Title: "Harmony of Dhokra Art and Architecture: B.Arch 1st Year Dissertation" Description: Explore the seamless integration of tradition and modern design in my first-year B.Arch dissertation at Jamia Millia Islamia. Delve into the captivating world of Dhokra art and its infusion into contemporary architecture. Uncover the rich cultural tapestry and design potentials as we gracefully connect heritage with modernity.

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DISSERTATION REPORT
ON
DHOKRA ART
B. Arch. 1st
Year
2022-2023
Submitted by
Zakir Ali
Guided by
Dr. Mohammad Saquib
Ar. Mariam Ahmad
FACULTY OF ARCHITECTURE AND EKISTICS
JAMIA MILLIA ISLAMIA
NEW DELHI-110025

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Certificate
This is to certify that Zakir Ali has worked on the DIssertation titled ‘ Dhokra Art’ as a part
of the curriculum of Bachelor of Architecture 1st
year course, under my guidance and
supervision.
Ar. Mariam Ahmad Dr. Mohammad Saquib
Dissertation Guide Dissertation Guide
Proof Qamar Irshad Prof. Hina Zia
Head of Department Dean of the Faculty
External Examiner 1 External Examiner 2

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DECLARATION
I, ZAKIR ALI, hereby declare that the Dissertation Report entitled ‘DHOKRA ART’ is my
original research work and that the information taken from secondary sources is given due
citations and references.
ZAKIR ALI
Bachelor of Architecture (1st
Year)
2022-2023
Date:
Place: New Delhi

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ACKNOWLEDGEMENT
This being my first dissertation report , I learnt a lot if things while doing my research on the
my topic and hence I would like to take this opportunity to express my immense gratitude to
every single person who helped me through the process.
I would like to pay my gratitude to Ar. Mariam Ahmad and Dr. Mohammad Saquib for their
constant and significant support and insights that helped me write this work.
I am also greatly indebted to my family as it was their unconditional love, support, care and
tolerance which made the hardships of research worthwhile.
I would also like to pay my heartiest gratitude to my all friends and classmates who helped
me in compiling and organising the report along with providing support.
I am forever thankful for all the unconditional love and the support that I received in this
journey from people who know me and specifically those who were just strangers to me yet
king enough to reach me and help me in this research journey.
Without their support, I do not think that I could overcome the challenges and complete my
first research.
ZAKIR ALI
B. Arch. 1st Year
Faculty of Architecture and Ekistics
Jamia Millia Islamia

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1 Table of Contents
List off Figures.....................................................................................................6
List of Pie Chat.....................................................................................................7
Introduction
What is Dhokra art?...........................................................................................8
Aim and objective of the study........................................................................9
Literature Review
Origin and History...........................................................................................10
Uniqueness ......................................................................................................11
Importance of Dhokra ...................................................................................12
Tools and Techniques
Method............................................................................................................13
Tools and raw materials used.........................................................................14
Present Scenario
Problems faced ...................................................................................................16
Future..................................................................................................................18
Conclusion.........................................................................................................21
Bibliography......................................................................................................22

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List of Figures
Fig.
No.
Caption Source Page
No.
1 Dhokra statue
of dancing
Krishna
https://www.veniceclayartists.com/dhokra-tribal-art/ 8
2 Dhokra
sculpture
anandodhara.com 10
3 Process of
making Dhokra
art
Dhokra Art and Artists of Bikna: Problems and
Prospects Sourish Bhattacharya
11
5 Nandi bull https://www.veniceclayartists.com/dhokra-tribal-art/ 12
7 Brass and Wax
are melted in
furnace
https://www.dsource.in/resource/dhokra-metal-casting-
adilabad-telangana/tools-and-raw-materials
13
7 Dhokra
sculpture
https://yourstory.com/2018/06/chhattisgarh 14
8 Tools used in
Dhokra art
https://www.dsource.in/resource/dhokra-metal-casting-
adilabad-telangana/tools-and-raw-materials
15
8 Dhokra
sculpture
https://gaatha.com/dhokra-crafts-bengal/ 17
9 Dhokra
sculpture
https://yourstory.com/2018/06/chhattisgarh-kondagaon-
keep-old-folk-art-alive
18

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List of Pie Charts
Pie Chart Caption Page No.
1 Age details of Dhokra 19
2 Gender 19
3 Education Datails 20
4 Income 20

8. Page | 8

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Chapter 1: Introduction
1.1What is Dhokra Art?
• Dhokra, also spelled Dokra, is a non-ferrous metal casting technique.
• It is predominantly used in the tribal culture of Jharkhand, India.
• This metal casting technique has a history of over 4,000 years in India and is still in
use today.
• The term "Dhokra" or "Dokra" was initially used to refer to a group of nomadic
craftsmen scattered across Jharkhand, Bengal, Orissa, and Madhya Pradesh.
• However, it now encompasses a variety of beautifully shaped and decorated
brassware products created through the lost-wax process.
• The technique is also practiced in neighboring states that share political boundaries
and similar cultures.
Figure 1 Dhokra statue of dancing Krishna
https://www.veniceclayartists.com/dhokra-tribal-art/

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1.2 Aim and Objective of the study
• To show how Dhokra has changed and developed over time, from ancient times until
now.
• To describe how the craft is important in the lives of the tribal people.
• To understand the differences that have happened in recent years.
• To discuss the problems they face and solutions given.
• Steps taken by government to promote Dhokra.
COLLECTION OF
DATA
COLLECTION OF
DATA FROM THE
PRIMARY
SOURCES
COLLECTION OF
DATA FROM THE
SECONDAY SOURCES
VISITS TO LIBRARIES
• LIBRARY OF FACULTY OF
ARCHITECTURE AND
EKISTICS
• HANDICRAFT MUSEUM
LIBRARY
CENTRAL LIBRARY, JAMIA
MILLIA ISLAMIA, NEW DELHI
REFRENCE TO VARIOUS AVAILABLE
BOOKS AND MAGAZINES
ARTICLES POSTED ON THE
INTERNET
CONVERSATION WITH THE
AUTHORITIES OF THE
VILLAGE
MERGING THE
PRIMARY DATA
WITH
THE SECONDARY
DATA
INFERENCES AND
CONCLUSIONS DRAWN
FINAL
DRAFT

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Chapter 2: Literature Review
2.1 Origin and History
Dhokra is a traditional craft in Jharkhand, Madhya Pradesh, and West Bengal. It is a metal
formed of brass, nickel, and zinc alloy used for hollow casting and lost wax casting. The
word 'Dokra' comes from the Dokra Damar tribes of West Bengal, who were the first to
pursue this art form. Later, metal casting art extended over Central, Eastern, and South India.
Hollow casting and solid casting are the two types of casting. Hollow casting is used in
Central and Eastern India, including Chhattisgarh, Madhya Pradesh, Jharkhand, and West
Bengal, but solid casting is used in South India, including Telangana. For many people in
Jharkhand, this art is a source of income. This craft is made by several tribal and small
populations, especially Jharkhand women. In Jharkhand, there are 32 tribes, some of whom
have been iron smelters with extensive experience dealing with iron and other metals. While
millennia have passed, selective members of the tribal community continue to make metal
things that mirror millennia's past, although in a primitive manner. Continuing a centuries-old
habit demonstrates how particular cultures and abilities have a unique way of remaining
untouched in the face of massive changes and technological advancements. In India, with a
large tribal population, it is still a part of tribal life and goods.
Figure 2 Dhokra sculptures
snandodhara.com

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2.2 Uniqueness of Dhokra art
Dhokra craft is created without modern technology, and the resulting articles are of high
quality. Skilled artisans use their imagination and creativity to come up with new designs and
invent new pieces. While the items may appear similar, each one is unique and not a copy.
Initially, the craftsmen focused on making traditional antiques, but over time, they have
expanded their range of products. The art is inspired by the way of life of our ancestors, and it
involves making sculptures of birds, animals, trees, deities, brushes, lamps, bowls, and cups.
Dhokra Jewelry has also become popular in modern times.
Figure 3 Nandi Bull (Kushal Bhansali)
Dhokra Art and Artists of Bikna: Problems and Prospects Sourish Bhattacharya

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2.3 Importance of Dhokra art
1. Cultural Heritage: Dhokra art is an ancient traditional metal casting technique that has
been practiced for centuries by indigenous tribes in India, making it an important part
of their cultural heritage.
2. Unique Aesthetic Qualities: The rough textures and uneven surfaces of dhokra metal
sculptures give them a rustic and primitive appearance that is both striking and
beautiful. The intricate designs and motifs are often inspired by nature, tribal
mythology, and everyday life, reflecting the rich cultural heritage of the tribes who
create them.
3. Livelihood Support: Dhokra art plays an important role in supporting the livelihoods
of many indigenous communities in India. The artisans who create dhokra art rely on
their craft as a source of income, and through the sale of their artwork, they are able to
support themselves and their families.
4. Increased Recognition: In recent years, dhokra art has gained popularity both in India
and abroad, leading to increased recognition and appreciation of this unique art form.
5. Government Support: The government of India has taken steps to support and
promote the development of dhokra art, recognizing its importance as a cultural
treasure and a source of livelihood for many indigenous communities.
6. Sustainability: Dhokra art is a sustainable art form that uses natural and locally
sourced materials, and the traditional techniques of metal casting are environmentally
friendly and have a low carbon footprint.
7. Storytelling: Dhokra art often tells stories and legends of the indigenous tribes who
create them, preserving their cultural history and heritage for future generations.
Figure 4 Dhokra sculptures

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Chapter 3: Tools and Techniques
3.1 Methods
There are two main processes of making Dokra art -solid casting and hollow casting.
1. Solid casting- In Dhokra art, the process involves using wax to create molds instead
of clay cores for concrete casting. For hollow casting, clay cores are utilized. Firstly, a
hole is made in the ground to create the desired shape, and then a thin layer of wax is
applied for thickness. More layers of soil are added and dried until the mixture
reaches the desired consistency. Next, molten metal is poured into the mold and left to
cool. Once the clay mold is broken, the carving process is completed. Each Dhokra
piece is unique, with no duplicates. These handicrafts are left unadorned, but the
surface can be enhanced by adding color using various chemicals. Finally, a final coat
of wax is applied to enhance the artwork's appearance.
2. Hollow casting- The first step in the process involves creating a mold using mud.
Artisans mix local soil with rice chaff to form a binding mixture. The design is shaped
during this stage. The clay molds are then dried in the sun for one day. Once
completely dry, tar threads are wrapped around the molds to achieve the desired level
of detail. To create Dokra objects, a mud model of the intended design is constructed
and dried until it becomes firm. Instead of wax, metal scraps are placed inside the
mold, which melts and takes the shape of the mold due to the high temperature inside
the pit. In Dokra craft, tar replaces wax as the primary raw material. Tar is used to
create threads that resemble wax and
can be twisted into any shape. The
furnace pit area is isolated from the
rest of the house to carry out this
procedure in a confined space. The tar
inside the mold is heated to remove it,
and then the mold is filled with
molten metal. The melted tar inside
the mold is collected and stored for
future use.
[https://thoomri.com/products/dk102]
Figure 5 Process of making Dhokra art

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3.2 Tools and Raw materials used
1. Mud: - Mud is the primary raw material used for making the model.
2. Water: - Used for mixing mud and cow dung
3. Cow dung: - The primary raw material used to make the model
4. Wax thread: - Used for the wound the clay model
5. Charcoal: - Charcoal is used as fuel in the furnace for obtaining heat.
6. Brass: - The core material used for making dokra metal products.
7. Wood: - Used for firing purposes.
8. Furnace: - Used for baking clay model.
9. Graphite Container: It is used for arranging and melting metal (brass) crucibles.
10. Hammer: - Used for removing the clay mold.
11. Customized Tool : - Used for rendering the design.
12. Sand: - Used for mixing the clay.
13. Salt: - It is added to metal crucibles.
14. Hacksaw Tool: -This is used for cutting out the extras of the metal product.
15. File Tool: - This tool is used for polishing purposes.
16. Big Size Brush: - Used for dusting and cleaning the clay particles.
17. Furnace: - Used for melting the metal and baking the clay molds.
Figure 6 Brass and Wax are melted in furnace
https://www.dsource.in/resource/dhokra-metal-casting-adilabad-telangana/tools-and-raw-materials

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Figure 7 Tools and Raw Materials used
https://www.dsource.in/resource/dhokra-metal-casting-adilabad-telangana/tools-and-raw-materials

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Chapter 4: Present Scenario/ Current Trends
The livelihood scenario of Dhokra artisans, also known as Dokra artisans, varies based on
several factors such as their location, market demand, and government support. Dhokra art is
a traditional form of metal casting that originated in India and is practiced by various tribal
communities in states like Jharkhand, Chhattisgarh, West Bengal, Odisha and Madhya
Pradesh.
4.1 Problems faced by Dhokra artisans
1. Economic Challenges: Dhokra artisans often face economic difficulties as their
income is dependent on the demand for their artwork. Fluctuating market conditions,
competition from cheaper machine-made imitations, and limited access to wider
markets can impact their earnings.
2. Lack of Infrastructure: Many Dhokra artisans work in remote villages where basic
infrastructure such as roads, electricity, and transportation facilities are inadequate.
This makes it challenging for them to reach potential buyers and expand their market
reach.
3. Limited Access to Finance: Artisans often face difficulties in accessing affordable
credit or loans to invest in raw materials, tools, and equipment necessary for their
craft. This hinders their ability to scale up their production and meet market demands.
4. Technological Advancements: With the advancement of modern manufacturing
techniques, traditional Dhokra art can face the risk of losing relevance and demand.
Artisans must adapt and incorporate modern designs and trends to attract buyers while
preserving the essence of their traditional art form.
5. Skill Transfer: Dhokra art is usually passed down through generations within artisan
families, and the lack of formal training institutes or schools can make it challenging
to transfer these skills to the younger generation. This can further limit the growth and
sustainability of the art form.
6. Traditional Materials: In its early origins, Dokra art primarily used non-ferrous metals
like brass, bronze, and bell metal. These metals were locally available and had
excellent casting properties, allowing artisans to create detailed and durable
sculptures. The primary material used for the casting process was a mixture of
beeswax and clay.
7. Introduction of New Materials: With the advent of modern technologies and increased
connectivity, Dokra artists began to experiment with new materials. One significant
change was the use of alternative metals, such as recycled metal scraps, including iron
and aluminum. These materials offered cost-effective alternatives and allowed artists
to explore different aesthetic possibilities.

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While traditional materials like brass and bronze continue to be widely used in Dokra art, the
introduction of alternative metals, surface treatments, and sustainable practices have
expanded the creative possibilities for contemporary Dokra artists. These changes in
materials reflect the evolving nature of the art form while maintaining its cultural essence and
aesthetic appeal.
Efforts are being made by government agencies, non-governmental organizations (NGOs),
and social enterprises to address these challenges and uplift the lives of Dhokra artisans.
These initiatives include providing training and capacity-building programs, establishing
marketing platforms, creating design interventions, and supporting artisans with financial
assistance and infrastructure development.
By supporting the Dhokra art form, promoting its cultural significance, and creating
sustainable market linkages, it is possible to improve the livelihoods of Dhokra artisans and
preserve this traditional craft for future generations.
Figure 8 Dhokra sculpture
https://yourstory.com/2018/06/chhattisgarh-kondagaon-keep-old-folk-art-alive

19. Page | 19
4.2 Future of Dhokra art
The future of Dhokra in Jharkhand at present seems a little blurred, mainly for the following
reasons:
1 The tribals involved in this beautiful art form are mostly residing below the poverty line;
2 The government finds it difficult to keep a record of these artisans as they are nomads,
moving from one place to the other. Naturally with no permanent settlement they have
nothing else to do;
3 The influence of the NISTADS experiment was warmly received by the other state
governments, but for Jharkhand the case wasn't so;
4 Most of the artisans involved in the Dhokra craft are particularly illiterate and hence
have no or little knowledge of the changing art form. They tend to stick to their own
indigenous ways;
5 Dhokra, undoubtedly has a very intricate processing technique yet the dealers do not
give the needed price for the hard work of the artisans. Hence, the artisans are forced to
abandon this trade and work as labourers;
6 The Jharkhand government is no doubt working hard to save this craft and to benefit its
artisans, yet the fruits of this significant hard work by the government is yet to come
Though Dhokra is prospering very well in the neighbouring states, Jharkhand has yet to gear
up to save this dying craft in its own vanity.
Figure 9 Dhokra Sculpture
anandodhara.com

20. Page | 20
Table no.1 shows from 27 artists surveyed 8 artists were between the ages of 18- 30, 12 artists were between the
ages of 31 - 40, 5 artists were between the ages of 41 - 50, 1 artists were between the ages of 51- 60, and 1 artist
were between the ages of 61 – 70
As per the respondent’s table no.2, shows 15 were male and 12 were female artist.
30%
44%
18%
4%
4%
Age details of Dhokra artist
18-30
31-40
41-50
51-60
61-70
56%
44%
Gender
Male
Female

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Table no.3 shows out of 27 artists 8 have no formal education and 19 had formal education where 9 have
completed primary school, 7 have completed middle school, 1 have completed secondary school and 2 have
done senior secondary school.
Table no.4 shows out of 27 artists 2 artists have a monthly income of less than 2500 rupees, 18 have a monthly
income of 2501-5000 rupees, 3 have a monthly income of 5001- 7500 rupees, 3 have a monthly income of 7501-
10000 rupees, and 1 have a monthly income of more than 10000 rupees.
33%
30%
26%
7% 4%
Education Details
1st Qtr
Illiterate
Middle School
Senior Secondary
Secondary
7%
67%
11%
11% 4%
Sales
Below Rs 2500
Rs 2501-5000
Rs 5001-7500
Rs 7501-10000
Rs 10000 ABOVE

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Chapter 5: Conclusion
The Dhokra craftsmen, engaged in making brass artefacts using the millennia-old lostwax
process of metal casting, has shown that these craftsmen are more than willing to improve
their technology provided this is done with sensitivity and without overwhelming them. To
sum up, traditional craftsmen need help at three levels:
1. Benefit of higher social networking;
2. Technological assistance in absorbable and maintainable upgradation; Help in
marketing implying higher wages for this self-employed labour force.
3. Of all these, the most important is the help in marketing. Most craftsmen, because of
illiteracy, ignorance and lack of social confidence, are unable to take advantage of
government schemes or deal with buyers. If this generation can absorb technical
improvements and adhere to Dhokra work with increased wages, the next generation
will hopefully be able to demand and obtain higher prices from middlemen as well as
bulk or individual buyers.
Also, there is need to advertise their goods and obtain orders from across the world through
internet.

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Chapter 6: Bibliography
• Dastkari Haat Samiti “The Process of Making Dhokra Products”
https://artsandculture.google.com/story/kAUBNhtpqUgiIg
• Tapestry Tales in Handlooms
https://artsandculture.google.com/story/8gWBGFhiqlDmZw
• Malavika Sinha. Dhokra: A Traditional Craft of Rural India. Volume 1, Issue 3, Oct -
Dec 2015, PP 31-33.
• A Survey Research on Outreach and Effectiveness of Governmental Schemes on
Lives of SC/ST Artisans of Jharkhand
• http://handicrafts.nic.in/
• Rahul Samanta, “A Case Study on Metallurgical Aspects of ‘Dhokra’ Art”
• Dhokra Shilp - Making Process: https://youtu.be/Wv-5UbhkF9c
• How Metal Artists In India Are Keeping A 4,500-Year-Old Craft Alive | Still
Standing: https://youtu.be/6d0n1G-vcRM
• Bastar Dhokra Art | Glorious India | Chhattisgarh : https://youtu.be/XOvusvnTO8Q
• A Survey Research on Outreach and Effectiveness of Governmental Schemes on
Lives of SC/ST Artisans of Jharkhand
• https://thoomri.com/products/dk102
• Kochhar, R., "Dhokra: The traditional art of metal casting (a brochure)", NISTADS,
New Delhi
• Mukherjee, M., "Metal craftsmen of India", 1978, Ganga Kaveri
Publishing House, Calcutta
• Reeves, R., "Cire Perdue Casting in India", 1st edition 1976, Kanak Publications,
New Delhi
• Abraham, T.M., Handicrafts in India, 1964, Ashish Publishing House 5. Bhavani, E.,
Folk and tribal designs of India, 1978, Chemould
Publications and Arts