The crisscross bylanes of Girgaum have come alive with divine manifestation. The lord of beginnings – Ganesha has traversed celestial realms to personify idols, crafted to perfection. According to Hindu mythology, the 10-day observance starting on September 19, marks a period when he visits his devotees and blesses them with a prosperous dawn.
A flying speck of white dust becomes our guiding force into ‘Ganpati Karkhana’ at Keshavji Naik Chawl – the epicentre of Ganesh Chaturthi gatherings since 1893. Scores of idols grace the multi-layered shelves with the pot bellied deity. Inside the studio, the 5th generation idol-maker – Sridhar Datta Chawlkar perches on his pedestal to paint his standard 2 ft tall idol.
At this time of the year, idol makers are in their artistic element. At the fifth stop of 2nd Kumbharwada, is Deepak Durge’s atmospheric studio which is a hidden gem of clay idols in a market dominated by POP (Plaster of Paris) models. Draped in muddy white shades of clay, he can be seen adding final details to his 150th sculpture of the Elephant-headed deity, this season.
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Ganpati draped in grandiosity
Over a special cutting chai, he tells Midday, “Adding embellishments and studs on Ganpati idols has become highly popular in recent times. Not only studs, but people are increasingly demanding idols adorned with expensive jewellery, clothing, and accessories.” However, upon closer observation, it comes to light that none of his idols carry embellished studs.
Durge recalls how, last year, one of the Ganpati idols was decorated with LED lights. He goes on to add how another idol was covered with a wig made of human hair. “Artists have also started placing Ganesha’s head upon diverse structures. For instance, on the bodies of other Gods or human avatars like a doctor, or a superhero figure like Spiderman, even in the body of Sai Baba or a swami.”
Sagar Panchal, the owner of the iconic Atul Sagar Arts at Lalbaug has a distinguished clientele which includes the Ambani family. “They have had a standard request of a 5 ft-sized idol for the past 14 years. In 2009, when they first came to us, they picked an idol that was already made. The design left such an impression on them that they decided to commission a Ganesha idol from us every year. Hence, we designed a particular mould for their idol and continued with the same.”
A point to be made here is that a mould idol implies a (Plaster of Paris) model. Over the years, Ambanis have requested add-ons like ornaments, elaborate backgrounds, golden seats and sheen fabric, informs Panchal. However, the ban on POP during the pandemic made them switch to paper or clay models with a height restriction of 3 ft.
People have become particular about the draping styles on Ganesha’s body. To cater to the evolving demands, Panchal has come up with creative draping styles – one where the drape flows from both the shoulders of Ganesha, one where He is clad in Kurta with a drape on one shoulder and another where the drape flows from the right shoulder and left arm.
Additionally, there is a growing demand for diamond and artificial jewellery on Ganesha idols at Panchal’s studio as well. There is artisanal creativity to be noted in the variety of diamonds with shapes ranging from round to rhomboid to square studs. Moreover, the pagdis come in innovative styles too – some based on elaborate fabric folds, some in traditional forms, while some decked with flowers.
His signature idol is the one where Ganpati is clad in sheen white drapes, wearing a white dhoti, a white pagdi decorated with flowers – holding a yellow modak in His left palm. “We have 2000 idols in the same mould. It is our unique selling product that has garnered maximum patrons owing to its distinct design,” shares Panchal.
Sourabh Mururkar, 27, is a first-generation idol-maker at Lambodar Arts in Keshavji Naik Chawl. In his experience of 20 years at the workshop – he has also observed a rise in the demand for decorative detailing. “Earlier, people used to be concerned with flowers and backdrop design. Now they want miniature diamond jewellery, intricate mukuts and elaborate draping for Ganpati,” informs Mururkar.
A rise in pomp and show
Traditionally, Ganesh idols were relatively small, often handmade with clay and standing at a manageable height. However, in recent times, there has been a rising trend towards larger and more extravagant idols. Some communities and individuals compete to have the tallest or grandest idol, reaching enormous heights, remarks Mururkar.
“How can I beautify my idol more?” asks Mururkar in a rhetorical manner to imitate his customers. His team designs 50-60 idols each year as they are all hand-made. “The height of the idol has been consistent at 18 inches for the last 20 years that I have been practicing. Size demand never changes, but the décor is evolving fast to grab more eyeballs.”
What is the driving factor behind this trend, we ask? Durge responds by saying that Ganesh Chaturthi has come to be associated with pageantry owing to a variety of socio-economic and cultural factors. “Rising disposable incomes have enabled individuals and communities to allocate more resources to elaborate celebrations. Additionally, a competitive spirit drives them to outdo one another in terms of idol size, decoration and festivities.”
The amount of money spent on Ganesh Chaturthi celebrations, including idol creation, decoration, and various rituals, has surged over the years. Many communities and individuals are willing to invest substantial sums to ensure that their celebrations are the most impressive. This includes not only the cost of the idol itself but also expenses related to pandals (temporary structures to house the idol), lighting, sound systems, and cultural performances, adds Panchal.
Panchal points towards an idol whose dhoti folds he had painted in yellow shades. “You can see how sublime the folds are. If you ask me, I personally don’t like the trend nowadays. As an artist, when I paint an idol – I want my creativity to show. With the add-on requests of fabric dhotis, my creativity gets affected as it hides my art.”
Commenting on the shifting trends, Durge defines this as a major deviation from Hindu shastras which lay out the principles of deity worship. The primary intent of this idol is devotion; it should be a plain representation of the deity that bridges the devotee with the divine. Adorning it with vivid colours and ornaments drives us away from the sacred tradition of Ganesha worship, opines Durge.
The supply-demand equation is to be equally blamed for, says Durge. People are demanding Ganesha in innovative avatars. Seeing the rise in this peculiar demand, idol-makers are coming up with more elaborate Ganpati idols. So much so, that the supply of spectacular idols has misguided people. “A true artist will do it the ceremonial way rather than playing with the ritualistic ways,” remarks Durge.
Traditions vs. traction
Durge’s design ethos does not align with extravagant idols. Hence, he has chosen to stick to the traditional idol-making style that involves the use of shaadu mitti (Clay) and is devoid of any embellishments. “As per the Hindu rituals, the idols are meant to be designed in a certain manner that aligns with nature and we do it that way. Had we been in the money-making business – we would have resorted to smarter ways.”
At Lambodar Arts, Mururakar has noticed a rise in eco-friendly idols. “Earlier people didn’t care about POP or clay, but now there is a growing awareness. It works in our favour as we don’t have POP moulds for our idols.” Since childhood, Mururkar has been using shaadu mitti for all his idol designs. However, how economical is it given the growing demand?
Panchal admits that at his studio, customer demand decides the fate of the idols. “We charge extra for each add-on requested by people. With each fabric add-on, the scale of my profits increases by 20 per cent. A non-embellished, non-fabric idol costs anywhere between Rs. 8000-10,000. However, when I add a drape to it, the price rises by a margin of Rs. 1500-2000.” Panchal prioritises art first, but when people demand more, he obliges.
“If I don’t comply and stick to ethics, I will be left behind,” remarks Panchal. He runs an enterprise of six workshops in the interiors of Lalbaug. This year, he has designed up to 3000 Ganesha idols with the help of 25 domain experts. His team comprises people who are exclusive experts in draping, finishing, painting, etc. The distinguished clientele at his studio includes the Ambanis, Ex-Chief Minister Ashok Shankarrao Chavan, Neil Nitin Mukesh, Usha Mangeshkar and more renowned personalities of Maharashtra.
Approximately, 70 per cent of his customers now want draping and studded idols. “For me, Ganesha Baba is on top, so I don’t mess with him,” chuckles Panchal. He inherited the studio from his parents, which has been in business for the past 50 years.
Apart from being an idol-maker, Panchal is also the secretary of Lalbaug Paran Murtikar Sangathan. He expresses his dissatisfaction with the ban on POP idols. “Eco-friendly idols cannot be made in a span of 2-3 months. We get the pandal permissions 3 months prior to the festive date which is also the rainy season.”
“It becomes impossible to design idols in such a short span. With PoP, I can design 10 idols in a day but with clay – it adds up to 1 only. Secondly, labour is not cheap in Mumbai and there is a dearth of skilled labourers. Most of the workshops lack clay as its material and hence they resort to moulds only. The ones designing clay idols have created their monopoly and are charging double for their skill.”
In today’s date, there are at least 25,000 idols being made at Lalbaug which clay, as a material, cannot cater to, informs Panchal. Additionally, there is limited space to stack the idols at his workshop. “One POP idol weighs around 4-5 Kgs, whereas a clay idol weighs around 10 times more. Thus, it becomes a real challenge to work with clay.”
Is the traditional appearance of Ganpati getting lost?
Durge is a prodigal figure whose name echoes across the wadis of Girgaum. Customers flock to his studio seeking idols meant to be placed inside their homes. “Clay idols are to be a matter of expense which require expert craftsmanship. For this, we start from the start. Our tools are also designed with technical precision with the help of carpenters,” shares Durge.
Back in 2005, people demanded bigger idols made from POP, informs Mururkar. While clay idols are entirely crafted by hand, POP idols are an extension of moulds. He believes in presenting his art first rather than selling mass-produced mould idols. In his studio, patrons can find idols that have been crafted from the initial design stage to their final form. “There is a novelty in making clay idols.”
Commenting on the splendour-driven traction of POP idols, Durge informs that out of 100, 90 statue manufacturers drape Ganpati idols in grandiosity due to people’s incessant demands. “The traditional appearance of Ganpati idols is vanishing from the market. It does exist in the nooks of Girgaum but is being gradually replaced with pompous-looking Bappas.”
A Ganpati idol is more than a mere figurine. Durge compares it to a newborn child who is taken care of with the most delicate clothing and skin care products – similarly, a Ganpati idol is fragile and needs to be treated with utmost care. Breaching the dignified lines harms spirituality and the essence of worship gets lost. He believes that moving away from traditions causes Ganesha’s spirit to exit the idol.
People have made a multi-million-dollar business out of art born from devotion, remarks Mururkar. The intense competition in the market has urged artists to resort to unscrupulous ways. To sustain the business, idol-makers switch to POP which is not eco-friendly, big on extravaganza and available at cheaper rates.
As a conscious artist and mass-producer of idols, Durge has taken it upon himself to educate his customers. “When you venture out for idol shopping, it is natural to get captivated by studded idols draped in shimmery fabrics. The laws of photography state that our eyes are meant to be drawn towards the brightest spot in the room. But is it the most viable spot?” asks Durge.
People need to delve into authenticating the materiality more than the pomp and pageantry. Shimmer has its moment, but the simplicity of clay is eternal. As per Shastras, the idol should be made from shaadu mitti only, people need to relearn this, opines Durge. For worshipping idols inside homes, it is essential to switch to natural elements.
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