*Manish Desai
For most part of the year, Pen, (पेण /pay’N) situated some 80 kms away from Mumbai on the Goa Highway, is just a sign-board, while heading to the beautiful beaches of Alibaug and beyond. But, come Shravan, this non-descript town of Raigad district of Maharashtra, transforms itself into a bustling trading port, as Ganesha idols sporting ‘Made in Pen’ get ready to be transported to various destinations far and wide.
The Pen-born pot bellied Ganesha idols are much coveted because of their aesthetic appeal – serene expression, poise, grace, subtle shading of colors and good finish. Mumbai and Pune are the two biggest markets, but the idols made in Pen also land in Hyderabad, Delhi, Kolkata and even the United States and the United Kingdom. Interestingly, none of the ingredients that go into the making of the idols is available locally and the town does not lay claim to any outstanding tradition in art.
How it all began?
The Ganesha idol making industry in Pen is over a hundred years old. In the olden days Ganesha idol making was rather the hobby of some individuals, who pursued it not so much for money as for producing rare pieces of art to be displayed during Ganesh Chaturthi festival. It was when Lokmanya Tilak took the Ganesha Festival out of private worship into the domain of public festivity in the 1890’s, some of the Pen’s artisans shifted their skills to making idols for the Ganeshotsav.
It was Bhikaji Krishna Deodhar who pioneered the Ganesha idol industry of Pen. When his traditional family business of making the medieval Maharashtrian headgear called the pagdi became slack, Bhikaji found a new occupation in switching to Ganesh idol making. His great grand-son Srikant Deodhar is the fourth generation idol maker associated with this cottage industry.
Initially, the artisans of Pen always prepared Ganesha idols from clay. The clay available at the local hills was, however, not of a superior quality. The ships which used to visit Mumbai for carrying cargo to Gujarat and Sindh, used to bring back the superior quality clay from Bhavnagar. It was sold at a throw away price in Mumbai, but in the absence of the road link, it was a herculean task to transport it to Pen. Hence, it was loaded into small boats and brought to Antora port, one and a half kilo-metre away from the town.
In 1940s Plaster of Paris was introduced in preparing toys and images of animals. Initially, the artisans were reluctant to use the new material. The Prabhat Film Company placed an order at Pen for a supply of 500 bust size images of Sant Dnyaneshwar for their mythological film of the same name. The images were produced with the help of Plaster of Paris moulds which were introduced for the first time in making images. Subsequently, the Ganesha images were also prepared out of Plaster of Paris, but they were for decorative purposes only and not meant for worship .
The commercialization of the Ganesha idol industry truly began in the 1970s. The opening up of the Thane creek bridge was an important event which suddenly improved access to Pen from Mumbai. Gradually, Plaster of Paris began to replace clay as the preferred raw material, especially for large idols.
Pen’s flourishing cottage industry
Today, there are more than 550 karkhanas– i.e. cottage industries engaged in preparation of Ganesha idols. Six to seven lakh idols of various sizes are prepared in Pen and sold across the world. More than 8,000 artisans are dependent on this industry, which is an occupation as well as passion for the Penkars. Pen idols are known for perfect colour combinations and design. They also stand out due to the unique ornaments and attires on the deity.
When one strolls through the lanes and by-lanes of Pen, one finds it a beehive of frenetic activity. Karigars are busy, some kneading clay, some moulding the images, others colouring them. Among the workers are many women. Each unit or factory boasts of its own unique mould. In a sea of smiling elephant-god faces, the differences are indeed visible. The quality of craftsmanship varies, as does the line of sculpting.
In a bid to institutionalize the Pen tradition of Ganesha idol making, the Pen Municipal Council has launched the Ganesh Idol Museum and Information Centre project. It provides information in detail about the art and process involved in clay and Plaster of Paris idol making.
Towards eco-friendly Ganesha
With increasing awareness to protect our environment, demand for eco-friendly Ganesha idols is on the rise. A Pune based organization Co-Exist is spearheading the movement by making available bio-degradable Ganesha idols, made of clay and painted with natural colours using turmeric, multani mitti and geroo.
In olden days, devotees used to make Ganesha idols from clay procured from their own homes, and immerse them in their own ponds or tanks, thus symbolizing the cycle of creation and dissolution in nature. Yet, after the advent of Plaster of Paris, this became a preferred choice for sculptors, since POP idols are cheaper, less fragile and easier to transport.
However, since Plaster of Paris is not a naturally occurring material, it leads to widespread water pollution when immersed. Apart from taking longer to dissolve in water, it increases the acid content of the water. Moreover, if the idols are decorated with chemical paints, the heavy metals contained in the paint seep into the water. As against this, the natural clay idols dissolve immediately with little or no pollution.
“Environmentalists ask us to use eco-friendly colours,” says Deodhar, President of Pen Murtikaar Sanghatan. “That is easier said than done, as the eco-friendly colours are not available in large supply.” But, since market determines the trend, slowly and steadily, Ganesh idol makers in Pen are also turning to clay once again.
The problems and challenges
The Ganesha idol industry in Pen is not free of problems either. The hike in wages of artisans, increasing load shedding in rural areas and competition from traders from other centres are some of the challenges faced by Pen idols makers. Traders from Surat, Ahmedabad and other cities have taken away many expert artisans and also various moulds used in Pen.
But, for the artisans of Pen, making idols of the auspicious Ganesha, has ceased to be mere work and assumed the character of worship. Amidst problems, there is an optimism, that as long as there are Ganesha worshippers, Pen will continue to make idols.
For the town that has laboured year round, the 10 day Ganeshotsav provides the much needed break, as the idols made here are worshipped around the world. After Ananta Chaturdashi the work begins all over again. And so Pen’s Ganesha story continues.
*Manish Desai is Director (Media), PIB Mumbai
