Dolls have had a very intimate relationship with humans from time beginning. Before the emergence of media and smartphones, these non-living objects were the centre of entertainment. A child’s childhood was nearly impossible without the indulgences of these playmates who were inanimated, and thus, we trace one such ancient legacy from the period of Mohenjodaro, i.e., “Wooden Dolls.”
Colorful wooden dolls, so intricate and precise in the making, were once the center of attraction at every fair and mela, especially in the region of West Bengal where Putul Khela (Doll-Play) had been in its prime and every household bore one such antiquity to define the glorious days of innocent childhood. But have we ever wondered where did these doll’s came from? Who made them? All we took notice was of an individual spreading beautiful dolls of different shapes be it owl, gour-nitai, or raja-rani dolls (King and Queen) over a plain shawl and selling them at meagre prices. Well, diving deep into that, let’s take recourse on the essence of these exquisite “Wooden Carvings” that emerge from the land of Natungram, which lies in the district of Bardhaman, West Bengal.
Natungram: Where Tradition Meets Craftsmanship
Under the area of Purbasthali which is a block in Bardhaman district, Natungram is a small village that is conjured with historical legacies. As per recent research, more than 200 families reside here and operate under the guise of four “Paras.” Amongst which one is known as “Mistri Para,” where we find the dwelling of 82 families who are mastered in craftsmanship and have devoted their whole lives to the articulation and formation of these wooden dolls and carvings. It is further documented that men are the ones usually responsible for cutting and carving the wood, while the female members are catered to coloring the dolls along with the help of their children. But interestingly, these individuals are not just elevated as doll makers. Rather, they are honored with the title of “Bhaskar,” which ordinates the functionalities of a sculptor, or “Sutradhar,” those that partake in the avenue of story-telling and are hence certified as story-tellers. So we can accurately gather from this perspective that the dolls were simply not just a means of entertainment, but they had significant meanings and symbolism behind them. A symbolism which garnered to our mythologies and folklore.
More than sustenance and livelihood, to the Sutradhars, “the making of wooden articles” was also part and parcel of their ancestors, which reflects how ‘demand’ in relation to these objects was always present, highlighting its aspect of ethnic beauty and uniqueness. In relevance to this, we understand how most families in the primordial periods favoured keeping wooden carvings and embarkments near their entrances, which, as a result, would show their status in society. It also certainly depended on the common or religious beliefs that the individuals had in general because aligning with that persona, the dolls that were of varied shapes were bought.
But in the present time, if we shall notice, then we will find how during religious festivals like ‘Durga Puja’, these items are used profusely in the ‘Pandals‘ to produce an aesthetic beauty with an emblematic ethnicity.
The Wooden Wonders: A Closer Look at Materials and Motifs
The materialistic infixation mainly depends on two types of wood which are variedly carved from Mango, Amra, and Pituli in regards to the manufacturing of colored figures, and for carving purposes, hardwood from the trees of Neem, Mahogany, and Gamer are used. These are locally available and are known to retain for a longer time period. And apart from that, in retrospect, the mistris mainly make use of tools known as Batali, Cheni, and Saw in order to provide perfect shape to the Wooden dolls. Additionally, the figures are painted with vibrant colors associated with glamorous quintessence.
Now, analyzing the ethos when it comes to the perspective behind motifs, we understand that the “Wooden Owl Doll” is one of the prime specializations of the Sutradhars. Through the ages, not only have they been considered auspicious for homes, but because this animal is recognized as the ‘vahana’ or escort of goddess Lakshmi, hence till to the day, many ‘Bengali’ traditional families during Laxmi Puja efficiently put the said handmade craft on the pujo-altar.
Mainly made of Gamar, Chatim, or Mango wood, these owls come in different sizes and shapes, and they crucially signify good luck and prosperity. Some households also believe that the wooden dolls act as a barrier against evil spirits and ward them away. Although, persistently the main belief lies on the Hindu mythology that analogs how a pair of owlets provided help to a poor mother and son by recommending them to the goddesses of wealth which in result made them earn fortunes and due to this lore the consistency and faith towards owl dolls still exist. Interestingly with time we also see a change in the use of colors, in the earlier phase the owls were painted with green, red, and yellow on a white base and the colour black was used to paint the eyes and other features but in the present strata vivid colours like purple, green are also made use off to make the dolls more eye-catching and captivating.
Apart from this, we also have the famous Gour-Nitai dolls, which came into existence during the wave of ‘Bhakti Movement’ that occurred in Bengal in the 15th-16th century; these dolls are mainly the representation of a pair of male figures with their hands outstretched over their heads. In spirituality, these dolls represent Sri Chaitanya Mahaprabhu (a renowned saint and scholar who founded Gaudiya Vaishnavism) and his disciple Nityananda.
Many of the dolls also have portrayed Lord Krishna and his many forms.
Conclusion and Current On-set
In the present time, the adieus of wooden doll making has evolved; not only have the makers adhered to modern supplies and materials, but they have also started producing stools that are enhancingly made of part wood and part weaving. So we can understand through this how the ancient techniques with modern times have given into change, but what’s more uplifting is that the doll makers of Natungram, under the patronage of the government of West Bengal and UNESCO, New Delhi have been subjectified to further upliftment through various social enterprises.
Other than that, apart from making traditional dolls and categorizing them as their sole achievement, the Sutradhars have now started incorporating these dolls into furnitures, which can be further seen in the form of small tools, laptop tables, and, in fact, cupboards and boxes as well.