Humans have been exploiting metals for more than 5000 years in the Indian subcontinent. A classic example is the bronze statuette of the ‘Dancing Girl’ found in Mohenjo Daro. It showcases the advanced metalworking skills of the era. Archaeologists have found evidence of iron objects from the Vedic period (1500–500 BCE), one of the reasons why agriculture flourished at this time. With time regions like Tamil Nadu (Chola bronzes), Gujarat (Akota bronzes) and Odisha (Dokra craft) developed distinctive styles of metal art traditions that continue to this day. This shows that over the centuries metal has been used as both utilitarian and luxury items.
One such distinct style of metal art called ‘Mohra’ evolved in Himachal Pradesh, known as Mohra metal art, particularly in the districts of Kullu and Chamba. These ‘Mohras’ are metal plaques, primarily made from bronze, brass, or silver, that depict Hindu deities, warrior kings, and divine protectors. With time it gained ritualistic significance in temple traditions and religious ceremonies.
Origin Story
Due to political instability, invasions, and changing dynasties Kashmiris started migrating towards Himachal Pradesh about 1400 years ago. One of the key reasons for migration was the patronage offered by the rulers of Himachal Pradesh, especially in regions like Chamba and Kangra. Kashmiri traders and craftsmen were attracted more towards this region due to the thriving trade routes connecting India, Tibet, and Central Asia. This is when Kashmiri artisans introduced the technique of lost-wax bronze casting to Chamba. Later, local elements were incorporated into the craft that gave rise to Mohra metal art. Although this craft has its roots in the 7th century, it flourished between the 10th-17th centuries under the Rajputs.
Ritualistic Representation
Mohra plaques and masks representing Lord Siva and various forms of Devi are most popular in Himachal. Such representations can be found in temple doors, monastery artifacts, and intricate jewellery like bangles and bracelets. The plaques or masks are made of metals such as copper, brass, and even an alloy known as ashtadhatu (a blend of eight metals, including gold, silver, iron, and mercury). The distinctive features include- crowned heads, expressive eyes, and a prominent third eye on the forehead, particularly in depictions of Shiva.
Traditional Mohra metal craft is still kept alive through events like Kullu Dussehra. 300 local deities, represented through Mohra, are taken out of temples and placed on decorated chariots (rathas). Devotees carry these sacred representations on their shoulders while musicians and dancers follow in grand processions.
The golden canopy at Jwalamukhi temple, gifted by Emperor Akbar, is a great example of metal art. Lakshmi Narayan Temple, Hari Rai Temple in Chamba are temples where there is a significant trace of Mohra art.
How are these made?
The artisans use the traditional lost-wax casting method to make Mohras. This is the same technique the Harappan used to make the ‘Dancing Girl’. The process involves:
- Wax Modeling – The artisan first shapes a detailed wax model of the Mohra.
- Clay Moulding – A clay mould is made around the wax model and left to dry.
- Wax Removal & Metal Pouring – The mould is heated so the wax melts away, leaving a hollow space. Molten metal (usually an alloy of brass with 65% copper and 35% zinc, sometimes with silver inlay) is then poured in.
- Finishing & Polishing – Once the metal cools and solidifies, the outer mould is broken away. The artisan then files smoothens and polishes the Mohra using tools such as soldering irons, sandpaper, and buffing machines to bring out intricate details
Reviving Mohra Craftsmanship
Government organisations like Himachal Pradesh Handicrafts & Handloom Corporation provide funding, training, and exhibitions to promote Mohra craftsmanship. Schemes under the Ministry of Textiles also support metal artisans. NGOs and art foundations conduct workshops to train the next generation of artisans in the lost-wax technique, repoussé work, and metal engraving. But the question in this case is- do they want to? Is there enough profit? However, there is demand during the Kullu Dussehra and Minjar Festival in Chamba. Artisans are being encouraged to sell their products on e-commerce websites and social media to open up opportunities in the global market.
Despite challenges such as the high cost of raw materials and dwindling artisan numbers, these revival efforts are gradually restoring Mohra metal art to its former significance, preserving it for future generations.
Image Courtesy: Direct Create
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