A Shell of Devotion: Exploring Bishnupur’s Conch Tradition
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Introduction
One may say Bengal is the birthplace of the Shankha-Conch (Turbinella Pyrum) shell, and the artisans affiliated with the manufacturing of conch shell articles, significantly bangles, are known as “Sankhari” or “Sankhakara.”
In brief, Sankharis are an occupational group who are specialised in shell cutting and making ornaments out of it, which include bangles, bracelets, earrings, etc. It is said that the Sankharis have the Brahmanical gotras and were prevalent in following the traditions and rituals of any other high castes, which permitted child marriage, polygamy, widow re-marriage and several such practices that were considered common in the past. Castewise Sankharis fall under the category of Navasakha and respectfully belong to the Vaishnava sect.
Historical Origin
Now, according to history, the trade in this sector flourished from a very early time. And as per the statement of Travernier, ” The shell bracelets were one of the major exports of Dacca in 1666.” He further highlighted that in Bengal and Patna, more than two thousand persons were employed in manufacturing them. Accordingly, following these years, we find that it was in 1890 when the industry completely took over, and 70% of its product and ornament that were classified as “broad, strong and serviceable bangles” were used by women of lower classes and the 25% which was constituted as the “high graded work” concerning the orientation of shell bangles were used by ladies of affordable wealthy classes.
Image Source- D’source Design Gallery on Conch Shell Bangles Making – Kolkata – Engraving Art
Flourishment
The emergence of the Swadeshi movement was a turning point and provided a new impetus to this craft because this was the time when British goods were ostracised. Indians prided over their customary products, and amongst the tribal women and women of lower caste, there was a vast spread of these bangles, which were customised to their own uses and needs. It has been additionally sanctified that the artisans of Dacca were known for manufacturing the best conch shell products in Bengal by crafting them to the ongoing trend and by carving bangles of different patterns. Meanwhile, in the region of Bankura, the subdivisions of Bishnupur, Hatgram, and Patrasayer were the eminent sectors categorizing the conch shell industry.
Fascinatingly, from the accounts of James Hornell, published in 1914, it had been stated that the craft on an extensive scale was practised in the districts of Bankura, and the shells used for manufacturing bangles were exclusively imported from the Gulf of Mannar. In that time period, on rare occasions when an expert craftsman took a whole conch shell and sophisticatedly decorated it with embossed festoons, it dishearteningly did not survive in the market and, thus, only on particular occasions were produced. But rivetingly, the residuals of the sliced-out bangles were taken into use, and rings, buttons, and floral brooches were creatively made out of them. From this, we can make the analysis that the essence of luxury was mediocre in the regions of Bankura, which is why the whole conch shell, which was more elaborate and elegant, was only used on a temporary basis because it was difficult for individuals to afford it; thus the alternative of simple and basic jewelry was a great methodology to adhere the work of Conch Shells.
We further explore that the Sankhari business was a collective one, where women and children of the artisan’s family would also contribute by polishing the bangles and indulging in minor works that benefited the produce. The craftsmanship mainly cohered to simple tools for the purpose of ornamentation and decoration, and the techniques here were the same as followed by the Dacca artisans (at least that was the case for a few consecutive years). However, from the scholarly reports, we discover that the finishing of the bangles was not that phenomenal; the work was considered crude, questioning the capacity of the Bishnupur artisans. Well, there are subsequent reasons for that, one of which details that they faced problems with procuring a regular supply of shells significantly at a reasonable price and only had a limited section where they could sell the products; critically, they only had one local market.
Ornamental Motifs
Image Source- D’source Design Gallery on Conch Shell Bangles Making – Kolkata – Engraving Art
Regardless, we found various types of Shankha bangles; the plain white ones were cheap, accentuating a basic style manufactured in bulk. Next, we see the “Sonamukhi,” which Sankhari women ideally crafted by giving it a golden-faced yellow look with drops of red and green on the mouth. After that, we have the “Jaltarang,” which consisted of wave-like patterns and was essentially named after a musical instrument. Consequently, “Matardana”, one with a pea-like motif engraved on the periphery, and “Motidana”, as the name suggests, with the impression of a pearl-like mark inscribed on the outer surface within the rectangular area, was quite popular as well. Lastly, we have “Bhatiya and Maya“; the former, on its edge, was designed in an M-like figure and had three slanting lines drawn over it. Whereas the latter was made on a plain surface and had delicate designs drawn over it with bamboo pen, and different colors were assigned to beautify the rim.
Manufacturing and Uses as per Tradition Types
In order to implement this product poignantly, the artisans mainly relied on “Sankher-Karat“, which is a crescent-like saw used to slice the conch shell and produce round rings from it. Similarly, it also came into use for cleaning the shells by the process of filing. Critically, hammers of different sizes, shapes, and chisels were also considered. As a consequence, it is a known fact that conch shells are of various types, and depending on that, their features differ. Thus, Bengal and Dacca had their variety of Shells, which they notably used; Those are: Titkutti (white colored, is considered the perfect quality because it has hard and fine grain), Jadki (subsidiary and inferior to Titkutti), Patti (good quality material which was very popular amongst Santhal women but is assessed to be less popular than Titkutti), Dhola (Inferior to Patti and are generally cut from dead shells), and lastly Alabila (is of the lowest grade and is sliced from the smaller sizes of Jaffna dead shells).
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Manufacturing Process
The framing a Conch Shell bangle is one of the most meticulous work and requires intricate hand skills. It is a challenge because of the hardness of the material, but in order to overcome this, the craftsman came up with a diligent process that required them to first cut off the tip, apex, and edges with the help of a hammer and the inner dust was also cleaned through this. Next, after removing the excess material, they secured the shell between two bamboo stakes and placed it tightly on the left toe and right heel of the artisan, after which they used a saw to cut the base; innate accuracy was required here to procure the sliced ring shape with the assistance of a curved saw. As for the finishing touches, wax was used to seal the holes, and fine drops of color were painted on the joint. Furthermore, the bangles were bleached with a nitric acid solution to attain an enhanced appearance.
Rest if we speak about the broken and discarded pieces, we will find that they did not go to waste and were utilized by joining them together with the help of lac stick (a gum made from resin, lac, and shell powder); the outcome resulted in them being turned onto colored bangles.
Use and Decline
The use of Conch-Shell Bangles is one of the most respected and essential pieces of bridal jewellery in West Bengal. A practice that is still in recognition and is seen lively in a “Bengali Marriage Ceremony” where the bride will surely be gifted with at least a pair of “Conch Shell Bangles” by her father that is to be placed on her wrist by the groom during the marriage procedures. These bangles symbolize the “Purity of the Bride” and are also renowned as “Sabitri Shankha,” which implies a long-married life and the husband’s well-being. It is also believed and kept in superstition that the removal of the Shankhas is a bad omen and can indicate widowhood. Hence, we find that a woman will only wear her Shankhas till her husband lives and will symbolically break them during her husband’s last rites.
Tragically, nowadays, over the course of time, the practice of keeping this venture in account has slowly diminished. Shankhas, with modern times, faces serious competition from durable and cheaper plastic wares, which are critically valued more, and in fact, the sentimental value that women once had towards the orthodox notion of Shell bangles has also lessened with the moving generation.
