4.1 Assam
4.1.1 Crafts and Artifacts
No definite records are available to establish the antiquity, history and origin of this craft in Assam. However, it can be safely assumed that the craft was practiced since the misty past with the very dawn of civilization. In the early period in Assam, bamboo was held with special reference and was forbidden to cut on “auspicious days”. Perhaps religious safeguard was made to rational use of this natural resource. It is a general belief that bamboo possesses auspicious character and is of religious significance.
An idea about the flourishing state of cane and bamboo products of Assam was found even during the time of Bhaskara Varman (early part of the 7th century A.D.), the king of Assam, (reference extract from “The History of Civilization of the People of Assam” by Dr P.C. Choudhury, <ignca.nic.in>). “Early literature refers to the well-decorated and coloured sital patis (cool mats) used by the rich people.
Mats were usually made of cane. The classical writers testify the abundance of cane in the forests of Assam. Ptolemy, for instance, states that to the east of Serica, which we have identified with Assam, there were hills and marshes where canes were grown and used as bridges. Evidence of the production of other cane articles is also supplied by the ‘Harshacharita’, which mentions stools of cane.
The cultivation of bamboo and its use for various purposes are well known. King Bana again testifies to this highly developed craft. He states that Bhaskara sent to Harsha ‘baskets of variously coloured reeds’, ‘thick bamboo tubes’ and various birds in ‘bamboo cages’ (Das. J., 1968, Asomor lokokotha).
All these prove that various industrial arts were developed in Assam at an early period and were continued to be practiced till recent times, based on that traditions like those of the craftsmen of other parts of India” It is observed that there is no particular caste or community in the Assam valley who are exclusively connected with this traditional craft. All, particularly the peasants irrespective of caste, community or creed, generally carry it on. Umbrella handles, walking sticks, tool handles, fishing rods, tent poles, cordage, ladders, yokes, baskets, toys, hand-fans and various domestic and agricultural implements are made out of Bamboo. All these articles can be produced on a cottage and small-scale basis with small machineries.
Assam is rich in sylvan resources and most of its forests are richly stocked with bamboos and canes of various species. Bamboo is a raw material of great versatility and forms an integral part of the lifestyle and economy of Assam.
Special mention may however be made of the Cachar, Mikir and North Cachar Hills, Nowgong and Lakhimpur districts. While touring in the hill districts, one sometimes wonders at the vast expanses of bamboos and canes.
The making of bamboo and cane products is perhaps the most universal of all the crafts practiced by a large number of artisans scattered throughout the State. It is practiced as a household industry and no mechanical device is used. Cane and bamboo products are used for a wide range of purposes and extensively used in every household.
There are varieties of cane and bamboo used for manufacturing of different products. A kind of bamboo locally known as ‘muli bazail’ is used for making umbrella handles. Two other varieties of bamboo locally known as ‘Mrithinga’ and
‘Bethua’ and different varieties of canes locally known as ‘sundi’, ‘barjali’, ‘harua’,
‘golla’ etc., are used for making furniture and baskets. Bamboo and cane works are simple, inexpensive and used throughout the state.
The toys of Assam
The toys of Assam have been broadly classified under four heads, e.g., clay toys, pith, wooden and bamboo toys, cloth and cloth-and-mud toys, etc. Human figure, especially dolls, brides and grooms, is the most common theme of all kinds of toys, as well as a variety of animal forms have also dominated the clay-toy scene of Assam. Clay toys, traditionally made by the Kumar and Hira communities, have often depicted different animals too, while gods, goddesses and other mythological figures also find importance in the work of the traditional artist.
Pith, the Indian cork, has also been used for toy making since centuries in Assam. Such toys are mainly made in the Goalpara region and they include figures of gods, animals and birds, the last of which again dominate the over-all output. Wood and bamboo on the other hand have been in use for making toys for several centuries and like the other mediums, come with birds, animals and human figures.
Toys of cloth as also with a mixture of cloth and mud too have constituted part of the rich Assamese toy-making tradition. While the art of making cloth toys have been traditionally handed down from mother to daughter in every household, the cloth and mud toys are generally used for puppet theatres. Among the household toys, the bride and groom are the most common characters, while the other
characteristics of these toys are; simple geometrical forms, Fig 49 (Majuli, Assam), with linear motifs used in clothing and spontaneous lines are used while drawing hairs and eyes. Colours are very bright, mainly used yellow, pink, red and black in the figures of human, animal and in bird forms (Dasgupta, 1982).
Pottery
Pottery is probably as old as human civilization itself. In Assam, pottery can be traced back to many centuries back. The Kumars and Hiras are two traditional potter communities of Assam and while the Kumars use the wheel to produce his pots, the Hiras are probably the only potters in the world who do not use the wheel at all. Again, among the Hiras, only the womenfolk are engaged in pottery works, while their men help them in procuring raw materials and selling the wares. The most commonly used pottery products include earthen pots and pitchers, plates, earthen lamps etc, and now-a-days, modern decorative items are also found in Assam.
Decorative panels in the royal Ahom palaces of the past and the 600-year old satras, i.e., the vaishnavite monasteries, are intricately carved on wood. A special class of people who excelled in woodcarving came to be known as Khanikar, a surname proudly passed down from generation to generation. In Sibsagar the Khanikar gaon (gaon = village) is well known for this work. The various articles in a satra and naam-ghar (place of worship) are seen to be cut on wood, e.g., depicting the guru asana, a pyramidal pedestal of the lords, Fig. 50 (Borpeta, Assam), apart from various kinds of birds and animals figuring in mythology.
Mask- body decoration
The tribal art and folk elements forming the base of Assamese culture, masks, Fig. 51 (Majuli, Assam), have found an important place in the cultural activities of the people. Masks have been widely used in folk theatres and bhaonas, with the materials ranging from terracotta to pith to metal, bamboo and wood. In the bhaonas, masks are necessary, especially for those playing the parts of mythological characters like Hanuman, Ravana, Garuda, Jatayu etc., and these are made from different materials varying from place to place. Similarly, among the tribals too, the use of masks is varied and widespread, especially in their
colourful dances, which again revolve mainly around their typical tribal myths and folklore. Such traditional masks have of late found their way to the modern-day drawing rooms as decorative items and wall hangings. The place called Majuli in Assam has a rich tradition of mask.
Ornaments
Gold has always constituted the most-used metal for jewellery in Assam, while the use of silver and other metals too have been there for centuries. Gold was locally available, flowing down several Himalayan rivers, of which Subansiri is the most important. In fact, a particular tribe of people, the Sonowal Kacharis was engaged only for gold washing in these rivers. Jorhat in Upper Assam is one place where the traditional Assamese form of manufacture of jewellery still exists, and people flock to the Jorhat sonaris (goldsmiths) to get the exquisite Assamese jewellery. Assamese jewellery includes the doog-doogi, luka-paro, bana, thuriya, gaam-kharu, gal-pata, jun-biri, dhol-biri and keru, Fig 52 (Nowgaon, Assam). All these traditional jewellery have also encouraged modern jewellers to producing similar designs mechanically. The basic characteristics of the motifs of these designs are found to be floral, simple geometrical, cervical, linear, and along with animal and bird forms.
Japi (Bamboo / leaf head-gear)
A typical item, circular in shape to provide shade with a central protrusion to fit in head, originally to be used by farmers and this has become cultural symbol with various colour application is called Jhapi, Fig 53 (Pragjyotika, Guwahati).
Bamboo and leaf headgear is the most indispensable item of the open air workers. Such ordinary headgears are produced throughout the State. Many varieties of ‘Japis’ such as ‘halua japi’ ‘pitha japi’, ‘sorudoiya japi’, ‘bordoiya japi’,
‘cap japi’, etc. are produced in the districts of Kamrup, Nowgong, Darrang, Sibsagar and Lakhimpur. Nalbari and its neighbouring villages (such as Kamarkuchi, Mughkuchi, etc.) of Kamrup district deserve special mention in respect of manufacturing of ‘fulam japis’ (decorated bamboo umbrellas). In earlier days, this particular type of ‘japis’ served as headgears for the females of noble and rich families, but now this practice are not seen anymore. Productions of
‘fulam japis’ are now only intended to serve as items of drawing-room decorations.
This traditional headgear (japi) is made of strips of bamboo and a special kind of dried palm leaves locally known as ‘tokow-pat’. The manufacture of ordinary ‘japi’
does not require any special skill. First of all, the selected bamboos are split into small strips of required sizes. Then the strips are woven in open hexagonal design into a circular disc with a dome in the centre for the head to fit in, putting a few dried ‘tokow’ leaves (previously cut into required sizes) in between two such discs and finally sewing them securely with yarn and fine strands of cane. Thus, the manufacture of ordinary ‘japi’ is completed. A japi is more advantageous to the cultivators and other open air workers than the conventional umbrella, because the cultivator after putting it on can tie the strings around his chin leaving his hands free to work in any position-standing, squatting or stooping.
Metal craft
Bell metal and brass have been the most commonly used metals for the Assamese artisan. Traditional utensils and fancy articles designed by these artisans are found in every Assamese household. The Xorai and Bota, Fig. 54 (Barua.U, Guwahati), has been in use for centuries, to offer betel nut and paan while welcoming a distinguished guest and also used ban kahi Fig 55 (Kalakshetra, Guwahati), for giving meal to the guest which is now almost extinct from using as household items.
The entire populations of two townships near Guwahati, Hajo and Sarthebari, are engaged in producing traditional bell metal and brass articles. They have also used their innovative skills to design modern-day articles to compete with the changing times. Gold, silver and copper too have formed part of traditional metal- craft in Assam and the State Museum in Guwahati has a rich collection of items made of these metals. Gold however is now used only for ornaments.