Hub of Creation
‘Pal’ is the epithet of Kolkata. And Kolkata defines the art of sculpture. The world is lightened with the flame of fame of the famous idol making in Kolkata. It is one of the hubs of creation where potters play with their magical arms and fix mud into wonderful idols.
During the month of September or October, Kolkata seems to be the creative heaven where the potters are the Almighty, giving life to the mud.
World wide fame
The interest for Kumortuli’s inventive work of art is consistently expanding, and its supply rundown is developing at a fast pace all through the globe. From Nigeria to Malaysia, Sweden to Johannesburg, Washington DC to London, and the Caribbean Islands, today, Kumortuli’s panoptic customer base of NRIs are spread crosswise over in far off terrains, including the US, Europe, Asia, Africa, and Australia.
Consistently, during the season of Durga Pujas, symbols created by Kolkata craftsmen advance toward Durgotsavs masterminded by Indian people group living abroad, for example, Bay Area Probasee Inc in San Francisco, “Antorik” in Dallas, the USA, and London Durga Puja sorted out by Indian steel big shot, Lakshmi Mittal.
After worshipping the frame of goddess Durga, pieces of bamboo sticks “konchi” are being tied with the frame in order to build the basic structure. Along with the bamboo sticks, a huge amount of hay is also tied with the frame. This work carries on for two to three days.
Work of Mud
After the tying process, it’s the work if clay soil. There are two phases of mud fixing. The first phase is called “akmete”. This work is continued for at least three weeks and after that the second phase “domete” starts. After the second phase, the idol remaremainst for a month to dry.
Colouring is a long process. It takes a huge timespan. It is done in two ways. Either by brushstrokes of my colour sprays.
The first coat of colour is the whitewash. It is called “short”. It is done so that the colour looks bright when put. The whitewash is left for drying for a few weeks and then the colour starts.
The decoration is the final step of idol making after the colouring process. It is just the workshop that takes place. Goddess Durga and her wards along with Mahishasur is dressed grandiosely. And the process carries on.
Every year, in excess of 12000 Durga gods, made of mud, fiberglass, thermocol, and paper mash, are traveled to upwards of 90 nations around the world, alongside different models of divine beings and goddesses celebrated by Indian people group remaining abroad.
In the course of recent years, Kumortuli is seeing a downpour of fare orders, which are helping numerous specialists to continue, said a renowned craftsman known for his perfect imaginative aptitudes.
Not simply that, the specialty of symbol making itself is drawing enthusiasm from the worldwide group of spectators, and Kumortuli’s craftsmans are doing rounds in different workmanship weeks and presentations around the globe. For instance, a year ago, a mud symbol making showing was held in University of London’s SOAS South Asia Institute, while this in June, China Pal, one of the primary ladies Durga Puja icon producers of Kumartuli, took part in the China-South/Southeast Asian Art Week in South China.