Artisans in Chhattisgarh

Art scope in Chhattisgarh
{RESEARCH STUDY ON GHADWA ART (DHOKRA / BELL METAL ART) & ARTISAN OF BASTAR}
Delivered By:-
DR. ANUPAM TIWARI
Head & Associate Professor,
Department of Rural Technology
Dr.C.V.Raman University, Kota, Bilaspur (C.G.)
Date-07/04/2020
anupam@cvru.ac.in Date: 07/04/2020

 An socio-economic investigation on Ghadwa art (Bell metal art) artisan
families with special reference to Bastar District of Chhattisgarh was conducted to understand
the traditional technique of Ghadwa art being used by the traditional artisans in Sidmud,
Chilkuti and Erracote villages of Bastar District of Chhattisgarh. Empowering artisan through
craft to benefit themselves and their families and develop in a sustainable way is the need of
the hour. Agencies, both public and private, play an important role in the revival of the
traditional arts and crafts. The research study aims at drawing a linkage between artisan and
their role in the revival and preservation of crafts. The present study was done through
structured questionnaires in consultations with the Ghadwa art artisans. Bastar’s dhokhra work
is certainly the most famous handicraft from this state and its fame has long reached the
international stage. Bastar is only one region where master craftsmen churn out exquisite
handicrafts. There is stone, wood, terracotta, wrought iron, there are paintings and tattoo work,
bamboo and sisal work there is so much that the mind boggles with sheer variety. The
Ghadwa art Chhattisgarh is famous for its unique tribal population along with tribal art for
number of traditional art which is used by Tribal peoples for multipurpose uses and livelihood
from time immemorial, so there is a need to study of Ghadwa art artisans family and their
technique of Bastar region for the conservation purpose of this valuable gift of God. The
artisans are persons who make different traditional items followed by traditional methods and
provide showpiece and antique items. The study indicated the needs to support the artisans for
their upgradtion though various activities like skill orientation activities /trainings, market
availability, support of raw material and to provide innovation designs for their livelihood
support and improvement.

About Bastar
Bastar a tribal district of Chhattisgarh is the Land of
Handicrafts & Natural Resources. This Divine Land is also
enriched with Natural Beauty which makes it a paradise for
tourists. The deep forest area between bushes and bamboos
where one always feel the absence of sunlight , wide and thick
forests , between high mountains cool flowing streams , sky-
touching mountains , caves , high waterfalls , and in the valleys the
spread of greenery and in between this , the huts made by bamboo
sticks, the fearless life style of the tribal's and their culture,
one's heart and mind would be filled with new wonders and
pleasure.
Attractions
Bastar Arts, Jagdalpur Town, Danteshwari Temple, Bastar
Palace, Anthropological Museum, Chitrakot Waterfalls, Tiratgarh
Waterfalls, Kutumsar Caves and Kailash Gufa, Kanger Valley
National Park, Dantewada Temple.

Bastar Handicrafts
Survival for the ethnic population is dependent on the
unfathomed ways of nature. The art of iron making is has been known
in India from early vedic period and Rig- Veda several reference of
iron(ayas) has been made They seem to instinctively sense the very
core of nature, converse with its majestic silence and learn from its
for their excellence in making exotic handicrafts with a variety of
designs and shapes.. Bastar, being a district full of forest, containing
finest quality of teak and other types of woods from which very
attractive wooden carving crafts and various types of furniture are
being made by the skilled and experienced hands of the tribal's.
Wide range of Bastar Handicrafts:
1.Wooden Craft 2. Terracotta 3. Bamboo Craft 4. Bell Metals 5.
Wrought Iron Craft
All available natural resources are utilized to their
optimum potential. Honed and perfected over the generations almost
all objects of daily use surpass their original function and are
transformed into objects of great aesthetic value.

Name of the Craft
1.Terracotta
2.Bell-Metal
3. Iron-Craft
4.Wood-Craft
5.Weaving
6.Bamboo-Craft
Place
Kondagaon,Narayanpur,Jagdalpur,
Dantewara , Bhanpuri etc.
Kondagaon,Barkai,Jagdalpur,Ektaguda ,
Karanpur , Sirmud , Nangur etc.
Kondagaon , Nagarnar , Keshkal
,Narayanpur , Jagdalpur , Dantewara
etc.
Naraynpur , Kondagaon , Golawand ,
Karanpur , Bhond , Jagdalpur , Deorgaon,
Bastar , Parchanpal etc.
Tokapal , Bastar , Nagarnar , Jagdalpur ,
Parchanpal etc.
Naraynpur , Antagarh , Bande ,
Pakhanjur , Pharasgaon , Sirmud
,Karanpur etc.

 To understand the technique and Casting of
Ghadwa art in Bastar.
 To study the Socio-economic status of artisans of
Ghadwa art in Bastar region.
 To identify the support and subsidy sources for
Ghadwa art artisans in the study area.
 To study the benefit sharing among the major
stake holders;
 To study the socio-economic characteristics of
people/artisans and the contribution of the

 For the purpose of analysis, primary as well as secondary data
have been collected. Secondary data regarding number of bell metal
industrial units, number of artisans, etc. The survey was conducted
to collect the information regarding remote villages of Bastar district
from Block Office. tribal villages or 3-5 traditional artisans in each
villages were visited through periodical tour. The study was
conducted in the month March- July 2012. With approximately all
artisans informants in each Villages (total number of informants 35;
{32 (91.42%) Man, 3(8.57%) Woman}). The methodology of the
present work was adopted from some of the earlier workers like Jain
(1988), Kochhar (2003), Tiwari (2012), Tiwari & Nema (2012) and
Tiwari & Singh (2012) and the methods of socioeconomic studies
have been summarized by Dewangan (2011), was also consulted in
the present study.
METHODOLOGY

 Education is the basic necessity of the people at present. In all aspects, it is essential
entity for the development of human qualities and personalities. Literacy and educational
attainment level are considered as significant factors influencing socio-economic development of
any society. Level of education among the bell metal artisans is very low. Majority of the artisans
engaged in the bell metal industry are ignorant and illiterate which creates great obstacles in the
way of modernisation and expansion of the industry (Deka, P.K. 1986). This study was observed
that 17.5 per cent artisans are illiterate. It is also seen that out of the literate respondents, about
30.84 per cent studied up to class 7 standard, 18.34 per cent studied up to class 10th, 20 per cent
HSLC passed, 10 per cent HS passed and 1.67 per cent was graduate. Thus, it is clear that
educated youth are not interested in pursuing this age old occupation. Moreover, the attitude of the
society is also not positive towards these handicrafts workers. Very low status is accorded to the
artisans by the society. It may be perhaps due to low education level. They are neglected by the
society which in turn discourages them. For ignorance, they use outdated methods of production
and thus cannot keep pace with other large-scale industries which in turn keep their income low.
 A majority of the families were nuclear and a few were in joint family. Among them, 94.16
per cent are nuclear while 5.14 per cent were joint family. It is because of the fact that the poor
artisans cannot support a joint family. Bell metal was observed to be the only source of livelihood
for more than 97 per cent of the respondent. Only 2.5 per cent respondent was having other
source of income. The other source of income is the agriculture for these few artisans. It is
because of the fact that most of them do not have land other than their land for their dwelling
house. Because of their low income, majority of them (82.5 per cent) is unable to save. Supply of
safe drinking water in adequate quantities to all has been recognised as the basic need worldwide.
Most of the artisans have not any safe drinking water facility. They take drinking water withoutanupam@cvru.ac.in Date: 07/04/2020

 Unfortunately, no one among the artisans is able to get the safe drinking water supply
from any government scheme. Only 9.16 per cent have their own ring wells and 69.66 per
cent possess tube wells. Some are carrying water from others’ tube well and ring well.
However, 21.66 per cent neither possess ring nor tube well. It is also observed that out of
120 respondents 107 families (89 per cent) have not any water filter facility. Only 1.66 per
cent has readymade filter from market and remaining 9.16 prepare their own filter facility
at their own home. It reflects their unhygienic iving condition.
 Apart from drinking facilities, sanitation also reflects their poor socio-economic
condition of the artisans. It is also observed from study that only 15.86 per cent
respondents have pacca latrine whereas 49.16 per cent uses katcha latrine. It is
observed that 35 per cent have neither pacca nor katcha latrine facilities. They have to
use open space.
 The housing condition of the artisans is poor. Most of the artisans live in katcha
house. It is observed that only 18 workers i.e. 15 per cent workers have Assam type
pacca house whereas 80 per cent workers live in tin roof katcha houses. Accordingly, 5
per cent workers live in thatch roof katcha houses.
 The standard of living of the artisans is poor. It is observed from study that 52.50
per cent of total 35 families have electricity facilities whereas 35 per cent use kerosene as
a source of lighting. Remaining 12.50 per cent use other source of light. It is observed
that majority of families, i.e. 57.50 per cent use firewood as a fuel whereas 40.83 per cent
use LPG. Only, 1.66 per cent use cow dung a source of fuel.
 It is also seen that 48.33 per cent does not possess any type of vehicles.
However, 49.17 per cent have bicycles and 2.5 per cent motor cycles. It is also
experienced that majority of families (i.e. 48.33 per cent) have not any tools of
amusement. Only 6.66 per cent can enjoy T.V.anupam@cvru.ac.in Date: 07/04/2020

 There is inequality in distribution of income
among the artisans. Inequalities in income have
artisan on the basis of role played by different
categories of artisans. The income of most of the
head artisan is much higher than that of other
artisans. It is observed from study that the
income of temporary artisans is the lowest
among all. Their income is less than Rs 30000
per year. It is a so meagre income that obviously
leads to poverty. It is due to irregular
employment and lack of skill.

SWOT Analysis of Bastar Art:
STRENGTH:
1. Esthetic look, sculpture of unique nature 2.Good
Quality product 3.Very strong brand image.
WEAKNESS:
1. Low stability 2. Poor customer supplier relation
3. Feeble distribution network.
OPPORTUNITIES:
1. New product of great demand. 2. Export
relaxations 3. Large growing market
THREATS:
1. Naxallite Attacks 2. Social activism 3.Religious
battles 4. Rising costanupam@cvru.ac.in Date: 07/04/2020

What makes a product valuable?
1. Scarcity 2. Superiority3. Inimitability 4. Appropriatebility
5.Durability
The above qualities are there in BASTAR ART The factors
that limit artisans in applying quantitative techniques to promote
handcrafts are:
1.Information Gap
2.Quantitative Marketing Gap
a.Lack of understanding:
b.Lack of coordination

Distributional & Promotional Strategies:
Distribution is the process of getting products and
services from producers to consumers and users when and
where they are needed. Distribution occurs through
variety of channels which fall in one of the two categories:
1.Direct from producer to the consumer 2.Indirect
through intermediaries.
Market Coverage Strategies:
Market coverage for distribution of Bastar Arts
through many retail outlets, as per the geographic area.
Channel Strategies:
Whether to employ direct or indirectchannels

Suggested Promotional Techniques:
1.Establishing the outlets in various cities of India.
2.Creation of Logo and Slogan for Brand Recognition
3.Positioning through outdoor advertisement and print
campaigns.
4.An advertisement contract signed by celebrities and a
brand ambassador is to be appointed for
the promotion.
5.The designing of the stores has to be given special
attention and an uniform look is to be adopted for all the
outlets/stores.
6.There should be an outlet in every standard hotel of
India to attract tourist towards Bastar Arts.anupam@cvru.ac.in Date: 07/04/2020

 India a land of unity and diversity with many cultures and rituals is
having a highly potential state like Chhattisgarh which is rich in tribal
Handicraft. By promoting the handicraft of Bastar we are not only revealing
the hidden talents of the artisans to the world but also strengthening the
Indian culture by escalating it in the global scenario.
 It is evident from the above discussion that bell metal industries of
bastar district have been sufferings from various problems related to
backward and forward linkages. It is no longer lucrative as a sequel for
which the educated youth of the region are not interested in carrying out that
activity. In future with its gloomy situation it may be continued with the few
handful persons who have little traditional knowledge only. The artisans have
been sufferings from basic facilities like drinking water and sanitation. As a
result, health of the workers including their family members were not in good
conditions as they were sufferings from various ailments. Vicious circle of
poverty was very conspicuous among the workers. In view of this, it is
suggested that Government of Chhattisgarh should come with economic
package to save the enterprise.

Bell metal
Bell metal is a hard alloy used for
making bells. It is a form of bronze,
usually approximately 3:1 ratio of
copper to tin (78% copper, 22% tin).
In India, in the states of Assam, West
Bengal and Orissa, it is called kanh and
kansa and is used for cooking and
eating utensils, with Sarthebari in
Assam and Balakati near Bhubaneswar
most famous for this craft.

The Bell Metal craft began in
the world with the oldest civilizations
like Mohanjodaro and Harappa and
there are several evidences to prove
this fact. Even today this crafts is
practiced in the several parts of the
country like in Orissa, Madhya
pradesh , Chhattisgarh, Jharkhand
etc.. Bell Metal artisans are mostly
tribals that indicates about the
trade being traditional and age old.
Tribals have a definite relationship
with the Bell Metal trade and the
forest, as they find their raw
material in the forest.

Bell Metal crafts play a vital role in providing
employment to the villagers. In India there are about three
million Handicraft Artisans. Most of them are Metal
artisans. Also Metal artisans play a great role to increase
creativeness of protect and cultivate Art and Culture of our
great nation.
In the Bastar cluster bell Metal Crafts that uses
molten alloy of more than one metal, primarily brass, in
which there are several stages of hand molding. Each piece
requires a fresh mold, which is broken after one time use.
The process is also known as the lost wax technique. The
craft is mainly practiced in Kodagaon, Barkai, Jagdalpur,
Ektaguda, Karanpur, Sirmud, Nangur etc.
Source : Report Art & Craft, Socio Economic and Educational Development Society (SEEDS)

Bees wax or prepared wax
with coal tar and wax.
Sem leaves
Black Soil
Charcoal
Scrap Metal
(An alloy of scrap brass, copper,
tin or zinc)
Rice Husk

Mutni or Tipna-
A wooden tool used for
smoothening the wax. Its
other side is a blunt blade of
wood, it is used for detailing
work like details of face,
ornaments etc.
Chimta or Sandasi-
A tong like tool
used to hold the bucket
in which the pieces of metal
melts and also used to take
out the moulds from the kiln
once they are fired.
Stone plate-
To make motif and
straightening the wax
threads.
Hathauwri-
The hammer, a wooden
block of wood. Once the wax
threads are taken out of
pichki then those long threads
are straighten out with the
help of this tool.

i )Dhesa, inside it the lump of wax is placed.
ii) Zhara, from its holes the wax comes out. These holes can be
small or big depending on the requirement.
iii)A long wooden rod for pressing the wax.

Filer- Once the core figure is dried it is filed with the help of
sand paper or filer. For final finishing also the product is filed
with the help of filers.
Chaku- It is used for cutting wax.
Kursibell- A bucket used for liquifying metal pieces. It can be
small or big depending upon the quantity of metal to be liquified.
Hammers- It is used to take out the outer cover of the soil after
final firing.

Black soil taken from the river bank is mixed with rice husk and
kneaded with water.
Then the core figure is made with this mixture and left for drying.
On drying its surface is smoothen with the help of sand paper.
Then a juice extracted from sem leaves is applied on the
smoothened surface. As sem juice is sticky it doesn’t allow dust of
the soil to come out and hence it is easy to apply wax on it. Again it
is left for drying for approximately 10 min..

Then fine or thick threads of wax are extracted. To extract wax
threads the wax is heated up and then put it in a machine, on
applying pressure threads of wax comes out. We can get thick as
well as thin threads depending on requirements.
Once the core is dry, the wax threads are wounded around the
replica. In order to add other parts of the design, further
modeling in wax is carried out on the wax-sheathed clay core.
Again a layer of red soil is applied on the replica and it is left for
drying. Once dried it is ready for casting.

 ii) Casting Process :-
Once the replicas are ready, then the process of casting starts.
Normally there are two kilns, one is used for liquifying the metal
scrap and the other is used for heating the replicas to melt the
wax inside it.
Firstly, the replicas are arranged properly. Numbers of moulds put
inside the kiln depends on both, the size of the kiln as well as the
size of the moulds.
Once this arrangement is done the kiln is covered with wood and
potsherds and fired. Wind is blown continuously through the
blower.

After 2-3 hrs. yellow-blue fumes can be seen on the potsherds.
This is an indication that the metal has turned to a molten state.
At the same time, in the other kiln the wax inside the moulds also
melts leaving space for the molten metal to flow.
The moulds are now allowed to cool down.
On cooling the clay layer on the moulds is hammered away to reveal
the metal image.
Source : Anupam Tiwari & Dr. P. R.Singh, Proposed Book Bastar Art & Craft.anupam@cvru.ac.in Date: 07/04/2020

iii) Finishing Process :-
For giving the finishing touch to the product, at first
the channels or the runners which were made for pouring
the molten metal are cut.
Then finishing is done
with the filers.

Processing of bell metal arts:- 13 Stage
anupam@cvru.ac.in Date:
07/04/2020

07/04/2020



S
.
N
O
PRODUCT RAW
MATERIAL
SCEAP
BRONZ
kg
RAW
MATERIAL
WAX
kg
RAW
MATERIAL
HUSK
Kg.
MAJD
URI
TOTA
EXPE
NSE
SALE
VALUE
1 300.00 Rs. 200.00 Rs. 100.00 Rs. 100-
500
Rs.
700-
1100
Rs.
100 -
50000
2 500 gm. 500 gm 200 gm 400 570 1500
3 250 gm 250 gm 100 gm 200 335 500
07/04/2020

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