The Bell Metal Craft of Madhya Pradesh is a hallmark of Indian artistry and cultural depth with roots entwined with the religious and tribal customs of the area. Many historians like R.C. Sharma have argued that the craft’s first usage cane be traced back to the roots of the ceremonial use of metal artifacts in tribal communities. The items uphold the sacred meaning – connection to fertility ceremonies and worshipping ancestors while also adding values of being ornamental. With the discovery of evidence of similar lost-wax casting techniques dating back to the Indus Valley Civilization, its heritage cane be traced back to the very beginning of the civilization.
HISTORY
The Bell Metalware Craft Tradition of Datia and Tikamgarh, which developed in response to the practical needs of a community, demonstrates a reasonable awareness of both use and aesthetics. Tikamgarh and Datia follow the exhibit similarities and differences while using the same craft.
Anklets made of silver (paijanaas) for women were the primary product of the craft, which was originally practiced by the Sonis (ewelders) in Datia. For financial considerations, this was changed and brass, an alloy of zinc and copper was adopted a few years ago. Anklets were the only jewelry created using this technique. The artisans were known as Dhariyas and it is a prevelent notion that traditionally, about 50 families practiced the profession.
Tikamgarh is situated in Madhya Pradesh’s Bundelkhand area. Although this traditional idol craft has no particular name, it follows the customary pattern of craft tradition. It is well-known with the moniker – “Metal Idol craft of Tikamgarh”. The Swarnkar Samaj is responsible for the idol craft. Since their ancestors were originally from Avadh and later moved to several parts of India and Madhya Pradesh, including Tikamgarh, Gwalior, Chanderi Chhatarpur, Shahgarh, etc., the artists refer to themselves as Awadhiya or Audhiya Sonar. After leaving the Sonar caste and settling in the Tikamgarh district, the Ayodhya artisans are now working in jewelry, kitchenware, and other metal crafts. According to the region’s cultural customs, toys are given to the kids on the first “sankranti,” a religious festival, after the groom’s family manages to give them to the bride’s family so they can stay in touch with each other for a year or three after the wedding. For those who were wealthier, these toys were made of brass or bell metal. Similar to this, another tradition known as “matakiya” involves the bride’s brother bringing her home with him after marriage. The wealthy in society used brass pots for this, while others used earthen pots.
DESIGNS & ITS SIGNIFICANCE
The distinctive jali work of Datia sets it apart from the sturdy and adorned works of Tikamgarh. It is reminiscent of the stone lattice patterns found in ancient monuments. The feature of jali is itself difficult to achieve and requires fine works.
The Tikamgarh products are solid and plain, with more figurative work and ornamentation done when required. This feature of designing/ornamentation is also achieved by applying wax on earlier caved out designs on soft stone (Gora pather) called ukhanas. This engraved design on wax is then placed on the wax model as required. The use of ukhanas is a special feature of this region.
Other motifs or depictions are created using inspiration from natural surroundings, mythology and tribal culture.
- Devotion: The craft’s spiritual connection is emphasized by the prominent appearance of deities like Durga, Vishnu, and regional tribal gods. They even make idols of the gods and goddess to worship them, creating an interconnection between their daily lived and cosmic energy.
- Animals : Motifs or designs of animals like elephants are often associated with the devotion of Lord Ganesha, they symbolize power and intelligence. Inspired by Madhya Pradesh’s native fauna, peacocks represent elegance and beauty. Frogs and turtles symbolize the agrarian way of life of tribal groups, they are connected to water and fertility.
- Flowers : Floral motifs, which are frequently found on ceremonial artifacts and are inspired by the native flora, represent wealth and abundance.
- Geometric Patterns : Often influenced by tribal tattoos and prehistoric cave art, intricate patterns like spirals and concentric rings symbolize continuity and the cyclical aspect of existence.
TECHNIQUE
Bell metal work combines traditional hand-molding methods with lost-wax casting. The craftsmen use basic tools such as hammer, tong, pata, thapia, katarni, clippers, dyes etc to make bell metal craft. The procedure consists of:
- Wax Modelling: Using a blend of beeswax, tree resin, and oil, artisans craft a detailed wax model of the item to be cast. Piswan and Chanwa wax are specially made for modelling and decoration in Tikamgarh.
- Mud Molding: The wax model is covered with several layers of specially prepared mud, frequently combined with horse and cow dung. Smoothness and flexibility are guaranteed by the application of black dirt (gaarn ki mitti).
- Metal Pouring: Melted bell metal, an alloy of copper and tin, is poured into the mold following the melting of the wax. High-quality casting is ensured by exact temperature and time control.
- Polishing: To produce a smooth and glossy finish, the cooled cast is cleaned and polished with tamarind water, acid washes and grinders. Artists may adorn their work with synthetic jewels as the final touch.
HOW IT DIFFERS FROM DOKRA
Although Bell Metal work and Dokra art share the same technique of lost wax casting, they differ from a lot of perspectives. While Bell Metal is a prominent practice in Tikamgarh and Datia, Dokra is primarily associated with states like West Bengal, Odisha and Chattisgarh. The major difference lays in the aesthetic style of the two. The Bell Metal craft focus on utility and ornamentation and are shaped through their jali works or figurative embellishments. It focuses on the broader functional design with incorporation of local flora and fauna. However, Dokra is characterized by a more abstract and rustic style. It leans towards the tribal and religious theme and these are predominantly used as decorative pieces. Another striking difference is in the process of making. While Bell Metal craftwork ends with polishing and embellishing gemstones to give a finer look, Dokra art retains it raw and earthy texture as they are not polished in the end.
CHALLENGES AND PRESERVATION
Despite its rich history and artistic beauty, the Bell Metal craft is facing severe challenges. One of the most prominent challenges is the scarcity of metals as it has become really difficult to source copper or tin easily. Secondly the younger generations are moving to the urban region looking for better source of income other than this labor intensive craft which has led to a decline in the practice of this craft. The influx of cheaper mass produced alternatives for a craft items have also produced another threat to the craft of Bell Metal.
The GI Tag was awarded to Bell Metal craft to protect and promote its unique cultural identity. Other efforts from government and NGOs have been provided to the artisans like training programs, marketing support and financial assistance.
Over the years, the Bell Metal craft has evolved to suit the contemporary taste. Artists now create decorative items like lamps, bells, wall hangings, jewelry of various types while retaining the traditional essence and other functional items like plates, bowls, utensils and other small products that cater to the eco conscious consumers. With time, the craft has found its place in different decor stores and art galleries. The adaptability of the artisans have provided them with a bigger platform globally.
Bell metal craft is more than an artwork as it carries the cultural legacy and heritage that echoes with time with the spirit of the Madhya Pradesh’s tribal community.