Gods On Sale At Kumartuli

Ankita Chakraborty

Half-done clay idols covered with plastic sheets to keep out the rain; dingy alleys flooded by rainwater, makeshift studios fashioned out of bamboos and plastic sheets hardly thwart the vagaries of nature; shutterbugs, foreign tourists and curious onlookers crowd the narrow lanes. Yet nothing can disturb the reverie of the artist absorbed in his creation. It is difficult to believe, that the beautiful idols of goddess Durga which in a few days would lit up the pandals are created in such squalor. And the creator of such dazzling idols has to exist in such all-encompassing darkness, both figuratively and in reality. Welcome to Kumartuli where every household boasts of at least one artist and is easily the largest market for idols.

The Bazaar
The neighbourhood of Kumartuli is divided into three distinct pattis or paras, namely Pratham Patti, Majher Patti and Bangal Patti. The Bangal Patti is home to those who came over from East Bengal after the partition and the rest are the descendents of the first settlers from Krishnanagar.

Kumartuli is home to around 400 workshops. “Congested alleys really are an eye sore to the foreigners who throng the neighbourhood for a glimpse of the artistic endeavours taking place all over the potters’ quarters. If the new studios had been completed on time then we could have made more idols and stored it which is now impossible due to the makeshift structure,” says an artisan.

“There are mainly two seasons when there is tremendous work load – first, during the Durga-Kali Puja season and secondly, during Saraswati Puja. The festive season starts from Manasa Puja in August, then comes Vishwakarma Puja in September, followed by Durga, Lakshmi, Kali and Jagadhatri Pujas and ends with Saraswati and Annapurna Pujas,” said Bhabesh Pal, who is in the business for the  last 42 years and a former office-bearer of Kumartuli Mritshilpi Sanskritik Samity (for Bangal Patti). The New Kumartuli Mritshilpi Pragatishil Samity is another organisation which looks after the interest of the artisans.

Interestingly, according to the artisans, they make more idols during Saraswati Puja than during Durga Puja. “We make idols ranging from 3 feet to 12 feet. The height is calculated from the base itself. Good quality work and mental satisfaction are of utmost importance,” said Pal. He adds, “We have recently sent a 3 feet-tall Kali idol to Melbourne made of fibre glass. Fibre idols are very much in demand though they are more expensive than the clay idols.”

History
In order to control haphazard growth, JZ Holwell, an agent of the East India Company, allotted separate districts to the Company’s workmen and Coomartolly became the potter’s quarters. Earlier, Tola referred to para or locality while tuli meant a minor one. Kumartuli, located at the western part of Bagbazar, was actually a tiny part of the Bagbazar area. The location was advantageous too since different varieties of clay came from the river bank while bamboo and straw was supplied by the boats plying up and down the river. The first kumors or potters certainly hailed from Krishnanagar and Ghurni in Nadia district. Initially, they made the idols at the thakurdalans of their patrons. Meanwhile, the elite natives who had settled at Bagbazar and Sovabazar – required the skills of the kumors throughout the year. They made clay images according to the scriptures; but round the year they also made pots, utensils, tiles and dolls. Subsequently, the artisans were granted a piece of land either by Govindram Mitra or by Gokul Mitra, whose house and Madanmohan temple stand at the entrance of Kumartuli, on Upper Chitpore Road.

Oldest Store
According to the locals, one of the oldest workshops belongs to Jitendranath Pal which dates back to some 250 years. Majority of the artisans claim to be direct descendents of those who came from Krishnanagar, at least two centuries ago.

Noted Studios
Studios of Nayan Chandra Pal, Mohon Bashi Rudra Pal, Kartik Pal, Sri Krishna Pal, Rakhal Pal, Nepal Pal, Sanatan Rudra Pal and Pradip Pal are among the most noted.

The Market
The narrow workshops usually buzz with activities throughout the year, especially prior to Durga Puja it is a treat to watch. Over the years, changes have evolved in the style of modeling the clay idols, their expression and depictions. Apart from Kumartuli which is easily the biggest market, one can also buy clay idols from Ultadanga, Nagerbazar at Dum Dum and Patuapara in Bhawanipore.

Source of Products
The etel maati (black sticky soil) is sourced from the rivers, mainly from Uluberia and Nadia which would cost around INR 50 per tal. This has become very expensive due to the lack of access to the river bank. Bele maati which is used for fine tuning the idol is delivered by boats and lorries. Bamboos are priced INR 100 to INR 120 per piece, and are sourced from Baranagar, Murshidabad and Salkia, while straw is brought from Bagbazar Haat and costs around INR 50 per bundle.

The Artisans
“We are not an organised industry and this is where the main problem lies. We do not even keep a track of our expenses. Sadly, it is in this season that people all around the world come looking for us, where as rest of the time the sector with 10,000 odd-artisans is neglected. Often an entire household is involved in the work and the mantle is passed from one generation to another – in some occasions, three generations work together,” said Bhabesh Pal. But high inflation and the slowdown have hit Kumartuli and left it high and dry. “This year we have been facing tremendous pressure to make ends meet. While orders for supplying idols have not increased, there is pressure from Puja organisers to sell cheap,” informs Pal. Cost of ingredients have gone up nearly 40-50%, mainly in terms of labour charges, paint and accessories. Labour charges have risen from INR 300-400 last year to INR 800 on an average. For skilled artisans, the payment could be around INR 1200-2000 per day. Input cost has gone up. Clay prices have gone up and so has the cost of raw bamboo, claimed another Kumartuli potter.

The labourers are mainly from Burdwan, Nadia and North and South 24 Parganas. Pal points out that during the final years of the Left regime, the government took up a scheme to renovate the age-old studios of the artisan. “Several artisans even shifted to temporary shelters. But the renovation work was going on at a very slow pace and after the change of regime things have almost come to a halt,” said Pal.

The Making Of An Idol

There are two different gharanas of work- Sanatani and Art. Long, stretched eyes are the specialty of the Sanatani gharana where as realistic or modern looking face is where Art gharana differs from the traditional style. Even the embellishments are of two types – sholar saaj, daker saaj while the adi bullen kaj is the most expensive of the lot. “We do the work with copper thread and the industry is dying a rapid death. Experienced workers of this work are fast decreasing. We guarantee a year-long shelf life for the exquisite thread work if it is kept away from water and smoke,” mentioned Bijoy Ghosh of Annapurna Bhandar who has been running this business for last 28 years.

Idol making in Kumartuli goes through three major steps. The basic framework is wrought with bamboo and straw and layers of wet clay is plastered on it. Several layers of clay, interspersed with pieces of cloth which are used to smoothen and hold the clay in place are then used to model the idol. Over the smooth surface of clay, a coat of base paint is applied. Then comes the actual paint which is applied on the body, while the eyes and other features are delineated. Then jute is used to fashion out hair, the goddess is clothed in bright sarees. Embellishments, decorations, sequins are all used to decorate the idol, using a special glue.

So, next time you are on the lookout for an idol, be it for your parar puja or at home, you know from where to make your purchase and get the best bargain.