Sunday, May 20, 2001		Article

AS ‘returning to the roots’ becomes a fashion statement of the times, some of India’s primitive art traditions are receiving a major boost. This renewed interest in these traditions extends from clay modelling and pottery to the more lasting wood sculpting, weaving and bell metal work.

But for being practised in remote tribal hamlets and at occasional urban workshops and crafts museums, these art forms had almost disappeared over a period of time. In a market-driven economy, nobody could either have the time or inclination to indulge in a pursuit that fetched virtually no returns.

Today, the clock is being reversed with overseas art lovers telling Indians what they are missing. As Sudhir Bose, a heritage activist, points out: "It is stylish to be arty—wear traditional weaves, put up folk art and terracotta pieces all over the room, sport junk jewellery....all because foreigners are doing so."

The biggest boost has come to terracotta or poramati kaam, as it is known in eastern India. Traditional potters in Bihar, Assam, Orissa and West Bengal have migrated to the metros across the country and are employed by art studios and export houses for utilising their hereditary skills in clay work.

If there’s a Pot Pourri in Calcutta, there’s a Terra Firma in Delhi or a Mati Manasa in Bangalore — each turning out designer lamp stands, exquisite jars and vases, huge urns, painted pots, oil lamps as well as decorative wall panels and carvings for modern homes.

The real beauty of these craftsmen’s works comes through in their terracotta sculptures. Almost always inspired from mythology, standard themes include Durga slaying the demon, Lord Jagannath on a chariot, Radha and Krishna, Lord Venkateshwara and different versions of the primordial mother.

Says Narottam Das, a terracotta artisan from Orissa: "Poramati Kaam is time-consuming. The clay from river banks is softened and cleaned before mixing with one-third sand to prepare a thick paste. The modelling can take a couple of days to weeks, before the work is baked in a closed oven (bhatti)".

Dhokra or bell metal work is even more strenuous. Originally associated with the Halbi-speaking tribe of Kondangaon, Bhanpuri, Barkai and Farasgaon in Madhya Pradesh, the craft remains an intrinsic part of the culture and lifestyle of the Gonds.

Legend has it that following a jungle fire, many aeons ago, molten beeswax from a honeycomb fell on the ground and assumed a divine form. Villagers who reached there, recognised it as the Earth Goddess or Bhairam Devi and in order to preserve the form, "clothed" it with metal. Thus was born an art form.

"Dhokra figures used to be made and sold within villages," informs Jaydev Baghel of Kondangaon, a pioneer in popularising the art. "But in the last decade, the craft has not only reached other states but also international crafts fairs. Why, they are making paidia, banta and other pieces of jewellery with dhokra."

The growth of the fashion industry has undoubtedly contributed to this unprecedented popularity, just as some of the dying weaving and embroidery traditions could be revived. Saree weavers, especially of the age-old Ikat, Maheshwari, Dhakai and even Banarasi sarees have found a new lease of life.

Then there are the wood carvers of southern India, whose ancestors had built the most magnificent temples for the Pallava, Chola, Chalukya and Vijaynagar emperors of the past. Descendants of carvers of stone sculptures would have also been forgotten, if it were not for the renewed interest in their crafts.

Says Bose: "The best part about stone and wood sculptors is that they are highly innovative. They can work on any scale, from the minutest and intricate figurines to massive forms and not take shortcuts. They remain eminently faithful to the art of their ancestors!"

Related to stone and wood sculptures is yet another forgotten tradition — wrought iron craft. Originally associated with the Cheren Dongi region of Chhatisgarh, iron smelting served in creating agricultural implements like axes and ploughs, besides kitchen utensils, knives and musical instruments.

In due course of time, these blacksmiths diversified into making toy animals, oil lamps, metal masks ... and for over 2000 years, they were highly respected in tribal villages of central India for their creative genius. With coal getting scarce and "brighter metals" emerging, makers of wrought iron artefacts became redundant.

The tide is now turning in their favour with corporate houses commissioning wrought iron installations outside buildings, at city parks and road crossings. Many such tribal craftsmen are holding exhibitions and even using industrial scrap for their works, in what is turning out to be eye-openers for city folk.— MF