The Wrought Iron Craft is a traditional craft form of Dindori, Madhya Pradesh. Lahu shilp is the craft of transforming the mundane iron into artistic creation, blending functionality with aesthetic. This craft beholds traditional craftsmanship through it process of making and its cultural symbolism.
According to the famous Arab historian Idrisi, “there was no match to the Hindus in the production of iron. They had their own workshops where the world famous swords with arched blades were manufactured”.
Story and History
The origin of the Wrought Iron Craft in Dindori was through the hands of the Agaria tribe. Historical accounts highlight that Agarias inherited the traditional metallurgical knowledge and have developed a work culture that is designed intertwining their faith, culture and customs. They produce the best quality of non rusting and non brittle iron upholding the glory of their ancestor, their duty to the world and above all the reason for their birth. Their craft represents India’s glory of richness and prosperity.
Mythology intertwines with history about the origin of the Agarias and their craft. The Agarias believe that they have originated from Lohasur, the King of Lohagundi who lived in an iron fortress and their kingdom was destroyed in a battle with the Pandavas. It is believed that they have intermixed with the Gond and Baiga tribes. They also worship Agyasur or the fire of their furnace and Koylasur or the fuel coal.
Another faith among the Agaria community holds the believe in the supernatural power of the iron that they make, especially the first iron they make in the new furnace which is called Kunwara Loha or virgin iron. They believe that the virgin iron has immense spiritual power and can protect them from bad omen, ghosts, save a person or house from lightning strikes. These faiths are equally shared by the other tribes like Baigas, Gonds and other community living with them who hold the Agaria iron in the highest regard.
According to the local folklore, he craft was bestowed upon the Agarias by Lord Vishwakarma, the divine architect. This believe underscores the spiritual dimension of the work, attributing iron as a medium to solve both earthly and divine needs. The craftsmen work in their aangan or front yard and make the beautiful metal pieces. The art of preparation of the craft is passed on from one generation to the other as the children observe and learn from very young age.
Dr. Rajeshwari Sharma emphasizes that the craft flourished due to the availability of iron ore in the region and the artist expert is in building Kothas or clay furnaces for smelting. Overtime the utilitarian nature of this craft evolved into an art form with motifs or designs reflecting their naturals surroundings and cultural narratives.
Crafting the Wrought Iron
The Wrought iron was originally devised to make metal tools for farming, hunting and other utilitarian purposes. For instance: Hasiya or grass cutting tool, arrow heads, Sandi or three pronged fork used by cowherds, knives, axes and farming tools like ploughs and sickles etc. Crafts such as Khurpa or cutting instrument for chopping up flesh and removing the skin of animals, Sakri or chains for fastening doors, Chhanni or iron sieve for cleaning rice or sifting flour, Jhdra or perforated iron spoon used for removing wheat cakes from the oil in which they are being cooked are also made by the artisans.
Laman Diya
The most prominent Wrought iron products is the depak which is the specialty of the ironsmiths of this area. The Laman Diya or hanging diya is a famous traditional oil lamp, with its rustic, raw and symbolic designs of the tribal environment. The origin of these lamps are rooted to the spiritual belief and the tribal rituals to connect with the divine forces and seek for their blessings during occasions like birth, marriage and other occasions. It is believed to be named after a similar lamp used by the nomadic tribe called Banjaras. It is one of the 5 types of lamps traditionally made by the Lohars or black smiths, the others being, Khut, Supali, Gadli and Viman.
The traditional laman diyas are decorated with bird and animal figures, and small diamond shaped leaf like structures with vertical and horizontal rods. The shape of horse is also a popular depiction. The new forms like hangers, masks, innovative lamps, wall hangings and showpieces are also crafted and it reflect the realities of the changing times and a craftsman’s response to it.
The main difference between the Laman Diya and the other lamps is that, the Laman Diya can be used irrespective of ritual or occasion, while the others are for specific ceremonies. For instance: The Vimandiya, shaped like a chariot, it is specifically used in rituals for worshipping deities or propitiating the dead.
Natural Motifs
The motifs are more than just ornamental designs, rather, they narrate stories of tribal life, myths and their bond with nature. The designs are derived from their surroundings, emphasizing on the natural characteristics of Madhya Pradesh.
Tree of life: Rooted to the tribal belief in nature as the sustainer of life, the tree of life symbolises growth, harmony and interconnectedness of the humans with nature.
Animal Motifs: Rooted to the symbolism of the qualities like strength, grace and agility, the artists make small, simplified and abstracted forms of animals which are crafted out of metal, like monkeys, tigers, deers and peacocks mainly. The deers particularly emphasize over the old traditions of hunting. These motifs reflect upon the biodiversity of the religion.
Sun and Moon: Rooted in the tribal cosmology and the celestial patterns observed by the community, the motifs of sun and moon are vastly used in the designs. They symbolise a cyclic nature of life, balance, and the coexistence of opposites like day and night.
Geometric Patterns: Rooted to the natural elements like rivers, branches of trees, leaves and tribal tattoos, different geometric patterns are used to represent order, symmetry and balance.
Method of Production
Wilfred Harvey Schoff, in his article, The Eastern Iron Trade of the Roman Empire (1915), wrote that “there are sufficient evidences that the best steel in the world imported by Rome came from India”.
Tools like Muthali or hammer is used to shape the metal, jatali or nut is used to make holes, sansi or tongs is used to grab anything and iron sheet which can be molded into different shapes.
As part of the making of the Wrought Iron crafts, the iron sheets are cut into smaller strips and a small coal furnace is prepared. Traditionally they utilized a low shaft furnace built of clay. The iron is made malleable by heating it in the coal furnace, and then beating it over a metal anvil utilizing a hammer and tongs. The process starts with iron strips being beaten repeatedly when hot. It requires no casting and molding. Desired shape is made carefully by beating it at necessary spots. Until the sheet takes on the desired shape, this heating and beating procedure is repeated. Unnecessary sections are then chopped away and filed to remove sharp objects. Lastly, to stop rusting, a layer of red oxide is sprayed.
Both solid and hollow figures are produced. Iron sheets are cut, folded, and filed according to the form’s specifications to create a hollow figure. In a solid figure the main bodies are constructed first and then the detailing is done with the help of little chisels. Since each figurine is made from a single sheet and has no joints, the fine craftsmanship is evident, and each product is completely handmade without the use of any machinery. Decorative additions, such as clothing or accessories for the figurines, are made separately and attached to the product without the use of any welding techniques or machinery.
One can distinguish the wrought iron craft of Bastar easily by their heavier and bold designs. They also combine the wrought iron with bell metal and brass which is more similar to the Dhokra art.
Challenges and Preservation
Several challenges like loss of the traditional knowledge, dwindling access to quality iron and fuel and competition from machine made goods have created a barrier for the craft to tackle the market forces and reach larger audience. The GI tag has protected its authenticity and government has also initiated artisan welfare schemes to protect the artisans. The craft has also been featured at international exhibitions like Surajkund Mela and Crafts Council of India Forum which has drawn admiration from art connoisseurs. Educational initiatives and technological integration are empowering young artisans to continue the legacy.