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.

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.