HANDICRAFT DATA

Kantha Embroidery
(districts of Birbhum
Burdwan, Hooghly, 24 Parganas North and South and Murshidabad.)

Kantha is an indigenous household craft, made the rural women in West Bengal; it is a
specialty of Bolpur-Santiniketan and remains also the most creative of all embroidery
styles in this part of India.
Origin/history

The origin of Kantha traces its history to a

period not less than a thousand years. Its images reach back to even earlier sources, preand
post- Vedic. Some symbols such as the tree of life, the swirling cosmos, and the sun
are taken from the primitive art. The later influence of Hinduism, in the making of
Kanthas for religious ceremonies, pujas, weddings and births, gave the art its place as a
vehicle of significant cultural meaning. The textile printing tradition of Bengal dates back
to a few centuries. Wooden block printing on cotton and silk have achieved a distinction
in the Serampur Hooghly district. Batik printing done mainly by women have undergone
years of experimentation. If ever there was a true sorority in the world of ideas, it must
have been in the field of quilt making.

Kantha making is a womens art .It was the Bengali housewife who helped the art of
embroidery to evolve. From embroidering her husbands initials on his handkerchief to sewing
pieces of discarded cloth with colorful threads to make Kantha, the lady of the house busied
herself with needle and thread as soon as her domestics chores were over. The earliest
mention of Bengal Kantha is found in the book, Sri Chaitanya Charitamrita, by Krishnadas
Kaviraj which was written some five hundred years back.

From a very long time, Bengal cotton and silk have been known in the world market for
its finesse and quality. Bengal muslin was an item of export even at Perecless time.
When such beautiful creations were worn and old, Bengal women did not see any reason
to throw them away. Beautiful sari borders were preserved, the soft dhotis were placed
layer upon layer and stitched in sari borders; thus started the first recycling art of the
world. The stitching patterns of Bengal Kanthas are simple, but it can be very intricate
depending on the inclination of the Kantha maker. Bengal Kantha makers reflect their
traditions in choosing their designs. The real value of Kantha embroidery lies in its fine
craftsmanship and vignette of daily folk life motifs being a favourite of the embroiderers.
In Bengal, Kanthas were originally used as babys diapers, or wrappers for laying
newborn babies in the courtyard while they were massaged with mustard oil. The idea of
using this embroidery commercially, originated more in urban groups. The number of

layers used to vary according to the use of which the Kantha was meant. Normally the
top and bottom layers of a Kantha were white or of a very light color, so that the
embroidery done with faded threads drawn from the sari borders were not lost. At present
day, due to the high cost of handcrafted materials, Kantha making for the babys diaper is
not cost effective at all. However, in the early seventies, there had been a revival in
Kantha art in both the Bengals. Sreelata Sirkar derived inspiration from Pratima Devi of
Santiniketan and started designing Kanthas for teamwork. Thus, she not only received a
dying art, but also made room for a great economic activity for West Bengal women.
Kantha is characterized by the pattered running stitches.

Process

FLOW CHART
Phase 1: The artisans make some sketches of design, accordingly to a specific
frame and precise measures. The sheets of paper have been previously cut so that
the designs will fit in a frame according to the measures of the hat.
Phase 2: The best designs are selected and are practiced by every artisans until the
motif is perfectly done; 40 designs in total are chosen
Phase 3: The designs are pierced on a tracing paper
Phase 4: The cloth that will be used for the hat is cut according to the same
measures taken for the phase 1, so that the motifs designed on the paper will
perfectly fit on the cloth.
Phase 5: The motifs pierced on the tracing paper are printed on the cloth;
Phase 6: The artisans add colors to the motifs designed on the sheet of paper; they
will be the final model of the pattern for the hat; the more beautiful combination
of colors are selected;
Phase 7: The artisans can start stitching on the cloth, accordingly to the final
colored model of the design.

Types

Kantha of Murshidabad

The Kanthas are thick. The running stitch and the small sitich is used. The popular folk works are Sujni
Kanthas, Lep Kantha, Roasted Kantha , Arsilata. The Kantha works have lotus motif in the center and
alpana and floral designs. The motifs used are flowers, owl, birds, elephant, peacock, betel leaves, etc.

Kantha of Malda

Malda Known for its beautiful Kanthas. The designs are Lahari and geometric, with small series used in
the vacant spaces of the designs. The motifs are seen are those of peacock with feathers spread, betel
leaves, boat, mat, sun, and flowers.

Kantha of West Dinajpur

Kanthas are quite heavy in West Dinajpur. The small stitch is used and the reasons are peacock, bird,
fish, tiger, elephant, fan, nutcrackers, flowers.

Kantha of Nadia

The running stitch is mainly used as well as the small stitch. Sujni, durjani, dorokha (two-sided) Kanthas
can be found here. The lotus flower motifs dominate alpana. The motifs such as elephant,
fish, peacock,kalka, human figures, tree of life, deities are commonly used.

Kantha of Bankura

Floral and other designs attract special attention. The Motifs are, dog, bear, monkey,the tree of life,
peacock, betel leaves etc

Kantha of Burdwan

The tradition of gifting Kanthas to the bride on her wedding still continues.

Kantha of Birbhum

Muslim girls emphasize the geometric pattern. Hindus also make Kanthas in Birbhum area. A particular
feature is the twisted flower in Kanthas. The most common motif is the flower, although other motifs
are also found.

Kantha of North 24 Parganas

Almost all kinds of Kantha Stitches are found. Wide variety of Motif pattern are common denoting the
rick flok art tradition of North 24 Parganas. Kantha of various sizes and designs and high quality of
needle emboridery reflects the imaginative power of the Bengali Women. Border designs include
geometric, abstract etc. The Motifs are peacock, boat, shell, fish, elephant, scenes from the epics,
deities etc.

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Terracotta Craft

(Bishnupur in the Bankura District)

Terracotta Art in West Bengal is the earliest form of art in West Bengal. The art forms of terracotta or burnt
clay which are produced by the Bengal potters satisfied the creative impulse of the Bengal artists. Moreover
terracotta became an important product which had durability and also served as a home decor.

Origin/history
Bishnupur in the Bankura District lies about 200km (124 miles) west of Kolkata, and is famous for its
terracotta temples. From the 16th to the 19th centuries, Bishnupur flourished as the capital of the Malla
kings who were great patrons of the arts. Due to the lack of stone, the many important buildings and temples
in Bishnupur and the surrounding Bankura region were made from brick and covered with ornate terracotta
tiles depicting scenes from the Hindu epics of the Ramayana and Mahabharata, as well as everyday life.
Through stylised figurative imagery the scenes are illustrated with great vitality and rhythm. The architects
have both adopted and adapted the local village form of a thatched mud house to create buildings of grand
monumentality. By decorating their surfaces with relief terracotta they uniquely combined simplicity of form
with an elaborately embellished veneer.

In West Bengal the most common terracotta figures are horses, tigers, elephants and snakes as well as toys
and domestic vessels. In Bengal terracotta images of Lord Ganesha are press moulded, thrown and modelled
in vast quantities by potters, to be purchased, taken home and installed on a temporary altar.

Bankura Horse is a famous terracotta work from the state of West Bengal. The Bankura Horse is immediately
recognisable by the stylised diminished length between the front and back legs, giving its proportions a
distinctive appearance. The number of young men involved in terracotta modelling and vessel making in this
area is a visible indication of a flourishing trade - in strong contrast to many other areas of India where the
diminishing demand for clay products has forced young men into other professions.
The clay used in terracotta craft is generally a blend of two or more types of clays, found in river beds, pits and drains. They are
blended together and then given beautiful shapes and patterns. The folk theme is used in the craft most of the times. The
pattern is beautifully highlighted with traditional expertise and precise artwork. The items are then baked in kilns, operated at
temperature between 700 and 800o C. Most of the times, local fuel, like twigs, dry leaves or firewood, is used in the kiln.

Properties and production

An appropriate refined clay is formed to the desired shape. After drying it is placed in a kiln or atop
combustible material in a pit, and then fired. The typical firing temperature is around 1,000 C (1,830 F),
though it may be as low as 600 C (1,112 F) in historic and archaeological examples. The iron content,
reacting with oxygen during firing, gives the fired body a reddish color, though the overall color varies
widely across shades of yellow, orange, buff, red, "terracotta", pink, grey or brown. In some contexts,
such as Roman figurines, white-colored terracotta is known as pipeclay, as such clays were later
preferred for tobacco pipes, normally made of clay until the 19th century.
Fired terracotta is not watertight, but surface-burnishing the body before firing can decrease its
porousness and a layer of glaze can make it watertight. It is suitable for use below ground to carry
pressurized water (an archaic use), for garden pots or building decoration in many environments, and
for oil containers, oil lamps, or ovens. Most other uses, such as for tableware, sanitary piping, or building
decoration in freezing environments, require the material to be glazed. Terracotta, if uncracked, will ring
if lightly struck.
Painted ("polychrome") terracotta is typically first covered with a thin coat of gesso, then painted. It has
been very widely used but the paint is only suitable for indoor positions and is much less durable than
fired colors in or under a ceramic glaze. Terracotta sculpture was very rarely left in its "raw" fired state
in the West until the 18th century.
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Scroll Painting

Conch Shell Crafts

Conchshell craft basically refers to the art of engraving beautiful images on natural shells, obtained from the ocean bed. Each
artisan has his own unique pattern of carving the shell. While some craftsmen draw the image of Lord Shiva over the shell,
others create entire episodes from the Mahabharata on it. Then, the stories of Lord Krishna also serve as popular themes for
engraving the conch shells. It is very difficult to carve a conch shell, taking a minimum of two to three months to design a single
shell item.

The conchshell craft is not a new art in Bengal. Due to the state's proximity to the sea, this art has being practiced here for ages.
In fact, the women of Bengal have conch shell bangles as a symbol of their marital status. Apart from engraved shells, other
conch shell crafts include making items like table lamps, incense holders, ashtrays, vermilion containers, spoons and forks from
the shells. In West Bengal, conch shells are also used to make jewelry items, like bangles, armlets, rings, lockets, buttons,
hairpins and clips.

the state of Bengal had been the principal seat of couch shell industry in India. From time
immemorial, the Shankharies or Shankhabaniks have been engaged in the trade and had
been supplying conch bangles to adorn the hands of married Hindu ladies, which they used to
wear as a mark of good fortune. The wearing of chank bangles (shankha) by married Hindu
women is confined to Bengal (West Bengal and Bangladesh) and Bengali women living in the
adjacent parts of Bihar, Odissa and Assam. Conch Shell also has a lot of religious significance.
There are different type of conch shell product but among them main product is Sankha. The
extent of conch shell industry has starts from Southern Coast region
of India, because different species of conch shell have been available in this region from the
initial period. Mysore, Belari, Hydrabad, Anandapur, Kathiyawar, Gujarat were the main region
for conch shell production in early period and then Dakha of Bangladesh,Chittagong, Rangpur,
Khulna region were famous for conch shell industry. In West Bengal the conch shell industrial
area comprise important Sankhakarcentres or manufacturing centre (where raw materials has
been cut up and worked into bangles for sale to the people of the districts) are the Baghbazar,
Amherst Street and Jorasanko areas of Kolkata, Domkal and Jitpur in Murshidabad district,
Sankhanagar, Baliadanga, Nabadwip and Ranaghat in Nadia district, Bhadreswar and
Chandannagar in Hooghly district, Katwa and Patuli in Burdwan district, Barrakpur in North 24
Parganas district, Bishnupur, Bankura and Hatgram in Bankura district and Kalmijore and
Medinipur in PaschimMedinipur district and Panchrol in PurbaMidnapur district. Their
largest concentrations are in Bankura district.
Economics of Conch Shell Industry - A Study in West Bengal (PDF Download Available). Available
from:
https://www.researchgate.net/publication/278847482_Economics_of_Conch_Shell_Industry_-
_A_Study_in_West_Bengal [accessed Jul 23, 2017].

Dokra Metal Craft

Dokra metal craft is regarded as one of the most famous arts of West Bengal. It is involves the making of statues, jewelries,
idols and many other decorative pieces, with the help of clay, wax and metal. Apart from West Bengal, the craft is also famous
in other Indian states, like Andhra Pradesh, Madhya Pradesh and Orissa. The word 'Dokra' was earlier used to refer to those
craftsmen who used to practice this art. Gradually, this word came to symbolize the craft as well. The tourists coming to West
Bengal, be it local or international, get captivated with the rustic and pastoral charm of this art.

Origin of the craft

The Dhokra craft uses the elaborate Lost Wax method of casting metal, which can be traced back 4500 years to the
ancient city of Mohenjodaro in the Indus valley civilization. The Lost wax method is said to be the oldest technique
of casting metal.

Dhokra craft gets its name from the Dhokra Damar tribe, who are established metal smiths of West Bengal. From
West Bengal, the Dhokra work spread to tribal areas in nearby metal-rich states. Dhokra is now found in many
regions in India, each region carrying a distinct look.

State(s) it is practiced in
West Bengal, Chhattisgarh, Orissa, Andhra Pradesh, Jharkhand

About the craft

The exquisitely handcrafted Dhokra products involve a tedious process of designing and metal casting. Each piece
is unique as one mould can only be used for one product.

Input materials
Soil from the riverbed, Black soil from the fields, Red soil from termite bills, Rice husk, Wax (Beeswax or Paraffin
wax)/Resin, Bell metal. The metal proportions used in the alloy and other inputs vary slightly from region to region.

Process

Mould making: The base mould of the product is prepared from a mix of black soil, rice husk and water.
Surface Preparation: Once this base dries, it is covered in fine soil from the riverbed. Emery paper is used to
smoothen the mould surface.

Designing: Over this, strips of beeswax or resin are applied to make the designs on the product. This is an arduous
process of fine detailing.

Wax or resin is used since it is malleable and ductile. Artisans in different regions use different wax/resin. To reduce
cost of wax, some artisans use paraffin wax mixed with coal tar and dhoop (incense).

For making the threads, the wax is first pounded well.

The wax is then pressed through a container. Attached at one end of the container is a metal plate with holes
punched in it. This allows the wax strings to be formed in the required shape and size.

The apparatus and metal plates are similar to the ones used for making Chakli's in Indian homes.

Each plate has different shapes punched in it, depending on the artisan's design requirements.

First Layering: After the wax designs are allowed to dry, the product is covered with a mix of coal powder, river soil
and water. This layer is pressed onto the wax and hence the design is imprinted onto it. This is allowed to dry. Each
new layer is set to dry for around 2-3 hours. Vents are created in the mould, so that the wax can later melt away
through it.
Second Layering: Another layer of fine river soil is applied and is left to dry.

Third Layering: Once dry, another layer- a mix of red soil (from termite bills) and rice husk is applied. Larger products
have more/bigger vents so that wax and air escapes.

Firing: The product is put in the furnace and the wax melts away, leaving a cavity. The product is taken out of the
furnace and is turned upside down. Bell metal (an alloy of copper and tin, usually mixed in ratio of 3:1) is heated at
1200-1300 degrees and then this molten metal is poured in to the cavity to replace the wax. This process is to be
done with great care to ensure that no air bubbles are formed while pouring the metal.

A video by master craftsman Sushil Sakhuja captures the firing

process: http://www.youtube.com/watch?v=6qREtAv9hwo

The product is set aside to cool down. Water is sprinkled over it and then the outer mould is hammered to reveal
the metal.
Filing: The filing of the metal surface can take a few hours or a day, depending on the size and design of the product.
To give a better finish to the products, many artisans are now also buffing the products.

Note: Dhokra products can be hollow or solid. The above process describes the hollow casting method. Incase of
solid casting, instead of a clay mould, wax is used. Hence, during the firing process, a lot more molten metal is used
to replaces the wax. The traditional method of casting is the hollow casting using the clay mould.

Caring for the Product

The products turn slightly black over a few years. Apply Brasso to retain the colour and shine.

Problems plaguing artisans

Rising raw material prices is a big challenge being faced by the artisans. High investment in metal and other inputs
increases their working capital requirements. Some artisans are experimenting with different materials to bring
down costs; such as replacing beeswax with paraffin wax mixed with tar.

Apart from deity idols, Dokra craftsmen make figures of birds and animals and santhal jewels, like anklets and tinkling dancing
bells. They also make decorative pieces, like lamp holders, lamps, chains, vases and stands. The art is very ethnic and boasts of
real folk essence. It is very much in demand in the domestic and foreign markets, because of its primeval simplicity and
beguiling folk motifs. One more specialty of Dokra metal craft is that each item is exclusive and making its exact replica is nearly
impossible. You can get the best Dokra crafts in Bankura, Birbhum, Burdwan and Midnapur towns of West Bengal.

Continuity embedded in change

We should be grateful to the Dhokra shilpis for preserving this priceless civilizational heritage on behalf
of the whole world. If they or their children were to give up their profession, we shall be the losers, not
they. Continuity can be sustained only if it is embedded in change. Traditional technical processes are
inherently stable. Any suggested change or improvement must not be disruptive. It must take place in
small incremental steps, each step leading to the establishment of an intermediary equilibrium stage.
Technology can be a snake or a ladder. If overwhelming it can inhibit creativity; if absorbed, it can
enhance.Any initiative to help the rural shilpis must simultaneously operate at three levels:
(i) Benefit of social networking;
(ii) help with marketing; and
(iii) technological assistance.
Of these three factors, technology is probably the least important! The technology of the Dhokra shilpis
is essentially a throwback to times of their nomadism. Till very recently, every time a family wished to do
metal casting, it would hastily set up an open furnace. The shilpis were fully aware of the shortcomings
of the arrangement. The furnace was fuel inefficient and caused air pollution. In addition it restricted
the casting to small objects. What hurt the shilpis the most was the evaporation of metal which pushed
up the input costs by as much as 20 percent.
Also, Figurine elephant, Bikna, 2001 Ganesh, Bikna, 2001 Decorative container, Bankura, c.1972 8
Chitrolekha International Magazine on Art and Design, Vol. 1, No. 2, August, 2011 because of the non-
uniformity of temperature the rejection rate was unacceptably high. However, it was not sufficient
merely to point out the solution to then shilpis; they must be gently led to it.

Under its TARA programme (Technological Assistance to Rural Artisans), NISTADS has been working
since 2000with all of 35 Dhokra families in Bikna (near Bankura) and 22 families in Dariapur (district
Bardhaman). Bikna, just outside the Bankura town, is new on the Dhokra map. Dhokra families from
Rampur (within bankura) and elsewhere were settled here in 1983. Both Bikna and Dariapur have been
provided with a number of pucca community furnaces where the shilpis can monitor the temperature.
Shilpis have been trained to modify the composition of the brass alloy as also in brazing (soldering with
brass itself). More fundamentally, they have been introduced to the concept of levelling and
measurement. Phases of development Even though the Dhokra shilpis have been operating within the
rigid technological framework provided by tradition, their art form has not remained static. Over the
years, they have responded to newer and newer forms and motifs. We can identify five major phases of
development in their art.

Phase I is defined by the original Dhokra repertoire, which is simple and stark in keeping with the
makers lifestyle and philosophy.

Phase II came into being when the Dhokra shilpis took to settled life and started making new items
consistent with the requirements of a food-surplus economy. Their work now included rather ornate
Hindu gods and goddesses. Interestingly, in their own shrines, the Dhokra shilpis of Bikna have retained
worship of their own creations (horses, elephants, etc.) in addition to Bhairon, who is a form of Shiva
and a deity consistent with nonvegetarianism.

Phase III is characterized by two major developments: patronage extended by the state and the social
elites; and interaction with creative sculptors like Meera Mukherjee. She successfully imbibed in her
own work techniques and motifs of the Dhokra art and, once accepted as an insider, introduced the
Dhokra shilpis to new forms. It is during this phase that the stylized Bankura horse, hitherto a preserve
of the Kumbhakars (clay shilpis), was successfully adopted for casting in metal. Votive icon, Bankura,
c.1972 Kunke, traditional bowl, Bikna, 2002 Figurative crab, Bikna, 2001 9 Dhokra: the Traditional Art of
Metal Casting

Phase IV, a relatively recent phenomenon, has been thrust upon the Dhokra shilpis by the demands of
thew cheap souvenir market. This phase is characterized by such novelty items as a Ganesh with an
umbrella. Much of the work is pure kitsch. Such has been the impact of this phase that shilpis now
describe their creations not in their own words but in the vocabulary given to them by the traders. Very
often, when the traders descend on the shilpis village to make purchases they pay exploitatively low
prices. In such cases the shilpis seek to indirectly raise their wages by lowering craftsmanship and
compromising on the quality of the inputs. Thus they may use inferior quality of scrap and substitute
coaltar for dhuna.

Phase V, ushered in at Bikna and Dariapur by NISTADS in 2001, is defined by technological

improvements accompanied by an enhanced sense of worthiness and Help in marketing (thanks to
support from Cottage Emporium, Tribes and Manjusha). Remarkably, creative levels have risen to match
the technology available. Not only are the shilpis making bigger and better artefacts, they have also
added new forms and motifs on their own.

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Pottery
Clay pottery is an ancient craft in India. The art of Clay Pottery grew along with the Civilization. Thus, the
history of clay pottery is as old as the history of human civilization.Pottery has a unique tempting appeal. Its
association with religion and usage in religious ceremonies has given a deeper significance and a wider
dimension.
The traditional folk art of Indian Clay Pottery, particularly of Bengal, is considered exceptional and best in the
world. Indian are reflects the fusion of Social and religions conditions prevalent during the contemporary
period when they were made
The remains of Archaeological findings suggest that the artists of Clay Pottery in India had high degree of skill
even during the in Neolithic ages. The Harappan potters were well versed in the techniques of both wheel
pottery and moulded pottery.
The archaeological finds at Bengal have proved that the same degree of skill and excellence were achieved by
Bengal potters too in those remote past days.
Bengal archaeological finds in Pandu Rajar Dhipi and elsewhere have proved that a high degree of skill and
excellence was achieved by Bengal Potters in those remote past days. Kumbhakars, the traditional potters,
have been working on their wheels in the villages of West Bengal and have been turning out numerous items
of clay products to cater the domestic and religious needs of the community.
Domestic pottery is still being produced in various shapes and sizes, and is inseparable from any Indian
scene.An Indian woman is accustomed to place a special pot in her hand for almost all special purpose. The
terracotta Bankura horse of Bengal is quite famous all over the world. Visit any village in this state and you
are bound to find the kumbhakars (potters) creating items of daily use on the potters wheel. The source of
their raw material is the rich, alluvial clay found in Bengals rivers. These are shaped and fired in simple kilns.
From pots, containers, plates for food to toys and ritual figurines, the Bengal potter moulds it all.
At Kumartuli in Kolkata, some of Bengals most innovative clay-potters fashion the images of popular gods
and goddesses worshipped in the state. The high point comes when in autumn every year, idols of goddess
Durga are made. Some of them are indeed exquisite works of art. Today, some renowned sculptors are also
commissioned by Bengali non-resident Indians (NRIs) to produce replicas of Goddess Durga, which they carry
with them all the way to the USA and England! If you look at the rich decorative terracotta panels of temples
in Murshidabad, Bishnupur, and Midnapore, you will realise how much a fistful of clay means to the Bengalis
artistic psyche.
Since how long these art forms exist ?
Pottery art in India is as ancient as the country itself. According to archaeological evidence, it was prevalent
even during the Indus Valley Civilization. The exact time period when it came to Bengal is unknown, but what
helped it grow and develop here was the fertile alluvial soil of the Ganges. Today, West Bengal is one of the
largest producers of terracotta pottery in the country. The art form is spread all over this state, but
Panchmura pottery has its own unique appeal, beauty and popularity. The patronage for Clay Dolls by
Maharaja Krishnachandra of Krishnagar in the late 18th Century has been a major factor for real-life stylized,
clay Dolls originating from the State.For clay model items, Krishnanagar is the place.
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Bankura Horses

An expedition on West Bengal crafts is incomplete without the mention of its well refined and established
pottery culture. Almost every Bengal village is well developed in the art of pottery, but the district of Bankura
has been recognized across the world for its clayware. The terracotta horse of Bankura is one such exemplary
piece of pottery made up of the rich alluvial clay, found in rivers of West Bengal.
The method of manufacturing Bankura horse is quite simple in nature. The kumbhakars (potters) use the rustic
clay shaping, furnace and drying methods before giving it a final touch. In addition to the Bankura horse, fine
quality of food plates, containers, and pots are produced here. Toys and idols of deities, made by the
indigenous potters, with a perfect molding in the required shape, are also in great demand.
http://www.rangamaati.com/data-archival-on-bengal/crafts-of-bengal-life-around/clay-pottery-the-heart-of-
bengals-art-handicrafts/

Clay Dolls

Hoping to inspire the potters of Krishnanagar in West Bengal to revive their dying traditional craft of
clay doll making, Kaushik Biswas, a contemporary artist, has taken it upon himself to sculpt and
showcase the lost grandeur of the exquisite forms to the masses.
"I am not related to the potters in any way. I live in Krishnanagar surrounded by generations of
artists and seeing them make the clay dolls from scratch is like magic. I was spellbound and that
influenced me to watch and learn the process.
"Now it is a dying art form and I feel that I can make some difference by promoting it in my own
way," says Biswas, 41.
The clay dolls of Krishnanagar (in Nadia district) are famed for their realistic depiction of everyday
village life - fishing, farming, rag picking, basket making, cooking, cleaning and worshipping, among
others - and subjects like fruits, vegetables, birds and animals. They have been a part of the legacy
of the native potters for over five generations.
The art received international recognition and saw its golden days during the reign of 18th century
king of Krishnanagar, Raja Krishna Chandra Ray, who was well known for his fondness of art and
literature.
"During his reign, the figures were exported and the artists were even sent abroad to promote and
teach the art. The dolls can be found in many international museums. But now, exports have totally
stopped. No one knows about them," said Biswas, who holds a postgraduate degree in arts from
the Rabindra Bharati University.
History being the witness, Biswas says that after Raja Krishna Chandra Ray's death, his successors
did not patronise the art form and the once-glorified artists faded into oblivion.
"Gradually the fame dwindled. The other rulers did not promote it like Krishna Chandra did. The
international doors also closed slowly," said Biswas.
Post-independence, with the 'zamindari'(landlord) system abolished, it further lost its appeal.
"The rich landlords used to patronise the craft. But when they lost their status and money,
Krishnanagar potters lost their patrons," pointed out Biswas.
"This is a grand treasure and to us artists it is a learning ground. If we can generate public
awareness through exhibitions and workshops, it might inspire the Krishnanagar doll makers to
afford a second chance to their heritage," said a hopeful Biswas of his effort.
According to Biswas, the realistic depiction of rural life - the calling card of the clay figures - is a
painstaking and multi-layered process.
"Each figure takes a minimum of two days to make, since they are extensively detailed. Besides
each and every part, from the limbs to the accessories, are separately sculpted from clay and then
assembled to complete one piece," Biswas explained.
As a contemporary artist whose repertoire includes abstract sculptures and various modern art
forms that are popular today, Biswas empathises with the plight of the potters and their vanishing
legacy.

A fisherman crafted in
Krishnanagar fashion
"Ever since the art form lost its appeal primarily due to lack of patrons and proper promotion, the
money they get by selling them has turned meagre. It is not enough for sustenance and
consequently they have lost interest," explained Biswas about the dwindling number of artists.
Seconding Biswas, city-based interior designer Urvashi Basu, who showcases Biswas's work at her
The Design Studio, shed further light on the issue.
"Besides the financial dilemma, they receive no support from the government. No one wants to
invest in them. This reflects in their workmanship. Nowadays, the figures lack that characteristic
intricacy and attention to detail," said Basu.
Add to that, the slew of inexpensive, duplicates cast in Plaster-of-Paris and other raw material,
further threatens the artists.
"People are buying the inexpensive duplicates without realising that they lack the exquisite details
of the original," says Biswas.
For Biswas who grew up surrounded by the artists, it was "saddening" to see the younger
generation abandoning the age-old practice.
"It is only natural that they will pursue other things that will give them a better chance to earn a
living. It is saddening to see that the present generation is not interested in it," lamented Biswas,
who feels that including the art form as part of the curriculum of art courses might highlight its
importance.
Despite limited means and a full-time career, Biswas hopes his efforts will do a lot to boost the
confidence of the potters in themselves and their "treasure". IANS
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Sholapith Craft
Sholapith is actually the core of a plant stem named Aeschyromene Aspere that grows in the wild or in the wet
marshes of West Bengal, Assam, and Orissa.
Artisans utilize it for making artefacts relevant to decorative and ornamental head-wears of bridal couple. The
best Sholapith pieces are craftsmanship found on idols of "Gods and Goddesses" during various festivals,
especially Durga Puja" celebrations. Apparently, the object seems much simple, however, artists devote
months behind honing every piece and details which are meticulously worked out.
Sholapith is a white sponge wood cut up into delicate objects of art. The sholapith is the cortex or core of the
plant which is 1 inch in diameter. The harder brown skin which forms the outer part is removed with fine
expertise. This technique reveals the internal soft whitish and spongy material. Though the material is definitely
not thermocol, it indeed resembles the same. However, shola pith is a much higher quality in comparison to
thermocol. Thermocol is an artificial substance while Sholapith is the one with higher plasticity, texture, shine
and compressibility.
Sholapith arts of flowery designs, decorative head-wears of gods and goddesses, garlands, exquisite figurines
like faces of gods and goddesses, elephant-howdahs, peacock-boats, palanquins are best known in
Murshidabad district of West Bengal.

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CANE & BAMBOO

Bengal is the chief producer of Jute products like ornamental tapestries, jute-blended carpets, garden pot
hangings, hand bags, bedcovers etc. Along with the natural jute production, the state is also blessed with jute
crafting methods like weaving, knitting and braiding mostly performed by the women.
In Western Dinajpur, over fifty villages of the Kaliganj area is professionally involved in coloring and weaving of
seamless looms to meet the various national and global demands of the Jute products.
Shitalpati mats
Mainly found in Bengal, Assam and Tripura, the Shitalpati variety is yet another type of mat. Human and animal
designs in the Shitalpati mats are all time favorites. However, flat strips in chequered form or twill weaves are
also in great vogue.
Other than mats, hand rotated fans of palmyra leaves in different colors and geometrical forms are popular
crafts. Along with this, cane baskets made in conventional shapes and designs are also quite popular amongst
the city dwellers, serving both functional and decorative values.

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RAG DOLLS

The antiquity of Indian puppetry is an established fact and it has long been one of the primary forms of

traditional entertainment. Instances of various kinds of performing puppets are found in ancient and

medieval Indian texts.

Folk Puppetry in West Bengal is called Putul Naach : Putul is a word that describes both a doll and a

puppet in Bengali while Naach means Dance. There are references to puppetry in the medieval folk

ballads of undivided Bengal. Traditional forms of puppetry found in West Bengal are rod (Dang), glove

(Beni or Bene) and string (Taar or Shuto).

Both rod and glove puppets are indigenous to Bengal while string puppetry was an import. While

shadow puppetry does not exist in Bengal, there is a very unique and rare form practiced among some

Santal communities of West Bengal and Jharkhand, the Chadar Badar or Chadar Bandni.

The thrust towards modern puppetry in India started sometime in the sixties. Puppet Dance now came

to be identified as Puppet Theatre. But while there is no doubt about the superior techniques and
production values of contemporary puppet theatre, traditional puppetry acts are still enjoy popularity

among and the acceptance of rural spectators

The traditional puppeteers or puppet troupes are almost always ill educated, landless farmers or

labourers, who are to be found in village fairs and festivals in the winters. Their art being of an itinerant

nature, they carry the objects of their art with them, packed into boxes or folded and rolled into a cloth

bag. While the rod and string puppeteers require a makeshift stage, a curtain and sometimes a

backdrop, the fast disappearing glove puppet needs no such props and it is the dexterity and musicality

of the lone performer that holds its audience in thrall.

GLOVE PUPPETS

The roots of the glove puppet or Beni or Bene Putul tradition lie in the district of East Medinipur in West

Bengal. The form is a solo act that has existed for over a hundred years, but sadly today, there are only

a handful of traditional glove puppeteers struggling to keep their art alive in the lone village of

Padmatamali in East Medinipur.

The glove puppeteer is narrator, singer and actor, providing the dialogue for both the puppets, as he

manoeuvres them. The lyrics are often laced with humour and sarcasm while the music is based on

either common folk tunes or even popular Hindi or Bengali songs. There is no set format for the

movements and there is no stage.

The Beni Putul puppeteers traditionally belong to a social group in the lower strata of society. In the old
days, they would go from door to door demonstrating their performance or they would visit local fairs
and festivals. Squatting on their haunches, they would extract two often well-worn puppets and proceed
to enact scenes from the epics and manage to eke out a living in this fashion.

But modernization, and with it, the advent of modern entertainment has killed the demand for this kind
of traditional entertainment. Today, the puppeteers barely manage to sustain themselves and their
children are not interested in learning the art. Yet, the keepers of this heritage refuse to give up hope.
Glove puppet heads are traditionally made from terracotta and then painted in a stylized manner, while

the hollow arms and hands are made of wood to facilitate the vigorous, rhythmic clapping

Hidden under the puppet's clothing, the glove puppeteer's thumb and middle finger are used to
manipulate the hands, while the forefinger is used to manipulate the head.

Basanta Ghoroi, yet another master glove puppeteer of Padmatamali village demonstrates how the

fingers are used to manipulate the glove puppet with a dummy head made from the seed of a date palm

fruit.

Since the use of clay made the glove puppets heavy, lighter mediums like papier mache and thermocole
(polystyrene) are also being used, more in line with contemporary puppetry. The hands of course must
be made of wood.

ROD PUPPETS

The traditional rod puppet form of West Bengal or Dang Putul Naach (Rod Doll Dance), is a tradition that

goes back to the 14th century. However, the emphasis on this form of puppetry is more on drama than

dance. There is a great influence of the jatra (a traditional theatre form of Bengal) tradition in this form

of puppetry in the costumes, themes, script and enactment.

Some of the families have been carrying on this art for generations together as much as 100 years or

more. But the form is on the verge of extinction today and exists mainly in the South 24 Parganas district

of West Bengal.

The Dang Putul (or Dang-er Putul) of West Bengal is realistic in design. While it is entirely carved out of
wood, the face is further coated with a clay-and-cloth layer. The puppet is painted and always clothed in
gaudy, glittering costumes. There is a hole in each hand of the puppet so that a sword or bow or mace
can be inserted depending on the character of the puppet.
The puppets have joints at the shoulders, elbows and sometimes even a wrist and do not have legs.
The head is mounted on a central rod or pole, which passes vertically through the torso and is then tied
to the puppeteer's waist.

With bells around his ankles, the puppeteer either moves or dances to the music, according to the

script, with the puppet attached firmly to his waist. At the same time, he manipulates both the arms

with a cord hidden under the clothes. The singers are often the puppeteers themselves or there is a

separate person singing and delivering the stylized prose dialogues. A group of musicians, sitting at the

side of the stage provide vocal support and the accompanying music. Both music and dialogue are

usually very dramatic, in keeping with the traditional folk theatre style.

The performance of these rod puppets takes place on a makeshift stage spanned by a high curtain over

which the puppet performance can be seen.

STRING PUPPETS

The origin of string puppets in Bengal, it is believed, is from the Kathputli or wooden puppets

of Rajasthan. About a hundred years ago, a group of itinerant puppeteers from Rajasthan had come to

perform at a local fair in a village (now in Bangladesh) in undivided Bengal. Inspired by the performance,

the locals adopted the form and it soon became a popular form of entertainment in the region.

After the partition of India and Pakistan in 1947, most of the puppeteers relocated to villages in Nadia
district of West Bengal. It was thus that string puppetry became a part of West Bengal`s folk culture.

Just like rod puppetry, there is a stage, live music and the main singer. But organizing string puppet

shows is a costly affair. Due to repeated losses incurred, professional puppeteers were forced to look for

alternative sources of income. Thus from about 50 groups who had managed to fight against all odds in

the 1990s, the number has dwindled to just two or three groups today.

String puppets are made of organic matter, usually shola-pith or sponge-wood, a plant that grows wild
in the wetlands. They are manipulated by at least six strings. Unless specifically required for a character,
puppets do not have legs, the absence of which is hidden by the clothes.
https://www.google.com/culturalinstitute/beta/exhibit/QQLxGQ8a
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MASKS
In the deep of a jungle in Bengal, tucked miles away from the reach of human civilization, a coven of
witches, in giant painted masks dance in frenzy around a big fire; some have swords in their hands,
others have axes. In a corner bound and gagged is a pretty young lady the offering to Satan.
depicts a Bengali novel, written as early as 18th century.

Mask or Mukhosh, as it is known in West Bengal has a mysterious history, too vague to be chronicled
in perfect sequence, both in terms of advent and influence. Rumour has it that in ancient time the
witches started the practice of wearing the masks. In an attempt to camouflage, the witches built a
sublime weapon, a facial veil that prevented them from getting exposed. These were colorful ornate
faces made from wood or paper, a bait to attract innocent people, who were then sacrificed with the
belief that their life span would be transferred to the witches grating them immortality.

However, there are various other theories regarding origin of mask culture in Bengal - one of this
propagates that mask wearing started during the time of the great migration that took place in
Bengal delta during pre-historic times; another associates masks with symbols of negating geo-
political boundaries of the world.

Diverse civilization and cultures met in the Bengal delta. Various races entered India during pre-
historic times through the north-west of the Indian sub-continent and lived there until they were
driven further east.
The ancient people of Bengal were different in race, culture and language from the Aryans. The
original inhabitants of Bengal were non-Aryan. And it is this culture that is largely reflected in
Bengals long running tradition in mask artistry. Though is a lot of ambiguity about the origin of
masks in Bengal, it is evident that masks were of great religious importance owing to the belief in
spells. Tribal priests would wear these masks and exhibit various magical skills.

Thus over the timescale of hundred thousand years, masks became a popular prop in Bengali culture
, many of them being used in various dance forms performed to appease the demon gods and to
usher in peace as well as prosperity.

For instance the Gamira mask, which is the ecstatic wooden mask of Kushmandi primarily associated
with the Rajbangshi community of the area, is an essential part of the Gamira dance performed in
the northern parts of the state. This mask is used to depict various epic characters, of animals such
as the tiger and deer as well as of gods and goddesses to act out Mythological stories that are the
main theme of this dance. Popularly known as Mukha Khel meaning the game of masks this
particular dance form is dedicated to Gramchandi, believed to be the saviour of a village. Similarly in
other local ritualistic dance like Gambhira or Bakpa we find significant use of masks all establishing
the fact that the ancient world treated masks as instruments of revelations - a pathway to the world
of gods and other invisible powers - by giving form to the formless.

Thus though primarily, the industry of mask making was dictated by demands of religious functions,
folk theatre and folk dance yet even in other facets of regular life masks held a special
significance. Owing to its multifarious uses, the kinds of masks in vogue are diverse- each of it
fulfilling a particular purpose or function. So while the shola (sponge wood) masks are used often for
decorating the deity, especially the mother goddess, the terracotta or the Dokra masks are used for
dcor and as symbols to ward off an evil eye. The clay masks of kumortoli on the other hand are
being used to craft figurines uses in worship or dcor purposes.

The mask artisans shape out the desired model from materials like bamboo, wood, sponge wood,
clay, paper, etc. and then paint it with different colours. Each mask has a different craftsmanship
technique that is typical to the art form and known only to the select local community of artisans.
The Biswa Bangla initiative that aims at reviving, preserving and promoting Bengals heritage has
preserved all these diverse techniques of mask making and taken initiatives to showcase them under
one umbrella.

The masks of Bengal are acclaimed for their craftsmanship. However no concrete initiative had been
taken so far to revive and collate this art form and give it a comprehensive marketing platform. Each
of these techniques of mask making survived in localized pockets. Under the aegis of Biswa Bangla
this signature craft of Bengal is being showcased across the globe with an aim of giving recognition to
this art form and at the same time uplifting the life of these talented craftsmen by providing them
sustained means of livelihood.

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Biswa Bangla, Where the world meets Bengal, is a government initiative of one of the most
culturally diverse states in India, West Bengal. Biswa Bangla, through its partners and networks,
impacts over 10,000 artisans, craftspeople and weavers. It encourages innovation, provides
design assistance and improves quality and supply chains for the handloom and handicraft
products of the state. With craftsmanship they want to share the energy and creativity of the
people. The development of Rural Craft and Culture Hubs is overseen by banglanatak .com, a
social enterprise. In collaboration with UNESCO, the creation of Rural Craft and Culture Hubs
across the state not only encourages innovation and preserves the culture and talent of Bengal
but also enriches and improves the quality of life of artisans and craftspeople