DOKRA ART AND ARTISANS: AN ETHNO-

ARCHAEOLOGICAL STUDY FROM BURDWAN DISTRICT,

WEST BENGAL

DIYA MUKHERJEE

Introduction motifs include human heads, kings, manas

This paper investigates how a craft is or miniature replica of measures, containers
associated with craftsmen and how with lids, with or without locking devices,
craftsmen are associated with a craft. Dokra images of deities like Ganesh and Durga,
represents a group of metal articles lamps and lamp stands. The last was made
produced by ‘cireperdue’ or lost wax in several intricate designs in shape of trees
technique. The technique of metal casting and branches with as many as hundred
has managed to survive many centuries lamps in one stand. Of late some utilitarian
owing to its role in the everyday lives of articles like candle stands, ash trays and pen
ordinary people.Today, with modernization stands are also being made keeping the
setting in and the lifestyle changing with essential folk design intact.
time, the Dokra metal craft is slowly fading The other Kansaris and metal workers
away.
from different caste guilds who have
Manufacturing process and their specialized in mould or die casting also
challenges have been investigated through sometimes use the hammering process but
ethno-archaeological survey to understand the semi-tribal Dokras never use any
how a craft becomes the identity of a group process other than lost- wax casting.
of artisans and how a craft lose its identity
Traditional metal ware is produced by
with the craftsmen.
casting, forging or shaping (Sen 1994).
The term ‘Dokra’ represents a group of
In ancient India, the artist was also the
metal articles —— beautifully shaped and
craftsman and the craftsman was also the
decorated brass ware products created by
artist —— design and fabrication were not
the process of ‘lost wax technique’ or
separate. The artist or craftsmen worked
‘cireperdue’ process. Initially the term
Dokra was applied to a group of nomadic together in trade guilds under the guidance
craftsmen scattered over Bengal, Orissa, of masters and there was no conscious
and Madhya Pradesh. Made by a tribal effort at producing anything individualized.
group, Dokra is notable for its strength and Varied styles, modes of expression and
shapeliness of design. Its motifs are mostly quality of craftsmanship evolved slowly in
drawn from folk culture. While among the different areas reflecting changing needs
animals, the elephant is most popular, other and traditions (Sen 1994).
88 Bulletin of the Deccan College 74 (2014)

Metal working is deeply infused with Dariapur (23°27’51”N- 87°42’02”E)is

religion. In fact, before an artisan even a village under Dignagar II gram panchayat
begins a project he prays for guidance to of Ausgram I block in Bardhaman Sadar
Tvastram, the son of Visvakarma, who North subdivision of Bardhaman district in
worked with copper, brass, and other metal the Indian state of West Bengal.
alloys. Even in the household, metals have
‘Jagibo’, a group of nomads migrated to
religious significance, from icons in the
Dariapur in 1960. It is said that the supreme
family temples to cooking utensils. Hindu
or ‘bhadralok’ residents in Dariapur were
religion forbids the use of copper for
enchanted and charmed with the melody of
cooking; thus in a Hindu kitchen we could
these nomads. Since then it is believed that
find primarily brass tools, whereas a Muslim
the villages granted this group of nomads/
kitchen would boast mainly tinned copper.
artisans with space to stay, live and work.
Study Area : The West Bengal metal
The specially allocated space was known
workers, known as the Dhokras and the
as ‘dariapur para’ (ForumThakore 2010).
Dheppons inhabit the districts of Bankura
and Burdwan. The history of the Malhar of Dariapur is
unrecorded either in written texts or in oral
The study area has been selected on the
tradition. This group of Malhar claim not to
basis of craftsmen belonging to the tribal
clan of Dokra makers and non-tribal people have made images in the past and they learnt
who have taken up the Dokra crafts- making animals, human and gods’ images
manship. Dokra craftsmen are recently in workshops from members of other
residing in Dariapur para. groups (Horne 1987) (Fig. 1).

Fig. 1. Google image of Dariapur, West Bengal

Dokra Art and Artisans : An Ethno-Archaeological Study From Burdwan, W.B. 89

Aims and objectives (i) Manasollasa: A 12 thcentury text

The aims and objectives of the study: attributed to King Bhulokamalla
Somesvara of the western Chalukya
1. To study an ancient art which give a
dynasty of Kalyani.
glimpse of our society’s ancient
metallurgy (ii) Silparatna: A 16th century work by
Srikumara who wrote it at the
2. To understand how the process of
instance of King Devanarayana,
manufacturing of Dokra craft and
ruler of Ambalappuzha (central
whether it differs from ancient to
Kerala). The Uttarbhaga of
modern days
Silparatna (chapter I and II)
3. To understand the position of craftsmen belonging to the Gupta period also
in society contains valuable information about
4. To understand whether there was image making by both solid and
change in lifestyle of these people from hollow casting techniques.
ancient time to modern days. Manasollasa and Manasara do not
Methodology mention anything about the tools
used for modeling. But Silparatna
The methodologies which will be
mentions the use of tamarind wood
undertaken are summed up as the
and bamboo for preparing tools.
following:-
Today, the craftsmen use tamarind
1. To review literature and archaeological
wood, ebony wood, sandal wood,
sources
bamboo, ivory and metals such as
2. To undertake ethno archaeological copper, brass and steel for preparing
survey of the Dokra craftsmen of their tools (Krishnan 1976).
Dariapur village
(iii) Manasara: A few selected verses
3. An ethno-archaeological study of non- in this text deal with the lost-wax
tribal Dokra craftsmen process, termed Madhuchchhist a
Vidhanam. This text still serves as a
Sources
practical guide for Sthapatis of
Ancient Indian texts and oral history Swamimalai in South India (Kochhar
provides ample of evidences for studying 2011). The text advices that wax
the Dokra art and artisans. These sources models should be made in yellowish
can be enumerated below: coloured wax, that being the nearest
1. The technical aspects of the lost wax colour of metals generally used for
technique have been discussed at statuary except silver. It would thus
length in three old Sanskrit texts, in the ensure right modeling and the display
context of solid or hollow casting of of light and shadow to the final cast.
idols. The process of metal casting in the
90 Bulletin of the Deccan College 74 (2014)

manner described in this text is almost remained unchanged in the traditional

still carried out in Nepal and in caste hierarchy of the Hindu society (Pal,
some parts of South India 1979).
(Kar 1952).
History of the origin of the Dokra art
2. As the folklores goes, about three
thousand years ago the king of Bastar Dokra craft — an ancestral craft
had assigned a Dokra art necklace for practiced by the Chitraghasi and Ghasi
tribes. The Dokra Damar tribes are the
his beloved wife. He was charmed on
traditional metal smiths of West Bengal and
seeing the necklace. Witnessing the
their technique of lost wax casting is named
beauty of the necklace he honored the
after their tribes and hence the name Dokra
craftsmen with the title “Ghadwa’
metal casting.
(Forum Thakore 2010).
Dokra artisans are considered to be
The name ‘Ghadwa’has been derived groups of wanderers who are still
from the word ‘Ghalna’ meaning melting practicing the art of metal craft through
and working with the wax. It is also derived their age old process. These semi-
from the word ‘Ghadna’ meaning the act nomadic people settled in different
of shaping and creating. They are also tribal zones of India like Chattisgarh,
known as Vishwakarmars, Ghasias, Jharkhand, Orissa, West Bengal and Andhra
Mangan and Kansara in some parts of Pradesh. In West Bengal the Dokra artisans
India. are found in the tribal zones of Bankura and
The manufacturing castes has always Burdwan.
been regarded as Sudras in the traditional Prior to 1940s most of these people
four fold social division arising out of the settled in small groups outside the
adoption of different occupations by agricultural villages and often remain
highly mobile to move from one place
different sections of the community
to another according to the market demand.
(Pal, 1978). During the Rig Vedic period,
They call themselves of the variants of
the Vaisya class may have taken to various
the same name like Mal, Malar, Maral,
arts, crafts and industries but from Later Malhor or Mahuli; all of whom share
Vedic period society onwards due to a common area of origin in the tribal
rigidity, the industrial arts and crafts were area of Chota Nagpur plateau (Horne 1987).
practiced by the artisan class who were An attempt to understand the relation-
looked down as Sudra class. The study of ship and history of the Dokra makers
social position of the craftsmen reveals of West Bengal suffers from the in-
the fact that the professions of the artisans complete and fragmentary nature of the
may be considered as an honoured one in records. No records of this artisan
different ages but their social status has industry survive from pre-colonial days
Dokra Art and Artisans : An Ethno-Archaeological Study From Burdwan, W.B. 91

and the standard documentary resources Technology

such as Risley’s monumental ‘Tribes and The Dokras use lost-wax casting
Castes of Bengal’ (1891) must be seen process to cast hollow brass objects
as reflecting both the anthropological and images. Lost wax is a technique of
fashions of the era and perhaps more producing an item in metal by first
significantly, the “divide et empera” priorities producing a wax model of the item and
of colonial administration. The colonial subsequently melting out of the wax
fascination with caste and social taxonomies to create a mould cavity which is filled
of the contemporary Indian society was with molten metal.
implemented for the tribals as well (Kochhar Though the earliest lost wax castings
2011). were produced more than 5000 years back
Dokra Art and Artisans in India, the process was reinvented in
1940’s in the west and renamed as
India’s long tradition in the art of
investment casting (Kissi 2011).
Cireperdue casting survives among a few
The essence of the process is to model
families of hereditary craftsmen. This is
the object in wax, each one individually and
mainly because metal icons hold a prominent
in every detail around a hardened clay core
position in the religious worship of the
which has approximately the shape of the
Hindus.
object to be cast. Layers of soft, refractory
It is no means of denying that the material are laid over the wax model and
developed and advanced methods of hardened into a mould. The wax between
production have a bearing on the age-old the core and the mould is “lost’’ or burnt
method of manufacture but the craft out as the mould is heated and then molten
examples produced by the tribal people and metal takes its place and hardens between
for the tribal people still possess their own the core and the inner surface of the mould
primitive characteristics in respect of which holds a negative impression of the
pattern, colour schemes, shapes and wax model in all its detail. The outer surface
techniques which should be exclusively of the hardened metal, therefore,
styled as tribal. reproduces the shape and details of the wax
S.K. Ray (1953) opined that the metal model with the core producing the hollow
images of first stages were cast (in interior. The hard core and the mould
Cireperdue method) were complete become spongy and soft on firing and are
imitation of a bamboo stretcher with criss- easily removed.
cross reeds. This is possible mainly because The technique of casting by Cireperdue
of the craftsmen’s vigorous adherence to process can be divided into four principal
age-old convention. stages. They are as follows:-
92 Bulletin of the Deccan College 74 (2014)

a) Modelling: concerned with the

preparation of a wax model (Fig. 2)

Fig. 3. Preparation of clay model

Fig. 2. Artisan preparing wax model (top),

wax model (bottom) Fig. 4. De-waxing
b) Moulding: concerned with the
preparation of a clay negative (mould)
of the wax model for casting (Fig. 3)
c) Casting: this can be subdivided
into a number of process such as
i) ascertaining the ratio of different
metals in proportion to the weight of
the wax model; ii) draining out the
wax from inside the mould (de-
waxing) (Fig. 4); iii) temperature
required for melting of different
metals; iv) casting process (Fig. 5); Fig. 5. Casting
Dokra Art and Artisans : An Ethno-Archaeological Study From Burdwan, W.B. 93

v) releasing the cast from the mould system as well as subsystem. Therefore,
(devesting) (Fig. 6) the survey was carried out in three phases
—— manufacturing process of older
generation, manufacturing process of new
generation and the manufacturing process
of workshop studios.

Older generation
Mostly the younger artisans learn from
their father beginning in their childhood
therefore, one can find the continuation of
same artistic style. Younger artisans follow
the same technique as the older ones. The
only differences are designs have changed
and decorative household items that are in
Fig. 6. Releasing the cast from the mould demand in modern days have been added.
Grinding or polishing machine are now used
d) Finishing: concerned with the perfecting
which were not used earlier.
of a metal cast (Fig. 7).
Younger generation
An artisan named Suvo Karmokar
belonging to the newer generation of Dokra
artisans of twenty four years of age; having
eight years of experience in this field was
interviewed to understand whether any
change can be traced in the manufacturing
process.
Fig. 7. Finished dokra bronze artefact The ancestors of Suvo Karmokar
migrated from Orissa around seventy to
Ethno-archaeological Survey eighty years back to a region called
An ethno-archaeological survey Deriapur. Gradually with the passing of time
undertaken in Dariapur Para in Burdwan, as their family grew, there was dearth of
West Bengal in June, 2014 reveals the shift land: henceforth they shifted to Dariapur.
of paradigm from ancient to modern in At present there are thirty five communities
some ways but also indulging to the age-old living in the Dariapur village. They speak
system of production of Cireperdue Malhar language.
process. The survey mainly aimed to The traditional way of learning the
understand the changes that have occurred hereditary occupation from the parents
in the manufacture of Dokra products in the by observation, practice and trial and
94 Bulletin of the Deccan College 74 (2014)

error method is prevalent in many artisan Grinding machine and polishing machine
families in India. The young artisans learn are the modern implements used by the
the techniques of the craft from their artisans.
family members as home apprentices. Younger generation: The younger
The son is trained by the father right generation of Dokra artisans use five to six
from his childhood. Formal training was types of Ketni (local term which is a sharp
absent even in recent past; in the modern needle like instrument), for designing the
scenario workshops are organized or objects, for casting they use tongs and
government institutions provide formal hammer and for scraping they use chisel
training though the younger artisans receive and file. Presently a hand grinder is used
informal training from their childhood. since it reduces the time factor as well as it
gives a faultless finishing.
Workshop studio
Workshop studios: tools used in studio
An artisan named Provat Majhi
owner of the workshop studio named were simple and were almost same as the
‘Alekshya’ is a non- tribal Dokra artisan tribal Dokra artisans. Tools include tongs,
practicing in Burdwan district of forty hammer, chisel, polishing machine, grinder
seven years of age and having fourteen machine, drilling machine and a tool known
years of experience. He has no history of as handle (local term used by workers) to
hereditary work. His work resembles more raise the crucible from the fire.
of human-like or having human features Unlike Dokra tribal workers in this
rather than tribal look. This feature studio dewaxing and melting are done
segregates his work from the rest. separately. He also uses hollow casting; the
Tools and Equipment’s for Making only difference between tribal workers and
Dokra Artefacts him is that he does not use brass directly
into the mould to melt and occupy the
The Karmokars design simple tools to
facilitate their work. They use spatula and vacuum but first melts the brass and then
knife for clay modeling, blade for wax pour that into the vacuum. He uses micro
modeling, a flat sheet of wood to facilitate wax (locally known as thala mom) which is
preparation of thin strands of wax. A a mixture of paraffin and beeswax is mixed
Hammer to break the mould after firing and with dhuna. Iron wire is used to hold the
a file to do manual polishing of the artefact mould properly.
are also used. In modern days to save time Small objects are made of solid casting.
they use electrical motors to grind and polish
the products. Casting
Older generation: The same tools Dokra tribals: The bricks used for
are used by the younger generation as building this furnace can be reused many
were used by the older generation. times. Coal is required as fuel. The crucible
Dokra Art and Artisans : An Ethno-Archaeological Study From Burdwan, W.B. 95

used in firing can be reused three to four daily activities and take inspiration
times. This crucible is procured from Burra from the surroundings. Mainly, they
Bazar, Kolkata. The cost of material is 20% make frames for decoration, wall
of the product value. Scrap metal is panels, door handles, incense stick
procured from Guskara, Burdwan, West holders, lamps, water jugs, coasters,
Bengal. soap cases, ashtrays, mobile holders,
Workshop studio: For producing Dokra bells, key holders, cutlery items and so
objects in the studio clay is procured from on.
local market but the crucible (locally known Jewellery: Traditionally, the artisans
as muchi bell) and wax is obtained made jewellery for their own family
from Burra Bazaar, Kolkata. Dhuna is members. It comprised of the typical
used, but unlike tribal people he uses wax antique patterns. Today Dokra
dhuna instead of mustard dhuna (i.e. some jewellery has attained a modern visual
portion of mustard oil is used with wax and appeal.
dhuna). The younger generation of artisans uses
He has made a permanent bhatti the same process of manufacture but the
(furnace). The total production costs come difference lies in the products that are made.
around Rs. 22,000 for per 25kg of brass. Earlier Dokra people were confined to the
Provat Majhi sometimes brings a making of idols only but the newer
greenish tinge in the objects by applying generation make idols and household
patina (copper + nitric acid = copper nitrate) products as well as sculptures.
after completely finishing the object. The artifacts made in studio indulge a
wide range of tribal motif, sculptures of gods
Past and Present and goddesses, decorative household items,
Religious: Originally, idols of local deities cooking vessels etc.
were made. Now idols of Lord
Ganesha, Goddesses Durga, Lakshmi New Challenges
on an owl, Saraswati, elephant, horse There are many refinements and
and nandi bull made for worship as well variations but the above outline applies
as decoration purposes. to most of the traditional styles of
Household: -These are products used in Cireperdue work still extant. The
day-to-day household activities like sophistication of the process varies
bowls, and volume measures for rice considerably with the most advanced
or grains. The demand for these has technique employed in south India and
declined. Decorative: - These mainly Bastar in Madhya Pradesh (Postel and
comprise of tribal figures and Cooper 1999). The casting process used in
ornamental animals. They make mini Bakura and Dariapur appears to be the least
sculptural figures representing techno-logically developed of all.
96 Bulletin of the Deccan College 74 (2014)

Though there has been change in the manufacturing centers or in metro-

thought process, lifestyle, form and appeal politan centers such as Kolkata. In recent
but their style remains the same. Initially, years, under the pressure of all-embracing
idols were the essential part of their culture. industrializing and changing social values,
Gradually with changing times and exposure they have been forced by the loss of their
to current trends the artisans have started natural rural market to diversify their
entering the lifestyle market. products and are now seeking with the
The challenges faced by Provat Majhi help of the government and the voluntary
are direct marketing (role of middle men in agencies, a market among urban sophisti-
this process is integral). In case of bulk cates as creators of decorative ware.
orders he faces the problem of budget It is noteworthy here that craft
management since no loan facilities from localization give impetus to the specia-
bank are available (though in theory bank lization and efficiency of labour and
loan are available but in practice it has its craftsmanship. It is the result of natural
own constraints). growth, availability of raw material and
Owing to lack of demand of Dokra marketing facilities. There are references
products in domestic market artisans are to villages of smiths in Jataka stories
becoming half-time specialist (practicing (Jataka, III, 281), carpenters (Jataka, III,
both agriculture and making Dokra artifacts) 18, 405 and IV, 159, 207), potters, etc. which
from full-time specialists. were generally in the vicinity of towns
probably forming their suburbs. It thus
Conclusion appears that the economic factor of
Dokra craftsmen though though they specialization of labour was responsible for
cultivate a valuable treasure of art they are localization of various crafts and industries
least recognized as respected craftsmen in at separate villages and for the grouping
all other craft communities. These socially of people of the same profession and caste
outcast people are also the poorest among (Pal, 1979).
the metal smith communities. They are the And this localization of crafts give rise
most technologically backward section to a separate identity for a group of people
among all of them. of same profession and the extinction of the
Although there is a small but increasing craft causes the loss of identity of those
demand for Dokra work from Indian craftsmen. It is worthy of mention, that these
families as well as in the tourist trade, the people are trained in the specialized craft
craft is threatened with extinction. Most of on hereditary basis from their childhood.
the remaining Dokra communities are Thus in course of time, craft and craftsmen
extremely poor and their economic condition become associated so much that craft and
has caused many families to leave the craft craftsmen is fused into one; thereby making
to find wage employment in local one identity. As a result when a craft is
Dokra Art and Artisans : An Ethno-Archaeological Study From Burdwan, W.B. 97

threatened the identity of craftsmen is also Krishnan, M.V. 1976. Cire Perdue Casting in
threatened and the extinction of one causes India. New Delhi: Kanak Publication
the extinction of the other. Thus, it is high Kissi, S. B. 2011. Evaluation of Bees Wax And
time that we recognize the need to help the Core Materials For Traditionl Lost Wax
craft and the craftsmen before they are lost Casting. M.A. Thesis. Kwame Nkrumah
University of Science and Technology
completely.
Kochhar, R. 2011. Dokra the Traditional art of
Acknowledgement Metal Casting, Chitrolekha International
I owe my sincere gratitude to my Magazine on Art And Design, 1(2), pp. 3-9.
parents for supporting me. I want to express Pal, M.K 1978.Crafts and Craftsmen in Tradi-
my sincere gratitude to Mr. Tamal Sengupta tional India. New Delhi: Kanak Publications
for helping me to arrange the field trips. Ray, S.K. 1953. The Artisan Castes of West
I am tendering my thanks to Mr. Anup Bengal and Their Crafts. In A.Mitra, The
Samanta, Dr. Suparna Ganguly, Mr. Suvo Tribes and caste of West Bengal, Alipore,
Karmokar, Mr. Provat Majhi and Mr. Amit pp-296-306
Mondol. Sen, P. 1994. Crafts of West Bengal. Ahmedabad:
Mapin Publisher.
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