"Dhokra Art" - Basic Facts

“Dhokra” is a common folk art form in India. This is widely practised in many tribal areas of India, but mainly in central India, such as in Madhya Pradesh, and Chattisgarh, as well as in Odisha, Jharkhand and West Bengal. This art-form for making castings in brass or bell-metal (these being varying compositions of copper, zinc and occasionally a bit of tin or arsenic) relies on the “lost-wax” process of casting. The “lost-wax” process is so-called because the forms and designs are made in bees’ wax or some similar malleable materials that volatilizes and evaporates or is otherwise “lost” in the process of heating up the rough casting in a furnace. The process starts with craftsman or artist making a rough clay figurine or shape, say of a horse or a bull, or some local deity, or a utility item like a candle-stand, as the core for the casting. This clay, usually from a river bank, is finely ground and sieved and then shaped and dried in the sun. The surface of this “core” shape is thoroughly smoothened and the craftsman proceeds to cover this fully with fine extruded threads of bees’ wax. Over this are placed the actual designs as diamond-or star-shaped or coiled arrangements in bees wax and the finer details of eyes, ears, clothing, ornaments, etc. (also in bees wax) are added on. This wax-coated core is then covered with clay, also finely sieved and of a soft texture, and allowed to dry in the shade for a couple of days. This is then coated with a thicker and coarser layer of clay mixed with rice husk, taking care that at one point, either at the top or bottom of the shape, an aperture is kept open with a couple of thin bamboo sticks. This whole is then again dried in the shade for a couple of days.

The above photo shows three different types of "lostwax" art - the typical folk style, the South Indian statuette and modern art college piece. It will be realized that with this process the wax designs made on the inner core have made for a gap of about 1.25 to 1.5 mm (i.e. the diametre of the extruded wax threads) with the other clay coating, carrying the imprint of the patterns and designs on the inner surface of the clay coating. The rough casting is then placed in the furnace together with a small pot carrying the brass or bell-metal scrap fixed firmly where the bamboo sticks emerge from the aperture. This whole is then heated in a furnace with the pot of scrap metal at the bottom and bellows are used to induce the furnace temperature to rise to more than 900 deg. C, which the melting point of brass. The bellows are kept going for an hour or an hour and half till the clay casing starts glowing yellowish red. With practice and experience the craftsman knows when to take the next step and this he does by clamping the red-hot piece with long iron pincers and swiftly turns it over so that the molten brass or bell-metal now flows down by gravity and occupies the space for the patterns and designs left on the inner clay core as the bees wax would have by now long volatilized and evaporated. The casting is allowed to cool in the shade for an hour or so and then outer clay casing is broken open and the final cast figure emerges. This is then cleaned with light brushing with an iron brush and further finished if required with a steel file. Strange as it may sound, this same “lost-wax” process has been used also to make the famous “Tanjore Bronzes” in Tamilnadu as well as the well-known Benin Bronzes from West Africa. Of course, in such cases the clay core has been much smaller and the bees wax coating considerably thicker and smoothened over with fine iron implements. The finer details of eyes, nose, ears, hands etc, are usually later sculpted on the cast figurine with fine iron instruments and the figure finished with steel files, sand-papering and buffing.

This picture is of a traditional Dhokra item from Bastar in Chhattisgarh, of Rama and Lakshmana confronting the demon Ravana.