Dhokra craft work

1. Summer Project
on
DHOKRA METAL CASTING CRAFT
Submitted by
Shubham Singh
Semester-III
Bachelor of Fashion Technology (Apparel Production)
Under the Guidance of
Ms. Ettishri Rajput
Asst. Professor
Department of Fashion Technology
National Institute of Fashion Technology, Gandhinagar
September, 2016

2. ~ II ~
Abstract
India is a vast country with diverse and exquisite forms of art which are prevalent since
times immemorial. Every part of this great country boasts of unique art and crafts.
Such is the metal casting craft-work of Eastern India. This craft is pre-dominant in the
states of Odisha, West Bengal, Chattisgarh, Madhya Pradesh and Jharkhand. This
project intends to have a broader look at the origin and current situation of this craft.

3. ~ III ~
Objectives
1. To understand the manufacturing process of the products of Dhokra craft-work
2. To have a look at the market-viability of Dhokra craft products and socio-
economic conditions of the artisans

4. ~ IV ~
Certificate
This is to certify that Shubham Singh, student of Semester III in the B.F.Tech program
from National Institute of Fashion Technology, Gandhinagar has done project work on
“Dhokra metal casting craft-work” under the guidance of Ms. Ettishri Rajput.The
content is bonafide work of the student.

5. ~ V ~
Acknowledgement
It took great efforts to complete this project. However, it would not have been possible
without the able guidance and active support of my mentor Ms. Ettishri Rajput.
I’m also highly indebted to Ms. Sheetal Prabha, Senior Manager(HR) at JharCraft for
providing necessary information regarding the project and also for her support in
completing the project. I’m also highly thankful to the store operators at Shabari(a unit
of Chattisgarh Hastshilp Vikas Board).

6. ~ VI ~
Content
(1) Introduction ................................................................................................................................1
(2) History.........................................................................................................................................2
(3) Process........................................................................................................................................3
(3.1) In the state of Odisha(where the art-form originated) :-.....................................................3
(3.2) In the state of Jharkhand(which has a substantial market-share in this segment due
to supportive state policies) :-.........................................................................................................7
(4) Tools...........................................................................................................................................8
(5) Products.....................................................................................................................................9
(6) Sales and Markets ...................................................................................................................14
(7) Problems faced by the Artisans ................................................................................................15
(8) Role of JharCraft in supporting the Dhokra artisans in the state of Jharkhand.......................15
(9) Conclusion.................................................................................................................................16
(10) Bibliography.............................................................................................................................17

7. ~ 1 ~
(1) Introduction
Figure 1.1 - Dhokra Casting
Dhokra(also spelt as Dokra) is non-ferrous metal casting technique using the
lost-wax casting technique. One of the earliest known lost wax artefacts is the
dancing girl of Mohenjo-daro. The product of Dhokra artisans are in great
demand in domestic and foreign markets because of primitive simplicity,
enchanting folk motifs and forceful form. Dhokra horses, elephants, peacocks,
owls, religious images, measuring bowls, lamp caskets etc. are highly
appreciated.
The Dhokra people are settled over a vast tract in the mineral-rich central Indian
tribal belt covering the modern regions of Orissa(mainly people from the
aboriginal caste called Sithulias), Jharkhand, Chattisgarh and parts of Andhra
Pradesh. The Dhokra motifs have been inspired by the folk culture. Dhokra
crafts are created from Bell metal, brass or bronze.The proportion of the metal
in the alloys, constitution of the mould, firing techniques etc vary from one
region to other. The material used is not pure brass/bronze, but contains scraps
of other metals which gives it the typical antique look.

8. ~ 2 ~
(2) History
The Dhokra metal casting technique uses the Lost-wax technique that was
probably used by the Mohenjo-daro craftsmen to cast the bronze figurine of a
dancing girl some 4500 years ago.
Figure 2.1 – Mohenjo-daro figurine
This type of metal casting has been used in India for over 4000 years and is
still being used. The lost-wax technique called “Cire-Perdue” in French is a
metallurgical art form that is one of the oldest and at the same time most
advanced too. It has been a favourite of many modern-day sculptors and for
the last 100 years been employed in Dentistry and Industrial manufacturing too.

9. ~ 3 ~
(3) Process
(3.1) In the state of Odisha(where the art-form originated) :-
Step 1 – Firstly, a clay mud model is made with the desired design. The mud is a
mixture of farm-mud(khet mitti) and rice hay(dhaan bhusa). The mud model is dried in
the sun till it hardens.
Figure 3.1 - Clay mud model
Step 2 – Then, the mud model is wrapped with a wax thread on the shape of the
model. This wax is made of wax(mombatti), Dhoop and road-tar(pichchu). This wax
solution is drawn into threads with the help of a tool called “janta”. The diameter of the
thread is 1mm. This wax model over mud is dried again in the Sun.

10. ~ 4 ~
Figure 3.2 - Wax threads
Figure 3.3 - Coiling the wax threads around the piece

11. ~ 5 ~
Figure 3.4 – Wax threaded pieces
Step 3 – Then, a thin layer of mixture of river-side soil, cow-dung and dhaan-bhusa is
covered on the wax model so that the design is retained in the mud. An extra cup is
made extending from the mud model to fill the metal for casting. This cup has a hole
extension so that the molten metal can be poured inside while casting. Small pieces
of metal are filled in the cup weighing 15% more than the weight of the model. Then,
the cup is covered with mud so that the metal is locked inside it
.
Figure 3.5 - Application of final layer

12. ~ 6 ~
Step 4 – Then, the model is put into the burner(bhatti) . A Bhatti is round in shape and
is made from soil and has a small hole to aid the process of fire. For small bhattis,
wood coal is used and for bigger ones, coal(patthar koyla) is used. The small bhattis
are 1meter in depth and the bigger ones are 2meters deep. 20 small pieces can be
casted at a time in the bhatti. The cup side of the model piece is on the lower side and
is covered with coal and the upper part is covered with wood charcoal. This is because
metal needs more heat to melt while the wax doesn’t. The wood charcoal is kept above
so that the wax doesn’t melt fast. The model is kept in the bhatti for 3 to 4 hours.
Figure 3.6 - Pieces before going into kiln
Step 5 – The artisans get to know that the metal has melted by looking at the fire
flames which according to them changes to rainbow colours. Then, they hold the
model with a “sandasi” and shake it to check whether it has melted or not. Until then,
the wax is also melted and vaporises and the mould of the design is retained in which
the melted metal is poured quickly by turning the piece upside down. The model is left
to cool for 1 day.
Step 6 – After that, the upper mud model is broken. The inside model is also broken
and taken out from a hole or any jail-work. Sometimes the model is a solid with no jail-
work or holes in it, in such a case the mud remains inside.

13. ~ 7 ~
Step 7 – Finishing and polishing is done by treating with lime-juice and vegetable juices
and brushing vigorously with vegetable fibres.
Figure 3.7 - Polishing of final figures
(3.2) In the state of Jharkhand(which has a substantial market-share in this segment
due to supportive state policies) :-
Step 1 - A mould out of wet earth is prepared which is roughly the shape of the final
cast image. Then, the clay core is covered with a combination of bee wax, resin from
the tree Sal, nut oil and dhuna(sandarac).
Step 2 - Required design is then hand created on the mould with bee-wax and Lac.
Step 3 - It is then again covered with wet earth.
Step 4 - It is bind with iron wire. Again a layer of earth is put on the mould.
Step 5 - A hole is made in the mould. It is then heated. The heating process melts the
wax or the Lac, and the
Step 6 - Liquid brass is filled in the mould through the hole.
Step 7 - The mould is then left to cool down.
Step 8 - The artwork is then obtained by breaking the mud mould.
Step 9 - After cleaning and buffing the product is supplied to the stores.

14. ~ 8 ~
(4) Tools
Nahla,
janta, choki
tools for
making wax
threads
Hatudi – hammer
Sandasi –
forceps
Birsa –
weighing
scale
Hotta – beater
Mothua –
polished
wooden
plank
Churi – knives

15. ~ 9 ~
(5) Products
Sulga – model
making tool
Butt – wire
brush
Reti – iron filer
Martul –
wooden
hammer
Tangriya – axe
Angtha
mudi –
thumb
ring
Home decorative
items
Candle-
stands
Human/Animal
figures
Gaghuri –
bells
Khodu –
bracelet
Harpajja – bangles

16. ~ 10 ~
Figure 5.1 - Folk figure
Dibbi –
kerosene lamp
Mana –
measuring
bowl
Karat – money
purse
Jagar – lamp-
shades
Andu – anklet

17. ~ 11 ~
Figure 5.2 - Animal figure
Figure 5.3 - Door knobs

18. ~ 12 ~
Figure 5.4 – Goddess
Figure 5.5 - Wall hanging

19. ~ 13 ~
Figure 5.6 - Clothes hanger
Figure 5.7 - Todi or Torhi - Trumpet

20. ~ 14 ~
(6) Sales and Markets
The artisans sell the products through shopkeepers and also themselves. The
products are sold according to rates per Kilogram or sometimes per piece. The weight
sometimes also includes the weight of the mud inside the piece. Their income is
around Rs.5000 to 8000 per month. The products are marketed through various
organizations such as Utkalika(http://utkalika.co.in/dhokra.php),Orupa(
http://www.orupa.org/dhokra.html),Parampara(http://www.paramparaproject.org/tradi
tions_dhokra-metal-casting.html) etc.
The government has adopted a pro-active approach towards the artisans. It offers
them help by taking them to trade fairs. The government also helps eminent artisans
such as Satyabadi Sahu and Hare Krishna Mohrana by taking them to places like
London, Bhutan and Japan for exhibitions, workshops and training.
Now, Dhokra craft items are also available on major E-commerce platforms, which is
nonetheless a good news for the artisans. Examples :-
1. Amazon - www.amazon.in
2. Crafts & Looms - https://craftsandlooms.com/collections/sale/dhokra?view=all
3. CraftsVilla -
http://www.craftsvilla.com/searchresults?searchby=product&q=dokra
4. A2Z Crafts - http://www.a2zcrafts.com/

21. ~ 15 ~
(7) Problems faced by the Artisans
The process of making Dhokra pieces turns out to be unprofitable if 6 out of 12 pieces
are ruined in the process. In such cases, the profit becomes almost zero. Procurement
of raw materials is another issue that causes concern to the craftsmen. Outdated and
obsolete technology further causes high time-consumption in the process and leads
to higher cost per product.
Artisans having won accolades both on the domestic and international level barely
manage to support their families. There are International Certificates winners who find
it difficult to meet both ends. This is also due to the mentality of the craftsmen as they
don’t want to move out of their native places.
Illiteracy among the craftsmen is another threat to the future of the craft as they are
exploited and hence may not choose to continue with the job in years to come.
(8) Role of JharCraft in supporting the Dhokra artisans in the
state of Jharkhand
Five clusters of Dhokra have been developed within the state. They are in Hazaribagh,
Khunti, Singhbhum East, Ramgarh and Dumka districts. Some artisans are also
producing the craft in the Bundu area.
Jharcraft has prepared a module for the forward and backward linkage for the craft
under one roof in Urban Haat, Hazaribagh. The whole value chain is fully supervised
by the professional employees of Jharcraft. Jharcraft provides all possible support for
Group formations, Trainings, Raw materials, Design assistance, & Marketing of the
product of the artisans. With help of the master craftsmen & designers, more than 500

22. ~ 16 ~
new designs in this craft have been prepared. This is supervised by Craftage
Consultant.
During the 34th National Games held in the capital city Ranchi, Jharcraft had supplied
around 14,000 mascots (Chauua) which were prepared fully by the artisans. It was a
great success story for the artisans as they were recognised and appreciated by all
for their efficiencies as well as timely delivery with perfection. Earlier the mass
production was not done by the artisans as each piece is separately crafted but at the
present dates the mass production is easily being monitored and is possible.
Today this art is a source of livelihood for many of the people of the state. Not only the
Malhore caste is involved but other tribal and minor communities including women are
being trained for making the craft so as to meet the rising market demand of the
products. Today 130 craftsmen are involved in this craft. The regular demand and
supply helps to generate regular income for the people in the rural areas.
(9) Conclusion
The artisans earn 5000-8000 Rupees per month which has brought positive changes
in the lives of people. Earlier the artisans who were involved in the craft were nomads.
Today they have a settled life. They can rent houses, buy property, send their children
to schools, fulfil their necessities, and live a respectable life in the society. The artisans
are also provided with health facilities and online payment facilities. Direct bank
payments of their remunerations have made their lives more comfortable.

23. ~ 17 ~
(10) Bibliography
1. Kochhar R. 2 August 2011. Dhokra – The traditional art of metal casting.
Retrieved from :
http://www.chitrolekha.com/V1/n2/02_Dhokra_Bankura_Rajesh_kochhar.pdf
2. Kochhar.R. Dhokra metal casting craftsmen in Eastern India. Retrieved from
www.chitrolekha.com
3. Kochhar R. & Smith D. The Dhokra artisans of West Bengal. Retrieved from :
www.chitrolekha.com
4. Tiwari A. K. Bastar handicrafts. Retrieved from : www.impactjournals.us
5. Chatterjee S. The ancient craft of Dhokra : A case study in West Bengal.
Retrieved from www.irjims.com
6. Bhattacharya S. 2 August 2011. Dhokra Art and Artists of Bikna. Retrieved from
: http://www.chitrolekha.com/V1/n2/03_Dhokra-art-artists-Bikna.pdf
7. Soren E., Sardana M., Shah N., Kumar R., Seksaria S. & Kumari S. NIFT
Gandhinagar. CR0097. 2009-10. Cluster initiative of Orissa.
8. Anupreet , Neelam K. , Singh K. S. , Doshi P. , Mallik R. , Kullu S. S. NIFT
Gandhinagar. CR0099. 2008-09. The Unset Saga : from the streets of Orissa.
9. Figure 2.1 : Anomalous discoveries. 2012. Retrieved from www.ancient-
wisdom.com/
10.Figures 3.1 to 3.7 : Vikram N. Crafts of Orissa – Dhokra in Dhenkanal. 11 July
2011. Retrieved from http://www.craftcanvas.com/blog/crafts-of-orissa-dhokra-
in-dhenkanal