The Sculptors of Kumartuly: Day 5

I decided to spend the first half of my last day in Kolkata in Kumartuly. For those of you who have been, or know of this place, you can imagine the face of amazement that I wore throughout my time there. Kumartuly, some twelve kilometres outside the centre of the city is an area where artisans and primarily sculptors reside and work. They make the murthis dispayed at pandals during the various festivals, and of course their busiest time is the months leading up to Durga Puja.

Even though I was there in March there were still a countless number of artisans working, preparing sculptures for Shivratri. While our “guide” seemed less than enthused by the apparently lame turn out, I was way too excited. Perhaps it wasn’t as lively and bustling as during another season but everywhere I looked there were sculptures in various phases of completion, some even up to ten feet high lying around everywhere, being worked upon. It was also interesting to note that all the sculptors happened to be men when I was there, and the only woman I saw working outside of household chores was painting the embellishments.

Clay sculptures are made around frames constructed of hay and held in shape with thread. The frame is made to hold the shape of the human body in its simplest form. The addition of clay allows the sculptor to make the body fuller and to add additional shape and detail. The palms, feet, and any additional embellishments such as jewellery, hair, etc. are all added later on, once the frame is complete. These embellishments are often made using moulds of plastic or PVC that are designed and often constructed by the sculptors themselves. Once dry and hard the sculptures are painted and dressed up.

Alongside the sculptors stores are the stores who create the elaborate costumes and embellishments draped over the murthis. One of the artisans had me sit down near his bench and taught me how to make my own designs.

I didn’t get much time here (ok, I had three hours but it didn’t feel like enough time), but I enjoyed the experience so much.

I say some resemblance in the facial features of humans and animals on the murtis to the styles of Kalighat paintings. I found this to be very interesting but am not sure how true this is. And even if true I do not know how intentional this is. Several of the artisans do sculpt from reference of images (from posters) of gods and goddesses. So it is possible that their point of reference at some point was Kalighat artwork. However, I saw no proof of this.

Following the long ride home from Kumartuly, during which I passed out, I was so tuckered, we headed to the Sikkim House of Commerce. This gated guest house property is home to a restaurant that serves up momos with an amazing hot momo sauce. This sauce had my lip a little swollen by the last bite but I regretted nothing. I apologize for having forgotten the actual name of this restaurant, but everyone who knows it, knows it as “Sikkim House” itself.

I then walked down towards Camac Street for an evening chaat outside Vardhaan Market. I indulged in some puchka and alu tikki chaat, followed by a kulhar of kala khatta soda (extra soda). Perhaps my Bangalore taste buds are not set to Kolkata but I’ve tasted better chaat.

To end the evening and my trip, on a sweet note we followed this up with a quick trip to Balaram Mullick & Radharam Mullick. This is one of the most well- known and best sweet shops in all of Calcutta. I’m not sure if it has several branches but the one I went to was around Ballygunge, quite close to the Birla Temple. March is the season for gur so we tried rasmalia (one of my all time favourite Indian sweets) but the ras was made of gur, and a nolen gurer souffle. The souffle was interestingly enough the best sweet I tried there. We also tried the misthi doi before calling it a night.

 

 

 

Block Printing: Day 2

My fourth day in the city truly inspired me, more than any other experience has/ did. I was given the opportunity to visit the factory of one of the first textile establishments in Kolkata to engage in block printing. The face of the operations is a quaint boutique named Kanishka’s, in Ballygunge. The factory itself that has been operational for almost 45 years now, is located somewhere deep within the by lanes of Park Circus.This particular block printing outfit works on designing saris and Indian wear for the local boutique and also caters to a Western market demand for basic bock prints on shir

It took a moment for my eyes to adjust to the dim lit entrance to the factory. The room was lined by shelf upon shelf of discarded blocks. There were six long tables situated around the room and men stood bent over the fabric with blocks of various sizes. I fell in love with a white silk sari, mid- print that was on the table closest to me. On closer look I noticed that on each table there were nine-yards of fabric carefully pinned down so the cloth remains taut.

The men had plastic carts with wheels that they pushed around with them as they worked, that held their paint pads (to dip the block into). I watched as they manually stamped patterns, one by one, with disciplined precision. Even dipped the block into the paint pad was a measured act because the paint had to coat the block evenly and in the right consistency. And watched them place the block once, twice, repeatedly with such precision and speed is enthralling. I got sucked into their vortex of concentration that was palpable yet could seem effortless to the eye. For a second the room would be quiet as they placed their block and then they’d give the block a nice thump on the back. Since there were so many people working at once though there was no moments of silence but a symphony of percussion.

Every now and again I would return to that wonderful white sari I had first noticed just to see how it was progressing. The man printing it also had an amusing way of tapping the blocks once placed on the fabric. He would turn back to his crate to re-dip the block, making a squelching sound in the tray as he did, following by a second of silence and then three rhythmic taps on the block, and then again. It was so fun to watch but I did eventually have to stop when my ‘oohs’ and ‘aahs’ started distracting him.

After printing on the fabric they were left to dry and covered with a white powder to prevent the colour from running. We then watched other workers carry out the painstaking task of collecting saris that had been drying for sometime, lay about 40 pieces one over the other and bundle them up with a plain cloth, fastened with rope. This entire bundle was carried and placed in the perfect position over a boiler that was filled halfway up with water and lit from the bottom. This is so that the steam from the boiler rises up and spreads evenly, filling up the entire bundle and then escaping from the top. This process lasts about 45 minutes but is crucial to prevent the colours from running when washed (after use).

Until that was done I watch them prepare the dye for the fabric; weigh the powdered colours on an old weighing scale with the hexagonal weights on one side,cook the colours, and mix them before filling them into the tray. I also watched them tie-dying some fabric to be printed upon later.

The fabric pieces were swiftly separated and then, finally, and I quite enjoyed this part, they beat the fabric. Yes, literally beat the fabric with large wooden hammers. Apparently during the steaming the weave or threads of fabric expand and become tough and the beating removes all the stiffness from the cloth. But I partly suspect they do this for fun and to let off some steam.

The entire process is unbelievably time- consuming. This is intricate intricate work. The patterns are often designed to be in multiple colours. This involves the production of as many blocks as colours in the pattern. The person working on the pattern must then place three different blocks over the same pattern such that it syncs perfectly to make the completed image on the fabric. There are so many small details to the process. I cannot imagine this kind of production line as a theory simply because I do not think it would work unless the people working truly cared for and respected their trade. All in all I garnered a whole lot of respect for artisans. And although I didn’t get to buy that beautiful sari I love and still dream about, I did pick up an intricate silk sari for my mother from Kanishka’s before I left.

The rest of the day was spent talking about everything I had seen and trying to create my own block print out of an eraser using a blade. It was lots of fun but not entirely successful. As for where I went thereafter, here it is.

On the way back from the factory I stopped off at Arsalan, Park Circus for some amazing mutton biryani and mutton stew. Most people know about this place, but don’t second- doubt it on account of its popularity. It is truly amazing biryani. This was followed by a two hour long walk, taken for the sole purpose of digesting lunch (I said amazing, not healthy).

I then joined a couple college friends near St. Xavier’s college for an ice cream after which we walked over to Oly Pub on Park Street for a chilled He-Man Super Ultra Strong Beer. Allow me to warn you, they’re not completely lying about being “super ultra strong”. Oly Pub is another place that Calcutta (at least of my generation, as far as I know, swears by). The ambience has however been kicked up a notch or five since I was there years ago. And I’ve got to say, I liked it a little better when it was shady. We didn’t eat here this time, but Oly Pub is also known for its steaks. So if you’re in the mood for a significant meal, add some red meat to your beer belly and call it a happy night.

We were not so successful in creating such an appetite for ourselves on this particular night so we walked over to Kusum Rolls, to the right of Oly and ate there. Everyone knows Calcutta rolls are to die for. Kusum rolls live up to that standard.

Kolkata: Day 1 (,2,3)

I landed around 2:30pm on a Saturday, and after a relatively hectic flight of turbulence and troublesome fellow passengers, all I wanted was to retire to a quiet place.

I’m lucky enough that I know people in this city so I’m staying at a friend’s place around Ballygunge.

So far I have hit up a few local favourites- the puchka wallah at Max Mueller (for alu dum, and ofcourse puchka), Tangda Kaizen (for cheap alcohol and chilli potato), Sharma Dabha (for kachori alu and tandoori alu).

For a more cultural twist to the trip I joined by friend at 5:30 in the morning to catch the sunrise at Princep Ghat. We did somehow successfully make it there before the sun rose but we still managed to miss it on account of forgetting that the sun rises on the East, the opposite side of the river.

The Hooghly bridge was next on our agenda. We drove onto the bridge and past it twice before we realised where we were, for we had to travel quite a distance through a street market from hell! We finally ended up at Dalhousie Square at about 8 am. And it was the perfect time to be there.

The streets were more or less empty. The daily routine was only just beginning for most so there was not too much traffic and empty spots on the footpath to sit down and sketch. This area is so well maintained, it made me incredibly proud. We’re all so used to seeing some of the most beautiful monuments and ruins of monuments in the world in this country, being ruined just because no one appreciates their value. This was a happy surprise. From Victoria Memorial to the Writer’s building or the currency building, this entire “square” has been maintained incredibly well considering that it is still a functional administrative block and not just a national heritage site  maintained solely for the purpose of tourism.

The best way to see this entire stretch is to walk around. We were on foot for about three hours and it was beautiful! Check out some of the photographs and sketches I took/ made during our walk.

I guess February/ early March is a great time for the city because I’m on day 3 in Kolkata and yet to feel the crippling heat and humidity I was expecting, but let’s not jinx it.