Mat/ Madur
Mat-weaving in India dates back to the Indus Valley civilisation.[6] The socio-cultural relevance is found in references of ancient literature, including the Atharva Veda, the Shatapatha Brahmana, and the Mahabharata.[1] The historical significance is reflected in Indian folklore, in which the saints were offered grass mats by host to sit.
Mat-weaving, both ordinary and fine quality, in the region of Bengal is traced back to the Medieval Period. The finest quality of mat is known as Masland. The genesis of the word hs different connotations. Some say, the name Masland is derived from Persian word masnad, meaning throne. Others are of the opinion since the finest mats made of silk weft were produced in the Medinipur district village of Maslandpur, located close to Tamluk subdivision, probably was named as Masland Mat.
Marketability of masland mats were huge since its origin. They were collected as revenue under the jaigirdari system. Nawab Alibardi Khan, in 1744, has issued a charter to the jaigirdars in this regard. It was obligatory to supply masland mats for use in the collectorate. Permanent markets for mats were established in then Medinipur. Kasijora and Narajol were the two most important centers of fine mat-weaving during this period. Thus mat-weaving became one of the important crafts of West Bengal and became one important source of seasonal employment across the districts mainly of Midnapur, Howrah, Burdwan, Birbhum and Nadia. The main seats in Midnapur are Egra, Sabang and Ramnagar.
Mat is a utility item. The usages however vary in rural and urban lives. In rural Bengal, they are more of an essential household item to spread on floor or co, to welcome guests warmly at home. Natural madur fibre is a great sweat absorber and helps cooling down body. In modern homes of urban areas, mat has made its way mostly as home décor amalgamated with taste and elegance. Mats are used as floor mats, table mats, wall hangings, bottle carrier, purse, diary cover, furnishing materials, lampshades and even nowadays, as bed spread for comfort and hygiene! Anything organic has the strongest appeal to new educated urban population, globally.
Mat or madur raw materials are obtained from special types of grass known as Cyperus Corymbosus of Cyperus family viz., Madurkathi, Melapati, Nagarmutha kathi, Chaitan kathi, Hoglapati and Kelapati. Mat grass is grown from rhyzomes. Rhyzomes are planted in well-prepared raised soil in April/ May before rain sets in and matured sticks are harvested in September/ October which are then dressed. The grass is first split vertically by knife; the inner harder potion is obtained for ruggedness and longevity. To acquire silky fineness, each one-fourth vertical thread is again split into numerous threads of different thickness which can be obtained by teeth alone; dried in sun and stored for year-long use.
Sticks are mostly dyed with vegetable colour. Magenta is the most favoured colour of artisans obtained from locally grown plants. Dying requires seven to eight hours of boiling sun-dried sticks into solution of colour and water to which some salt is added for obtaining fastness of colour and few drops of pure mustard oil for glazy texture.
A rectangular hand-made frame made of four pieces of bamboo or wooden poles constitute the mat loom. Three types of madur is made: Ekhara, or single mat, Dohara, or double mat. Jute thread is used as warp. For finest masland or matranchi, cotton or sometimes silk thread is used as warp. Masland is the costliest one which has decorative patterns and feels like silk. It is sheer joy to observe how the extremely skilled hands of artisans pass through the threads with machine-like speed and precision and intricate designs are created on super-fine masland mats. Matranchi, if made alone, takes time depending on its design. It is customary at Sabang of Midnapur where two artisans sit face to face and work on the same mat which saves time but involves intrinsic calculation to achieve precision on parts of master craftswomen and men.
Patachitra
Folk painting has a great tradition in India, particularly Bengal and Orissa. On every occasion, women across our country, decorate the entrance of door and courtyard with alpana using home-made natural colours. The love, affection and good wishes, mixed with imagination and unfulfilled expectations, get its life in vibrant hue and intricate designs which makes it very much part of our sacred rituals. Some scholars argue that the inner significance of folk painting traces its origin back to pre-Aryan period of hieroglyphic form of writing or pictorial representation of thoughts.
India has seen the art form of patachitra from ancient period dating back to over 2500 years. Earlier, Patachitra was made just to supply minimum bare necessities of household needs. Even some P atachitras were immersed in water after completion of rituals since they had the figures and stories depicted from epics. Gradually patachitra garnered interest in and outside country and got a market. Many research is undertaken on patachitras of West Bengal like Chittaranjan Maity, Thomas Kaiser (“Painted Songs”) …………..The original form of Patachitra used to be done on clothes by applying vegetable colours only which still is available in parts of Orissa. That may not yield that brightness, but happens to be very indigenous and environment friendly. With the advent of time, patachitra in WB has migrated to art paper mounted on cloth-scrolls. Brilliant bright colours, strong rhythmical outline and conscious distortions are employed. Faces are shown as profile and the entire diagram is strained with some kind of intensity and crowded pictures representing a dazzling situation rather than a fine depiction of subtle reality. Shadows are avoided and line drawing is mainly employed. The first outline is drawn with the stroke of a long sweep of brush by the skilful hands of Patuas leaving us wonder where has the artist first touched the canvas and where has she finished the line!
The social position of Chitrakara/ painters is quite peculiar. All such folk painters use surnames as Chitrakara, with Hindu first names. They lie in-between Hindus and Muslims. The Kazi performs marriage rites as per Islamic cult. But otherwise, they don’t follow Islam to the hardest way. Women often are seen applying sindoor/ vermillion on forehead as sign of marriage. Very rarely they are seen observing Roja. Earlier there was hardly any Masjid in the villages of Chitrakaras. Hardcore Hindus and Chitrakaras stay in perfect harmony in same village. Most Chitrakaras are influenced by Mangal Kavyas and folk literature where Lord Krishna, Radha, Gopinies and Yashoda Maa happen to be the central characters. Epics like the Ramayana and the Mahabharata have influenced patachitra in a massive way. The walls and boundaries of Chitrakaras’ small kutirs/ huts showcase the eternal love of Radha-Krishna, the inspirational and integral theme of most Indian folk art.
The Patuas of West Bengal used to live in different parts of the State viz., Midnapur, Bankura, Bardhaman, Hoogly, Birbhum and Murshidabad. A section of Patuas settled down in Kalighat near the Kali Maa Temple. These Patuas earned considerable fame with their pattern of drawing known as Kalighat Paintings. Another set is known as Bangla Paintings. The main theme revolves around gods-goddesses and mythological heroes. There are also different gharanas/ sects of Patuas. The Santhal gharana, Muslim gharana and Hindu gharana etc.
Patuas are often seen experimenting their drawing skills narrating social issues as satires and cartoon. They paint their own scrolls and compose their own songs. Earlier they used to travel from one place to another with painted scrolls, singing Pata story by slowly unrolling them. It’s a magnificent kind of story-telling by folk couples singing together, narrating mythological and social issues with impactful visuals.
This Pata art is on the verge of extinction. The want of market is forcing newer generation to explore different livelihoods. The folks have now mostly marginalised in very few villages of Midnapur and struggling for survival. They have lost the original technique of using vegetable colours on cloth. Now-a-days all Patuas of West Bengal use art paper mounted on cloth and use chemical mixed with vegetable colours originally derived from different parts of plant viz., leaves, seeds etc. The antique finish of Patachitra is very limited to only few and extremely skilful artists which had good market outside. But they have somehow lost in history. Same with folk art associated with Dashabatar Tash (card), Palm leaf manuscripts and so on.
Dashabatar Tash is a specimen folk art of Bengal specific to Bankura of Rarh Bhum. These are playing-cards circular in shape. Two sets of cards were in use. One set consisted of 120 cards depicting the Avatars and another set of 48 cards depicting beautiful nakshas/ designs. Old pieces of clothes were glued together one after another to acquire required thickness. Sirish was mainly used to make glue. The thick clothes were then dried in sunlight and cut to round shapes. A white coat was applied and again dried before applying final coat of lacquer for glossy finish. The craft is particularly extinct now. Organization like ‘Chandar’ of Bankura worked for a while for revival of this craft.
Another extinct folk art is writing and painting on palm leaves which artists of Pala Period had mastered. Prior to invention of paper, manuscripts used to be written on straight leaves of palmyara plant or Borassus Flabellifer. The middle portion of large straight palm leaf was cut into long rectangular sections, about roughly 60 or 90 cm in length to 6 or 7 cm in width. These were then punched and bound loosely with two decorative wooden planks used as protective covers. Writing was done along longitudinal fibre with iron style being used as pen. Some leaves were divided into panels and used for calligraphy interspersed by painting illustrating the subject matter. This art form is no longer available apart from some Art Museums of the world.
An article published by Late Gurusaday Dutta in Modern Review in 1932, has revealed a very interesting account of Jadu Patuas who used to be associated with death of Santhals. This was somewhat extortionist in nature exploiting emotion and tribal folks’ faith on black magic which has justifiably lost its significance. ‘Whenever a man, woman or child of the Santhal family dies, the Jadu Patua arrives in the house of the bereaved family with a ready-made sketch of the deceased done from his imagination. There is no attempt of very similitude, but the picture merely consists of drawing of a child or male or female according to age and sex, drawn in colour with one omission only – the iris of the eye. He shows the picture to the relatives and tells them that the deceased is wandering about blindly in the world and will continue to do so until they get some gift or money through the Jadu Patua so that they can perform the act of ‘chakshudan’ or restoration of eyesight. The relatives believe this and presents money and other articles of domestic use to the Jadu Patua who does the finishing touch to the picture by putting iris of the eye. It is perhaps from this semi-magical practice that the Jadu Patua derives his name- Jadu’ means magic and ‘Patua’ is painter.’
Bengal’s Patachitra handicrafts, with their rich cultural heritage and artistic value, hold immense importance in our society. They are not just products of skilled craftsmanship but also repositories of traditional knowledge and techniques that have been passed down through generations. However, the plight of this handicrafts is alarming, with numerous challenges endangering their existence.
The preservation of traditional craft techniques requires continuous skill development and training opportunities. I request that the Eastern Zonal Cultural Centre initiate and support skill enhancement programs, workshops, and training sessions for the Chitrakars (Patachitra artisans). These programs can focus on imparting modern design sensibilities and sustainable practices to make their crafts more appealing to contemporary consumers.
Patachitra paintings are created on scrolls or pieces of cloth made from cotton or silk. Originally the Chitrakars, used only natural colors derived from minerals, vegetables, and earth to create intricate and vibrant paintings. However, because of the unavailability of sufficient quantity of natural colors, the Chitrakars have shifted to Chemical based colors, which is no more eco-friendly and lacks softness once applied to the cloth. This is adversely affecting the novelty of Patachitra and failing to attract conscious consumers.
Dokra
Dhokra is an ancient art form that originated in West Bengal, India. The name "Dhokra" comes from the Dhokra Damar tribe, who are skilled in the craft. The name Dokra is used to indicate a group of craftsmen of nomadic type scattered over Bengal, Orissa, Madhya Pradesh and Chhattisgarh. In West Bengal, the craftsmen have now settled down in some areas of Burdwan, Bankura and Midnapur districts. In early sixties of last century, two groups of dokra artisans were rehabilitatedin two separate colonies- at Dwariapur of Bardhaman and at Bikna of Bankura. Initially the artisans were provided with accommodation, work sheds and common service facilities. The venture was taken care of by All India Handicrafts Board and the Directorate of Cottage & Small-Scale Industries, Govt. of West Bengal.
Dokra items are identified by their beautifully shaped and decorated metal products. The process of creating Dhokra art involves a combination of wax modeling and the use of clay and sand molds. Dokra system of metal casting is said to be the oldest form and is technically known as Cire Perdue or lost wax process. The technique is supposed to be of high antiquity in India. According to certain scholars like Ruth Reeves, the small bronze statue of the dancing girl excavated in Mohenjodaro was manufactured by this Cire Perdue process, since the fine finish of the bronze statue wouldn’t have been achieved otherwise.
The process of making dokra items has been described in details in different old texts and captured in our video which is fascinating and uses only natural raw materials. The artist begins by creating a clay model, which is then coated with a mixture of wax, resin, and nut oil. The intricate details of the sculpture are added by hand using thin wax wires.
The basic model is made with fine sand clay reddish in colour found next to the river banks and jungles. Cow dung or husk is sometimes added to clay to develop first mould of item by hand. The clay Wax threads are then prepared which comprises of pure beeswax, resin, peach and nut oil. Artisans make these threads finer to finest as per the intricate designs and term them as aat shuto or sholo shuto based on thread count. They are shaped and carved in all its finer details of design and wound around the sun-dried clay mould until its entire surface is covered uniformly. Solid casting and hollow casting are the two primary methods used in lost wax casting. The latter is more widespread in Central and Eastern India whereas the former is more common in the south of India. Instead of using a clay core to form the mould, solid casting employs a solid piece of wax. On the other hand, hollow casting, which is the more conventional technique, uses a clay core. The technique of casting revolves around replacement of wax with molten metal with application of traditional hollow-casting method. Casting could be done with brass, bronze, gold or silver. Dokra artisans, however use brass scraps instead of virgin metal or ingots. The clay is cooked over a furnace where the wax comes out. The furnace is made by hand above ground with bricks and clay. The moulds are taken out after the metal has melted. After the heat settles down a bit, water is sprinkled to cool them. They are then broken and the cast figures are removed. The portions are retouched and are meticulously cleaned with water. Bigger pieces are often moulded in parts and are then soldered together. Normally, a simple figurine could take anywhere between fifteen to thirty days to make.
The merit of the process lies in the fact that an exact replica of the original wax model is recovered in metal form preserving even the minutest details of designs and decorations. If casting is good, the items produced require very little finishing like brushing away charred clay traces. Sometimes the metal icon is polished and finished as desired. The outer finish and colour vary from one region to another. Originally, dokra items look blackish as Bastar still hols on it. In West Bengal, artisans give them polished brass finish because of customer preferance. Chhattisgarh, on the other hand, lies in between.
The unique technique of making dokra crafts had been known to Indian craftsmen long before the Aryans came to India. This has been one of the accepted techniques of image casting including the famous South Indian bronze items. Dhokra sculptures often depict religious lineage, traditional motifs, nature-inspired designs, animals, and human figures. the uniqueness of dokra items lie in the fact that the design and motif have been preserved in their primitive shape, unalloyed and unsullied by any interference from outside. The art form is characterized by its primitive simplicity, enhancing folk motifs and forceful forms rustic charm, simplicity, and tribal aesthetics. Each piece is unique, showcasing the skill and creativity of the Dhokra artisans. Dhokra art has gained recognition both in India and abroad for its cultural significance and artistic value. Despite all challenges and hardships, Dhokra artisans continue to preserve and promote this traditional art form, keeping the rich cultural heritage alive. . With passage of time and taste, the products may have taken different shape but their still remain intact and alluring.
Dokra Art Form is Endangered
It is true that the Dhokra art form is struggling and has been losing popularity lately. The causes of this reduction are numerous and distinctive to each place. Some of the factors that are holding Dokra art at risk include the following.
A change in consumer tastes has occurred as a result of modernisation and urbanisation. Dhokra is a traditional art form that is challenging to compete in the market since it requires complex workmanship and needs an extended amount of time to produce.
Economic viability. Dhokra craftsmen frequently have money problems and little job possibilities. It is difficult for artists to support their livelihoods and pass their trade on to the next generation because to the minimal revenue earned by the sale of Dhokra art. Younger craftsmen are deterred from carrying on the tradition due to this financial limitation, thus jeopardising the art form.
Lack of resources and infrastructure. Many Dhokra craftsmen operate in isolated rural locations with scant access to infrastructure and resources. Scarcity of sophisticated tools, equipments, and raw materials at fair price in market affect quality and efficiency of their work. Additionally, they are unable to access larger markets and potential customers due to poor transportation and communication networks.
Limited exposure and marketing. Dhokra artisans often struggle to find avenues to showcase and sell their products. Middlemen buy their products at throw-away price and sell at whatever price they find suitable. Lack of marketing support and guidance from governments, promotion, and limited exposure to national and international markets restricts their ability to reach a broader audience. This leads to a decreased awareness for Dokra art and contributes to its decline.
Shifting demographics and cultural changes. Due to extreme low wage, lack of steady and fair-price market, training and futuristic prospect in terms of improved lifestyle, the younger generation is losing interest in pursuing traditional art forms of Dokra. As younger artisans move away from their ancestral occupations and seek alternative livelihoods, the knowledge and skills required for Dhokra art are at risk of being lost which needs immediate intervention to make the art survive.
Some efforts, however, are being made occassionally by various stakeholders, including local government bodies, NGOs, citizen groups to revitalize and preserve Dhokra art. These efforts need to be more aggressive and consistent involving training and skill development programs, promoting digital market, organizing exhibitions and workshops, and creating awareness about the cultural significance of Dhokra to ensure the survival and revival of this ancient art form.
Road to Rescue Dokra
Recognition and preservation of Dhokra art as an integral part of the cultural heritage of India, particularly, West Bengal. By implementing these strategies, the art form can be revitalized, attracting new artisans, creating economic opportunities, and ensuring its sustainability for future generations.
Dokra artisans live in inhuman condition in clusters and use primitive methods and techniques to survive the art and somehow maintain livelihood. Reviving Dokra art requires concerted efforts and multi-faceted approach that address skill development, market promotion, infrastructure development, and policy support. Infrastructure development along with financial assistance can infuse some life in this dying folk art of West Bengal.
Conducting extensive research on the history, techniques, and traditional designs of Dokra art is necessary prior to documentation of knowledge and skills of Dokra artisans. Induction of Dokra art into school curriculum may be done to raise awareness among younger generations. Workshops and interactive sessions can be conducted to educate people about Dokra's cultural significance history, techniques, and artistic value. Creating awareness amongst customers about Dokra art through exhibitions, fairs, cultural festivals, and online platforms are required if we really want to to preserve rich experience of Dokra artisans and pass on their expertise to future generations.
Organizing skill development training programs is must to attract aspiring artisans and younger aspirants to learn the art of Dokra and increase market viability. Experienced senior artisans are to be collaborated to impart hands-on training and tactical execution for wax modeling, mold making, and lost metal casting processes specific to Dokra. This will help reduce cost and losses due to scrap.
Design innovation and diversification is needed to increase market demand. Artisans need to be encouraged to experiment with contemporary designs and incorporate Dokra art into modern framework. Developing network and collaborations between Dokra artisans and other creative professionals viz., artists, designers, architects, and entrepreneur can lead to innovative product development, diversification, and exploration of new markets.
Collaboration with government agencies, NGOs, and private organizations to establish and explore global marketing channels can provide wider exposure to Dokra artisans. International collaborations, exhibitions, and cultural exchanges can help showcase Dokra art globally. This exposure can increase interest and demand for Dokra art among international collectors and tourists.
Supportive policies and framework for funding, and recognition from government authorities to safeguard and promote this ancient art form from extinction is very much needed. NGOs, and Corporate Houses may come forward to provide incentives, subsidies and loans to Dokra artisans to improve their infrastructure, tools, and provide access to raw materials. Dedicated clusters with proper living condition, workspace, utilities, and transportation facilities, marketability in fair price, can enhance their productivity and quality of work.
