The rich Indian craftsmanship stretches origins to the Neolithic period and continues in a variety of materials and styles. Indian handicrafts have grown throughout time to become an iconic part of the country’s cultural heritage. One such example is Dhokra metal art. Crafts served as an important source of income and also a reflection of their creative desires. The Bronze Age Harappan culture originated roughly 5000 years ago, with the discovery of the lost wax process in Mohenjo-Daro’s. The lost wax technique is when the figures were covered in clay and left to dry. The wax is then heated, and the molten wax is emptied through a small hole in the clay lid. The hollow mould was made and then filled with molten metal. Once the metal cooled, the clay cover was completely removed.
Dhokra is made up of an alloy of brass (28%), zinc (33%), and nickel (10.6%). This lost wax method was most commonly used in the south and east of the country. The Dhokra art constitutes one of humanity’s earliest types of artistic ability. The craft depicts society’s social and religious activities. The tribes who practice the lost wax method come from various places, such as Dhokra and Dhepos in West Bengal’s Birbhum, Bardhaman, and Bankura districts; Malars in South Bihar; Ghorua, Gond, and Ghadwa in Bastar, Chhattisgarh; and Betul tribal district in Madhya Pradesh. The area’s craftspeople include Gond, Korku, Pardhan, Bhilala, and Bharewa.
ORIGIN
Metal artists continue to practice lost wax casting, often known as “Dhokra” art. The term “Dhokra” originates with the nomadic tribe “Dhokra Damar” of West Bengal. It is a traditional metal craft practiced in many Indian states. The Dhokra metal picture contains Hindu deities, tribal symbols, animal themes, tribal jewellery, and so on. This ancient metal craft thrived in India but drew attention from throughout the world.
Cire perdue, or lost wax casting, emerged in the fourth century BC to create various forms in bronze, gold, or silver. Dokra metal casting constitutes a traditional technique in India that employs the lost wax casting process. The dancing girl of Mohenior-daro in the Indus valley, dating from 2500 B.C., is one of the earliest known lost wax artefacts from India. Dokra metal casting was used in India for more than 4,000 years and continues to be utilised now.
THEMES
The name ‘Dhokra’ refers to a nomadic community living in the states of Bengal, Orissa, and Madhya Pradesh. They come from a tribal culture whose speciality is making brassware with strength and precision using the lost wax method. Their creations feature folk culture elements, with elephants, horses, and cattle being among the most commonly represented animals. Other items include head figures, tiny measurements and weights, containers with and without lids, pictures of divinities such as Lord Ganesh and Goddess Durga, and lamps in a variety of sizes, patterns, and styles, as well as supports. They also hold distinct cultural meanings. They still maintain the traditional themes. Folklore is also incorporated into Dhokra’s art history, as are the country’s major festivals. Dhokra figurines are often employed in domestic religious rites, beginning with idols in family temples and progressing to kitchen items. Hindu communities are known to utilise brass and bronze cooking utensils since their faith prohibits them from using copper equipment.
STYLE AND SYMBOL
Dhokra art is very profound; it incorporates the tribes’ core beliefs, rituals, and even life experiences. The motifs are mostly based on mystic nature, tribal folklore, and mythologies, with elephants, horses, and owls appearing often. These creatures, on the other hand, serve not just as ornaments but also as symbolic. For example, the elephant has long been used to represent power or wisdom, while the owl represents alertness and growth, among other qualities. Dokra art draws inspiration from two ancient epics, Mahabharatta and Ramayan, as well as various Indian cultural icons.
Figures from Brahmanic literature include Krishna, Shiva, Natraja, Ganesha, Hanuman, Durga, Lakshmi, Saraswati, Radha with Krishna, and many others. The Buddhist and Jaina themes are also highlighted. Buddha figures can be found in a variety of mudras, including Dhyan mudra and Bhumisparsh mudra. This art form features a variety of themes related to human existence, including instrumental and dancing figures in groups such as Dhapli, Tabla, Mridangam, Bansuri, and Turahi. Many sculptures portray everyday tasks such as whittling grain husks, carrying a pot or similar object over one’s head, holding a bottle gourd or pumpkin, a pregnant lady, children, and couple figures.
Some significant figures are as follows:
• Trident: A three-pointed spear that represents Shiva abstractly.
• Sun: It has been revered as a divinity since the early Vedic period. It represents light and honesty.
• Snakes: Snakes are a sign of rebirth since they shed their skin and grow fresh skin after a period of time.
• Nataraja: This representation presents Shiva in a variety of roles, including creator, preserver, and destroyer. It signifies the never-ending cosmic cycle. This also portrays Shiva’s rage, as seen in the Kamdev and Rati mythologies.
• Peacock: Its feathers decorate Krishna’s crown. It is also linked with Kartikeya, Shiva’s son, and serves as his chariot. It is thought to bring good fortune and wealth. It is linked with Lakshmi, the goddess of riches.
• Cow: The most prosperous animal of all. Humans have sought them out since the early Vedic period. It represents motherhood, plenty, and purity. It is featured in art and sculptures with Lord Krishna and the Gopies.
• Bull: One of the oldest symbols discovered in Mesolithic rock art. Bull figurines first appeared in Neolithic Mehrgarh and have been used throughout history. Pura Amavasya is a festival observed in many cities across Western Odisha. It is commonly associated with fertility cults.
• Horse: Horse is described in the Later Vedas in the framework of a yajna known as Aswamedha performed by the monarch. Even the Harappan civilisation provides proof of the presence of horses.
• Elephant: This magnificent animal represents Buddha and Ganesha, as well as the Vishnavite faith.
EVOLUTION
Dhokra art is more than just embellishing an object; it is deeply rooted in the customs and beliefs of the tribes who make such artefacts. The Dhokra art has a distinct visual vocabulary that draws influence from the environment, tribal culture, festivals, rituals, and tribal folklore. The art form’s proliferation is based on a foundational framework of traditional community education.
People perform numerous ceremonies and worship to the gods throughout the metal casting process to demonstrate its sacredness. Tvashtar is worshipped by craftsmen at the start of the task to ensure the divine God of Creation bestows it. Some Indian communities have even employed Dhokra items as holy symbols in festivities or worship. They are believed to be endowed with this power, which is why they are used for worship in both private and public places. Religious and ceremonial use serves to connect individuals within a community because the creation and use of the items requires the labour of several families, craftsmen, and even the entire community.
Currently, the Dhokra process is most commonly employed to make curiosities, wall art, and ornamental objects. Dhokra goods for the local marketplace also include utilitarian and ceremonial artefacts, such as lamps and jewellery items such as amulets, anklets, pendants, and bracelets, as well as purses, nutcrackers, knives, measuring instruments of various sizes, seed holders, cow bells, and spoons. Craftspeople also create idols of Hindu and indigenous deities, such as Jangubai, Bheemdev, and Persa Pen, for use in ceremonial devotion.
From the 1960s onwards, Dhokra art was promoted through demonstrations and sales at national and global handicrafts stores, including Indian festivals. Institutions that showcase the craft include the National Crafts Museum and Hastkala Academy, as well as Bharat Bhavan. Notable Dhokra artists are Jaidev Baghel, who received a National Award in 1977, and his nephew, Rajendra Baghel.
In 2018, the Bengal Dokra acquired the GI tag. However, the economic impacts of the COVID-19 pandemic have resulted in increased resource procurement prices and hence higher completed goods costs. In addition, the number of active Dhokra craftsmen has significantly decreased.
REFERENCE
- https://mapacademy.io/article/dhokra/
- https://www.researchgate.net/publication/385083219_AN_OVERVIEW_OF_DHOKRA_ART_BASTAR_PROGRESSION_FROM_ART_TO_DESIGN
- https://www.memeraki.com/blogs/posts/the-timeless-legacy-of-dhokra-art?srsltid=AfmBOoo9cRc7fZC0MiXSnjgvCzdWpit9z3LS6PyWAtiXW5ZJb3U6YMrS
- https://allarticlejournal.com/media/pdf/IJASR-3-6-11.1.pdf