Crafting faith: Inside the world of Pandu's idol-makers
Generations of devotion, tradition, and skill converge in Guwahati's Pandu, where idol makers breathe life into clay
AT Photo: An artist at Ratan Pal's workshop in Pandu
Kanchan Pal, an idol-maker, works diligently in his shop in Pandu, a space that opens up to the vibrant hustle of the market. Finding his shop wasn’t a task as everyone in the area knows him.
His humble shop has stood the test of time for decades, and he has called Pandu home for his entire life. "We have lived here all our lives, but the shop wasn’t always here; it came later,” Pal shares, pausing to look up from mixing vibrant paints as he adds the final touches to one of the many idols that grace his shop.
Like elsewhere in the country, this is a peak season for idol-makers, and Pandu is a hub famous for its exquisite idols. During Durga Puja, the area transforms into a lively canvas, bursting with art and creativity as artists fill every nook and cranny.
Pal is a third-generation idol maker in the city, following in the footsteps of his father, Ratan Pal, and grandfather, who have dedicated themselves to this craft for decades.
“My grandfather was an idol maker, and my father has been creating idols in Guwahati for the past 49 years, starting his journey in 1975. Times were different back then; the city had only two or three Puja pandals. My father would visit these pandals to craft the idols before we established our shop,” Pal reminisces, a hint of pride in his voice.
A few meters away is Accounts Colony, where another idol maker, Bishnu Sarkar, is going about his work. Originally from Siliguri, he began visiting Assam for Durga Puja in 1975.
“I learned this art from my elder brother. My interest in the profession sparked when I watched him at work. I remember being just 8-years-old when I first dipped my hands in clay to help him create an idol of the Goddess,” Sarkar recalls, a tinge of nostalgia in his eyes.
The challenges
The idol-making profession demands immense dedication, especially ahead of Durga Puja. “Our work requires relentless effort. We toil day and night, often working until 2 or 3 in the morning while the world sleeps. Family life, meals, and rest are the sacrifices we make for our craft. The pressure is too much and it seems fewer people today are willing to endure such stress,” Pal shares, reflecting on the challenges that come with the job.
Another significant hurdle for Pal is sourcing the raw materials essential for creating the idols. As Guwahati expands, finding clay and other materials has become increasingly difficult.
“We need to stockpile clay for our work and often outsource it, along with hay and bamboo. The availability of these raw materials has declined in the past four to five years. Furthermore, we incur costs for transportation and labour, adding another layer of complexity to our work. Because of these challenges, we sometimes have to limit the number of projects we take on,” Pal explains.
Both Pal and Sarkar, acknowledge that technology has transformed their craft, making it less labour-intensive. “We now have various tools and equipment that enable us to create idols on a larger scale. While the work remains time-consuming, technology has certainly helped us meet the demands of our profession more efficiently,” Sarkar explained.
Moreover, both note that the internet has become a rich source of inspiration for many Puja committees. These committees now approach them with specific designs and requests, reflecting a modern twist on traditional practices.
The rituals
The year is filled with activity for an idol maker, mixed with quieter periods. Pal shares, “Our peak work season extends until Kali Puja, after which there’s a two-month lull. January brings Saraswati Puja, followed by another three-month break. During this time, we take on whatever small jobs come our way, sometimes crafting idols on a modest scale for home pujas. However, our busiest period truly spans from July to November.”
Focusing specifically on Durga Puja, Pal elaborates, “Preparation for Durga Puja typically commences after Manasha Puja then comes Vishwakarma Puja and then, Ganesh Puja. Only after these festivals conclude, we begin crafting Durga Puja idols. There are even some artisans who start their work as early as Bohag (April).”
Pal also spoke of the rituals that precede the crafting of idols. “There is a ritual known as Saak Puja, which I learned from my father. Before we embarked on idol making, we also crafted earthen lamps, and this ritual was followed before we began working with our tools and materials.”
Sarkar echoed similar sentiments, noting, “Before we start making idols, there’s a small ritual in Bohag, after which artisans refrain from work for a couple of days. Only once that time has passed do we begin our craft.”
Typically, idol makers leave the painting of the Goddess's eyes until after Mahalaya. Pal explained, “Mahalaya holds special significance for us because we only paint the eyes of the Goddess during this period. This practice, called Soku Daan, has been passed down through generations. It’s believed that the eyes of an idol fill it with divine energy, ushering the Goddess into our realm. However, the pressure of our workload is so intense that we sometimes find ourselves painting the eyes before Mahalaya. Traditionally, though, the eyes of the Goddess should be painted during Mahalaya.”
As Dashami approaches, idol makers increasingly hear concerns about the pollution caused by the immersion of idols. “The rivers are polluted year-round due to the sewage that drains into them. A single day of idol immersion cannot be solely blamed for their contamination. All the ingredients of the idol dissolve upon immersion. It’s disheartening to hear people condemn this act, suggesting that the river water will be polluted when a Goddess is immersed. We have worshiped these idols, and I don’t believe the Goddess can taint our rivers,” Pal says.
Changing times
Both Pal and Sarkar are uncertain about the future of their family profession, particularly whether their children will carry on the tradition. “My son is still very young; it’s too early to tell. Currently, I am the only idol maker in my family. As I look ahead, I fear that in the next 20 years, this profession may very well fade away. From my observations, it appears that today's youngsters prefer an easier path to earn money, seeking ways to earn more while putting in less effort,” Pal reflects, thoughtfully.
Sarkar echoes these sentiments. “My nephews help me and my elder brother in our work, and they are just starting their journeys. However, I’m not sure if my own son will be drawn to this profession,” he admits, a hint of uncertainty in his voice.
Even as times change and uncertainty looms over whether their future generations will continue the family trade, both Pal and Sarkar remain steadfast in their commitment, having discovered their true calling in this art. “I can’t quite explain it. I feel a unique energy coursing through me when I create idols,” Sarkar confided.
Pal affirmed, “I can’t imagine doing anything other than idol making. I’ve watched my forefathers dedicate their lives to this craft, and it brings me a sense of peace. I wouldn’t want it any other way; I wouldn’t trade it for the world.”
