Dhokra Craft (Bell Metal)

  

Origin of the craft

The Dhokra craft uses the elaborate Lost Wax method of casting metal, which can be traced back 4500 years to the ancient city of Mohenjodaro in the Indus valley civilization. The Lost wax method is said to be the oldest technique of casting metal.

Dhokra craft gets its name from the Dhokra Damar tribe, who are established metal smiths of West Bengal. From West Bengal, the Dhokra work spread to tribal areas in nearby metal-rich states. Dhokra is now found in many regions in India, each region carrying a distinct look.

State(s) it is practiced in

West Bengal, Chhattisgarh, Orissa, Andhra Pradesh, Jharkhand

About the craft

The exquisitely handcrafted Dhokra products involve a tedious process of designing and metal casting. Each piece is unique as one mould can only be used for one product.

Input materials

Soil from the riverbed, Black soil from the fields, Red soil from termite bills, Rice husk, Wax (Beeswax or Paraffin wax)/Resin, Bell metal. The metal proportions used in the alloy and other inputs vary slightly from region to region.

Process

Mould making: The base mould of the product is prepared from a mix of black soil, rice husk and water.

 

Surface Preparation: Once this base dries, it is covered in fine soil from the riverbed. Emery paper is used to smoothen the mould surface.

Designing: Over this, strips of beeswax or resin are applied to make the designs on the product. This is an arduous process of fine detailing. 

                                

Wax or resin is used since it is malleable and ductile. Artisans in different regions use different wax/resin. To reduce cost of wax, some artisans use paraffin wax mixed with coal tar and dhoop (incense).

For making the threads, the wax is first pounded well.

The wax is then pressed through a container. Attached at one end of the container is a metal plate with holes punched in it. This allows the wax strings to be formed in the required shape and size.

  

The apparatus and metal plates are similar to the ones used for making Chakli's in Indian homes.

Each plate has different shapes punched in it, depending on the artisan's design requirements.

 

First Layering: After the wax designs are allowed to dry, the product is covered with a mix of coal powder, river soil and water. This layer is pressed onto the wax and hence the design is imprinted onto it. This is allowed to dry. Each new layer is set to dry for around 2-3 hours. Vents are created in the mould, so that the wax can later melt away through it.

                    

Second Layering: Another layer of fine river soil is applied and is left to dry.                                           

                             

Third Layering: Once dry, another layer- a mix of red soil (from termite bills) and rice husk is applied. Larger products have more/bigger vents so that wax and air escapes.

Firing: The product is put in the furnace and the wax melts away, leaving a cavity. The product is taken out of the furnace and is turned upside down. Bell metal (an alloy of copper and tin, usually mixed in ratio of 3:1) is heated at 1200-1300 degrees and then this molten metal is poured in to the cavity to replace the wax. This process is to be done with great care to ensure that no air bubbles are formed while pouring the metal.

A video by master craftsman Sushil Sakhuja captures the firing process: http://www.youtube.com/watch?v=6qREtAv9hwo

The product is set aside to cool down. Water is sprinkled over it and then the outer mould is hammered to reveal the metal.

Filing: The filing of the metal surface can take a few hours or a day, depending on the size and design of the product. To give a better finish to the products, many artisans are now also buffing the products.

Note: Dhokra products can be hollow or solid. The above process describes the hollow casting method. Incase of solid casting, instead of a clay mould, wax is used. Hence, during the firing process, a lot more molten metal is used to replaces the wax. The traditional method of casting is the hollow casting using the clay mould.

Caring for the Product

The products turn slightly black over a few years. Apply Brasso to retain the colour and shine.

Problems plaguing artisans

Rising raw material prices is a big challenge being faced by the artisans. High investment in metal and other inputs increases their working capital requirements. Some artisans are experimenting with different materials to bring down costs; such as replacing beeswax with paraffin wax mixed with tar.

Warli Craft

Origin of the craft

Warli painting is an ancient tribal craft of India that is said to date back to 10th century A.D. or earlier. The Warli paintings bear a striking resemblance to the pre-historic cave paintings, especially those in Bhimbetka, Madhya Pradesh.

Traditionally, Warli paintings were done on special occasions/rituals by women on the walls of their home. Until the 1970s, the Warli craft was not much known outside the villages where it is practiced. In the ‘70s, the Indian Government and a prominent tribal artist- Jivya Soma Mashe brought the craft to the fore in the national and international markets.  Today, for commercial purpose these paintings are also done on cloth, paper and wood in newer colours by both, men and women.

State(s) it is practiced in

Maharashtra, Gujarat

About the artisans

The Warlis are a tribal farming community settled in the Western Ghats. Despite their proximity to the bustling city of Mumbai, they maintain their tribal lifestyle and shy away from modern influences.

About the craft

Compared to the colorful and intricate designs seen in other Indian paintings, the tribal Warli paintings are rather simple yet vibrant. The simplicity of the art is observed in the predominant use of circles, triangles and squares, which are inspired from the surroundings – circles from the sun/moon, triangles from mountain tops and the square perhaps from a piece of land. The traditional Warli art uses only white color to paint over a brown background.

Warli painting themes are centred primarily on nature, folklore, farming, hunting, festivals, weddings and celebrations. These paintings clearly reflect the Warli peoples’ deep relationship with nature. The paintings are adorned by rustic landscapes and include rivers, trees, hills, farms, birds and animals. Squirrels, snakes, tigers and peacocks are commonly sighted in this art. Some artists now also incorporate modern elements such as bicycles, trains, factories etc.

Below is a traditional Warli painting done on a wall on the occasion of a marriage. At the center of this sacred painting, enshrined in a square is Palghat Devi, their marriage god.

Input materials

Cloth/paper/wood, Cow dung, Mud, Fevicol/glue, Poster paint or acrylic paint Traditionally, bamboo sticks were sharpened and used as brushes. Now, many artists use the common painting brush.

Process
For traditional Warli paintings, the wall surface is first smeared with cow dung and then a layer of red mud is applied. This is then painted upon with rice paste for the white colour.

For commercial purpose, painting on cloth and paper was introduced in the 1970s. To suit these new materials, the rice paste was substituted by poster paints (rice paste dries up and flakes off cloth surface).
First the background colour is prepared – for different background colours, different inputs are mixed with glue. Mud is used for a reddish background, charcoal powder for a black background, and cow dung for a brown background. Interestingly, the mix using cow dung gives varied shades depending on the seasons. During summer, the grass is dry and hence the cow dung color obtained is light brown.

Once the background colour dries, the artist lets his Warli figurines, landscapes and imagination run wild across the piece of paper or cloth.

Warli paintings are also done on wooden products such as pen stands and coasters. For this, the wood is first cut out in the shape of the product.

 

Then, a layer of acrylic paint is applied as the background colour. Wooden Warli artists don’t usually adhere to traditional colours and play with newer and brighter colours. Once this dries, white poster paint is used to draw the Warli designs. Later, a coat of varnish is applied and the product is left to dry.
  

Caring for the Product

Frame your painting to protect it from damage. In case of wooden Warli products, avoid prolonged exposure to water.

Problems plaguing artisans

Fakes/replicas of Warli paintings and products sold at a cheaper rate are affecting the Warli artists along with the demand for genuine tribal crafts.

Crafting Arth’s Logo

Arth’s logo was designed in collaboration with our Warli tribal artist, Sadashiv Mashe. Warli craft resembles ancient cave paintings and is characterised by simple triangles, circles and squares. The traditional colour used is white painted over a reddish-brown background.

We described the idea behind Arth to Mr. Mashe, explaining our emphasis on grassroot artisans and on elucidating the story of crafts in terms of its history and process. After discussing ideas, in a few quick flicks of his wrist, Mr Mashe drew us an elaborate Arth story:

He portrays the craftsman holding up his treasured crafts like a beacon for the world to see. It also signifies the propagation of age-old crafts as it is passed on from one generation to another. The artisan and his craft are encircled in nature, emphasizing on the use of natural products available in surrounding regions. The crafts are ubiquitous like the ants, says Mashe. “Ah, such beauty!” exclaims an appreciator of crafts.

We decided to carve our logo out of this, focusing on the artisan in the portrayal.

Mr. Mashe first prepared the background colour, which took forever to dry in the monsoon. So we threw in a fan and some lungpower.
 
Once dry, the Warli figure of the artisan was painted over. Watch our making of the logo video.  http://www.youtube.com/watch?v=rjf02nk9mow
Painted in earthy tones, we loved the simplicity of the idea. We added a few finishing touches to our raw Warli design.. and voila, logo ready!
          

Story behind ‘Arth’

The name Arth was born in the small town of Swamimalai, situated on the banks of river Cauvery in Tamil Nadu. The temple town is famous for its bronze metal statues made of ‘Panchalogam’ (literally translated as Five Metals). An alloy of copper, lead, zinc, tin and gold, Panchalogam is used in the making of Hindu idols.

On a travel trip to Tamil Nadu, I stopped by Swamimalai to explore its handicrafts and meet the local artisans. I walked into a workshop-cum-handicraft store and ambled around the display of exquisitely handcrafted statues. My eyes fell on one rather beautiful piece. A quick glance at the price tag of Rs 6,000 made it seem rather expensive. Disappointed, I placed the product back on its shelf. Why would a local store price its products so high, I wondered.

Just as the thought crossed my mind, the store manager graciously invited us to tour around the production unit. We spent the next hour watching and marvelling at the various production stages – artisans preparing individual moulds, deftly handling the cauldron with the molten metal alloy, casting the moulds, tediously chiselling and meticulously filing the casting.

  

                        

Each mould can be used only for a single casting. It was a rather time consuming process. For instance, the piece that had caught my eye took around 18 days to make. What a steal it was at Rs 6000!

A quick swipe of the credit card, and I walked out of the store with my gorgeous purchase in hand. From the initial reluctance at the price to excitedly prancing towards the cash counter, what had changed, I wondered? It was no more a mere a pretty product on display; it was a handcrafted possession. It had significance now- an expression of age old culture and tradition painstakingly shaped by the hands of experienced artisans. I was able to better appreciate and indulge in the craft now. From here grew the name Arth, which is the Sanskrit word for ‘meaning’. Arth is our effort to bring beautiful crafts and their story to the fore.

Indian Handicrafts

Indian Handicrafts have existed for over 5000 years and have been shaped by culture, religious beliefs, topography and various dynasties that ruled India. From the finely etched lines of Jaipur miniature paintings to the vibrant Warli paintings, from the meticulously hammered silver of Karnataka’s Bidri Work to the alluring, colorful  Meenakari , from the crinkled, many hued Bhandej to more sedate Pochampally and Kalamkari-each one of these creations is steeped in rich culture, history and tradition.

Unfortunately, our age old handicrafts are dying a slow death due to cheaper machine-made and Chinese-manufactured replicas of Indian handicrafts. This makes authenticity a major concern, and it is difficult for customers to discern genuine products.

Despite the big price tags, the craftsmen often receive minimal monetary compensation due to multi-layered channel of middlemen who profit the most. Due to low income generation, handicraft skill and techniques that have been passed on from generation to generation, now has dwindling takers. The younger generation prefers taking up odd jobs in cities over continuing their traditional family crafts.

There is an increasing need to protect our myriad crafts. The extremely unorganized and fragmented handicrafts sector plays an important role in India’s economy. It is one of the largest employment generators, employing around 7 million people, mostly in villages and small towns. It provides employment opportunities to many women and people belonging to backward society.

Many dying crafts have been revived by the efforts of a few people. Our effort is to contribute towards the promotion and preservation of Indian crafts.