They breathe life into our Gods...Kumartoli, Kolkata

In the first decade of the 18th century most of Calcutta was still a jungle. Amidst the swamps and paddy fields lived fishermen who set up small markets on raised patches of land called dehis. The city of Calcutta covers an area once occupied by three villages. To the north were the villages of Sutanuti and Dihi, while to the south was the village of Govindapur where the British established Fort William. Sutanuti was probably a cotton market and made rapid progress with Burrabazar at its centre supplying the British with provisions. As the British East India Company grew it attracted the services of wealthy Bengali businessmen. Holwell, an agent of the Company, divided the steadily-growing town into a number of quarters named according to the business conducted in each quarter. It is at this time that we hear of Kumartuli or the quarter (tola) of the potters (kumars). These kumars or potters have been engaged in the business of making the clay images of the multitude of Gods and Goddesses that we worship through generations. The tradition of clay image making in West Bengal probably has its origins in a medival village tradition but it was during the 18th and the 19th century that clay image making became established as the distinctive feature of Bengali culture that is seen today. Bengal specializes in preserving this age old tradition. Unmatched skills come to limelight during the festive season of Durga Puja
The tradition of clay image making in West Bengal probably has its origins in a medival village tradition but it was during the 18th and the 19th century that clay image making became established as the distinctive feature of Bengali culture that is seen today.Bengal specializes in preserving this age old tradition. Unmatched skills come to limelight during the festive season of Durga Puja. Months before the puja the clay artisans start to breathe in life in the images of Durga. Bamboo sticks cut in various shapes are required to make the basic structure of the idols and also the platform on which these collosal statue stands. Durga's figure is then imparted shape with straw tied with jute strings. Making of the Durga idols is a lengthy and back breaking process, and it continues to be doen dilligently and methodically by these artisans to create the most excuisite pieces of artistry. Such is the perfection of the idol making, that the skeleton structure of bamboo and straw are done by one group of artisans, while the clay mixing and applications are done by another group. And finally the detailing of the head, palms and feet are done by the highest graded artisan.

The second stage of idol making is applying the layers of clay. The straw figurine of the Goddess is applied with a first coat of clay solution where the percentage of water is high, this application helps to smooth the crevices left by the straw. The second layer is applied with great caution as it is the most important layer, giving prominence to the figure, the clay mixed in this layer is very fine and without any impurities. Palms, head and feet, all of which are separately made are attached to the torso at this point.

On the final day of the festivity as we bid farewell to the Goddess and all the pomp and gayeity that had filled our days, as we immerse the Goddess into the river amidst shouts of "ashche bochor abar hobe.. Durga Mai Ki Jai...", translated this would mean that next year will see a better , grander and a definite celebration of the goddess amidst us, our thoughts do not wander to those nameless artisans who breathed life into a clay model for us to believe in, for us to celebrate.

This post is a dedication to those beautidful and underpaid craftsmen of Kumartoli who for generations have given us the pleasure of the most looked upon festival in India.