The craft industry is a very credentialed aspect of West Bengal. We find many such handicraft businesses that are renowned in Bengal and have left an essential part. These markets not only indulge in the passion of individuals but also provide an identification mark that has solely been carved out of talent. They provide us with the ethnical and indigenous knowledge that a region displays based on its particular craft. And so we come across the art of clay doll making in Krishnanagar. These beautiful, lively clay structures have, for the most part, glorified a child’s life. When technology was not as advanced as it is today, the prime source of entertainment for children used to be these clay dolls, which we also know as ‘matir putul.’ It’s a rather nostalgic memory of when neighborhood kids used to gather together to showcase their distinctive clay dolls and, in a very simplistic manner, play with them. But that was not only the sole reason; these real-life-sized dolls also depicted various social scenarios and had precise detailing in them, which would also imitate the facial expressions and features of a human being, and hence they were not only dolls but also characterization and presentation of various peers who lived amongst us. In such a way these dolls also relayed stories and sagas that have endured time and ages.
Significantly, it is believed that the craftsmen who were engaged in this doll-making craft had the ability to bring life to these dolls because of the experience and the talent that have been passed from one generation to the other.
A Tale of the Past
Krishnanagar, famously known as Rewe, is a place that is renowned for its culture, heritage, food, and art. It is a tourist attraction for many, and most visit this place to have a glimpse of the infamous Rajbari that was built during the reign of Raja Krishna Chandra Roy, although at present, it’s in critical condition. But other than that most people visit this place to taste the famous Sarpuria sweet. Interestingly, these are not the only reasons why Krishnanagar is reviewed to be so special; rather, it is the place called ‘Ghurni’ in this region where the main hub of the clay model-making market resides; this area is also famously categorized as Putul (doll) Potti (Hub). And so, to just experience the live procession of these dolls, many visit Krishnanagar.
History
According to research the craft itself is 200-250 years old. Nominally, it was in the area of Ghurni where the authentic image makers established; the purpose was not just to earn a living, but it was overall an effort to preserve the traditional heritage of doll making in India. First embraced by Maharaja Krishna Chandra, who was a patron of arts himself, he attempted to uplift and support the production of clay dolls. In fact, as a pioneer who started Jagadhatri puja, and Kali puja for the first time in Bengal, he was that push who encouraged local artisans and brought in potters from the Dhaka and Natore districts of Bengal to Ghurni all because he could grasp the importance behind this art and was able to recognize that clay doll making as a tradition was indeed an integral part of Bengal, so much so that till the date it is celebrated in this region (One of the biggest example is Durga Puja). The Maharaja was able to deduce the necessity of heritage preservation, and as a result, he made sure that the citizens of Ghurni became well adept in this art form, which made them stand out from all.
It Is because of his guidance that today we find that over 300 people in Krishnanagar are involved in this craft, including the ladies and the children; initially, a business that was started with a handful number of five families today has turned into a big community. A community that to the outside world is known as ‘Kumbhakaras.’
Significance and Importance- A Legacy of Tradition
Apart from Kumbhakaras, the local art of clay doll making was mainly dominated by the ‘Pal Community’ who are known to have been the custodians of this craft for nearly four centuries in Krishnanagar. It is further accounted that the main reason why this art became so popular was because it was the royals who encouraged the doll makers to create clay idols and goddesses. So after gaining patronage over the elite class, the local civilians also started beehoving their interest and for that matter, over time miniature versions were created because they were affordable to the common people, and depending on the interest the doll artisans gave various forms to the clay, crucially scenarios which represented selling of vegetables, farming, cooking, holy men and women singing bhajans and national icons as well. Hence, the theme turned out to be something which can be deemed relatable to. Following on this, we also witness the shift that occurred in 1757, when the British administrators became so enchanted with this craft that they emboldened the artists to also makeshift miniature versions in reference to their Christian faith, and hence, we find dolls elaborating Mother Mary, Jesus, Christ and every such belief relating to their culture.
These clay dolls around this time gained world recognition because they were, at this point exported to Britain and other European countries.
While the craft or we could say the craftsmen over the years evolved by leaning mainly towards the formulation of giant statues, murals, and terracotta decors, yet the notion from intricate craftsmanship, fine finishing, detailing, and prior emphasis to vibrant colors never swayed and this is why till date whenever there is a holy occasion or puja in communities and clubs these artistic men are asked to create smaller clay dolls in the occurrence of Jhulan festival (an event where Bengali people decorate the corners of their homes and public spaces are filled with tiny toys illustrating human activities) and also mainly in the advent of Jagannath Rath Yatra of Puri.
Designs and Motifs – An Intrinsic Look to their Themes
It can be firmly stated that the uniqueness of this craft lies on the periphery, where artisans creatively capture and recreate the everyday life, mood, work, and characters; the subjects mainly being farmers, basket makers, rag pickers, and umbrella makers. Apart from the detailing given to each object with intricate work, it is the close reference to the live world that makes clay doll making so special. Individuals not from just a secular class but from every segment of society can find a connection with these clay dolls.
Usually, these dolls range from 2-6 inches in height and similarly depict vegetables, birds, fruits, gods, and goddesses.
Through the artisan’s skills, we find the realistic representation emoting scenarios of a basket weaver working with bamboo bark, an umbrella repairman fixing broken handles, an occurrence where the Shiv Ling is worshipped by a Brahmin priest, and a joyous demonstration where the Santhal tribe men are dancing with dhols.
Furthermore, an image of a rural habitat is also showcased via creating dolls that imitate a man making rope out of cotton, rural Bengali women and men carrying firewood to their homes, and the most beloved display exhibits male and female devotees participating and enjoying in kirtans while also playing dhols and manjiras. Miniature Eskimos, sliced boiled eggs, thatched houses, and palm leaves influenced from rural areas are also some common popular themes.
Exquisitely, what is most interesting in this craft is that a huge inspiration is taken from the rural structure of the society. It is as if, in some way, the artists are designing and paying tribute to their fellow neighbors and peers who, in the basest form, have uplifted the innings of society by partaking in work that is difficult to conduct but is never recognized enough. So through the medium of art, they are given the spotlight they deserve.
The Process
After critical research, we find that the dolls are made with the soil of river Ganga. Soil, also known as ‘etail’, that is extracted from the leftovers of the receding tides.
The process after that is simple it includes wetting the clay and soaking it in the water for a few days. The quantity of the water has to be appropriate, or else the clay mold will turn out to be too loose or too tight. After the clay is prepared, it is the duty of the artisan to give it the desired shape, which can be of any model, and hence, after that, the drying process begins. Poan here plays a critical part; it is the furnace that is used for drying the models under fire, and after the clay structure is dried, it is then prospered to further decoration.
Iron rods are sometimes provided by the artisans to makeshift the skeletal structure of the figurines and to add the body parts, including legs and arms, from the separate pieces of clay.
For the last part, the dolls are coated with a layer of varnish, which is followed by the application of color, extracted from tamarind seed or other natural sources. Similarly, fabric paint is added as well, and for the finishing stages, dolls are dressed in miniature clothing.
Recognition
The Ghurni clay models have won many certificates and medals all around the world for various competitions. Reward and honor also came from British royalty like Queen Victoria as well as from the Catholic Popes in recent times.
Adversely, it was Shri Ram Paul who was the first rewarded artist, along with Ganesh Paul, Gautam Paul, and Sir Biren Paul. Many of the craftsmen also went abroad and left a mark by initiating and representing their art, for which they were diligently paid respect.
Present Scenario
One of the biggest challenges in this handicraft is that out of 100 craftsmen only 15 to 20 can be counted as well established or flourished. Many of the artists still to date are struggling voraciously and only earning a little amount of their hard work. The reasons behind this are prominent because of lack of support and recognition and also because of the sales of these dolls, which keep varying throughout the year. These artists who are dedicatedly involved in their work have little amount of knowledge when it comes to sales and marketing hence due to this reason when they move to bigger cities like Calcutta they are atrociously faced with bigger competitions due to which their artwork fades in the background.
If looked thoroughly, we will also find how the craft, after the fall of the Zamindari rule, had started eroding. Since most of the orders came from the zamindari household because of the frequent occasions and puja events, hence during that time the craft was more flourished, but now, after the introduction of fiberglass models, the artists were also forced to change the base material of the products which is one of the prime reason why the art fell vividly.
It would be a great help if the government here took some initiative for the recognition of the said Indigenous art of Krishnanagar. Since handicraft production is a labor-intensive industry, thus, it has the capacity to support both skilled and unskilled people who are in this profession, which, as a result, would also increase the employment rate for the poorest section of society both in urban and rural areas.
References
- Das, U. (2018). An Overview of Traditional Handicraft Industries of Krishnanagar Clay Doll, District-Nadia, West Bengal. International Journal of Research in Social Sciences, 8(9), 467-477.
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Badsha, S. A. (2015). Clay doll cottage industry of India: a study of Ghurni, Krishnanagar municipality of Nadia district, west Bengal. Global Journal of Multidisciplinary Studies, 4(8), 10-12.
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Hazra, K. K., & Barman, A. (2017). Prospect of traditional craft in present economy: a study of earthen doll of Krishnagar, West Bengal. International Journal of Management (IJM), 8(4), 75-81.
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Jana, S. (2015). Role of Human Information Sources towards Identifying the Factors Responsible for the Development of Clay dolls and Clay models of Krishnanagar area of Nadia district of West Bengal. Indian Institute of Social Reform & Research.
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Pau, S. (2017). CLAY MODELLING INDUSTRY OF GHURNI, KR. Journal of Current Research, 9(06), 53370-53375.