus due to shifting preferences toward simpler or alternatives.

Contemporary Practice and Preservation

Modern Artisans and Workshops

Tarakasi artisans in predominantly operate within family-run guilds, where the craft is transmitted across generations through , preserving intricate wire-working skills essential to the tradition. Recent estimates indicate approximately 200-500 active practitioners as of 2025, a significant decline from historical peaks, reflecting the specialized nature of this labor-intensive art form. These artisans, often from local communities in , continue to rely on handed-down expertise, with some workshops incorporating women in tasks like assembling delicate chains for jewelry. Workshops for Tarakasi production are primarily clustered in historic areas such as Dolamundai, Buxi Bazaar, and Tulasipur, where small-scale family units dominate but have seen efforts toward cooperatives to facilitate export-oriented production. The Tarakasi Karigar Cooperative, though currently non-functional, represents attempts to organize artisans for collective marketing and international trade, aiming to expand beyond local markets. These centers maintain traditional techniques like wire drawing and soldering while adapting to bulk orders for global buyers. In June 2025, Prime Minister Narendra Modi gifted a silver filigree clutch made by Cuttack artisans at the G7 Summit, highlighting the craft's global recognition. Economically, Tarakasi bolsters Odisha's sector by generating income through sales at craft fairs, platforms, and tourist outlets, with pieces ranging from small items priced at around $50 to elaborate showpieces costing thousands of dollars. Artisans earn modestly, often Rs 8,000–15,000 monthly outside peak seasons like , underscoring the craft's role in local livelihoods amid broader tourism-driven revenue. The tag awarded in March 2024 has enhanced market access, promoting fair pricing and export potential to regions like the and . In response to global demands, modern Tarakasi artisans have innovated by integrating contemporary designs, such as minimalist jewelry, cocktail rings, and hairpins, which fuse traditional with sleek patterns to appeal to younger, international audiences. These adaptations often combine silver wires with enamel or accents, expanding the craft from ornate temple jewelry to versatile accessories without altering core techniques. Such evolutions have positioned Tarakasi pieces in modern fashion markets, blending Odisha's heritage with current aesthetics.

Challenges and Revival Efforts

Tarakasi, the intricate silver craft of , , faces significant threats to its survival, primarily due to a sharp decline in the number of practicing artisans. This downturn stems from low profitability, as the labor-intensive process yields insufficient returns compared to alternative employment options like factory work or informal sector jobs. Artisans often cite the craft's demanding nature—requiring up to two to three weeks per complex piece—as a deterrent, especially amid rising silver prices, which reached approximately ₹1,70,000 per as of November 2025. Economic pressures exacerbate these issues, with competition from inexpensive machine-made jewelry and imports flooding the market, undercutting handcrafted Tarakasi's value. The lack of interest among younger generations further compounds the problem, leading many families to abandon the tradition in favor of more stable livelihoods. As a result, Tarakasi has been described as a "dying art," with artisan numbers dwindling from thousands in previous decades to approximately 200-500 active practitioners as of 2025. Revival initiatives have gained momentum through government interventions, including the Odisha Handicrafts Policy 2023, which provides training programs, financial subsidies, and marketing support via the state's development boards. A key project is the ₹8.5 crore Silver Common Facility Centre in , for which the foundation stone was laid in August 2025, aimed at offering shared , enhancement, and global market access to sustain livelihoods. The (GI) tag awarded in March 2024 has bolstered these efforts by authenticating the craft's origin and protecting it from imitations, while NGOs and state-sponsored exhibitions promote Tarakasi through national and international platforms. For instance, in September 2025, 37 silver tableaux were prepared for Dussehra, and exhibitions were held in November 2025. Looking ahead, integrating Tarakasi with contemporary fashion—such as fusion jewelry designs—and leveraging through portals like and offers promise for attracting younger buyers and preserving the craft's . These strategies, supported by collaborative public-private partnerships, aim to enhance profitability and ensure the art form's longevity.

References

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  43. https://www.freshfindfeed.com/news-detail?id=200&title=From%2BCuttack%25E2%2580%2599s%2BSilver%2BFiligree%2Bto%2BHandloom%2Bof%2BSambalpur%253A%2BThe%2BLost%2BGlory%2Bof%2BOdisha%25E2%2580%2599s%2BLocal%2BCrafts&pin=8U8THH1Q&cat=Culture&subcat=Handicrafts
  44. https://oaklores.com/2025/04/23/tales-in-twisted-silver-a-tribute-to-odishas-filigree-craft/
  45. https://english.mathrubhumi.com/news/money/gold-silver-price-today-india-17-november-2025-e9rqzohp
  46. https://ommcomnews.com/odisha-news/foundation-stone-laid-for-rs-10-cr-silver-filigree-facility-in-cuttack/
  47. https://timesofindia.indiatimes.com/life-style/fashion/luxury/featured/odishas-century-old-jewellery-art-silver-filigree-gets-gi-tag/articleshow/108183267.cms
  48. https://www.etvbharat.com/en/!state/durga-puja-2025-cuttack-silver-filigree-artisans-keep-age-old-tradition-alive-37-silver-tableaux-to-shine-this-dussehra-enn25091001077
  49. https://www.instagram.com/p/DQt4SVqiaA0/
  50. https://rtiodisha.gov.in/pa/T1RILzMxLzk2LzE5
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