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Aala re... aala re...

Invoke the blessings of the Ganesha as he manifests Himself in exotic expressions of divinity, says P. SUJATHA VARMA

PHOTO: RAJU. V

RACING AGAINST TIME Idol-makers busy as bee

The manifestations are beautifully carved and embellished with jewellery. The modern contours reflect the magnificence of the Ganapathi in its best possible form. Rows of Ganesha idols sit, soggy to the touch at the makeshift workshop of Satyadev Solanki near Benz Circle.

The display of a dazzling collection of idols (3 ft to 11 ft) is a clear attempt to steer the viewers' attention back to the art and individuality of the artist and to remind one of the intensely and richly practical nature of the art. " Plaster of Paris and jute are the main ingredients of the idols. After giving a coat of paint, we beautify the idols with various shades of colours," explains the 35-year-old native of Pratapgarh in Rajasthan. "I used to sell nearly 150 idols every festival. But that's because the number of artisans trickling in from there was very less. Now, there are nearly 50 families working on these idols from their temporary homes at Krishnalanka, Cement Factory center and Benz Circle," he says with slight impatience as he indicates increasing competition.

Traditional skills

Bold and distinctive, the multi-hued idols accentuate the spirit of Ganesh Chaturthi. The colours used are a unique combination of aggression and primitive energy. Known for their traditional skills, the Rajasthani idol-makers have established an identity for themselves churning out striking Ganesha idols for the festival.

The market is bursting at the seams with colour and life. Beautifully crafted and warmly painted Ganeshas with bright colours and a lovely smooth finish await buyers.

The idol-makers give way to their emotions spontaneously, "Elaborate planning sometimes kills spontaneity," explains Solanki. Imparting utmost profundity to his work, he demonstrates that everything around can be vital, interesting and wonderful.

It is almost facile to lend that roly-poly roundness and a swollen heaviness to the pot-bellied Ganapathi. "How do you rate my idols compared to the others in the city," Solanki turns around and stares with a frank curiosity.

Observing public emotions and letting the images evoke similar feelings forms an essential part of the trade.

He lifts an eyebrow as he enquires with one of his dozen assistants about the market scenario. "Understanding market conditions is necessary to survive," he says.

Once the festival is gone, Solanki will get busy in creating tiny idols of deities like Lakshmi Devi, Radha-Krishna, Saraswathi Devi and other ceramic curios like flower vases. About his marginal income, he says: "The more we mull over something, the worse it gets. I want to take life as it comes."

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