Dhamrai Metal Crafts: Story of a Dying Cultural Heritage

By Mesbah Ul Haq

Imagine. Only seventy years back, you are passing through a quiet rural township. Among other natural ones you listen to the clanging sound of blacksmiths, metal workers and artisans that made up a wonderful rhythm of beautiful working melodies. Obviously that transpires existence of metal crafts being an important part of olden Bengal's artistic tradition that dates back to over 2000 BC on the Indian peninsula. History shows that some of the greatest metal craft masterpieces of the ancient time were made here by skilled artisans and sculptors that were magnificent in design, exclusivity, details and workmanship. Though once a matter representing our golden age of civilization, pride and social identity, regretfully in the course of time that cultural heritage highly rich in aesthetics and artistry has fallen on the verge of extinction. In fact only a few in our society, nowadays, are aware of the fact that one of the main centres of such metal crafts of the sub-continent had been on this soil where only a few artisans still have been toiling to their most to revive this millennium-old art-form. Now a Muslim-majority country, Bangladesh was a land of mixed religion and culture in the past. Throughout history Hindus or the followers of the Sanatan religious beliefs had been here for thousands of years in large numbers. Since Emperor Ashoka's conversion to Buddhism in 262 BC Buddhism, as late as 7th century AD, was still prevalent here what is now Bangladesh. Buddhists today are rather a tiny minority, living mostly in the hill tracts bordering Myanmar. Later since Hinduism's resurgence in the 8th century AD until the partition of British India, Hindus lived in large numbers in the then East Bengal. After 1947 Hindus' exodus to India that repeated after our independence in 1971, left the community here a mere minority status with below 15 percent of the population. Traditionally Hindus and in lesser proportion Buddhists were the main force behind this metal art who articulated their religious and social imaginations, beliefs and messages through the artifacts. In the ancient Bengal Dhamrai, a small rural township about 40 km northwest of Dhaka and predominantly a Hindu inhabited area, and its adjacent region were the centre of metal crafts where almost every family was involved in this art form using some unique 2000 year old techniques. For generations, they had been making beautiful metal objects using a variety of techniques. These metal objects, ranging from everyday use items like culinary to religious idols of both Buddhism and Hinduism, are not only unique artworks but also represents the centuries-old tradition of craftsmanship. Although the traditional metal industry once existed in other parts, Dhamrai had been the epicentre for centuries due to the quality, workmanship and aesthetic appeal attached to its wares. While in the early 1950's people of about 30 villages in DhamraiShimulia region were in this trade but as the artisans left now only around five
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families, against all adversities, are trying their best to keep this trade moving. On the other hand the industry has been facing stiff competition from much cheaper machine made aluminium and plastic products. Over and above the aristocracy once attached to using metal crafts had in most instances faded out of our culture. All these in fact contributed for its traditional market to dwindle to such level that special effort needs to be taken by all concerned for its survival. But as a kindle of hope an NGO named Initiative for the Preservation of Dhamrai Metal Casting (IPDMC), headed by a bright young man Sukanta Banik (34), have taken up the task of reviving the lost art of metal casting and metal crafts of Dhamrai. Sukanta's family has been in this trade for the last 200 years. The Banik House at Rothkhola in Dhamrai, a century old eye-catching zamindari style twostoried building of 27 rooms with 20 family members, was once a prime supply point of metal crafts for other parts of the land. The family suffered huge loss during liberation war and their trade almost halted to an end. Then with only 5 members left Sukanta, the youngest son of the family and a Masters in Political Science from Savar College, took over the dying family business in 2000 with a meagre amount of capital from his mother. And the journey of Dhamrai Metal Crafts (DMC) started with Sukanta at the helm with assistance from his parents, Phani Bhushan and Tara Rani. Now, practically, he is the lone torchbearer on his mission to revive the lost art of metal casting and metal crafts here. Besides other wares, since the crafts are mostly of Hindu and Buddhist images there had been lesser interest of the local Muslim population. But diplomatic community and foreigners has long admired the work of these metal crafts who had been frequently visiting Dhamrai in search of metal artifacts and antiques. In fact there has been a wide market for oriental metal artifacts specially of religious images in India, the USA and Europe. In this way Sukanta came into contact with Matthew S Friedman, an international health advisor with USAID having keen interest in traditional arts who later had authored a book titled Bangladesh Metal Casting: Five Techniques published by UPL in 2001. Their relationship ultimately brought IPDMC an initial aid of US$ 14,000 from the US Ambassador's Fund for Cultural Preservation with which the centuries old metal casting techniques had been graphically documented, artisans trained under skill exchange programmes with Nepal, training workshops conducted in Dhamrai and on-hand training experience delivered to some 200 school children. Side by side there had been expositions, one last year at the Bengal Gallery of Fine Arts that drew a large number of art lovers from home and abroad. History shows that casting has emerged as an essential foundation of civilization. With it, the ancient man unlocked his future, placing him on the path toward conquering his environment. Metal casting is one of the oldest and also the most modern of the metallurgical arts. According to biblical records, casting technology reaches back almost 5500 years BC. Among others the most popular method of casting throughout the ages is called the Lost Wax Method. Artisans of ancient civilizations used this method to cast weapons, tools, jewelry and household
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items as well as works of art. In the thousands of years since it was first used, the use of technology has improved the ease and accuracy of the process but, remarkably, the concept remained the same. As the casting is a meticulous evolution there is no simple reproduction under this method. Over 4000 years ago, between the rivers of Tigris and Euphrates in a land known as Mesopotamia, today's modern Iraq, ancient artisans produced idols and ornaments using natural beeswax for patterns, clay for molds and manually operated bellows for stoking furnaces. The oldest casting in existence today is believed to be a frog, cast in copper. In the third millennium BC, somewhere between the Black Sea and the Persian Gulf, an artist created a sculpture in beeswax, covered it in liquid clay and baked it in flames. In the flames, the wax was lost or evaporated, replaced by empty space, surrounded by a clay shell. The artist used copper and tin to make a bronze alloy that the artist poured into the cavity left when the wax melted. After the molten metal within the clay shell hardened, the sculptor knocked the clay from the metal, and the first bronze was cast. The process was similarly used by artisans and sculptors of ancient Egypt, the Han Dynasty in China, the Benin civilization in Africa, the Aztec goldsmiths and the Indus Valley. Today, some 5000 years later and with the help of modern technology, this process is used to create items from the finest jewelry to extremely complex aerospace components. The lost wax method of casting images in metal has a long history of tradition and growth in the Indian peninsula. Here the earliest examples of images produced by this method have been unearthed in the excavations at Mohenjodaro and Harappa in the Indus Valley. Some of these early metal cast images date back to nearly 5000 years ago. However those found in this part of the land, specially Southeast and North Bengal that stretched over a period starting from 7th century and 11th to 12th centuries respectively. Those images found in the North are mainly Hindu whereas those from the Southeast are essentially Buddhist that are preserved in the National Museum, Varendra Research Museum and Mainamati Site Museum in Bangladesh along with the British Museum in London, Indian Museum in Kolkata and the Louvre in Paris. Nowadays in the quiet township of Dhamrai, remarkably, the artisans of DMC still continue to produce lost wax castings using the same method passed down through the ages from generation to the next. They have been using a variety of different techniques to make metal objects of outstanding creativity. But only a few in our society possess insight into the mysteries behind Bangladesh's dying metal casting industry. There are five different casting techniques, including the lost wax method, the clay casting method, the sand casting method, the spoon casting method and the plate casting method. These methods are used to make items ranging from ornate Hindu and Buddhist statues to simple household objects such as spoons and toilet pots. Traditionally metals like copper, tin, zinc, iron, mercury, lead, gold and silver are the primary raw materials that are used in the process. But as a general rule, three basic alloys are mostly used here: brass, bell-metal or white brass and bronze. Recent estimates are that there are only six craftsmen left in Bangladesh who
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are capable of making masterpiece-quality objects by using the lost wax method. It is a highly sophisticated process that requires both original creativity and skillful craftsmanship. Besides, there are a number of bottlenecks like scarce of equity capital, absence of affordable and stable price of raw materials, non-existence of dependable supply of raw materials, very narrow market exposure, lack of proper government support, non-availability of institutional finance and bureaucratic hassles on way to export initiatives. But, above all, the prime drawback centres round domestic social acceptance and economic awareness.

Vajrasattva, Mainamati Against today's mass-produced, machine-made uniform products Dhamrai's metal wares possess the specialty of being unique in every piece since they are crafted completely by hand and, in the process, a different mold is made for every piece. Since its workmanship demands fine attention to details and high degree of artistry, the artisans use great imagination and creativity to design their wares, specially metallic images and sculptures. Needless to say that the intricate designs and the spirit of the piece all depends on the creative intellect and artistic capability of the craftsmen. Naturally, the creative a craftsman, the more aesthetic value he adds to his creation that satisfies the eyes and hearts of many. Being artistic and labour instensive, this process builds ultimate value into every creation. Ours have a rich history tracing back to the Pala Dynasty (800-1100 AD), during which time both early Buddhist and Hindu settlements once flourished. This aspect of history, therefore, is explicitly reflected in the artifacts produced here which is another specialty of metal crafts of Dhamrai. The wares are highly durable, passes through ages to become an antique in time that survives sometimes over thousands of years. But only a few in our society are aware that these striking art sculptures and other artifacts of high standard are made in Bangladesh. One may be in astonishment at the price of such wares of delicate craftsmanship that may range from a few thousand to a few lac Taka a piece. And according to the size their
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weight may exceed over hundred kilogram. Needless to say that it is due to the use of lost wax method, which is not widely used and requires a new figure in wax and a new mold for each cast, making each object an unique one. But there are ample potential for some other types of artifacts that need to be addressed for the purpose. For that purpose souvenirs depicting replica of olden sculptures along with images of such landmarks like National Mausoleum, High Court Building, Baitul Mukarram Mosque, Mujibnagar Mausoleum, Ahsan Manzil, Curzon Hall, Jamuna Bangabandhu Setu, Natore Palace, Lalbug Fort, Shait Gambuj Mosque, Dhakeswari Temple, Atia Mosque, Rabindra Kuthhibari, Buddhist Pagoda of Cox's Bazar and Kantajee Temple along with religiously neutral statuary of our great sons and daughters of the soil might have been an option.

Metal art of Dhamrai While accepting the fact that our metal art has almost reached on the verge of extinction but despite that, there are still chances of reviving this rich heritage of Bangladesh. Historically since the lost wax method is very ancient one which has withstood centuries, the artifacts made by that method visually tell the tale of past cultures, their religion and social structures. It is rather a matter of relief that Bangladesh is one of the few countries where this ancient tradition has been preserved to modern times. So this can be an interesting subject for social scientists and archaeologists to study the social context of traditional metal casters. As those crafts bear religious, social and ethnic values ethnoarchaeological research into this art form can be taken up. That would study and analyse contemporary cultures with the aim of understanding the behavioral relationships that underlie the production of material culture and outline the role of metallurgy in the social evolution of societies in this region. Besides, the tradition the metal casters in Bangladesh are mostly hereditary; as such acquiring detailed genealogical information concerning prominent families like the Baniks of Dhamrai might be of much social value.
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It is worth mentioning here that among the metal workshops in Dhamrai, DMC of Sukanta Banik is an exception as to its variety, design, finishing and quality. While casting traditional objects using the ancient process he at the same time had introduced contemporary sculptures with summation of different cultures as well. His works strike a balance in the production of metal statuary with religious fervour for the sacred, and profane or those for the tourists. These delicate and eye catching pieces highlight the creative ideas, extraordinary skill, highest precision, passion, dedication, and the time that are put in its making. Sometimes it takes a few months to complete a masterpiece. The sensuality, spirituality and beauty of these images emphasize that as if they have been created for eternity that radiate a sense of immortality and reflect the fascination and mystery of our ancient cultures. To understand the lost wax method as used by the artisans of Dhamrai, bees' wax is mixed with paraffin and the wax is used to make statues or solid images. A 800 watt electricity bulb is placed in the light box to help keep the wax soft and pliable. First the craftsmen use wax to make the figure with great precision. Then it is decorated. Subsequently, three layers of clay are put on the figure. The first layer is a very fine clay solution using a brush. The second layer is clay mixed with jute fibre and sand that works as binder. The third layer is clay with rice husk. Then the mold is dried for a few days in room temperature. The next step is casting the mold. Usually around 100-120 kg of metal is cast at a time. After the metal put into crucible, the mold and the crucible are placed in an oven for firing at a high temperature. The burnt mold hardens like a shell while the wax in it is lost or evaporates completely and leaves the mold empty. Also as the metal in the crucible melts that is poured into the mold and given form. The mold is then cooled in open air before breaking it to bring out the cast metal figure that is then given finishing touches. Obviously, when we celebrate Bengali culture in all its richness we take pride in your diverse cultural scene and the traditions handed down through generations. In the similar manner we appreciate our arts and crafts. But one of our pride heritage or an important part of Bangladesh's artistic tradition, the centuries old metal art of Dhamrai, is now in danger of being lost for ever. Though the lone runner Sukanta and his IPMDC are trying their most but it is the rest of us Bangladeshis' moral responsibility to help revive and revitalise this lost art that once built up an important part of our national identity. Economically, these metal crafts can add to our schedule of non-traditional export items bearing much value in the international market. If governmental support is provided at the initial stage it can well contribute as an export oriented industry and help the country earn considerable amount of valuable foreign exchange. Now as a conscious citizen of this country it is our duty to protect and preserve such elements of culture that timelessly reflect a nations heritage. Since losing such traditions would not be only a tragedy for us but a loss for the entire world, beside local initiatives, international bodies like UNESCO may be approached for help to preserve and keep this legacy alive. But there are lots to be
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done for that purpose. Increase social awareness for patronising such form of art; publicity specially by our missions abroad; training & exposure of the artisans; ensure availability of raw materials; arrange frequent expositions, both at home and abroad; product diversification; maintain product standard and product quality; remove bureaucratic bottlenecks, specially for export clearance; governmental support in policy, procedures and fiscal matters; ensure cost effective market delivery system; ensure soft loans; and help explore export markets are some of the prime issues of concern for this dying trade. It is now high time to take the task in the hope that our future generations will come up to appreciate the aesthetic values, and the time and effort that goes into making these unique magnificent art works. And in this way we shall be able to keep alive one of the foundations of human civilization. 000 The writer is a senior bank executive

Published in The News Today in 3 installments on 21, 22 & 23 May 2007