Introduction
There is an age-old craft—the art of idol-making—in the centre of India’s diverse cultural tradition, where legends whisper through old banyan trees and the air hums with the immortal echoes of devotion. For nearly three centuries, this elegant and impressive skill has nurtured Bengal’s spiritual soul, reaching a crescendo in the centre of Kolkata during the mesmerising Durga Puja celebrations.
As the autumnal breeze ushers in the season of festivities, Kolkata, the city of joy, transforms into an oasis of visual magnificence. Everywhere you look, intricate idols and magnificent pandals unfurl before your eyes, and the very air seems to shimmer with an enchanting fervour. However, the enchantment of this tradition doesn’t cease with Kolkata; it ripples across the subcontinent, with skilled sculptors from Bengal and beyond, including the mystical lands of Assam, toiling ceaselessly to meet the ever-growing demand for Durga idols. These idols are the crowning jewels of the grand five-day Durga Puja festival, a celebration of cosmic proportions that takes place each October.
The tale begins in a place aptly named, Kumartuli – the “Potter’s Locality.” Nestled like a timeless gem just north of Kolkata, this quaint town is home to around 150 potter families and approximately 550 workshops, where artisans, like custodians of a sacred flame, labour diligently throughout the year. They craft not just idols but dreams and devotion, shaping the very essence of Goddess Durga from the unyielding clay. As they work their magic, the Hooghly River, like a silent guardian, flows nearby, offering up its unique soil, the “Ganga family,” an essential ingredient in the crafting of the deity.
But the craft isn’t solely bound to Kumartuli’s mystical embrace. Clay, as malleable as a lover’s whisper, is sourced from various corners of the vast subcontinent. From Ganga Mati, collected from the sacred banks of the Ganges River to Balu Mati, a particular type of clay from West Bengal, and Thakana Mati, another variety found in the lush terrains of West Bengal, as well as parts of Bengaluru—the convergence of these materials forms the foundation of divine artistry.
Kumartuli: The Birthplace of Tradition
This ancient craft is deeply rooted in Kumartuli, a town aptly named “Potter’s Locality.” Located just north of Kolkata, Kumartuli is home to approximately 150 potter families and around 550 workshops. These dedicated artisans toil tirelessly throughout the year to create the handcrafted Durga idols that grace the puja ceremonies. The Hooghly River flows nearby, providing the unique soil, locally known as “The Ganga family,” which is an essential ingredient for making an idol of Goddess Durga.
The Process: A Labor of Love
The process of crafting these magnificent idols is nothing short of a labour of love. It commences with the creation of the idol’s outline using bamboo, which is reinforced with sticks for larger creations. A grass base is formed and then covered with a mixture of mud and grass to define the final shape of the idol. The idol’s face is sculpted using pop moulds and Ganga clay, renowned for its detailed accuracy.
Water is employed to moisten the structure, and fine details are meticulously touched up. Hands and feet are manufactured separately and securely attached to achieve the desired shapes. The frame design is sometimes left to dry in the shade and then in sunlight to ensure its durability.
Once the idol is completely dry, it undergoes a painting process, which can be done by hand or with the use of a paint gun. The dress, specific to Durga’s form, is tied and secured with nails. Jute fibre is used to create the hair, with black colour for Durga and small bundles of jute fibre for the lions. The eyes considered the windows to the soul, are meticulously painted with acrylic or poster colours. The entire process is a collaborative effort, involving ten to fifteen skilled artisans.
This intricate process takes several days to complete. The work typically begins between June and August and is meticulously finished before the puja ceremonies commence. It’s important to note that every component, from the raw materials to the paint, is eco-friendly and biodegradable since the idols are ritually immersed in the river at the conclusion of the Durga Puja festival.
The Grand Finale: Adorning the Idols
Once the idols are painted, they are beautifully adorned with clothes, jewellery, and hair, often sourced from Kolkata’s bustling markets. Goddess Durga is typically dressed in a Banarasi saree, and her ornaments are made of zari, brocade, paper, thermocol, and sometimes even real gold. Durga Puja celebrations also include making idols of her children: Ganesha, Saraswati, Kartikeya, and Lakshmi, along with the central idol of Durga herself. The lion she rides and the buffalo she defeats are also carefully crafted to perfection.
Before a craftsman begins his work, a special ceremony is held in honour of Lord Ganesha, seeking his blessings as his craft is his livelihood. This blend of religious reverence and craftsmanship is deeply ingrained in the process, reflecting the cultural richness of the tradition.
The Sacred Tradition of Painting the Eyes
Another fascinating custom is the painting of the goddess’s eyes on the auspicious day of Mahalaya, just before the puja begins. To this day, the face of the idol remains covered, and the unveiling and painting of the eyes is part of a religious ceremony. It is believed that the artisan brings the idol to life when he paints its eyes, a momentous act of devotion and skill.
The Significance of “Pobitru Mati”
One of the most unique and thought-provoking rituals associated with this craft is the use of mud from the Gungan courtyard, which is mixed with smooth mud from the banks of the Hooghly River. This custom is based on the belief that when one enters a kotha (craftsman’s workshop), one leaves one’s virtues at the threshold. The soil of the courtyard patio is considered pure and is known as ‘pobitru soil.’ According to oral history, potters or priests begged courtiers for this clay. This tradition reveals a fascinating interplay between Hindu values, traditions, and social inclusion.
The Regional Nuances: Guwahati’s Artistry
While the heart of idol making beats in Kumartuli, the tradition is not confined to just Bengal. Guwahati, in Assam, provides another perspective on this incredible craft. The idol-making process in Guwahati kicks off in early March, often referred to as the month of Baisakh. In some cases, when orders pour in, artisans begin their work as early as January.
Speaking to local artisans in Guwahati, it becomes evident that a dedicated team of ten artisans puts in 17-20 hours of hard work every day to bring these clay sculptures to life. These skilled craftsmen wisely divide the labor, ensuring the completion of these magnificent idols within the stipulated time.
Intriguingly, the use of “Pobitru Mati” takes on a slight twist in Guwahati. Most artisans here hail from Cooch Behar and Siliguri, so they bring their special “pobitru mati” with them. However, some local artists in Bishnopur and Panbazar do not strictly follow this particular tradition, highlighting the diverse approaches to the craft within the same cultural tapestry.
The Living Story of Culture and Tradition
The craft of idol making, whether in the heart of Bengal or in Guwahati, is a display of the rich tapestry of our traditions. It is a celebration of the tireless work and devotion of skilled hands that goes into bringing these divine forms to life. From the ancient workshops of Kumartuli, where clay from the banks of the Hooghly River imbues the essence of Goddess Durga, to the distant Guwahati, where artisans work day and night to create their masterpieces, the dedication remains unwavering.
What truly makes these traditions fascinating are the regional nuances that paint this vibrant canvas. Each region contributes its own unique flavours, techniques, and interpretations to the craft, enriching the tradition and reflecting the ever-evolving nature of our cultural heritage.
The Intersection of the Sacred and Secular
These traditions bridge the gap between old and new, sacred and secular, and they leave us with stories worthy of celebration and reflection. The art of idol-making is not just an art form; it is a living, breathing story of culture, history, and the shared tapestry that unites us all. It transcends boundaries, defying the limitations of time and place, and continues to inspire awe and reverence in the hearts of those who witness its grandeur.
Conclusion
India’s art of idol-making is a monument to the rich cultural fabric that connects the country’s various regions and customs. It serves as a tangible representation of artistry, spirituality, and enduring bonds across communities. This tradition represents the essence of India’s multicultural society, as each region contributes its distinct interpretations and flavours to a shared legacy, from the old lanes of Kumartuli to the busy streets of Guwahati.
The art of idol-making is more than just a show of visual prowess; it represents a story that transcends space and time and reflects the eternal nature of culture and history. It honours the commitment of expert hands who give clay life and allow it to become holy. The manufactured idols are more than just simple sculptures; they are objects of adoration that represent the aspirations, hopes, and shared ideals of the societies that give them life.
Feature Image Courtesy: Karl Grenet via Flickr
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