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Every Bastar carving is unique because it carries the individual impression or signature of the artist. It is this exclusive trait that has made them popular the world over, writes Pradeep Chandra PARIS
is a long way from Bastar. For artisans of this predominantly tribal
district in central India, the distance is multiplied manifold, given
the differences in cultural upbringing, religious beliefs, social
status as well as financial and economic standing.
The earliest inhabitants of the Indian sub-continent the Bastar aborigines are illiterate and live in primitive conditions. Yet they are known the world over for their extraordinary skills in fashioning wiry, long-limbed figures out of copper and bronze. At a recent exhibition of aboriginal art in USA, Tota Ram, the master artist, represented Bastar with his collection of Hindu gods and goddesses, including tribal versions of Matadevi, Budhimata, Shiva-Parvati, Ardha-Nareshwara (half-man, half-woman), Pardesinamata and Bhimdeva. "They are all inspired by folklore," says the 50-year-old craftsman, soon after returning from his first air trip. "Since our childhood, we are told so many stories of gods and demons that by the time we grow up, the images of these supernatural beings are firmly embedded in our minds." An abiding myth that inspires every Bastar tribal is that of the primordial man. Harking back to a forgotten age, when human beings were virtually animals, the folk legend tells of a man who, one day, while hunting for food, found himself close to a burning mountain. The heat had dislodged a piece of metal, which the hunter lugged back to his cave. The new acquisition so awed him that he cleaned up his filthy home before placing it at a prominent position. This impressed his neighbours, who wanted similar objects. So the man returned to the mountain, where while searching, he chanced upon a hollow containing seven beehives. The mountain fire caused the beeswax to drain away, but molten metal dripped into one of the hives. Upon solidifying, it bore a criss-cross pattern. "Ever since, beeswax has played an integral role in our sculpting process," says Tota Ram. He adds, "Members of our community believe that we are the descendants of that man and it is our duty to imagine and create godly images for our people. Images from such stories find expression in the carvings." "If we were told love stories or those of cops and robbers, we would have been influenced accordingly," explains Sukh Ram, his brother. "Unlike townsfolk, we do not have any other source of information like books, newspapers, radio or television." Another distinctive feature of their carvings is that nothing is copied. Every piece bears the individual impression the artist hears from his elders. It is in effect his signature, which explains the exclusivity of every Bastar carving. Some such ‘signatures’ are already popular. One is that of Sukh Chand, who was the first Bastar craftsman to be honoured with the President’s gold medal in 1969. Another is that of his nephew, Jai Dev, who has been exhibiting in Moscow, Geneva, Los Angeles and Tokyo since 1978. "I held my first exhibition in Calcutta in 1972", recounts Jai Dev, who must have been about 20 at the time. "Two years later I participated in an exhibition at Bombay. I alighted at Dadar station and found a hotel. But a drunken brawl erupted and I spent the whole night quaking in my bed." Since then, Jai Dev has totted up enough frequent-flier miles to turn worldly wise and steer clear from such misadventures, while demonstrating the technique of his forefathers. This 12-step process involves the use of terracotta, rice husk, cow dung, river mud, charcoal and, of course, beeswax. Of late, however, some craftsmen have tried to break out of the traditional mould and experiment with new figurative concepts. "One such is called panchmukh – half tree, half human, which feels pain and sorrow when cut down", explains Tota Ram. "International exposure and recognition have inspired our artists to explore certain universal themes," observes Jai Dev, and adds, "This has led to better acceptability for our work. More than 10,000 families in Bastar are dependant on this art for their livelihood." The popularity of Bastar
art has led to prosperity and to an extent an improvement in the
quality of life for the tribal folk. No longer are they bartering a
figurine for a buffalo or sack of rice. For once they are having real,
countable rupees. — MF
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