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Culture is the way - a refined way of doing a thing, whether individually or organizationally, which the majority of people in a particular group adhere to and art on the other hand, is the use of skill & imagination in the creation of aesthetic objects, environments or experiences that can be shared with others. Jaipur in Rajasthan is well known for its intricate gotta work all over the world. Gotta work is a special kind of embroidery using the appliqué technique. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. It is amazing to note that the women folk of the remote villages like Khandela, Nyla & Ajmer are unexposed to the modern civilization but are preparing articles of great aesthetic value. The striking color combinations, bold geometrical designs are in contrast to the tepid & arid sands of the deserts. Gotta work is an ancient Persian art that started in the 18th century in India. Traditionally gottawork was done for Mughals & Rajput nobility. This form of fabric ornamentation was perhaps developed in Rajasthan & was predominantly practiced by Muslim craftsmen. In the early 18 th century, it was nothing but weaving the borders with gold & silver threads known as Badla work. Marginally educated society that is involved in the traditional art has performed interest in customs & rituals Nayla is no exception. The main source of income for the women is from this craft, as the women made use of the native skill in craft making & simultaneously introduced changes in designs & various product applications with time. Dexterous hands turning out a range of items can create complicated motifs which are churned in perfect synchronization, giving thecomputerized & fine stylized embroideries a run for their money. All community women like Jains, Baniyas, and Rajputs are involved in the craft but religion wise predominately Muslims are involved, the ratio being Muslim 75% & Hindus 25%. An interesting caste dimension of the craft is that the Rajput women do gotta work & Muslim women do aari-tari &kashidakari. When women initially tried their hands and stitching skills on the craft, it was meant for personal satisfaction and use. It was learnt like any other embroidery but as the interest in its making and designing grew, more articles of the craft were being produced within the homes. They were often gifted to friends and relatives. The gifts were appreciated by the various people involved on it traveled to a no. of other homes, towns and places who settled all over. Thus from being the craft made for personal use became a symbol of love and memory associated with relationships and people . As it reached more has a new places, the demand for its production increased. Since these products or handcrafted, they were not available in the open market. Where Gutta work is practised. The healthcare is just as good as any other typical Indian village.

Jain (1989) mentioned in "Hand woven fabrics of India" that today with the support of the govt. and growing demand per fine quality goods in the country and abroad, most of the traditional techniques have been revived and some of the finest textiles are once again being woven in India.

Mehta (1993) said that craftsmen of today have become aware that the hundreds of motifs that are coming alien, one easily adaptable from one craft to another as tradition has shown that it is the form and texture that we put eminently are important. Therefore, same motifs and ornamentation may be used very effectively on any material surface. One sees today a growing appreciation of the spirit of right and suitable adaptation in an interchange of motifs and ornamentation in different textile craft. This aspect has without doubt enriched the textile craft in this country enormously.

Mehta (1994) reported that Indian craftmen excells in hand embroidery on cotton, silk, wool, and velvet, creating products which raise the admiration of all the Kashida embroidery of Kashmir the darning stitch, Phulkari of Punjab, the Kanthas of Bengal, the silk embroidery of Varanasi, the embroidered muslins of Dacca and Patna, the symptuons fabrics of Hyderabad, richly worked in gold and silver thread and colored silk the resplendent gold embroidery, Makhmals (velvets) of Lucknow and the mirror work, chain stitch embroidery of Kutch and Kathiawar. It was further elaborated that among the different famous varieties of Lucknow's Zardozi and kamdhani's work, gold and silver thread embroidery that for decades dazzled the courts of the Nawab.

Bhatnagar (2004) reported that the fascinating home craft of embroidery has an origin that can be traced to past ages with the discovery of bronze needles at the site of Mohenjodero (2500 to 1700B.C.). It is evident that there was knowledge of needle craft even so long ago, proceeding through Buddhist periods, having innumerable examples of embossed embroidery motifs on the costumes of the sculptured figures into the Ajanta period where dresses are shown beautifully embroidery in many designs on to the description in the classical sanskrit dramatic plays where mention is made up rich and gorgeous embroidered fabrics, through the succeeding yarns till the present times. This particular craft of the needle appears in garments and decorative pieces of all kinds, found throughout the country.

The study involved 75 Gota workers from places of Rajasthan that were Jaipur, Naila&Khandela. The purposive sampling method was used by snowball technique to select the respondents for the survey. In all 75 respondents were selected, 25 samples from each place were personally interviewed to collect authentic first hand information & observed at their workplace to obtain the details of the craft. In order to attain in depth information of the craft, it was necessary to prepare an interview schedule for the craftswomen involved in gota work. A schedule was prepared for craftswomen to elicit information regarding the craft that included demographic profile, the raw materials, technique, motifs & articles made in Gotta work. A field survey was conducted aiming at collection of first hand information regarding the craft & secondary information was collected from libaries, museums & websites. The data was collected from artisians (dastkars) through field visits. The researcher visited their workshops which were situated at their homes & personally interviewed to get detailed information of the craft. The investigator used observation method to acquire in depth knowledge of raw material, technique, motifs & articles made of Gotta work.

To get an insight of the craft, the researcher visited & interviewed 75 dastkars of Jaipur, Ajmer & Siker.Among the 75 dastkars interviewed majority of them belonged to the middle age group that was 25-40 yrs who had a poor eye sight.Artisans chosen were females who did this craft to utilize their leisure time & earn money.

As regard to the community, majority were muslims& less hindus.As far as educational qualification majority were uneducated & few were just secondary pass.This craft passed from one generation to another.Majority of the artisians worked for 6-10 hrs of working schedule.Artisians stated that the wages paid to them was according to the amount of time they spent like Rs 70/- per hour or they had a fixed amount for a day. Rs 120/- to Rs 150/-.The wages also varied with the skill of the person depending on her proficiency in making the particular motif & time taken to complete the motif.

Raw material required for Gota work is the gold coloured yarn was drawn under 10 calenders to make it a fine yarn called kasab& finally drawn from another calendar to give it a flattened effect called badla which was used as warp in gota making where as silk was used as a weft &resham for selvedge.

Gotta is usually woven on a special loom with Lure yarn (the metallic sheen synthetic creation) in satin/ twill weave. The ends are twisted Lurex with synthetic yarn whereas the picks are flat metallic sheen novelty yarns. The lace borders are woven widthwise. Gotta thread is dye able but generally use in golden, silver and copper colour.

Styles of gotta are categorized into SikiyaGota, ChaumasaGota, PanchmasaGota, AthamasaGota, Lappa, Thappa, Gokhru, LehruGota, Nakshi, Bijbel, Bijiya, Chiru Gota, Bakri Kiran, ChattaiGota& Chip.To give a distinct shapes & styles either a die cutter or scissors is used. The technique used was the base fabric was tied down from 4 sides with thick cord fabric & was attached with the standing wooden frame known as khaat.Then the design traced on the tracing paper is first pricked & then placed onto the fabric to transfer it with the white pasteNow on the under surface of the Got brown coloured celotape is applied & folded for cutting into various shapes to form Buttas, Butties, Bel & Jal work.The tools required are Adda, Butter paper tracing, needle, scissors & pithan.

The investigator observed the various types of motifs & could be categorized into floral, geometrical, surya, peacock, parrot, elephant &kairi,.The various types of designs were of Bel,Buta, Butti, & Jal. The floral designs included gamla, paan ka phool, jail walaphool, kali ka phool, & star phool. Birds included peacocks & sparrow.Animals included elephant & horse. Various types of Bel are Saras ki bel, Adi ki bel, &Panchpankhia ki Bel. Various types of Jal are Athamas ka jal, Thali ka jal, Bangri ka jal, Gobhi ka jai, Kalash ka jal, & Patti ka jal.The various stitches used are running, back, hemming, chain &couching.The varioustypes of fabrics are pure georgette, chiffon, velvet, silk, synthetic fabric, &artifical silk are used.The various colours traditionally used are red, orange, pink, maroon, & yellow. The various products made are salwar kurta, lenhga,, short kurtis, topper, skrits, cholis, ghagras, odhini's ,saris ,rakhi, turbans, torans, cushion cover, mobile cover, & jhooties.

1. Auberville (1996) Classic Textile Designs, Published by Studio Editions, London. 2. Bhandari V (2004) Costumes, textile and jeweler of India, Prakash Books, New Delhi 3. Bhavnani E Décorativeestgns and cransmanship of India, New Delhi. 4. ChatopadhyayKamaldevi( SIr) Indian Embroidery, Wiley Easter Limited, New 5. Chattopadtyay KamaldevIC1985) The Glory of Indian Handicrafs, Clarition Books, New Delhi. 6. Dhamija Jasleen and Jain Jyotindra(1989) Handwoven Fabrics of India, Mapin Publishing, Ahmedabad. 7. Encyclopedia (1987) Creative Crafts, Cartwel Books. 8. Fry, G.W. (1959) Embroidery and Needle work, Published by Sir Isaac Pitman and Sons Ltd, London. 9. Kumar R. ( 1999) Costumes and textile of Royal India, first edition, Christies books, London. 10. Mathur Kamlesh(2004 ) Crafts and Craftsmen, Pointer Publishers, Jaipur. 11. Mies, M. (1982) The Lace makers of Narasapur, Indian Housewives produces for the world market, Zed Press, London. 12. Pal, H. Bhisham (1984) Handicrafts of India, New Delhi. 13. Raju S.S. (1988) Lace making and women: A.P. Study". Kurushetra, Published by Publications Division, Ministry of L and B, GOL, New Delhi. 14. Rangarayan S. (1994) Indian Hand woven Textile product manual, Published by the Handloom Export Promotion Council, Madras. GLOSSARY Adda - the wooden rectangular frame used to tuck the fabric and do embroidery ornamentation on. Ambis - a mango shaped motif - the paisley pattern Bada - flattened gold and silver wire Bel -a stylized creeper design Buta / Butti - motifs of a single flower, springs, trees. Jabka - a loose lengthy spring used in the traditional embroidery Dastkars - artisians Cori - a thick yarn made with different fibers, used for the outlining of the intricate motifs. Cola Patti - is a form of gota which is made by taping the lappa from the back side and ten. cutting the desired shapes from it. Taping is done to avoid tray. Gota - a metallic ribbon dal- an all-over pattern in a printed or embroidered fabric. Kasab - a spring like thing used in hand embroidery Lappa - broad gota ribbon Pithan - a wooden hammer