The meandering, cobbled, narrow lanes of Sihor, a historic town nestled in Saurashtra are home to artisans who have been practising the craft of metal embossing. Metal work has long been a staple practice in Sihor, which was once the seat of power of the Gohil dynasty. Despite walking these streets and observing the artisans busy at work a number of times, I am always impressed by the intricacy of their work. I have always sensed a rhythm, a method to the madness whilst watching them busy, tirelessly creating works of art on brass, copper, silver and gold. Artefacts ranging from utilitarian objects such as plates and glasses to items used for devotional and prayer practices. Designs and motifs inspired by local architecture, flora and fauna or simply patterns observed in the surroundings are delicately carved and embossed onto the metal.
Historically, each region of India has had its own craft and technique of creating artefacts and objects out of metal. In the quaint town of Jasdan in Gujarat, the craft of making ‘pataras’ or storage trunks has been practised for centuries now. The process to create a patara is a complex one, not for the faint hearted, beginning with carpentry. Once the wooden chest is created, artisans adorn them by the choice of metal and embossings. Traditionally, a patara would be used to pack and store clothing and daily utensils, girls would be gifted these in their bridal trousseau. The choice of metal and detailed intricacy depending on the opulence of the trousseau.
In Karnataka, Bidri ware dates its origin to the 14th century influenced by Persian design and art. Originating from the town of Bidri and including metals such as zinc, copper and silver, artisans work through eight stages ranging from molding the metal to designing, engraving and oxidising. Soil from the grounds of the historic Bidri fort would be rubbed on the metal traditionally, giving it a unique blend of colour and shine. The result is exquisite metal inlay on decorative and utility based objects. Bidri ware can be found in some of the world’s leading museums such as the Louvre in Paris and the Victoria and Albert Museum in London.
Today, these artisans are finding new ways to reinvent their traditional patterns and designs and create objects, artefacts which cater to a fresh audience. The pataras of Jasdan are now being used as decorative pieces and jewellery boxes while Bidri ware has creeped into jewellery pieces and home decor items. While the objects evolve as there is shift in demand and use, the practices continue to find a new lease of life.
Dhokra art is another fine example, which has managed to remain relevant centuries later. A lost wax casting technique, practised in regions of Odisha, Jharkhand, West Bengal, Dhokra is a 4000-year-old craft. The famous dancing girl of Mohenjo-daro too is a product of lost wax casting. Presently, Dhokra artisans are successfully collaborating with contemporary artists and designers, bringing together an age-old technique with a new perspective and design language.
AnanTaya Decor for example, is working with Dhokra artisans of Bastar, Chhattisgarh, creating modular, wall ornaments. Reinventing the craft, the Jaipur based atelier is championing sustainability by recycling brass from scrap creating startlingly stunning decorative pieces.
Then there are also contemporary artists who are drawing inspiration from historic practices, some of who are incorporating them into their art while others are just experimenting with metals and carving their own niche. Subodh Gupta’s primary medium of choice has been stainless steel. Beautiful, ambitiously built sculptures, defying gravity, raising issues faced in rural India, sparking dialogues based on his formative years in Bihar. He plays with objects, his subject matter being, everyday, mundane objects such as utensils. Vikram Goyal on the other hand, the only Indian designer to be showcased at the revered design fair, PAD, has been experimenting with metal for over twenty five years now. My all-time favourite piece from his multilayered and cornucopia of a collection, is a wall panel titled Dreamscape. Created in brass with a patinated gold finish, the work of art has been made using a technique called repoussé. Goyal, inspired by a Rajput manuscript displayed at the City Palace Museum in Udaipur, has created this work of art that provides a dream-like sensation. The viewer is transcended to a historic time, a bygone era. Not only does this piece shimmer, shine and glisten with the hammering and beating of the metal but it is also testament to the versatility and malleability of metal to depict and narrate age old stories and tales.
The malleability of metal is perhaps what gives artisans and artists the opportunity and freedom to explore a myriad ways of creating art. In a country such as India where 25 million tons of industrial metal scrap is strewn annually, artists also have the opportunity to upcycle and incorporate sustainable practices while exploring their artistic oeuvre.
Bridging the gap between craft and contemporary, artists and artisans working with metal have a material at their disposal, which can be given a new lease of life. But there is still an obvious financial gap between the artisan and the artist. The freedom to haggle with an artisan comes easy but would one do this in the design studio of a popular, celebrated designer or artist?
While it would be utopian to live in a world where each abandoned piece of metal is repurposed into a collectors piece, it is high time we value the artisan just as we do the contemporary artist. For if it were not for the generations of age old craft practices, the popular, famed artist studios and celebrated design ateliers would perhaps not exist.