In the hill temples of Himachal Pradesh, polished metal faces gaze back at the devotees, fierce and timeless. Known as Mohras, these are the sacred metal icons which are a living symbol of gods worshipped across the state. Cast in bronze or brass using ancient methods, they are a part of Himachal’s cultural life for centuries.
The word ‘mohra’ refers to the metal plaque, representing a deity’s face. This can be predominantly found in temples of Kullu, Mandi and Chamba. The craft is distinguished by facial features, ornamental detailing and spiritual symbolism.
In many villages crafting mohra was a spiritual act, and before commencing the artists invoked the blessings of the deities they were about to cast. Over the generations this metal works was passed down and the families lived closer to the temple towns and were need during festivals and rituals.
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Origin
The origins of the Mohra craft is dated back around 8th and 10th century. The art form is influenced by both Hindu and Buddhist traditions, local practices worshipped deities through portable icons as mobility among the communities was main. The larger metal statues were placed in the temples and the smaller plaques and mohras were made for processions, rituals and personal devotion. The easy portability of this plaques made them an important part of annual festivals and migrations, where the gods were carried to a new location which is practiced even today.
Royal patronage also helped to develop this art form. Rulers of the princely state of Chamba and Mandi commissioned mohras for their temples and processions. Many of the existing mohras have inscriptions connecting to the royal families which shows the historical significance. In the period of temples being built around Himachal Pradesh in the medieval period also witnessed the metal craft.
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In Kullu Dusshera, one of the important festival of the state, Hundreds of local deities (gram devtas) from villages are represented by mohras and the procession takes place. This makes the mohras as an integral part of the festival and serve as the face of gods.
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Regional Variations
Mohras have served same purpose across Himachal, but the detailing differs region to region. These variations depend on the artistic influences and diverse religious beliefs. In Chamba mohras are displayed with soft colours and detailed crown work. They often depict the dieties of Laxmi Narayan and Vishnu. In Kullu the mohras are bold and expressive. They have wide eyes and features are exaggerated. These usually include the local deities of Hadimba Devi and Jamlu Devta. In Mandi the mohras blend royal patronage and local craft. Sometimes the royal patrons would inscribe their names on the mohra. There are Chaturmukhi deities with complex details on the mohras.
Process
1 Wax Modelling: Firstly, the artist makes the model of the mohra using wax.
2 Clay Moulding: Once the was dries he applies a layer of clay and lets it dry.
3 Metal Pouring: This mould is then headed for the wax to melt and flow and for the space to be filled in with the hot metal to take the structure.
4 Finishing: After the metal cools, the artist polishes and highlights the details on the mohra.
Motifs
Mohras are traditionally made of bronze or brass or even ashtadhatu ( blend of eight metals). A few of them are inlaid with silver, precious gemstones belonging to royal temples. Techniques like engraving and chasing were done for the details in the facial features and ornaments.
Faces of the deities: One of the common motifs we see are of Hindu god and goddesses, especially Shiva, Durga, Vishnu or local deities of Chitrali Devi. The ornamentations also helps to identify them.
Geometric borders: This includes lotus and checkboard patters which showcases symmetry and detailed work of the artisans.
Animal: Lions, elephants are engraved on the borders to signify wisdom and strength.
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Challenges
Like many other indigenous crafts of India, Mohra craft also faces existential challenge. Compared to the other crafts of the state there is lack of visibility of this art commercially which limits their market and knowledge among the people. As the younger generations of artists are not continuing to carrying the artform makes it difficult to sustain. This art work was mostly carried by memory or oral traditions and without documentation the designs and techniques can be lost. Decline in the number of artists and proper preservation of the techniques can be a issue to continue on this age old tradition.
But we also see efforts taken by artisan villages and exhibitions to create livelihood and awareness by engaging tourists in the mohra making process. Museums and institutions have displayed mohra artifacts for recognition of this craft. The artisans can introduce workshops for a newer generation of artist to help with continuing the art.
Conclusion
These sacred plaques in their expressive forms have shown the cultural and artistic life of this region. From village festivals to temples, mohras have been a symbol of reverence and worshipped as the embodiment of local deities. Each of the mohras is a testimony of devotion, craft and storytelling. From festivals to temples to houses they are a symbol of worship and reverence. In the current scenario, people have been using miniature mohras as a souvenir or decorative piece. These are mostly sold at fairs and online platforms. 
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Preserving this tradition is not only preserving an object but the art which is sacred. Through documentation, education and cultural efforts can help this dying art. It is more than an act to honor the land and for the people who see god in the bronze and craftmanship of the artists. By preserving the craft of Mohras we are also preserving the cultural and artisanal life of Himachal Pradesh.
References
https://www.abirpothi.com/indias-metal-tradition-mohra-metal-art/
https://kullu.net/handicraft/h1903b.html
Metal Craft of Chamba District: A Cultural Heritage Worth Exploring