Kanchipuram Golu Bommai

BASE The base of golu dolls is different for each doll, depending on its process and iconography. In most cases it’s the last thing artisans focus on; it is moulded based on the figure’s form and shape. The most common bases are hexagonal, circle, cuboid, and square. After the doll is demoulded, the base is sealed with cardboard in papier mâché dolls and with clay in clay dolls. This results in a hollow doll that weighs less and is easy to transport. The base is designed carefully to accentuate the form of the doll and not overpower it. It is usually painted with colours that are left over. The other important type of base is that of an inverted lotus – the Padma-Peetam. These are referenced directly from the sculptures of temples and bronze statues. These add extra value to the doll by making the base interesting and culturally significant. Golu dolls of politicians and national leaders are usually made till the bust while those of deities are never represented like that. The deity must have a proper pedestal to stand on. The possible reason for the depiction of leaders in this way can be because of the influence of statues on the roads, parks and other public places where they can often displayed till the bust. Dept. of FC/ NIFT, Chennai 2021 52

AY U DH A Ayudhas are another important element of deity representation in golu dolls. It generally translates to weapons; objects the idol holds in his or her hands. The Ayudhas delineate the nature, character and functions associated with the idol. In a way of speaking, they are the symbols of a symbolism. For instance, Saraswathi holds in her hands a book symbolizing the Vedas and learning; a Kamandalu (a water jug) symbolizing smruthi, vedanga and shastras; a rosary symbolizing the cyclical nature of time; and the musical instrument veena symbolizing music and her benevolent nature. All these objects are not weapons in the conventional sense, but the shilpa employs them as symbols to expand and interpret the nature of the idol and its meaning. Each of these Ayudhas signifies a certain aspect or it stands for a concept. Apart from the weapons a variety of objects are employed as Ayudhas. These include instruments of various professions (pen, chisel, hammer, plow, sickle etc.), musical instruments (flute, veena, pipes, trumpets etc.), plants and trees (ashvatta, bilva, seedlings of paddy, grass etc) and miscellaneous objects (mirror, bell, book, flag, lamp, vase, umbrella etc.). VA H A NA Vahanas are the divine animal mounts of Hindu Gods. Many of the main Indian Gods and Goddesses (Devas and Devis) have their own vehicles, mounts or vahanas that comprise various types of animals and birds. While this seems peculiar at first glance, there is a deep inner significance behind their choosing particularly those vahanas. This detailed article gives you invaluable information about these vahanas and their significance both in mundane and spiritual terms. These are a must in all golu dolls. They are included different permutations and different ways but they are an integral part. 53 Craft Research & Documentation on Golu Bommai

PR AKRITI Nature is unavoidable in any art form and golu dolls depict nature as well. Water, trees and peacock feathers are a few of them. The greens and blues gives a relief to the doll and completes them. This again goes with respect to each deity’s iconography and identity. PEACOCK BUSH SEA FEATHERS GARLAND LOTUS FIRE ROCKS WHITE LOTUS SUGARCANE Dept. of FC/ NIFT, Chennai 2021 54

FOR ESHORTEN I NG With practice, the artisans’ eyes have evolved to notice even the most minute details in the dolls. Similarly, gold painted dolls have also had their equal share of evolution with foreshortening changing outcome completely. papier-mâché has given a free rein to the gold dolls to undergo unprecedented designing, enabling artisans to create realistic human forms with their postures. Limbs, head, and extra features are made separately and fixed to the body with a sukka mixture. This way the limbs have separate moulds and they have a wire extension to affix to the doll’s body. However, the doll is finally painted together as a whole, covering any evidences of the separate fixtures. This way one can achieve realism and accuracy in the forms.

Abhaya Lola Varadha Kartari MUDR AS Mudra means sign or a seal. It is a symbolic gesture or position usually of hands and fingers. They are commonly used in tantric worship, yoga, dance and music. The Shilpa shastra has however its own use for the mudras ; and it has developed its own set of mudras. There are in general two types of mudras, those with one-hand and those with two-hand. The one handed mudras (asanyuktha orkevala) number about 28; while the two hand mudras (sanyuktha) are about 23. The mudras give an expression and eloquence to the attributes of the image and to its message. All these symbols and mudras form the pool of Indian art language. They are commonly employed by the Hindu, Buddhist and Jain traditions. Mudras are again classified into those that convey a message (sankethica), which are mostly single hand mudras. The next are the vastu rupa mudras which suggest as if the deity is holding in his or her hands some object. And, the third is ayudha grahana , where the deity actually holds an ayudha (Sreenivasaraos, 2012). Dept. of FC/ NIFT, Chennai 2021 56

PR AMANA The artisans of Kanchipuram know the measurements of the dolls by heart. Customers can easily spot differences in the body measurements of the doll hence; standards and measurements are strictly followed. Alankaram is very important for designing the dolls. Incomplete forms are considered to be ugly and inauspicious, hence the body form has to be complete and look beautiful. The 8 head theory is also intrinsically followed by the artisans, without any formal art education. Their expertise and skill lead them to create flawless designs. FE ATU R ES Nose length = Eye lid length Ear length = Eye length Nose length = Neck length Face = Palm 57 Craft Research & Documentation on Golu Bommai

2FT Sikham and makutam - 4FT Hair and crown Mukham -Face 2FT Ghulam -Neck Bahumulam -Shoulder Length from hip to feet is a little more than the Karakaram -Arm length from hip to head. Janumandalam - Knee Charanam -Feet Dept. of FC/ NIFT, Chennai 2021 58

INSPIR ATION FROM PRINT MEDIA 59 Craft Research & Documentation on Golu Bommai

Before an artisan starts to sculpt a masterpiece, he needs to have a clear visual of the design on his mind about its form, aspects, countenance,posture, details of its physiognomy, facial and bodily expressions, ornaments and Ayudhas. For this purpose, the artisans generally refer to a wonderful collection of pictures from posters, newspapers and magazines often sought from local publications or temples. 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 verify the stories of the deity. 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. Artisans have many photo frames of deities around their house which they worship. They also try communicating with the temple officials for photographs of the deity. Over the years print media has increased enormously. The media available to the common man is extensive. With such increasing resources around them, artisans are constantly inspired. Lithographs from the past, a poster from newspapers, calendars from temples are extensively studied. This step helps them to eliminate mistakes and serve attractive dolls to the customers which sell instantly. Dept. of FC/ NIFT, Chennai 2021 60

R ASAS Emotions expressed in the golu dolls evoke human feelings and make the doll look even more realistic. The artisans make sure each doll emotes and connects with the viewer. The three main features that express emotions are the eyeballs, eyebrows, and mouth. The dolls are believed to be symbolic of the deities’ divine presence in the house so the emotional portrayal is extremely important. EYEBALLS Eyeballs is placed in the centre of the eye to emote anger and aggression. If it is placed a little above the centre touching the top, it expresses a pleasant happy face. The eyeball is placed at extreme ends to state doubt. EYEBROWS Eyebrows are key conveyors of mood or involuntary expressions. Neatly distant and well-shaped brows contribute to a stoic and alert facial outlook whereas droopy or sparse brows convey weakness, tiredness or sadness. Highly arched eyebrows express anger. Relaxed eyebrows are sculpted to show a smiling deity. LIPS The lips are also used to alter emotions. The ends of the lips are finished with clay dots to make the doll smile while the lips are parted with bared teeth to show aggression and warning. The artisans have mastered the art of portraying emotions through such fine detailing in the dolls over the years. 61 Craft Research & Documentation on Golu Bommai

ANGER- Wide and staring eyes, frown BH AYA NA K on the face, flared nostrils, pursed & mouth or bared teeth, jutting chin, red face. R AUDR A FEAR- Wide open or lowered eyes, raised eyebrows, wide open mouth or PEACEFUL- Smiling lips (open or corners turned down, chin pulled in, closed), possible laughter; crows- head down, pale face. feet wrinkles at sides of sparkling eyes, slightly raised eyebrows, level- SH A NTH A headed. & DESIRE- Wide open Eyes with dilated pupils, slightly raised eyebrows, lips SH R ING A R slightly parted or puckered or smiling, head tilted forward. SADNESS- Eyes cast down, possibly damp or tearful, pinched lips, head K ARUNA down or to the side. & SURPRISE- Wide open eyes, highly raised eyebrows, jaw dropped wide A DH BH UTA open mouth and consequently lowered chin, head held back or tilted Dept. of FC/ NIFT, Chennai 2021 62 to the side.

ALANKARA Each deity is designed with a visual language and symbols that are unique to it and is its identity. This iconography is strictly followed for all mythological and celestial figures in the dolls. DRESS- The most common form of clothing is the Uttariya and a saree draped in different styles, according to their the character. JEWELLERY- The Shringara is as much a part of the God’s body as their dress. Crown, necklaces, anklets, bracelets, bangles, and rings are common jewellery found in most dolls. VAHANAM -The vehicle of the God, mostly an animal, is represented along with the deity. The artisans take great delight in adorning the doll with rich and finely carved ornaments. Alankara element offers the artists abundant scope to exercise their imagination and to display their ingenuity. Therefore, the amazing varieties, the patterns and the designs of ornaments that one comes across in the golu dolls are virtually limitless. The major deities, both male and female, are adorned with rich ornaments; the minor deities and humans are provided modest ornaments. Often, the ornaments serve as the costume of the image. The term used for ornamentation is Alankara which encompasses forms of beauty and visual appeal in all forms of Indian art. Alankara is not merely bejeweling but it also implies enhancing the grace and beauty of the image and to enchant and please the eyes of the beholder. Alankara also conveys the nobility, the grandeur and the lovely nature of the adorable image. The Hoysala sculptures in particular are rich in ornamentation. 63 Craft Research & Documentation on Golu Bommai

MAKUTA KUNDALA KEYURA HARA UDARABANDHA ANTARIYA PADAVALAYA Dept. of FC/ NIFT, Chennai 2021 64

J EW ELLERY Jewellery in golu dolls is a captivating factor since they are mostly dolls representing the immortal forms they are represented royally with ornaments from head to toe. The clay masterpiece contains all the important jewelry details. The artisans use customized daily objects to design jewellery. It’s the same set of tools but they make sure a difference is brought while painting eh dolls. The kalvettu dolls are done with patience because they are not painted with multiple colours to show difference hence all the minute details should be carved on the masterpiece. Battery carbon is collected and they have half hemisphere space in the ends it’s pressed on clay to forms bulges and protrusions. These are manipulated according to the designs. It’s either battery carbon or chiwarai to make such intricate designs for jewelry. And the other way is to make them hands-on the masterpiece. The same simple tools are used with different permutations and combinations to create several designs according to different deities’ iconography. While attaching separately made jewelry on the masterpiece is avoided considering the mould making process, it’s best to design the jewelry on the masterpiece chunk of clay so that it stays as one entity. According to the artisans, these details are extremely important for a product to sell. They consider these elements as value addition to the doll. This gives life to the golu doll. The jewelry pieces are standard across deities except for their iconographic individuality, only in that case do they refer to images to create a particular ornament or crown. And that is also extremely important considering the influence of media and image content in the current scenario. People tend to reject dolls that are against the repression standard and iconography. 65 Craft Research & Documentation on Golu Bommai

DETA I LS The crown - is started with a chunk of clay and French chalk dusting and slowly concentric rings are formed with regular intervals to show emphasis in the center. And later slowly they are carved with chivarais to create designs on them. Earrings are detailed with studs of stones like an ear cuff or Karna phool. This is designed with the help of battery carbons and chiwarai. Both earrings have to be made symmetrical for balance. The carbon battery and chivarai are then used for other jewellery pieces like necklaces and anklets Most jewellery pieces are standard across deities except for their iconographic individuality. Only in that case do the artisans refer to specific images to create a particular the deity’s ornament. Traditional representation and beautification is followed as people tend to reject dolls that are against the standard representation or iconography. BATTERY- CARBON CHIWARAI Dept. of FC/ NIFT, Chennai 2021 66

K AMBA NATI K AMAKSHI GREEN Kamakshi Amman sat under the mango tree and built an idol of Lord Shiva with sand and prayed to him with full devotion indefinitely. Lord Shiva, finally got pleased by her strong will and dedication and finally, they got married. Goddess Kamakshi bestows MANGO TREE prosperity, knowledge, and healthy progeny in abundance.  The story also takes under a mango tree which is the INSPIRATION sthala vriksha of the Kanchi Ekambaraeshwara temple. This particular visual can be Pa t t a i / Tr i p u n d r a /S a i v i t e seen in the Varadharaj Temple, tilaka- again a reference to Ekambareshwarr temple and Shiva few other mandapams in Kanchipuram. Her red sari is symbolic of LINGAM power and courage. The Lingam symbolizes QUEEN the Lord Shiva and is revered as an icon of She is referred as a Queen in generative power. It is literature. Her incarnations are a symbolic reference to of royal sect too, hence she Shiva. Kamakshi creates is always represented with a a shivalinga with lake crown and heavy jewellery. bed mud and hugs it to This scene takes place show protect it, giving near the Vegavati river proof of her immense so the base of the doll devotion to the god. is coloured blue to symbolise water. GREEN FACE 67 Craft Research & Documentation on Golu Bommai Kamakshi is a Dravidian woman who follows the practice of applying turmeric on face, hence the dark complexion with turmeric gives her a green tone. Over the years, the complexion has been represented a with an exaggerated green colour.

VA R A DH A R AJA PERUM A L When the male and female images are properly placed in pairs,—the female to the left of the male—, they appear like two full-blown lotuses bending to seek one another. This is the usual attitude of all Yugala (twin) figures, or of divine couples. This bending attitude, or the seeking poise of the male and female figure may however be occasionally – reversed, so that the figures lean away from each other, the male assuming the female Bhanga and the female assuming the pose of a male figure; thus , suggesting lovers’ quarrels, and mutual disagreements, etc. Figures like that of Vishnu or Shiva , which are flanked by two attendant figures, are usually made a compound of the Sama-bhanga and Tri-bhanga types, the figure of the deity being placed rigidly upright in the middle , without inclining one way or the other towards either of the attendant deities. The attending figures, which usually are female deities, assume Tri-bhanga posture, with their heads inclined inwards towards the principal figure. The figures on either side are exactly similar in poise, except that one is a reverse or reflex of the other. This is a necessary; as otherwise one of the figures would lean away from the central figure, and, would spoil the balance and harmony of the whole composition. NAMAM CHAKRA AND CONCH A flame shaped mark, or a The Shankh (Conch) and Chakra tilak very specific to Vishnu (Divine Wheel of Power) are and his incarnations. the prime objects represented with Lord Vishnu. The conch HALO evokes the cosmic sound of Om, whereas the chakra is symbolic Vishnu emerged with of his power, glory and protects brilliance of thousand suns as against the evil. Varadharajaswamy inside the Athi tree. To represent this COLOURS belief, he is adorned with a halo like head piece which resembles They are draped in holy colours a sun. like green and red. Green represents the natural world that JEWELLERY the deities created and stresses importance of purity, peace, Jewellery designs are based on fertility, vitality, and rebirth. Red Gajalakshmi’s representation- indicates both sensuality, power Lakshmi is his consort and purity. Dept. of FC/ NIFT, Chennai 2021 68

GA RUDA SEVA I GARUDA Garuda is a chimeric creature from Hindu mythology that is a mix of eagle and human features. It is the vehicle (vahana) of Vishnu and appears on the god’s banner. Garuda represents birth and heaven and is the enemy of snakes. CHAKRA Shankh (Conch) and Sudharshan Chakra (Divine Wheel of Power) are symbolic of Lord Vishnu or the Padmanabha Swami’s power and divinity. This figurines are believed to bring calm and peace where they are placed. Alavandar celebrates Garuda as the HALO embodiment of the Vedas — Vedatma Vihageshwaro. Parasara Bhattar sings paeans Vishnu emerged with brilliance of to the speed with which the Lord mounted thousand suns as Varadharajaswamy Garuda and sped to rescue elephant Gajendra. inside the Athi tree. Nammazhwar paid his tribute to Garuda’s To represent this belief, he is adorned with speed by referring to him as ‘vega paravai.’ a halo like head piece which resembles a Considering the importance attached to the sun. Kanchi Garuda sevai, surely this can be taken as a reference to Varadaraja’s Garuda utsavam. MAKKARA Garuda Seva celebrated on the third day of the Vaikasi Vishaka festival attracts thousands Makkara is often a part of the prabhavali of devotees. On the auspicious day Bhagavan of deities. It is a symbol of protection. Varadharaja leaves the temple on Garuda The prabhavali of Vishnu usually has Vahanam (Mount) at 4:00 AM in the early conchs added in the ends to symbolise morning returns to the temple at noon after him. giving darshan to devotees. Garuda Seva is a popular ritual in Vishnu temples in South India. Vishnu rides atop Garuda, his vahana and gives darshan to devotees. 69 Craft Research & Documentation on Golu Bommai

INSPIRATION A JA NTA Chennakeshava Temple, Belur houses The Ajanta is sometimes depicted with captivating sculptural details. This has voluptuous surasundaris. led to many art-lovers and historians to Mohini is the head of surasundaris; study the famous Hoysala temple town. the queen of celestial nymphs. She is This Ajanta lady is Mr. Chokalingam’s surottame. Hence, she is placed near interpretation of those sculptures. the entrance to the Garbha griha or the sanctum sanctorum. Other seductive SYMBOLISM depictions of apsaras and musicians are found around them too. Ancient symbolism of abundance and fertility is depicted. FERTILITY These carvings also serve as bracket Worship of fertility is an ancient practice figures placed at corners or turns in the found in many civilisations. It symbolises temple architecture or where devotees cosmic creation and the eternal cycle circumambulate. of nature. Such feminine sculptures in ancient Indian art are associated with Throwing their charm all around, they fertility and auspiciousness. are playful and joyous. Associated They are also reflective of the art style, vegetation — blossoming creepers and social and cultural life of that period vines, flowers and trees, are craved to through their adornments, costumes, complement the figure. musical instruments and dance postures. EMPHASIS Dept. of FC/ NIFT, Chennai 2021 70 She standing upon a Lotus-throne (Padma-pita). The lotus is a frequently occurring motif in both Hindu and Buddhist art and symbolises sanctity. It also conveys that the divine being’s feet must not touch the ground.

PER MUTATIONS AND COMBINATIONS The permutations and combinations of the dolls keep changing. Lakshmi for instance, was represented flanked by elephants but over the years, it has just disappeared. It could be due to the intricacy demanded by the forms. A constant change in colours and posture can be also noticed across the dolls. Dolls also began to have different combinations of iconography of the same God, depending on the narrative or context around its representation. For example, few represent Krishna as a baby and few as a young boy and sometimes as a king. This has evolved due to the artisans’ creative freedom. Krishna with his cow Krishna as a king with auspicious Krishna as a baby peepal leaves eating butter 71 Craft Research & Documentation on Golu Bommai

BABY CROWN PEACOCK COW BLUE FLUTE He is He is FEATHER He is accompanied He is dark skinned He can be seen celebrated as Peacock is by a cow and can playing flute with a mischievous worshipped as adorned on his and over the his cows, charming baby. a king in some hair bun be seen eating years artists have butter portrayed him as the gopis. parts of the nation blue skinned Krishna dancing on the snake Krishna killing Naragusaran Krishna as a baby crawling towards the butter pot Dept. of FC/ NIFT, Chennai 2021 72

INFLUENCE Ulagalanda Perumal OF K ANCHIPUR AM The golu dolls are available in a large variety be it the characters or the sets like Kalyana set, 60th marriage set, school setting, Ashta Lakshmi, and more. There are new story lines explored by the artisans with time. From mere humans to dolls of freedom fighters and political leaders, contemporary Golu is intriguing. Characters with a historical significance that still hold relevance in the contemporary world are demanded. The Athi Varadar for instance, which was resurrected from the pond of the Kailasanathar Temple was the most sought-after doll of last year. Since Kanchipuram is a city of temples, sculptures are very prominent here. The stories embodying animals, kings, gurus, and deities are alive till date. Most stories of the sculptures are narrated via golu dolls. The Azhvarakals with Andal who sing thiruppavai is one such theme for the dolls. The temple pillars in the mandapams are a constant inspiration for the artisans. The Kanchi Kamakshi, Aththi Varadharajapuram, Varadaraja Perumal, Ulagalantha Perumal, and Kamakshi embracing the Shiva lingam are a few references from the pillar that can be noticed in the golu dolls. 73 Craft Research & Documentation on Golu Bommai

K A NCHI M A H A PER I YAVA R Mahaperiyava dedicated his life to the Kamakshi Amman temple, where he was the spiritual head. He carried all his duties with sheer devotion and encouraged simple practices for devotees to follow. He was regarded as a godly figure by the people of Kanchipuram, so much so that artisans made dolls of him. This was a direct influence of Kanchipuram on the golu dolls. Dept. of FC/ NIFT, Chennai 2021 74

K AMBA NATI K AMAKSHI Parvati embracing the The name Kamakshi refers to the goddess who resides in Shivalinga sculpture Kanchipuram with Lakshmi and Saraswati as both her eyes. According to mythology, Parvati, the wife of Shiva closed his eyes from behind playfully. As a result, the entire universe went dark. Thus, Parvati was cursed to be born as Kamakshi on earth. Kamakshi Amman did penance for Lord Shiva and worshipped him by sculpting a lingam out of sand under a mango tree. To test her devotion, Shiva conjured a flood in the Vegavathi river. To protect the shivling, Kamakshi embraced the it tightly leaving imprints of her bangles and breasts on it. Contented by her devotion, lord Shiva married her. The lingam was called Ekambaranathar. This is the story artisans frequently portray with doll of Parvati hugging the Shiva Lingam. . 75 Craft Research & Documentation on Golu Bommai

ATHI VA R A DH A R Athi Varadar - nine-feet long idol, made Athi Varadar is an incarnation of Vishnu and the deity of out of the fig tree the Varadharaja Perumal Temple. The Athi Varadar idol is stored in an underground chamber inside the temple tank. This idol is brought out for worship for 48 days, every 40 years. The last time this was done was July 1 to Aug 17, 2019. Since these dates coincided with the Navaratri season, artisans got very creative and designed dolls based on the deity. Needless to say, this was the most eye-catching doll of the year. Dept. of FC/ NIFT, Chennai 2021 76

INFLUENCE OF PA INTING A ND VISUA L MEDI A The development over time of varieties of dolls ,its production and purpose , can all be directly tied to visual and painting entertainment .It helps examine everyday objects and their major influence. People started making dolls of subjects in paintings, film and television which they adored, just like how they worshipped deities with all their heart. The artist, Raja Ravi Verma had the maximum impact on the Navratri golu. His oleographs, found in the puja rooms of most households set off an unprecedented demand for images/sets/friezes of the same kind. A prized possession in many homes is a set of six scenes from the Ramayana, all directly copied from Ravi Varma (Sriram V, 2017). His vision shaped many dolls in the future and the influence is prominent in Dasavatharam dolls. Similarly, the iconic Lakshmi and Saraswathi as depicted by the painter became the standard for all clay dolls of these two goddesses (Sriram V, 2017). This complete transfer of one artform into the other makes the craft wholesome. 77 Craft Research & Documentation on Golu Bommai

GUHAN’S RIDE Another unique narrative that the golu dolls display is when the Ram, Lakshman and Sita cross the massive RAJA RAVI VARMA Ganga with the help of boatman called Guhan in their journey to Dandakaranya forest. The human figures are better crafted and ornamented now. MENAK A SHAKUNTALA Porcelin dolls modelled based on the Raja Ravi Varma paintings of Menaka and Shakuntala. RAJA RAVI VARMA Dramatic pose of flying is captured in 3D golu dolls from the 1980’s Dept. of FC/ NIFT, Chennai 2021 78

LAKSHMI Clay dolls modelled based on the Raja Ravi Varma paintings of Goddess Lakshmi standing inside a water RAJA RAVI VARMA body with a lotus A H A LYA Porcelin dolls modelled based on the Raja Ravi Varma paintings of Ahalya. A women with flower basket in one RAJA RAVI VARMA hand leaning on the tree with desire. 79 Craft Research & Documentation on Golu Bommai

FILMS AND TV Popular culture has a major impact on golu dolls. Films and daily television have been influencing the characters of the dolls for a long time now. Many Indian actors and their blockbuster characters have been converted into dolls. V YJA NTHIM A L A The famous dancing girl modelled on Vyjayanthimala in Vazhkai is another popular doll from the olden days. ENNAM POL VAZHKAI ALLI ARJUNA The Alli Arjuna set, a couple in very western royal costume, is a throwback to Tamil theatre of the 1920s when K.B. Sundarambal PLAY/FILM and S.G. Kittappa ruled the roost, playing those characters (Sriram V, 2017). Dept. of FC/ NIFT, Chennai 2021 80

BABY SAROJA Baby Saroja, an Indian actress best known for roles as a child actor in the Tamil films of 1930s was a best-seller at one time. FILM DOR A Among children, the dolls of their favourite cartoon characters remain popular. Chota Bheem, Dora and their supporting characters TV SHOW have found their way into the golu displays, promoting children to participate in the traditional festivities. 81 Craft Research & Documentation on Golu Bommai

COLOURS EVOLUTION STYLE OF THE CR AFT MATERIAL Initially, customers exclusively bought mud dolls. They were multi- coloured and meticulous painting brought out the features of the dolls, making them smile and look charismatic. With papier mâché coming into the scene, they started to make kalvettu-style dolls which required more sculpted details. The all-black stone-like look was more popular than the bronze one when kalvettu first found its place. Since they were monochromatic, the details could only be brought forward through artful sculpting. Nowadays, though the kalvettu dolls look realistic to the temple deities, customers usually prefer multi-coloured ones since they look bright and appealing. The artisans try to avoid changes in the doll’s representation as much as possible. The customers are accustomed to a particular style and colour palette. Consequently, there is a slim chance for the artisans to evolve their iconography. Despite the limits on the craft, artisans have endeavoured to create new varieties of dolls. These have expanded the collection of mortal dolls. Some examples of them are cricket sets (India vs Australia) independence day set, soldiers, music band, etc. The invention of graphic vinyl stickers made the craft very interesting. The artisans would go to the nearest Internet café and make personalized stickers. For example, in their cricket set of golu dolls, the player has a sticker of their name and jersey number. Some artisans have even shifted to making plastic dolls which is electric based and are created 40 times faster than the traditional doll. Dept. of FC/ NIFT, Chennai 2021 82

COLOURS The earlier golu dolls seemed to have a unanimous and subtle colour palette while the present ones are extremely vibrant, blingy and have a fluorescent finish. The juxtaposition of the vastly different colours suggests a slow evolution of the visuality of the dolls. Artisans have switched to a wider range of paints over time. While white is used for the base and black for facial features and detailing, it is the plethora of bright colours that make the doll appealing. Two kinds of kinds of yellow- lemon yellow and golden yellow, are used paint clothes and jewellery. Poster red, signal red, pale red and maroon are used to paint the sarees of the goddess. Bus green and mint green are mixed with yellow and used to paint green sarees and natural elements. Blue is typically used for Krishna. Golden brown is applied to wooden materials such as Saraswati’s veena. Fluorescent pink is used paint flowers such as lotus, clothes and is also used to make purple. Change in colours in Ganesha, Lakshmi and Saraswati golu dolls 83 Craft Research & Documentation on Golu Bommai

PA INTING The first set of colours that the artisan relied on were water-based. They call them “water paint”. These colours were mixed with water and gum arabica, locally known as velamaram (or gondh). This process was followed in order to prolong the life of the paint and thus, prevent further decay of dolls which can happen with time. They coated the dolls with French chalk to prevent the paint from being absorbed into the dolls as they possess are porous. Then a layer of pre- coating was done. To re-coat the doll after years of paint degradation, it was simply dipped in water and a fresh coat of water paint was applied. Nowadays, the artisans follow an improved method of painting in which they use water-based tractor emulsion paint for pre-coating. This gives an even finish and amps up the quality of the dolls. It takes about half a day for this to dry completely which is crucial to the upcoming painting of the dolls. The paint degrades much slower but if repainting has to done, the initial layer of enamel paint is burned and peeled away. This is followed by a fresh application of enamel paint. M ATER I A L The clay supply from the nearby rivers is not guaranteed forever. Drought too, has affected the quality of the clay. Therefore, artisans have to source clay from other states, making the process long and expensive. Further, clay dolls were are heavier, difficult to transport and fragile. Moreover, colours look much brighter on papier mâché. Gold is used on most objects, either as the only color, or in accents. Varnish, which is applied to the finished product, imparts a high gloss and smoothness, which increases with every coat. That is probably why artisans started preparing papier mâché as an effective alternative. Nevertheless, clay dolls are still made and sold but it is papier mâché that dominates the market. Dept. of FC/ NIFT, Chennai 2021 84

R EPR ESENTATION The imagery depicted in the dolls went through a phenomenal change. The dolls became more emphasised, vibrant and eye- catching. Complex details like hands, vahanas, thrones, flowers and weapons can now to externally attached to the main frame. Their features look sharper and more decorated than dolls of the past. KANSA VADHAM GUHAN’S BOAT Religious dolls have always had a central Another unique narrative that the golu dolls role to play in the golu displays. display is when the Ram, Lakshman and Sita Initially, the Kansa Vadh doll represented cross the massive Ganga with the help of Krishna killing his tyrant uncle Kansa in a boatman called Guhan in their journey to monotone with highlights. Today, the clay Dandakaranya forest. The human figures are doll is very popularly depicted in bright better crafted and ornamented now. colours which throw light on Krishna’s blue undertone, Kansa’s evil nature and brilliant adornments. 85 Craft Research & Documentation on Golu Bommai

DETAILS COLOUR CHOICE FORMS VISION The details are more humane in The colours were poster The forms are completely The vision of narrating the old dolls,while the present colours and hence the shades contrasting to what was day artisans have mass orders are pleasant and not bright and made 20 years ago the visual new stories through loud. The growing visual media culture has changed in the golu dolls have and use spray paint. This around has impacted the course. Paintings and print decreases the quality. medium and colour choice media influences the form reduced. A set pattern is going in a cycle. and representation ANDAL KAMBANATI KAMAKSHI The Andal dolls show the female The Kanchi Kambati has gone Alvar and other Alvar saints are through an evolution with the scene the colours signifying her known for their ecstatic love iconography, giving importance for God and they followed Sri to the lingam and the mango tree Vaishnava branch of Hinduism, which was ambiguous in earlier which was active in 7th and 8th century. Andal doll is an important depiction. female figure in south India. It is more vibrant, defined and Dept. of FC/ NIFT, Chennai 2021 86 decorated now as compared to its previous versions.

87 Craft Research & Documentation on Golu Bommai

PROCESS Pic via Decora India Dept. of FC/ NIFT, Chennai 2021 88

TOOLS A ND M ACHINERY CHIWARAI A Chiwarai is basically a set of sticks of different sizes, some sharp and some blunt. These are mainly used to sculpt the dolls more precisely. These tools can also be fashioned the back end of old, discarded brushes. INDUSTRIAL KNEADING MACHINE Another successful addition are the industrial machines that make the process quicker. The artisans usually source them from Coimbatore. It would only take 10 minutes by a mixer to knead the paper mâché dough while the manual process takes about 2 hours. This particular machinery costs about Rs.40,000 to Rs.50,000. The clay mixer is more expensive. BATTERY- CARBON It’s used to make details in jewellery and prabhavalli. 89 Craft Research & Documentation on Golu Bommai

SQUIRREL HAIR BRUSH These brushes are used in sizes 0 to 000 for painting the fine details of the doll like eyes, smile, etc. ROLLING PIN An Uruttu Kattai or rolling pin which is used roll out the papier mâché dough into a thin layer. The layer are then placed into the mould for the making of papier mâché dolls. HORSE HAIR BRUSH The artisans make the horse hair brush themselves. The horse hair is tightly tied together using a string onto a bamboo stick. AIR SPRAY GUN Air brushes has revolutionized painting of the dolls. They are available in different pressure and sizes. An air brush spray finish adds depth to the doll’s features. Dept. of FC/ NIFT, Chennai 2021 90

M ATER I A LS Natural clay Chalk powder Sand paper Plaster of paris Cement Fevicol 91 Craft Research & Documentation on Golu Bommai

Coconut husk Gingelly oil Metal Wire Kraft paper from cement bags Tractor emulsion Cardboard paper Dept. of FC/ NIFT, Chennai 2021 92

CLAY SOURCING AND TESTING Clay is taken from yeri or lake beds. It is called kalimann knowledge after years of trials and errors. in Tamil and manti in Telugu. The lakebed clay is Preparing a slurry of the clay is another way by which preferred over river clay because the lake beds have one can test the clay sample. constant water stagnation, making the mud softer. About 1.5 tonnes of the chosen clay is stored under There are different varieties of clay available in India jute bags to control its moisture and keep the texture like white, red or black clay. The artisans select it intact. It is then kneaded by treading on it, similar to depending on the type of doll they have to make. pigeage. All impurities have to be removed from it Usually, red clayey soil is used. A sample of the clay is to make the whole clay uniform in texture. It is then taken and tested to check its suitability for the dolls. soaked in water in a small pit covered with jute bags. The artisans smear the clay between their fingers The artisans usually sprinkle water over the clay about to check its moisture and sand balance. If the sand 10-12 hours before they are about to use it. After content is too much, the doll will break into pieces sprinkling, the wet sacks are used to cover the clay. while firing, like glass. They usually prefer a rubbery If the quantity of clay is less, kneading is done manually. clay that can be easily rolled and moulded. If the sand The process continues for about 3 days to make the content is too little, they add some sand to the clay clay perfect for moulding. themselves to make it a fine blend. They gather this 93 Craft Research & Documentation on Golu Bommai

MOULD MAKING Dept. of FC/ NIFT, Chennai 2021 94

01 M ASTER PIECE SCULPTING The process of mould making starts with a masterpiece doll. A completely handmade masterpiece of the desired character or deity is modeled out of soft clay. As the clay starts getting stiff, the artisan starts shaping the doll accordingly. The face is modeled first, to resemble an egg with the constant application of French chalk for easy carving. Multiple s are used to carve the doll, depending on the part and detail being worked on. Creating a masterpiece doll requires utmost patience. Every detail is important. Even the eyeballs are given details as its design coveys different emotions. It takes about 7 days to complete one masterpiece. It is dried for 3 more days before the actual mould making starts. 02 CLAY PLATFORM French chalk is dabbed on the rear of the masterpiece and the doll is stationed in a lump of clay. The French chalk helps the clay not to stick with the clay doll. The clay is flattened with a chiwarai and made into a platform base with the face of the doll facing upwards. 95 Craft Research & Documentation on Golu Bommai

03 PER IPHR A L WA LLS Kerosene and gingelly oil is mixed and the solution is applied generously to the face of the doll. The artisan blows on the doll so that the oil spreads evenly. Kerosene is absorbed by clay whereas gingelly oil gives the greasy finish. This is done so that the mould can be separated easily from the master doll. A border of clay, approx. 0.5 inch to 1.0 inch thicker than the half of masterpiece, is built around the master doll and the platform. Frequent brushing of the clay is done to keep the texture neat. This border will serve as a wall that will contain the POP - cement mixture without any leakage. 04 POP AND CEMENT MIXTURE A cement and POP mixture in water in the ratio 1:3:2 is poured all over the doll. The consistency is kept similar to a dosa batter. The artisan blows over the doll for the mixture to spread evenly. While the POP absorbs the details of the doll, cement is used to impart sturdiness and increase the longevity of the doll by 3 times. The mixture runs to the sides and spreads evenly. it is then a thicker layer of the mixture is poured with the cement, POP and water in the ratio 1:3:1. This will provide thickness and protection to the mould. It is allowed to dry for 10 minutes. Dept. of FC/ NIFT, Chennai 2021 96

05 COCONUT FIBRE MIX One part coir is mixed with the thick cement-POP mixture and further applied on the doll. This helps the mould to stay strong against any physical damage. The whole process is exothermic. After 15 minutes of drying, the clay border is removed slowly. 06 OTHER HALF OF MOULD The clay platform made in the first half is removed. A chiwarai or a blade is used smoothen the edges of the POP mould. Excess of French chalk is brushed away and a fresh layer of the oil solution is applied. A clay slurry is prepared and poured over the sides of the mould. This will help in separating the two parts of the mould. After proper drying, a layer of oil is again applied all over the master doll and mould. This will prevent the mould from sticking to the doll permanently. 97 Craft Research & Documentation on Golu Bommai

07 SLU R RY To build the other half of the mould, the master doll is flipped and border wall of clay is built again. The POP-cement mix is again poured at intervals as the wall won’t be able to hold it all in one go. The thicker second layer is poured, followed by the layer with coir. The mixture aligns with the buttons created in the other half of the mould. Lines are also marked on both the faces to serve as guides for aligning the halves together. It is then left to dry for about a day. 08 SEPA R ATION OF THE H A LV ES Lines are also marked on both the faces to serve as guides for aligning the halves together. It is then left to dry for about a day. Hacksaw blade is used shave the bottom of the whole mould so that it cracks up easily. The dried mould is then pried open manually, using simple tools. The back side is dealt with first, since it is easier to detach. To separate the front side from the doll, the master doll is destroyed and scooped out with the help of a chiwarai. The front face of the mould is cleared of all remaining clay and is now complete. The moulds are then left to dry for about 4 days after which they turn white and give a clank sound when tapped. Dept. of FC/ NIFT, Chennai 2021 98

DOLL M A KING 99 Craft Research & Documentation on Golu Bommai

CLAY DOLLS 01 PREPARATION OF CLAY Water is sprinkled at regular intervals, at least 10-12 hours before the stored clay has to be worked with. The clay is then covered with jute sacks and left in the pit. 02 KNEADING THE DOUGH The required amount of clay is kneaded manually for a long time, to make it soft and uniform. It is then modeled into a cylindrical form.. Dept. of FC/ NIFT, Chennai 2021 100

03 L AY ER ING French Chalk powder is dusted over one half of the mould. The clay dough is gently pressed into the mould. All the gaps are filled by applying the pressure using fingers. Other half of the mould is also dusted with French chalk and is lined with clay. 04 JOINING French chalk is cleaned from the border of the clay form to allow the two pieces to stick properly. Both halves of the mould are pressed together tightly using the line and button guides. As the doll is hollow, clay is used to seal the base. 101 Craft Research & Documentation on Golu Bommai