Kanchipuram Golu Bommai

Dept. of FC/ NIFT, Chennai 2021 2



KANCHIPURAM GOLU BOMMAI A Craft Cluster Initiative- 2021 Department Of Fashion Communication Mentor- Ms. Divya N NATIONAL INSTITUTE OF FASHION TECHNOLOGY, CHENNAI

All rights reserved. The publication is the intellectual property of the Department of Fashion Communication, National Institute of Fashion Technology. It is purely for academic purposes and no part of it may be reproduced, distributed, or transmitted in any form through photocopying, recording, or any other electronic or mechanical methods. Copyright© 2021 By NIFT, Chennai National Institute Of Fashion Technology, Chennai Department Of Fashion Communication 5 Craft Research & Documentation on Golu Bommai

CERTIFICATE This is to certify that the document ‘Kanchipuram Golu Bommai’ is a unique record of the work undertaken by the following students of Fashion Communication at National Institute Of Fashion Technology, Chennai under their mentor, Ms. Divya N, Assistant Professor, Fashion Communication. The document is an outcome of original work with an integrity percentage of 94%, wherein all sources have been duly acknowledged and cited. GROUP MEMBERS Sweta Rudra Priya Apoorva Das Pranav Kaware Vedaanshi Patel Akshat Srivastava Sanskriti Prabhakar Prasanna Venkatesh Vasantha Bharathwajan Dept. of FC/ NIFT, Chennai 2021 6

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ACKNOWLEDGEMENTS We express our sincere gratitude to the National Institute of Fashion Technology and the Ministry of Textiles, India for giving us the opportunity of a craft cluster visit through virtual means. This document would not have been possible without the spirited support and constant guidance of our Cluster Mentor- Asst. Prof Divya N along with our Centre Coordinator for Fashion Communication- Prof. Dr. Martin J. Mathews. We would also like to thank the guest lecturers who took out their precious time for guiding us through the documentation process. We are immensely grateful to the loving and doting craftsmen and their family who always radiated warmth for us. We also thank the readers for choosing to explore the hidden intricacies of the craft with us. Dept. of FC/ NIFT, Chennai 2021 8

CONTENTS 6 8 CERTIFICATE 11 ACKNOWLEDGEMENTS 13 PREFACE INTRODUCTION 29 Crafts of India 45 Doll Crafts of India Papier-Mâché Crafts of India Papier-Mâché Crafts of Tamil Nadu Kanchipuram Attractions Arts and Crafts of Kanchipuram GOLU TRADITION Inspiration For Golu Golu Bommai Religious Significance of Golu The Setup The Practice Personal Connection Varieties in Golu Dolls Popular Depictions Modern Relevance VISUALIT Y Types of Golu dolls Forms Measurements Inspiration From Print Media Rasas Alankara 9 Craft Research & Documentation on Golu Bommai

Jewellery 87 Details Permutations And Combinations 117 Influence of Kanchipuram 129 Influence of Painting And Visual Media Evolution 139 143 PROCESS 147 Tools and Machinery Dept. of FC/ NIFT, Chennai 2021 10 Materials Clay- Sourcing and Testing Mould Making Doll-Making Painting Paints used Glimpses of the process ARTISANS Workspace Artisan Profile Factors Affecting The Craft MARKET STUDY Offline Vs Online Market Competition Government Initiatives Impact Of COVID Design Opportunities CONCLUSION GLOSSARY BIBLIOGRAPHY

PR EFACE Kanchipuram is well-known for its remarkable temples and silk sarees. Located in the Indian state of Tamil Nadu, the city is also a hub to a craft cluster that makes golu dolls. This cluster which houses numerous doll-making families is as much a brain child of Kanchipuram as the silk saris. Therefore, a craft documentation has been done to keep a record of the handicraft of Golu dolls, undertaken by the Fashion Communication department of National Institute of Fashion Technology, Chennai. The objective of doing this research was to get the students to gain experience of the craft from the artisans themselves and document their findings. It aims at getting an in-depth knowledge of the processes, traditions, techniques, tools and issues of the craft and sensitise the students towards the rich culture of India. The students have been fortunate enough to learn the craft from the expert artisans of Kanchipuram (Chinna). This document also serves to educate the reader about the Golu doll-making craft and the efforts put in it. Along with general research on the craft, it brings up the customs and traditions of Kanchipuram that are linked to the dolls. It elaborates on their visual aesthetics and how they are fashioned from scratch. 11 Craft Research & Documentation on Golu Bommai

Kailasanathar Temple Dept. of FC/ NIFT, Chennai 2021 12

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INTRODUCTION Dept. of FC/ NIFT, Chennai 2021 14

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CR AFTS OF INDIA The term craft is derived from the middle Mahatma Gandhi came up with the philosophy English word for ‘strength’ or ‘skill’, further of Swadeshi to make villages self-sufficient by derived from the old English word craeft creating indigenous handmade products and which comes from the old high German boycotting foreign industrial goods. word Kraft which means strength or ‘skill in After independence, the government planning, making, executing.’ realised the need to revive Indian crafts. What sets the crafts of India apart is their Gender inequality, illiteracy, poverty, and diverse nature and ancient value gathered negligence over time prevented the craft over time. With simple tools and ingenious community from developing. The Handicrafts application of raw materials, these crafts and Handloom Export Corporation of India are a fashion statement in themselves. This was set up to ensure promotion and export brilliance of Indian handicrafts, was what of handicrafts. It especially worked towards caught the eye of the European traders sourcing raw materials and boosting sales for thus, forging trade relations with India and the crumbling handloom industry. later, leading to the colonial rule. However, Today, the Development Commissioner the industrial revolution’s machine-based (Handicrafts) under the Ministry of Textiles is production greatly threatened the handicraft a nodal agency for craft and artisan-based industry in India. It was challenging to find activities. It spearheads the country’s efforts ways to nurture the artistry of Indian crafts, to promote the handicrafts sector. while preserving its authenticity. Dept. of FC/ NIFT, Chennai 2021 16

DOLL CR A FTS OF INDIA Dolls have always fascinated the world. The social life have been the three basic ideas oldest toys discovered date back to the Indus inspiring artisans since ages, and the same Valley civilization, about 5000 years ago. has been expressed in various mediums from Harappan art goes back to 3 millennia and stone to celluloid. Dolls in India have similar suggests earlier development. The precise themes too. modelling of human and animal figures The Asharikandi craft cluster in Assam is at Mohenjo-Daro is an evidence of the notable for making Hatima dolls or Hatima technical skills of craftsmen who could cast Putul, with a special, locally available soil images in metal using the wax process. The called Hiramati. The doll is also known as techniques they used suggest the existence ‘Mother-Child’ doll or ‘Mao-Baccha putul’ as of a civilization with advanced artistry. Their it carries a child in her arms. creativity was no less. Worship, nature and Kathputli Hatima doll Varanasi toy craft 17 Craft Research & Documentation on Golu Bommai

The artisans of Varanasi craft wooden dolls The Thanjavur dancing doll is a fascinating which are brightly painted and lacquered. bobble-head doll that is cleverly crafted by Dolls of deities and traditional Indian couple concentrating the centre of gravity and total are always in demand. From the west, the weight of the doll at its bottom-most point, Rajasthani Kathputli is the celebrated globally creating a dance-like movement without any for its quirky puppetry. external force. The GI tagged Kondapalli dolls of Andhra Wooden Marapachi Dolls of Tamil Nadu, were Pradesh are made from Tella Poniki wood and at one time, gifted to child brides. They were a mixture of tamarind seed paste, sawdust and built naked and the child could dress it up as clay. It is then painted with lustrous pigments. per her preference. Hence, it is noteworthy The dolls display mythological stories, avatars that dolls have served as more than just of Hindu Gods and Goddesses, animals etc. showpieces over time. Marapachi doll Thanjavur dolls Dept. of FC/ NIFT, Chennai 2021 18 Kondapalli doll

PA PIER-M ÂCHÉ CR AFTS OF INDIA The craft of papier-mâché first developed during the Mughal era. Due to its unmatched quality, the Kashmiri paper or Khosur kagaz was held in high regard for preparing manuscripts. Over time, Kashmiri artisans added their own flourishes to the art form with signature motifs of kingfishers, Irani Gulab, maple leaves, horsemen, Chinar, almond trees etc. The craft extended to other household objects like pen-cases, vases, replicas of Samovar (metal container used for heating water for tea), houseboat models and more. Kashmiri papier mâché has a more subtle colour palette of yellow, brown and orange colours that were extracted from turmeric, saffron and walnut shell or pomegranate. Other than that, black, red, green and golden are recurring colours. Indian papier-mâché artisans still create wonderful artifacts. Ujjain in Madhya Pradesh is the main hub for papier-mâché craft in the region. Birds, decorative panels, masks of animals and mythical characters are all explored. The craftsmen of Ujjain are recognized for making the birds in life size and painting them with their original colours, making them look almost real. In Orissa, the artisans collect waste papers and cloth to create a mixture so malleable that it can be easily moulded to form a wide variety of objects. The patachitra styled masks locally known as Mukha, is their specialty. The artisans of Bihar and Jharkhand make traditional masks of papier-mâché for the chhau dance. The masks are then vividly decorated and painted with expressions fit for the character they represent. In southern India, expert artists of Kozhikode make figures based on Kathakali and temple models out of paper pulp. They also produce lively models of animals and birds that are in great demand. On the other hand, craftsmen from Tamil Nadu contribute with their colourful life-sized human figures, Thanjavur bommai and Navratri golu dolls made of clay, wood and papier-mâché. 19 Craft Research & Documentation on Golu Bommai

Golu doll Ujjain birds Kerala papier-mâché Mukha of Orissa Chhau mask Kashmiri papier-mâché Dept. of FC/ NIFT, Chennai 2021 20

PA PIER-M ÂCHÉ CR AFTS OF TAMIL NADU The tradition of setting up Golu is revered all over Tamil Nadu. Madurai’s Vilachery village is home to about 200 families involved in clay and papier mache doll-making. They mainly get orders from NRIs looking for smaller dolls as they are convenient to pack. The famous Meenakshi Temple also displays a majestic Golu exhibition during Navratri that attracts thousands of devotees. It is said that you can find golu dolls of every type and size in the display. The artisans of Trichy create lifelike golu dolls in vibrant colours and grand prabhavalis. Kondapalli and Marapachi dolls are also sold in huge numbers. Thanjavur (or Tanjore) is perhaps one of the most famous places for its golu Bommai. It served as the capital of the great Chola empire and saw the peak of art and craft. It is known for two major types of dolls- the urutu Bommai and the thalaiyati Bommai. While the urutu Bommai is a round bottom roly-poly doll depicting a raja with his rani, the thalaiyati Bommai is a bobblehead doll which dances with its unique head movement. It is usually designed to show it performing Kathakali, Bharatanatyam or Kuchipudi. The Poi Kal Kuthirai (dancers mounted on dummy horses) is another Tanjore doll seen in Golu displays. There are customers who prefer a variety of dolls in their golu while some may stick to traditional golu dolls like those of Kanchipuram. 21 Craft Research & Documentation on Golu Bommai

K ANCHIPUR AM TR ICH Y TH A NJAV U R MADUR AI Dept. of FC/ NIFT, Chennai 2021 22

K ANCHIPUR A M India is culturally, a very strong country. Just like the number of languages spoken in India, the number of crafts is enormous and widespread. Tamil Nadu is one such state that has been the epicentre of fine culture including jewellery, wood work, painting as well as pottery. The knowledgeable rulers of various dynasties patronized and helped the art, craft and culture to excel. Tamil Nadu comprises of various towns which flourish in art and architecture through their stone temples, clay dolls, handloom sarees, lock making, palm craft, veena and so on. One such town with a craft cluster that makes Golu dolls is Kanchipuram, a historically prominent city existing from 3rd century till date. Kanchipuram district is situated on the northern side of the east coast of Tamil Nadu. It covers a land area of 7857 sq. kms, situated near the river Palar. HISTORY The history of Kanchipuram is as old as time itself. The region has remained the centre of knowledge and wisdom with many stories to tell. The place finds its mention in famous Tamil classics such as ‘Manimekalai’ and the ‘Perumpanattu Padai’ where the city is so vividly described indicating the height of civilization and its advancement in art, architecture, literature, and spirituality. Kanchipuram had been under the Pallava, Chola, Vijayanagar, Arcot and British rule at different times in history. The amalgamation of these reigns provided a cultural renaissance to the holy city. Buddhism, Jainism, Saivism and Vaishnavism all flourished and co-existed here. The Pallava Kings who patronised religion, art and literature, are credited with the construction of temples in stone. They also developed powerful sea trade. After Pallavas, the Cholas encouraged the bhakti cult. Most of the temples were built during this period. It is now known as the ‘City of a Thousand Temples’. The 192 feet high temple tower or gopuram of Ekambareswarar temple and the 100-pillar mandapam in Varadharaja Perumal temple in this town are great architectural marvels which were renovated under Chola, Pandya, Kandavarayas, Cheras, and Vijayanagara empires. 23 Craft Research & Documentation on Golu Bommai

PALLAVAS CHOLAS VIJAYANAGARA ARCOT B RULERS 4th-9th CENTURY 9th-13th CENTURY 14th-16th CENTURY BRITISH 17th CENTURY 17th-18th CENTURY Dept. of FC/ NIFT, Chennai 2021 24

GEOGR APHY The climate of Kanchipuram is generally hot and humid. The city is surrounded by the Bay of Bengal in the east, Puducherry on the south, Tiruvannamalai on the west, and Chennai and Tiruvallur in the north. Kanchipuram has two divisions — Big Kanchi or Shiva Kanchi and Little Kanchi or Vishnu Kanchi. Most of the Saivites settled around the Shiva, Vishnu and Shakti temples and formed clusters of communities (Rashmikaprasad, March 2020). One such cluster is the Bommakaara veedhi which constitutes of only artisans who make Golu dolls. Bommakaara veedhi is ‘the land of clay dolls and idols’, primarily focussed on making clay idols worshiped during Navratri. This is the nucleus of doll manufacturing which exports to the urban sites of the state. 25 Craft Research & Documentation on Golu Bommai

ART & CR AFTS OF K ANCHIPUR AM The best-known craft of Kanchipuram is perhaps, its silk sarees which are worn as bridal & occasion wear by most women in the southern Indian states. It has been recognized as a Geographical Indication by the Government of India in 2005–2006. The pure mulberry silk Saris are distinguished by their wide contrast borders of locally inspired designs like temples, checks, stripes and flora (buttas). Another notable feature of the Kanchipuram sarees are their motifs. Plenty of animal and bird motifs are woven in the shiny threads, like Annam (swan), Iruthalaipakshi (Two headed eagle), Maan (deer), Simha (lion), Yanai (elephant) and Kuthirai (horse). Another celebrated craft of Kanchipuram is the Golu doll-making. Dolls are typically made by artisans from clay and used to decorate the Golu padi during Navratri. Life sized dolls, characters from the mythological stories, dolls of deities, and social scenes are also fashioned from papier-mâché and coloured brightly. These are then arranged on steps, typically by women and are used to depict interesting narratives or mythological and folk tales. Other than that, people of Kanchipuram observe Kavadi Attam, a ceremonial dance to worship Lord Murugan and Mayilattam, a religious dance performed in reverence to Lord Subrahmanya. Dept. of FC/ NIFT, Chennai 2021 26

ATTR ACTIONS Kanchi Kailasanathar temple is a major saints, or Alwars (Bansal, 2008). Among the attraction of Kanchipuram. The construction Divya Desams, Kanchipuram Varadaraja of the temple began during the rule of Perumal temple is known as: ‘Perumal Koil’. Pallava king, Rajasimha (685-705 AD) (Ninan This is one of the most sacred places for 2008, p.132). Dedicated to Lord Shiva, the Vaishnavites. Lord of Mt. Kailash, the architecture of As per a legend, the disciples of sage the temple is in traditional Pallava style of Gautama were cursed to become lizards. pillared halls, a vestibule and a pyramidal They resided in the temple and were tower. The place is ideal for meditation and relieved of the curse by the divine grace reflection. The numerous carved sculptures of Vishnu. There is a panel in the temple of Goddess Durga, Shiva in different stories, where the two lizards are depicted in the multi-directional mythical lions and others roof of the temple (Chandramouli, 2003). contribute to the beauty of the temple Kamakshi Amman Temple, along with (Incredible-India). Ekambareswarar Temple and Varadharaja The Kamakshi Amman temple is another Perumal Temple in Kanchipuram is popularly important place of worship which houses known as Mumurtivasam (abode of trio) the Goddess Kamakshi in seated posture, (Rao, 2008). flanked by the trinity of Shiva, Vishnu and A visit to Kanchipuram’s handloom weavers Brahma. is a delightful experience to discover Varadharaja Perumal Temple is one of the exquisite colourful silks and interesting Divya Desams, the 108 temples of Vishnu motifs, weaving the city alive. believed to have been visited by the 12 poet 27 Craft Research & Documentation on Golu Bommai

Kamakshi Amman temple Kanchipuram handloom Ekambareswarar Temple Dept. of FC/ NIFT, Chennai 2021 28

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GOLU TRADITION Dept. of FC/ NIFT, Chennai 2021 30

INSPIR ATION FOR GOLU Majestic temples and fascinating sculptures form the very core of Kanchipuram. Not just deities but interesting narratives carved into the temple walls follow you around the city. The vimanas and gopurams are adorned with a galaxy of intricate sculptures, echoing the legends and history of the place. According to mythology, Parvati was cursed to be sent on earth after she closed the eyes of Lord Shiva playfully. She resides in Kanchipuram with Lakshmi and Saraswati as her eyes. Ka means Saraswati, Ma means Lakshmi and Kshi means eye = Kamakshi. The legends and myths of the city are mostly around Lakshmi, Saraswati and Parvati. They are also the three main deities of Navratri. The festival also occupies a special place in Shaivam, Shaktam, and Vaishnava. Hence, Navratri is celebrated with full vigour in Kanchipuram. When a place is rich with so many stories and their 3D depictions, it is bound to inspire people to incorporate them in their lifestyle. Doll making is where the creativity of artisans of Kanchipuram finds refuge. Every Hindu family in Kanchipuram puts up a Navratri golu. The myriad of ceremonies and festivals observed in Kanchipuram could have also led to the demand of dolls for worshipping and celebrating. Moreover, the city’s red clay soil makes is very suitable for the doll-making process. 31 Craft Research & Documentation on Golu Bommai

Sculptures at Kailashnathar temple Dept. of FC/ NIFT, Chennai 2021 32

GOLU BOMMAI Navaratri Golu is believed to have been celebrated since the existence of the Vijayanagar kingdom in 14th-century India and was especially popular with the royal families of Thanjavur and Pudukkottai in the state of Tamil Nadu (Rotti, J. 2017). Today, Golu is mainly observed by South Indians from the states of Tamil Nadu, Andhra Pradesh, Telangana and Karnataka, as a part of Dussehra rituals. Bommai in Tamil means a doll. Bommala Koluvu in Telugu means Court of Toys and Bombe Habba means Doll Festival in Kannada (Claus, Diamond, Ann Mills. 2003). It is a part of the annual Dussehra festival where young girls and women display dolls seeking the divine presence of the Goddesses Saraswati, Parvati and Lakshmi in the Tamil, Kannada and Telugu households during Navratri. 33 Craft Research & Documentation on Golu Bommai

R ELIGIOUS SIGNIFICANCE OF GOLU The festival is celebrated in the autumn season, during the months of either September or October. It is believed that Yama (God of death) is at his peak during this time, right after Mahalaya paksha (Mahalaya is the day when Goddess Durga is believed to have descended to Earth), and can cause disasters. Hence, the festival stresses on positive energy during these days. The legend goes that a demon called Mahishasura wreaked havoc across the three worlds. He took advantage of the boon that he cannot be killed by any man alive. Therefore, to restore the peace of the world, all gods, goddesses and demigods come together to unify their powers and create Shakti or the female supreme goddess Mahadevi. Shakti then, adopts the warrior form of Durga and faces Mahishasura on her vahana, the lion. Goddess Durga vanquishes Mahishasura’s army and proceeds to kill him on the ninth day of the battle but Mahishasura tricks her by constantly changing his form. He converts into a buffalo to deceive her. At midnight, on the 10th and final day of the ferocious battle, Durga manages to strike her trident into the buffalo demon’s chest and kills him. However, the gods and goddesses, whose powers were completely spent after aiding Durga, turned still. Devotees honour this selfless act of the gods and goddesses, which are symbolised by the dolls displayed during Golu. Navratri thus, commemorates the triumph of good over evil (Jagannathan M, 2005, p 111). Depiction of Mahisasura Mardini in a Guler style painting Dept. of FC/ NIFT, Chennai 2021 34

THE SETUP Offerings and Kalash The golu display is traditionally a rack of odd-numbered shelves of Golu (or Padi) (usually 3, 5, 7, 9, or 11), set up using wooden planks. The number of steps varies in each home, depending on the available space and the number of dolls to be displayed (Soundararajan,2019). After the golu has been covered with traditional saris or veshtis, it is then adorned with various dolls, idols and toy figures according to their size, with the deities at the top. Nowadays, people living in smaller spaces or flats have switched to multipurpose racks or foldable shelves that function as makeshift golu displays during Navratri. HIER ARCHY The golu dolls are organized on an odd number of steps of 3,5,7 and so on. The lower steps hold mortal depictions of dolls portraying household scenes, grandmother and grandfather dolls, court life, socio-economic life, and any kind of miniature cookery tools and toys that young girls traditionally associated with. The bobble-headed Chettiar-Aachi doll set is a must-have in every Bommai Golu. It represents the rich business heritage of the Chettiar community in southern India (Krishnan, 2017). The middle steps are feature dolls of renowned sages, gurus, religious preachers and mortal incarnations of Gods. The higher steps usually showcase important dolls of Hindu Gods and Goddesses, temples, celestial beings, vahanas, scriptures, etc. On the new moon day of the month of Purattasi, a kalash filled with water, topped with mango leaves and coconut and smeared with turmeric, is kept in the middle of the entire display to invoke the blessings of Goddess Shakti (Jagannathan, M. 2005). The displays are then adorned with twinkling fairy lights to create a festive ambience. 35 Craft Research & Documentation on Golu Bommai

A Golu setup THE PR ACTICE STORYTELLING BOX OF COLLECTIBLES There is a huge demand for golu dolls in sets. The golu doll collection is no less than a family’s Individual dolls depicting mortals are also hard-earned treasure. Women invest a lot of arranged in sets, with dolls of people, houses, fire, time and patience in procuring and preserving fruits and flowers etc. to depict a certain story or the dolls. The preparations start months in scene from Hindu mythology. These stories are a advance, with every trip a reason to go doll- means to educate the younger generation about hunting (Srivathsan Nadadhur,2018). Old dolls are their culture and also add to the zeal of Navratri. retrieved from the ancestral box and new ones are added. Every year, there is a new theme and ANTIQUITY people love to incorporate their travel souvenirs in there. Women go to great lengths to design Marapachi Bommai, a couple doll set, symbolizing the entire display in colours significant to Navratri. fertility and well-being, are also an essential part This also evokes curiosity in the young kids of the of the Bommai Golu. They used to be gifted to family. From traditional golu dolls to knick- knacks child brides as a part of her wedding trousseau collected, the golu display houses them all. so that she could understand her responsibilities as well as entertain herself in her new household ENCOURAGING HANDICRAFTS through her dolls. The marapachi dolls were built in naked form so the young girls adorned them with Golu dolls provide a way for people to encourage their creativity and expressed their personality their local handicrafts and celebrate Navratri. through the dolls. Nowadays, on Vijayadasami, The dolls face tough competition from the mass- the marapachi dolls are made to lie down and produced plastic dolls. However, one can see a symbolically put to sleep, to mark the end of the huge rush in the Mada Streets to buy Bommai year’s Navaratri Golu (Subramanian,2017). Golu during the festival season. Dept. of FC/ NIFT, Chennai 2021 36

PERSONA L CONNECTION Setting up a golu is something personal. It is the result for their passion and devotion. Old photographs of people sitting with their displays show that people love to admire their golu. Social media is another platform where we found people enthusiastically sharing experiences about their golu displays. The dolls bring the emotion of nostalgia during Navratri. These 10 days every year with the dolls give them a lifelong memory to cherish. Some even go ahead with naming their children after the names of the characters of their favourite idol. Pic from Shubhra Chatterji via Historywali Instagram 37 Craft Research & Documentation on Golu Bommai

VA R IETIES A baby Krishna doll IN GOLU DOLLS A lady Dept. of FC/ NIFT, Chennai 2021 38 The golu dolls are available in two varieties in the market- those depicting immortals like deities and those of mortals like inspirational leaders, common man and animals. DOLLS OF DEITIES Figures of deities and religious personalities have an eternal influence on the lives of the people. Worship and devotion are an inherent practice in most golu- observing households; therefore, people love to decorate their golu with dolls of their revered gods and goddesses. Dolls of the primary goddesses of Navratri- Lakshmi, Parvati and Saraswati are found in every Golu setup. Ganesh too is omnipresent, since his blessings are sought before starting any ritual. The dolls of Ramayana are another successful designs. They occur in sets and portray various scenes from the holy epic. Apart from these regular dolls, people also worship dolls of Shiva, Vishnu and their incarnations, Sai Baba, and various other gods featuring in Hindu mythology. DOLL OF MORTALS With interesting narratives making way into the golu setup, dolls of common men and women carrying out daily tasks, performing veneration, indulging in art and crafts, social responsibilities and recreation are quite popular these days. According to the craftsmen of Kanchipuram, such dolls occupy about 50% of the market now. They are also available in sets depicting relevant themes like games, village scene, Chettiar- Aachi, world leaders, dancers, greetings and school scene. The Thalaiyatti Bommai is an all-time favourite in this variety. Marriage set is another best-seller. These dolls arouse the interest of kids, along with communicating social and moral values. People love to buy them as they make their golu setup exciting and different from what their friends and neighbours may be planning.

DEITIES DIVINE FORMS OF GODS & THEIR HUMAN INCARNATIONS, RELIGIOUS FIGURES & DIVINE ANIMALS Independent dolls featuring Hindu deities are the prime focus of the golu display. Ganesha, Lakshmi, Saraswati and Parvati dolls are sold in large numbers. Incarnations like the Dashavatara hold utmost importance. Stories depicting history, mythology or from holy texts are displayed through golu set dolls. Accounts from Krishna’s life, Narasimha Prahlada, Ramayana, and Parkadal kadayum are a few of them. Garuda Vahana Seva Andal Perumal and Padmavathi of Tirupati Kaalikambal 39 Craft Research & Documentation on Golu Bommai

PRIME DOLLS The goddesses Lakshmi, Durga and Saraswati are considered the primary deities of this Navratri. Lord Ganesh too is held in great regards. These four dolls are a must for every golu setup. The nine days of Navratri are celebrated by dividing into three parts. First 3 days for Lakshmi, next three for Durga and last three for Saraswati. Ganapati Puja is performed on the first day to begin the rituals. Hence these deities are a mandatory part of every golu. They are usually placed on the top steps of the golu setup. Durga Mahaperiyava Saraswati Lakshmi Ganesha Dept. of FC/ NIFT, Chennai 2021 40

RELIGIOUS DOLL SETS Dashavatar Set dolls bring much needed drama to the setup by narrating various events of mythology and instances from holy books of the Hindus. Various scenes from Ramayana, the most famous Hindu epic are displayed in golu setup. This often includes the happenings from Ram’s exile. Since religious dolls have a huge customer base, the artisans leave no stone turned in explorical Hindu mythology. The 10 dolls of Dashavatar, namely Lord Vishnu, Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Balarama, Krishna and Kalki are found in almost every golu with each doll having its own story to tell. The avatars have gone through a major visual evolution but still remain lend a crucial character to the golu. The Ashta Lakshmi are a group of eight manifestations of Devi Lakshmi, the Hindu goddess of wealth. She presides over eight sources of wealth. They are Adi / Maha Lakshmi, Dhanya Lakshmi, Dhairya / Veera Lakshmi, Gaja Lakshmi, Santana Lakshmi, Vijaya/Jaya Lakshmi, Vidya Lakshmi, and Dhana Lakshmi. Ravana’s court Ashta Lakshmi 41 Craft Research & Documentation on Golu Bommai

Daily life COMBINATIONS IN MORTAL FIGURES After the introduction of dolls inspired by Vyjayanthimala and Baby Saroja in the 1930s, dolls depicting common humans started being sold in large numbers, occurring as sets and individual dolls. Today, the human figures occupy 50% space in the golu. Most are designed to narrate stories, teach moral values and show daily life. Different communities and families are represented in quirky combinations of the doll sets. Several doll settings serve as educative mediums for young children. They impart moral values. Daily scenes are newer additions to the golu setup. Cricket set, koil set,marriage set, postman,music concert, are some sets that make the display more appealing to the younger generation. The chettiars made in the Thanjavur style and the dancing dolls are common in golu displays. Opposite to these are the individual dolls that undergo transitions. The individual dolls are often interchanged in stories each year, to create multiple arcs. A village setup can be changed into a panchayat, which then will change into a game and the possibilities are endless. It basically allows the user to explore creative concepts with the existing dolls. Freedom fighters and political leaders are the present day additions to golu setups. Marriage set Worship Dept. of FC/ NIFT, Chennai 2021 42

POPULA R DEPICTIONS Cultural norms still prevail. Couples of Shaivite and The posh Indian gentlemen Vaishnavite orientation offers a handshake while the lady prefers the traditional namaste greeting. Traveller and his wife, Chettiar and Aachi - while he reclines under Chettiar Having his the shade of the wayside lunch while Aachi waits tree, she waits nearby on him. ‘Small family Happy family’ Like father like Son, Happy set family set, Village simpleton proud father and his educated son The three wise monkeys Orthodox Iyer couples of Mahatma Gandhi kneeling and praying 43 Craft Research & Documentation on Golu Bommai

MODER N R ELEVA NCE Parents say Bommai Golu is the perfect way to introduce mythological Game sets stories to children. Today, involving children in the golu decor is a healthy distraction from their gadgets. The inclusion of non-traditional dolls and themes like that of Swami Vivekananda, Abdul Kalam, Birth of Jesus Christ, Sai Baba, classrooms etc. make the displays relevant to kids. Families get creative and try to come up with special themes each year (Devalla, R. 2015). ‘We come up with a new theme every year. I remember, one year it was Jagannath Yatra, another it was Lumbini Park. My favourite however, was the Disneyland themed Golu. Every year we make sure to add a few new dolls to our existing collection and I hope I’ll be able to pass down this tradition too.’ (Srivathsan Nadadhur,2018) Further, the Golu festival bonds people together. They socialise while visiting their neighbours and admire each other’s golu. When the guests leave, each woman is presented with a thamboolam – a tray containing auspicious items like kumkum (red powder), turmeric, betel leaves, flowers, fruits, sweets and other gifts. The belief is that whatever you give will be returned to you by the goddesses – as represented by the dolls – that are residing in your home for the nine nights (Nair, P. 1997). Dora doll Kids’ story sets Chhota Bheem and friends Dept. of FC/ NIFT, Chennai 2021 44

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VISUALITY Dept. of FC/ NIFT, Chennai 2021 46

TY PES OF GOLU DOLLS M U LT ICOL OU R Multiple colours are used to paint such dolls. The dolls do not have intricate 3D details on their body. The iconography details are brought out by painting. Therefore, the artisans refer to them as ‘multicolour’. Over the years customers have started preferring multicoloured dolls in comparison to the kalvettu style, as these dolls make their golu look bright and festive. The incorporation of auspicious colours used in Hinduism like green, red, orange and yellow have increased their value too. A 6-inch multicolour doll would cost around Rs. 350. DOLL details = 40% PAINTING details= 60% 47 Craft Research & Documentation on Golu Bommai

K A LV ETTU Tamil Kal means stone and vettu means cut. Since these kind of dolls are inspired by the stone sculptures and bronze deities of the temples, the artisans refer to them as Kalvettu style dolls. The dolls are designed patiently so as to replicate every detail with precision. The painting is done in dark colours like black and bronze inspired by the actual idol. Gold powder is dusted for a metallic shine. These dolls are highly valued for realistic designs. They can be dolls of Kanchipuram’s sculptures, statues or visuals carved in temple walls. A 6-inch Kalvettu doll would cost around Rs.400. DOLL details = 70% PAINTING details = 30% Dept. of FC/ NIFT, Chennai 2021 48

FOR MS Majority of the deities are designed as a full body with a base, either in seated or standing position. The body form can be compared to the six parts of the temple - the Sikha, Mukham, Ghulam, Bahumulam, Karakaram, Janumandalam and Charanam. Most of the dolls have a broad flat base with a well-defined 3D front and a not so 3D back. The dolls are generally conical in form, with highly defined features or simple protrusions. SHAYANA YANA - in action ABHANGA Shayana is the idol of the deity in Depicts the deity in various Stance with only a slight reclining or sleeping position. meditation postures, pleasant bent of head or waist, or Sri Ranganatha or Anantha shayana disposition and heroic posture with a hand on the waist. is the most celebrated form of Upper half of the figure Vishnu in reclining posture. is made to incline slightly towards its right side 49 Craft Research & Documentation on Golu Bommai

Lotus and other designs like Makara, Yazhi, Naagam etc. are an integral part of the composition of the dolls. Often a Prabhavali or a richly designed golden arc that emphasizes the deity is crafted. In this case, the golu dolls bear resemblance to temple gopurams or Vimana. Well-structured and poised. ASANA WITH PRABHAVALI Prabhavallis are included in dolls if the deity is represented with one in the temple sanctum. STHANAKA AASANA The Sthanaka posture ( standing Aasana class is when the posture) standing erect, with the deity is in sitting posture. head, the neck and the torsos in a The deity, in such cases, line, symmetric. is sitting in padmasana (lotus position) or yoga- asana. Dakshinamurthy, the Buddha and Mahaveera being the other well-known examples. Dept. of FC/ NIFT, Chennai 2021 50

PR A BH AVA LI A Prabhavali or Makara thoranam is the decorative brass arch placed around the deities in temples and home shrines. It is typically an arch with a makara head at the top. It is considered to be the guardian of gateways and thresholds. All deities may not be represented with it. Only those which are depicted with a Prabhavali are translated into golu dolls with a Prabhavali. The original depiction of Gods and Goddesses in temples and Hindu calendars is never questioned. The dolls are created in the same visual language. The artisans observe temple sculptures, collect various calendars and study the deity properly. Then a sample form is made to test the clay quality. If it fits the artisans’ expectation, the doll is directly crafted from that clay without any preliminary sketches. Just like the jewellery, prabhavalis are made from the masterpieces. To make the masterpiece prabhavali, a metal wire is used as a framework to set the shape. Then the basic U shape clay is created. The Makara is made separately and pasted on the base layer of clay by smearing some wet clay. More ornamentation like symmetric designs involving swiss and dots are pasted on either side of the arch with the help of a chiwarai. It is important to make sure that these details are on either side. This form is then dried and lined with cement and Plaster of Paris to make a prabhavali mould. 51 Craft Research & Documentation on Golu Bommai