How Metal Artists in Odisha Are Keeping the 4,500-Year-Old Craft Alive

In the heart of Odisha, India, there’s an ancient art called Dhokra that has been around for thousands of years. This method of metal casting creates beautiful and unique designs that have a rustic charm. My journey into the world of Dhokra was not just about exploring an art form, but also about understanding the history, culture, and lives of the artisans who keep this tradition alive.

With Dhokra Artisans of Kudiakhunta, Mayurbhanj after fresh rain
Photo Source: © Sumitra Parhi

Recently, archaeologists discovered one of the oldest known Dhokra artifacts, a bronze figure dating back approximately 4,500 years, in the ruins of the ancient Indus Valley Civilization. This discovery highlights the long-standing tradition and cultural importance of Dhokra art.

4,500 year old Dhokra “Dancing Girl”

The First Glimpse

My introduction to Dhokra dates back to my childhood, when I first saw a rice-waging pot at my ancestral home. Later, I encountered it at various exhibitions in Odisha, where the array of bronze sculptures, with their unique tribal designs, caught my eye. Each piece told a story, a testament to the artisan’s skill and the rich heritage of this place. I vividly remember the first time I held a Dhokra sculpture—a small fish figure, intricately designed with patterns that seemed to come alive. The detail was astounding, and I was eager to learn more about how such a masterpiece was created.

At a newly created Nuagan Village, Dhenkanal, where 40 Dhokra artisans family of Sadeibarini village shifted
Photo Source: © Sumitra Parhi
Holding an antique Dhokra Fish
Photo Source: © Sumitra Parhi

Tools, Materials, and The Making Process

The making of Dhokra crafts is a delicate dance of tradition and skill, involving an array of materials and tools:

Materials:

Brass: The chief element used in Dhokra metal casting.

Beeswax: The raw substance used for making the wax threads.

A boy preparing to make bee wax thread at Nuagan, Dhenkanal
Photo Source: © Sumitra Parhi

Clay: Used to create the mold around the wax model.

Clay for Dhokra making, Nuagan, Dhenkanal
Photo Source: © Sumitra Parhi

Fine Sand: Mixed with clay to form the mold.

Water: Mixed with clay and mud to acquire the necessary consistency.

Clay and water mix for Dhokra making, Nuagan, Dhenkanal
Photo Source: © Sumitra Parhi

Mud: Key ingredient used for making the model of the product.

Cow Dung: Mixed with mud and water to make the core model.

Tools:

Wax Modeling Tools: For shaping intricate designs in the wax.

Furnace: Used to bake the clay model and melt the metal, typically coal-fired to obtain high amounts of heat.

Coal: Used in the furnace to achieve the high temperatures required.

Graphite Container: Used for melting the metal.

Metal Pouring Ladle: For carefully pouring the molten brass.

Hammer: Used to remove the clay mold after the metal has solidified.

Chisels: For creating detailed impressions and finishing touches.

Artisans of Sadeibarini, Dhenkanal
Photo Source: © Sumitra Parhi

Building the Core Model

When I first arrived at Nuagan village of Dhenkanal, I saw an artisan mixing mud, cow dung, and water, which was kneaded thoroughly to achieve the required consistency. The artisan used this mixture to create a core model. I was curious about the use of cow dung and asked, “Why do you mix cow dung with the mud?” He replied, “Cow dung helps to strengthen the clay and makes the core model more durable.”

Once the core model was made, a layer of pure clay was applied for a smooth finish. The model was then left to dry completely.

Artisans making base model for Dhokra Craft at Nuagan, Dhenkanal
Photo Source: © Sumitra Parhi

Applying the Wax Threads

This is the most fascinating phase, which always draws me in. I spend hours watching it in Sadeibarini and Nuagan villages of Dhenkanal, Kudiakhunta and Kuliana villages of Mayurbhanj, and in Jhigidi village of Koraput. I watched as lengthy threads of wax were wound around the clay model to form a layer and create the chosen pattern. I asked, “What is the purpose of these wax threads?” The artisan responded, “The wax threads will create the fine details of the final metal piece. When we pour the molten metal into the mold, it will take the place of the wax.” Doesn’t that sound fascinating?

Artisans working with wax thread at Kudiakhunta, Mayurbhanj
Photo Source: © Sumitra Parhi

Adding the Outer Clay Layer

A layer of clay mixed with sand was then applied over the wax-coated model. I noticed the artisan making two small holes in this layer and asked why. He explained, “One hole is for pouring the molten metal, and the other allows air to escape, ensuring the metal fills every detail of the mold.”

Artisan applying polished mud on wax design, Nuagan, Dhenkanal
Photo Source: © Sumitra Parhi

Baking the Model

The model was then thoroughly dried, and another layer of sand mixed with a minimal amount of clay was applied. This fully encased clay-wax model was baked in a furnace. I watched as the model was placed in the furnace, and the artisan said, “The heat will melt the wax inside, leaving a hollow space for the molten metal.”

Designs ready to go into furnace, Nuagan, Dhenkanal
Photo Source: © Sumitra Parhi

Melting the Metal

As the clay mold was baking, the artisan prepared the brass for melting. The brass was placed in a graphite container and heated in the furnace. I asked, “Why do you add salt to the metal?” He answered, “Adding a bit of salt helps to purify the molten metal, ensuring a better final product.” The heat was intense. It must be difficult for the artisans to stand near the furnace for long periods. I stood far away and could only bear it for a few minutes.

Artisans working at sadeibarini Village, Dhenkanal
Photo Source: © Sumitra Parhi

Pouring the Molten Metal

The moment of truth arrived when the molten brass was poured into the hollow clay mold. The artisan carefully poured the liquid metal into one of the channels, while the other channel allowed air to escape. I held my breath, watching the process with anticipation.


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http://www.mitracraft.com

Cooling and Breaking the Mold

Once the metal had cooled and solidified, then the artisan gently broke the clay mold open with a hammer, revealing the newly cast brass object inside. I asked, “How do you remove the remaining clay from the metal?” He replied, “We use brushes and chisels to clean the piece thoroughly, both inside and out.”

With Women Dhokra Artisans of Kudiakhunta, Mayurbhanj
Photo Source: © Sumitra Parhi

Finishing Touches

The metal artifact was then polished to bring out its intricate details and shine. The final product was a stunning piece of art, showcasing the skill and dedication of the artisan.


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http://www.mitracraft.com

The Artisans’ Tale

Interacting with the Dhokra artisans was an eye-opening experience. For them, Dhokra is more than a craft; it’s a legacy, a piece of their identity passed down through generations. Each artist brings a unique style to their work, yet they all share a common reverence for the traditions that guide their hands. I spent hours talking with the artisans, learning about their lives and the challenges they face. They spoke with pride about their work and the importance of preserving their craft for future generations.

Photo Copyright : Mitra Craft 2024
http://www.mitracraft.com

The Challenges Faced by Artisans

Despite the beauty and cultural significance of Dhokra art, the artisans face many challenges. The rise of mass-produced sand casted items from Jharkhand has made it difficult for traditional crafts to compete in the market. Many artisans struggle to make a living from their work, and younger generations are often reluctant to take up the craft. However, there is hope. Organizations like http://www.pratimafoundation.org, online platform like http://www.mitracraft.com and government initiatives are working to support these artisans, providing them with resources and access to wider markets. By raising awareness and promoting Dhokra art, we can help ensure its survival for future generations.

Designs ready for for furnace, Kudiakhunta, Mayurbhanj
Photo Source: © Sumitra Parhi

Products: A Reflection of Culture

The products of Dhokra artistry range from figurines to decorative items, each piece unique and imbued with cultural significance. Holding a Dhokra sculpture, you feel a connection to an ancient past, a link to the artisans whose hands shaped it. The designs often depict scenes from everyday life, tribal deities, and animals, reflecting the close relationship between the artisans and their environment. Each piece tells a story, capturing the essence of the culture and traditions of Odisha.

Artisan wrapping wax thread on basic model
Photo Source: © Sumitra Parhi

The Evolution of Designs

While the techniques used in Dhokra casting have remained largely unchanged for centuries, the designs have evolved over time. Modern Dhokra artists are incorporating new motifs and styles into their work, blending tradition with innovation. This evolution ensures that the art form remains relevant and appealing to contemporary audiences. Most of them attended designing training at Amar Kutir, Shantiniketan in 2000s. I was fascinated to see how artisans were experimenting with abstract designs and modern themes now while maintaining the traditional techniques that make Dhokra unique.

Wax wrapped design, Kudiakhunta, Mayurbhanj
Photo Source: © Sumitra Parhi

The Role of Dhokra in Festivals and Rituals

Dhokra art holds a special place in the cultural and religious practices of Odisha. Many of the pieces are used in rituals like marriage and festivals like Manabasa Gurubara, symbolizing various aspects of tribal life and beliefs. For example, Dhokra figures are often used in wedding ceremonies and other significant events, serving as symbols of prosperity and protection. Learning about the role of Dhokra in these rituals gave me a deeper appreciation for the art form and its importance in the cultural fabric of Odisha.

Photo Copyright : Mitra Craft 2024
http://www.mitracraft.com

The Global Appeal of Dhokra Art

Dhokra art has gained international recognition for its unique beauty and craftsmanship. Collectors and art enthusiasts from around the world seek out Dhokra pieces for their collections. The global appeal of Dhokra art has helped support the artisans and bring attention to their incredible work. I was heartened to see how the appreciation of this ancient craft transcends cultural boundaries, connecting people through a shared love of art and tradition.

Mud layer applied on wax design, Kudiakhunta, Mayurbhanj
Photo Source: © Sumitra Parhi

Promoting and Preserving Dhokra Art

Now a days Government initiatives, non-governmental organizations, and the artisans themselves are trying to keep these traditional crafts alive. Craft fairs, exhibitions, and online platforms (http://www.mitracraft.com) have provided artisans with new opportunities to showcase and sell their products, ensuring that these ancient arts continue to thrive in the modern world. Personally through http://www.pratimafoundation.org I am trying to document the craft history of Odisha too.

Photo Copyright : Mitra Craft 2024
www.mitracraft.com

Conclusion: A Journey of Discovery and Appreciation

As my journey into Dhokra making came to a close, I carried with me not just a piece of Dhokra but a profound appreciation for the art, the artisans, and the culture that nurtures them. It was a revelation, an intimate glimpse into the soul of Odisha through its Dhokra crafts. For anyone looking to explore the depths of India’s rich cultural heritage, Dhokra art offers an inspiring and enchanting experience. Each piece tells a story, connecting you to centuries-old traditions and the dedicated artisans who keep them alive. My adventure into Dhokra has been more than just a learning experience; it has been a heartfelt connection to a vibrant and timeless craft.

Photo Copyright : Mitra Craft 2024
http://www.mitracraft.com

About Sumitra Parhi

Sumitra Parhi is a writer, artist and researcher based in Bhubaneswar. She did her higher study in English language and literature from Pondicherry University. Presently she is doing research on traditional art, craft and culture of Odisha.

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