CLAY CHRONICLES : THE STORY OF KRISHNSANAGAR’S ICONIC DOLL

Introduction

The historic town of Krishnanagar in Nadia district of West Bengal, is famous for its rich artistic heritage and its clay doll-making industry is a remarkable cultural tradition. This craft is mainly centered in Ghurni and having been passed down through generations reflects Bengal’s artistic imagination, brilliance and cultural narrative. These dolls are renowned for their life like expressions, vibrant colors elaborate detailing and varied themes which earn for them global, appreciation. The realistic representation of various emotions give ample evidence to the craftsman’s skill and experience. They depict a journey and are excellent at story-telling.

History and Development

The art of clay doll-making in Krishnanagar Dating back to the 18^th Century, flourished under the patronage of Maharaja Krishnachandra (1710-1783) who was an ardent supporter of  arts and craft. He was a pioneer starting Jagaddhatri Puja for the first time in Bengal. He encouraged the local artisans to produce realistic figurines. He also brought in more potters from Dhaka and Nator districts to Ghurni. The artisans refined their techniques overtime combining indigenous knowledge with ingenious craftsmanship. The development of this industry was largely dependent on availability of fine alluvial plains from the Jalangi River which gave the artisans an excellent medium for modelling. The artisans diversified their creations with time, evolving to expand beyond religious figures to portray scenes from mythology, history as well as everyday life. The model-making depends on the skill of the artisan’s fingers and can vary in size from  miniature to large. The detailing, especially in clothes and accessories with tools creating single and double pleats, creases and most importantly the few strokes that infuse life into the eyes are  extraordinarily astounding. Craftsmen practicing the craft of Krishnanagar doll-making generally belong to the community called Kumbhakar constituting potters and clay-modelers. In the colonial period, British officials and Europrean collectors were enamored by their precision and realism and this in turn widened the reach of Krishnanagar clay dolls. Currently this industry in Ghurni sees major concentration in areas of Pal Para, Bhatijangla, Kalipur, Sandhya Para, Haldar Para and surroundings of Krishnanagar Town. Low capital investment and simple making process makes this industry very important to the local economy.

The Process

Krishnanagar clay dolls are primarily made out of  the soil or deltaic mud called Etail. The craftsman collects the soil from river bed directly or from sellers and all the impurities like pebbles, stones etc. The mud is then kneaded with hands to make it more flexible for doll-making. The body of the clay doll is made by hand, molded with the skill passed through generation helping to create the unique products of the region. Sometimes pieces of bamboo or iron wires are used to make a frame. The facial features, hands, hair, feet etc. are defined using clay modelling tools following which the dolls are dried in the sun and put in a kiln for making them durable. After the body is prepared it is painted with colors and often decorated with clothes and ornaments. These dolls were painted using natural colors traditionally. But now, varnishes and synthetic colors are used often to improve their durability.

 

Motifs and Symbols  

The motifs of clay dolls Krishnanagar represent a broad range of themes stretching from religious iconography to contemporary subject. The most common categories include –

• Mythological figures – Dolls depicting deities like Radha Krishna, Durga, Kali and Shiva are very common.

  

• Historical and political leaders – Figures of the likes of Rabindranath Tagore, Swami Vivekananda, Netaji Subhas Chandra Bose and Mahatma Gandhi reflect the deep impact national history had on the psyche of craftsmen.
• Everyday life – The clay-dolls of Krishnanagar are most famous for the way they captured ordinary Bengali men and women at work. Rural Bengal is beautifully showcased as the lifeline of the region with scenes like farmers ploughing fields, women selling fish, musicians playing traditional instruments, a brahmin priest doing puja in front of Shiv Ling, basket weavers working with bamboo bark, Santhal tribal men dancing with dhols, men and women carrying firewood home, brides and bridegrooms, rag pickers doing their work, etc.
• Wildlife and nature – Nature provides unending inspiration and animals, birds as well as other natural elements find their way into the artisans’ detailed workmanship made into miniature models.

Making of each doll is a process involving meticulous detailing, finesse of hand-painting and an accurate representation of its subject.

Clay Doll of a fruit vendor; Source – 30 stades

 

Current Status of the Industry

In spite of its historical legacy the clay doll-making industry facers major challenges. According to recent studies changing market trends, rising raw material costs at competition for mass produced cheaper alternatives like fiber glass or plastic dolls have been severe road blocks for the industry. The Covid-19 Pandemic led to restricted market access and a drop in demand and the artisans suffered  huge financial losses. Digital sales and online market places have been platformed for their gradual revival. Government initiatives including subsidies and credit schemes for artisans and handicraft fairs have provided some hope. However, in the long run, preservation of this craft remains a concern  because its low financial returns have been demotivating the younger generation from continuing it.

References in Popular Culture

The clay dolls of Krishnanagar bear prominent mark on Bengal and Indian culture. Often, they are showcased at art exhibitions and fairs nationally and internationally. There is a large display of these dolls in the Shankar’s Doll Museum in New Delhi. Exhibitions of Krishnanagar dols have also been held in Boston, London and Paris. Moreover, Ghurni clay models have won medals and certificates at international exhibitions. Many Bengali cultural institutions, offices and households proudly display these dolls not just as decorative pieces but as symbols of cultural and artistic heritage. These figurines have been featured in documentaries and literary pieces that focus on Bengal’s artisanal traditions. In the recent past there has been a growing global interest in eco-friendly and sustainable art, and Krishnanagar’s clay dolls  fitting that bill, have the potential to gain revived attention and appreciation in modern markets.

Conclusion

The clay dolls of Krishnanagar are more than artefacts. They embody living expressions of Bengal’s cultural past and artistic creativity. The craft and the industry are faced with modern day challenges and thus  streamlined and committed efforts to preserve and promote this unique element of Bengal’s heritage are necessary. Artisan support programs, invigorating support of digital marketing platform and increasing awareness need to be fostered to ensure that these exquisite creations continue to flourish and the future generations can inherit this marvelous legacy.