Dhokra craft ~ Kondagaon

Introduction:

Usage:

If we try to define what is truly a “traditional product” of Kondagaon, it becomes difficult, as over time Dhokra craft here has grown far beyond its local demand. In earlier days, artisans mainly created local jewelry, idols of gods and goddesses, diyas, cooking utensils, and other everyday objects. Later, with exposure to designers and urban markets, they began exploring new product ranges. What is truly fascinating is that no matter how functional or contemporary the products became, the touch and aesthetic of local design has always remained present in their work.

With time, and through improvements in technical knowledge, artisans evolved into artists—creating large-scale sculptures of 10–15 feet in height. Alongside such monumental works, they continue to produce artifacts on a regular basis. Some important and recurring forms include: Tribal men & women, birds, designer diyas (especially Morchimni), Jhitku-Mitki (local deities), daggers, Veer-Kangan, statues of gods and goddesses, as well as various animals, reptiles such as turtles, jungle-inspired figures, wall hangings, designer bowls, and more. Typical Dhokra artifacts range in cost from INR 300 to 10,50,000, while commissioned pieces vary depending on design and scale.

If we categorize Dhokra products, they broadly fall into the following groups. Many local and urban buyers tend to purchase smaller objects (priced under ₹10,000), while the larger sculptures are usually acquired by hotels, museums, and corporate houses.

1. Ritual and Religious Objects: Idols and Deities: Dhokra artisans have long created idols of Hindu deities such as Lakshmi (with her owl mount), as well as local tribal gods and mythological figures. These are commonly placed in household shrines, temples, and used in village rituals, believed to bring prosperity, happiness, and protection to families and communities.
Ritual Accessories: Lamps (deepaks), caskets, and ceremonial vessels are also widely crafted. These play a central role in festivals, religious ceremonies, and ritual offerings.

2. Social and Ceremonial Objects: Auspicious Gifts: Dhokra items are often exchanged during weddings and major life events, valued as tokens of goodwill and blessings. They are considered auspicious gifts for newlyweds, symbolizing prosperity and continuity.
Folklore Figures: Special figurines, such as Jhitku–Mitki from local folklore, are crafted and revered during specific rituals and community celebrations.

3. Everyday Utility Items: Practical Household Objects: Traditionally, artisans made measuring bowls, storage containers, and caskets for daily use, showing how Dhokra blended utility with beauty.
Adornment and Accessories: Items like anklets, ornaments, and decorative containers (often designed with basket-weave motifs) highlight the transition from natural materials like bamboo to durable metal in tribal societies.

4. Decorative and Artistic Objects: Sculptural Expressions: Dhokra artisans create animal figurines, musicians, tribal figures, and scenes from daily life that serve as home décor while also symbolizing cultural narratives.Modern Collectibles: Today, these pieces are displayed as symbols of heritage and fine taste, often found in living rooms, offices, and public spaces as pride possessions.

5. Toys and Folk Art: Playful Creations: Traditionally, Dhokra artisans crafted toys and figurines—often animals or mythological characters—for children. Beyond play, these objects helped transmit stories, folklore, and cultural traditions across generations.

Artisans like Bhupendra Baghel, Suresh Bhagmare, and Sushil Sakuja of Kondagaon District are taking this art form to new heights. Their works have been displayed in many national and international exhibitions, bringing the heritage of Dhokra art to a global stage.

Significance:

Dhokra is truly a delight to the eyes. It carries a unique characteristic that feels deeply Indian. Its significance lies in the fact that we have so many skilled artisans who can create such marvelous pieces of art. Often, we do not realize how much knowledge, effort, and patience goes into making even the tiniest piece, while for larger sculptures, the complexity is beyond imagination.

1. Identity of Bastar: Dhokra craft is deeply woven into the cultural fabric of Chhattisgarh, particularly among the tribal communities of the Bastar region. It serves as a powerful symbol of identity, tradition, and continuity, with artisans drawing inspiration from nature, tribal mythology, and everyday life. The motifs—ranging from animals and birds to deities and local legends—reflect the beliefs, values, and stories of the region’s people.

Collectors and art connoisseurs across the world admire Dhokra artifacts not only for their rigidity, primitive simplicity, strong forms, and vibrant folk motifs, but also for the folk customs, traditions, and historical layers inherent in them. Each artifact crafted by the tribal artisans of Bastar reflects this heritage with remarkable skill and vitality.

The Dhokra process requires immense creativity, precision, and mastery. Even today, artisans use this ancient technique to create metal artifacts, jewelry, accessories, utensils, and ritual objects. Its rustic simplicity, charming motifs, and distinctive textures make it timeless. The tradition of casting jewelry and objects in brass using the lost-wax technique dates back to the Indus Valley Civilization, and evidence of similar practices can be found in ancient Rome and Egypt as well. India, being the world’s largest brass-producing country, has kept this knowledge alive for thousands of years.

2. Themes and Inspiration
Dhokra is unique not only because of its intricate process but also because no two pieces are ever the same. Every sculpture is crafted differently, with its own character and beauty.
Nature and Wildlife: Inspired by their surroundings, artisans often depict elephants, horses, peacocks, owls, and other creatures, each symbolizing qualities like power, grace, wisdom, and prosperity.
Tribal Mythology and Folklore: Local legends, such as the story of Jhitku–Mitki (star-crossed lovers still venerated in Bastar), frequently appear as motifs. These figures embody spiritual and cultural significance.
Everyday Tribal Life: Scenes of women grinding corn, men hunting, musicians performing, or villagers dancing capture the rhythm of tribal life and storytelling traditions.
Deities and Ritual Objects: Figures of tribal gods, Mother Earth, local spirits, lamps, bells, and ceremonial jewelry are crafted for both religious and aesthetic use.
Human Figures and Social Scenes: Expressive human forms engaged in music, dance, or ritual highlight the community’s social and celebratory spirit.

3. Technical Knowledge
From a technical perspective, Dhokra is a testimony to centuries of accumulated knowledge and inherited skills. While the objects may appear simple, the process is extremely complex. It demands:
Metallurgical Knowledge: A deep understanding of alloys and melting points.
Temperature Control: Precision in handling varying temperatures during the lost-wax casting process.
Structural Balance: Mastery in weight distribution and form, ensuring both stability and beauty.
Such expertise cannot be developed overnight, it is nurtured across generations. The significance of Dhokra lies not only in its aesthetics or symbolism, but also in its technical brilliance.

4. Employment:
When you first walk into the town, it may not appear that Kondagaon carries such a rich Dhokra heritage, only a handful of shops and units can be spotted along the main road. But in reality, Kondagaon is the very center of Dhokra art, providing livelihood to countless artisans both directly and indirectly. Locals say that during Covid many people gave up the craft, yet even today more than 75 units remain active. These units generate employment for people skilled in sculpting, metal melting, finishing, packaging, and more. Such expertise is not ordinary—it takes years of dedication to master. The most remarkable aspect of Kondagaon is that it continues to nurture so many highly skilled artisans, carrying forward a legacy that is thousands of years old.

Myths & Legends:

The Legend of Guddan – Birth of Bell Metal Craft
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Legend has it that the origins of the indigenous bell metal craft trace back to a visionary artisan named Guddan, who lived deep within the forests of Bastar. Guddan was not just an ordinary man, he was an explorer at heart, constantly observing and experimenting with the natural world around him.

One fateful day, while wandering near a beehive and a termite mound, Guddan noticed something extraordinary. He observed how beeswax, when mixed with the fine, clay-like soil from termite mounds, solidified into fascinating shapes and textures. To him, it was as if nature itself had revealed a secret language of form and transformation.

Excited by this discovery, Guddan shared it with his fellow villagers. The community was astonished, and in their reverence, they saw it not merely as an accident of nature, but as a divine revelation. Inspired, they urged Guddan to use this newfound technique to create idols for worship.

Driven by passion, Guddan devoted himself to refining the process. He experimented with different natural materials, slowly mastering the art of shaping and casting.  But as time passed, the craft evolved further—brass and copper were introduced, metals that added both strength and beauty to the creations.

What began as a humble experiment in the forest eventually grew into a sophisticated tradition. Over generations, the artisans of Kondagaon and Bastar perfected this practice, shaping it into the Dhokra craft we know today. The technique, born of beeswax and termite clay, carried within it not only the ingenuity of Guddan but also the spirit of a community that turned discovery into devotion.

The Tale of Jhitku–Mitki in Dhokra Art
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Among the many themes of Dhokra craft, one of the most poignant is the story of Jhitku and Mitki, a tragic yet eternal love saga rooted in the folklore of ancient Chhattisgarh.

The story begins with seven brothers, fiercely protective and deeply affectionate towards their only sister, Mitki. When Mitki came of age, they married her to a young man named Jhitku, and for a time, life seemed harmonious. But nature soon tested the family—unrelenting rains, floods, and stagnant crops pushed them into poverty and despair.

In their hopelessness, the brothers dreamt that the Goddess demanded a sacrifice to restore balance and prosperity. Unable to find anyone else, they committed the unthinkable, they sacrificed Jhitku. Heartbroken beyond measure, Mitki could not bear life without her beloved. Overcome with grief, she ended her own life to reunite with him in death.

This tale of love, loss, and sacrifice lives on through the Jhitku–Mitki sculptures crafted by the Ghadwa community of Bastar. These figures are not merely decorative, they are carriers of memory, devotion, and cultural identity. For generations, villagers have retold the story in songs, fables, and oral traditions, ensuring that Jhitku and Mitki are never forgotten.

Even today, the tribal communities of Bastar worship Jhitku–Mitki as deities of wealth and prosperity, believing that their sacrifice brings blessings to households. The sculptures, with their rustic elegance and emotional depth, embody both the artistic mastery of Dhokra artisans and the timeless human themes of love, sacrifice, and remembrance.

The Legacy of the Todi Instrument
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In the rich cultural legacy of ancient Chhattisgarh, the Todi holds a place of great significance. Crafted by the skilled artisans of the Gadwa tribe, this musical instrument was originally made in large sizes and used by the infantry of the tribal kings of Bastar. Its deep, resonant sound was not just music, it was a call to arms, declaring the onset of battle and inspiring courage among the soldiers.

Over time, the Todi evolved from a war instrument into a sacred medium of divine connection. Its powerful notes came to be associated with invoking the blessings of the gods. During festivals in Bastar, the Todi is blown when idols of gods and goddesses are carried in grand processions, announcing their presence and sanctifying the path ahead.

The most spectacular celebration of the Todi’s music can be witnessed during the grand Dussera Festival of Bastar, held at Jagdalpur and Dantewada in honor of Goddess Danteshwari. Here, the sound of the Todi reverberates across the festivities, blending martial strength with spiritual devotion, a true echo of Bastar’s cultural heritage.

History:

Sometimes it is difficult to trace the exact origin of this tradition. We do not know precisely how long the Adivasi communities have been living in this region; even today, many areas remain untouched and unexplored. What we do know is that they have been using iron since ancient times. The Agariya community, for instance, comes from people who specialized in smelting iron and creating utilitarian products. Since no major city existed in this area to preserve evidence systematically, it is possible that thousands of years old artifacts still lie hidden deep in the forests, protected under the roots of massive trees.

One thing, however, is very clear, the knowledge of casting is not new in India. Dhokra craft, also known as bell metal art, is one of the oldest metalworking traditions of the country, with roots stretching back over 4,500 years to the Indus Valley Civilization. The most iconic early example is the “Dancing Girl” of Mohenjo-daro, created using the lost-wax casting technique—a method that continues to be practiced by Dhokra artisans today.

Excavations at Kalibangan (c. 2500 BCE) have yielded nearly 1,485 pieces of copper objects, including a large number of unidentifiable fragments and small, powdery, corroded nodules, evidence of the widespread use of metal. Across three excavation phases, archaeologists found remnants strongly indicating industrial activity related to metal processing. The site revealed traces of multi-purpose workshops, hearths, furnaces, and kilns, suggesting that systematic experimentation with metals was already taking place.

Although we cannot directly connect such archaeological evidence to Kondagaon, one fact stands out, the knowledge of metal casting has existed in India for millennia. In this region, it is widely believed that the craft was nurtured by nomadic metallurgical communities who moved across central and eastern India, carrying their skills with them. Over centuries of migration, cultural exchange, and adaptation, the practice of Dhokra casting grew, evolved, and became rooted in local traditions.

Historical evidence suggests that hollow-metal casting began in the Chalcolithic period, evolving into a sophisticated technique refined across generations. Dhokra craftsmen are believed to belong to the Nomadic Primitive Hereditary Metallurgical Group, native to the dense forests of Dandakaranya, a region with an antiquity of nearly 10,000 years.

The very name Dandakaranya (Dandaka + Aranya) translates to “The Forest of Punishment.” Though rich in tribal culture, natural beauty, and resources, this forest region is today better known for its association with conflict. Within Bastar lies the mysterious Abujhmad hills, spread across 3,900 sq. km of deep forest, home to Gond tribes and several other indigenous communities.

Due to their nomadic lifestyle, many of these tribal groups migrated from Bastar to regions across India, Odisha, West Bengal, Jharkhand, Telangana, Rajasthan, Kerala, and beyond, carrying with them not just their customs but also the art of Dhokra metal casting, which then rooted itself in diverse local cultures.

Ancient Textual References
– The antiquity of the lost-wax method is well documented in Indian texts:
– The process of hollow casting is described in Shilparatna (16th century CE) by Srikumara, particularly in the chapter “Linga Lakshanam.”
– The Gupta-period Shilpa Shastra mentions casting images in metal.
– The Vishnusamhita (5th century CE) describes wax modeling techniques for metal objects.
– The Manasara Shilpa (16th chapter) refers to casting idols in wax under the title “Maduchishta Vidhanam” (Lost-Wax Method).
– The Manasollasa, attributed to King Someshvara III of the Chalukya dynasty (12th century CE), also records the practice of lost-wax casting.
Together, these references affirm the long-standing antiquity and continuity of the technique used in crafting Dhokra artifacts.

Design:

It is very difficult to name or categorize certain products and define their designs. The artisans of Kondagaon are like master cooks, once you understand the taste and properties of an ingredient, you can prepare endless dishes. Similarly, these artisans have mastered the essence of Dhokra casting. For them, creating new designs is no longer a challenge.

The entire design process is deeply thoughtful. An artisan first imagines the product before making it. The process can broadly be divided into two stages: forming the basic structure and detailing the form. Creating the basic structure requires imagination, along with an understanding of balance and proportion. Since the wax model is built over a clay core, the stability of the clay is crucial; otherwise, it may collapse during casting. For larger figures, artisans often create an inner metal framework within the clay mould. This framework supports the clay and strengthens the mould.

The spark of imagination begins as soon as the clay form is shaped—long torsos, small faces, intricate local details. Designs in Kondagaon have gone beyond traditional imagination, thanks to exposure to designers and design workshops. A few pioneering artisans broke old boundaries, and others followed in their footsteps. Today, while many artisans still create their own unique figures, there are also increasing instances where designers send drawings and ask local artisans to execute them.

The artisans who make wax models possess a distinct sense of form, developed through keen observation. When we look at the tribal communities of the region, it is easy to see where this sensitivity originates, slender, elongated bodies, small faces, and unique hairstyles. Their sense of proportion is especially remarkable. Even when exaggerating certain features, the figures never appear disproportionate. For example, in animal figures, they often create elongated, toned bodies, smaller faces, and carefully patterned surfaces.

For surface detailing on the wax models, artisans use a wide range of motifs such as Dhaan, Gahu, Madiya Door, Jaali, and Bhavri. Nowadays, they continue to explore and innovate, combining patterns in unique ways. Since every step is handmade, individual imagination naturally leaves its mark on the piece. The placement of these patterns lends each product a distinct aesthetic. The celebrated Jhitku-Mitki figure is a perfect example of Bastar’s artistic style, with its small face, tall body, towering headdress, and necklaces that almost touch the feet. These exaggerated proportions give the figure a striking and unforgettable character.

In recent years, artisans have also begun experimenting with new surface finishes. By incorporating different colors and brass treatments, they are making products that stand out distinctly from the traditional ones.

Challenges:

Introduction Process:

The process of Dhokra casting moves at the pace of nature itself—you cannot rush clay to dry before its time. Every stage demands patience and precision, for even the smallest haste can spoil the final creation. Inside the workshops, each step is entrusted to people with specialized knowledge and skill. Only after an expert’s careful check does the product move forward to the next stage, ensuring that what finally emerges carries both the strength of tradition and the finesse of craftsmanship.

Raw Materials:

Brass: Brass is the primary raw material used throughout the Dhokra casting process. It is locally sourced, but remains one of the most expensive inputs for artisans. As of 2025, the price of brass is approximately ₹550 per kilogram. For small artisans, this cost represents a significant investment, which is why they often request advance payments from buyers before starting work.

Wax: In Kondagaon, artisans now predominantly use industrial wax for modelling purposes, as it is easily available, cost-effective, and consistent in quality. Traditionally, raw beeswax was used, but its availability and higher cost have led to a gradual shift.

Tar (Damar): Tar (locally called damar) is mixed with wax to make it stronger and more malleable during the modelling stage. This blend improves workability and ensures finer detailing in the wax threads and patterns.

Fuel: Different fuels are used at different stages of the process:
Cow dung cakes and firewood – used primarily for melting wax and firing the moulds.
Coal – used in furnaces for melting brass or bronze, as it generates higher and more consistent heat.

Clay (2–3 types): Several types of clay are required for building and coating the mould:
Porous clay – used for the initial core to allow gases to escape.
Fine sticky clay (river soil, termite soil, etc.) – used for successive coatings, ensuring strength and detail.
Local suppliers often collect and deliver these different clays directly to workshops.

Buffing Paper: For the final finishing, artisans use buffing paper to smoothen and polish the surface of the cast product, enhancing its shine and appearance. In addition, mechanical buffing machines or hand tools may also be used for detailing.

Tools & Tech:

In modern workshops, one can find a wide range of advanced tools for finishing and polishing. However, Dhokra artisans still rely on a mix of traditional tools and modern machines, especially during the wax modelling and finishing stages. Many traditional tools exist in different sizes, allowing artisans to create intricate details with precision. Some of the commonly used tools are:

Mathni – Used to smoothen the surface of the wax model.
Chipna – A tool for creating patterns and textures on the wax model.
Patiya – A flat tool for cutting wax sheets or shapes.
Tikan Ghodi – A three-legged stand where artisans stick wax strings while working on detailed decorations of the wax model.
Pichki, Gaara, Thassa – Traditional hand-operated tools used to make wax strings. By applying pressure and using stencils/sieves, artisans create wax threads of different thicknesses.

Files – Various sizes and types of files are used both on clay models (for shaping) and on brass products (for refining after casting).
Sandasi – A long-handled tong-like tool used to hold and control the crucible containing molten metal during casting.
Buffing Machine – A simple motor-based machine where different buffing discs can be attached for cleaning and polishing the metal surface.
Hand Grinder – Primarily used for larger products, it helps remove extra metal quickly and smoothens rough surfaces.
Air Blower – In Kondagaon, artisans use electric blowers to maintain steady airflow in the furnace, ensuring high temperatures during casting.

Apart from these, many basic workshop tools are also in use, such as hammers, pliers, metal saws, and hand cutters. These simple yet essential tools remain the backbone of everyday craft practice.

Rituals:

We did not observe any specific rituals during the regular activities. However, before starting the casting process at the furnace, the artisans light an agarbatti (incense stick) as a simple gesture of reverence.

process:

a. Process of Dhokra Casting
1. Modelling (Kuttam): Artisans often draw inspiration from nature, culture, personal experiences, art history, or contemporary trends. The process begins with preparing a rough clay core, coated with the first layer of material. Locally known as chikti mitti (black soil from the fields), the soil is mixed with rice husk (bhoosa/bhoosi) in a ratio of about 1:100. Water is added to make a soft, pliable dough, which is shaped into the desired form and left to dry in the sun.

2. Providing the second layer: Once the base form dries, it is coated with sticky riverside soil (rui mitti) mixed with cow dung or powdered wood coal. The ratio typically ranges from 85–90% soil to 10–15% cow dung/coal. This mixture is kneaded into a smooth dough, applied evenly on the form, and sun-dried.

3. Shaping and filling (Kattam Jhadna): After hardening, the model is refined using metal files to achieve the proper shape. Any fallen dry soil fragments are collected, softened with water into a paste, and reapplied to the model. The form is again left to dry in the sun.

4. Leaf paste application: Once the form is fully dry, it is cleaned by hand or with sandpaper to remove dust and grit. A paste made from crushed country bean creeper leaves (sem/semi leaf) is then applied to prevent subsequent soil layers from sticking directly to the form. The model is sun-dried once again.

5. Preparing wax: Traditionally, raw beeswax is melted in a pot over fire and filtered through coarse cotton cloth into another clay pot filled with water. As it cools, the wax solidifies on the water’s surface. Once set, it is lifted, shaken to remove water, and collected for use. Nowadays, however, most artisans in Kondagaon prefer industrial wax, as it is easily available and cost-effective.

6. Making wax strings (Tikkal Banana): The prepared wax is softened in the sun and pressed through a hand-held or standing press (pichki). Metal sieves are fitted into the press depending on the desired thickness. This produces wax strings of uniform size.

7. Wrapping of strings (Tikkal Chadana): Wax strings are tightly wrapped around the dry clay form (treated earlier with sem leaf juice, giving it a greenish hue). Additional decorative elements are sculpted directly in wax. At this stage, channels are created at the base of the form for pouring molten metal during casting. Small wax pins are also fixed to guide the flow.

b. Dewaxing and Mould Preparation
8. First soil layering with riverside soil and coal: Powdered riverside soil (90–85%) is mixed with wood coal powder (10–15%) and water to form a dough. This is applied over the waxed model.

9. Second soil layering with unrefined riverside soil: Another layer of unprocessed sticky riverside soil mixed with water is applied, ensuring that the wax channels remain open.

10. Third soil layering with termite mound soil: Soil from termite mounds (polia mitti) is powdered, kneaded into a smooth paste, and applied over the model. Larger funnel-like wax channels are also created for pouring the molten metal and covered with this termite-soil mixture. The mould is then left to dry thoroughly.

c. Firing and Casting
11. Furnace preparation and casting: A round pit, about one foot deep and 2–2.5 feet in diameter, is dug on dry land. The furnace can also be square or rectangular. A hollow wooden pipe, covered with wet termite soil (pola), or an angled pipe is fitted to control airflow. Once dry, wood coals are spread at the base and ignited.

The prepared mould is placed upright over the fire, supported by wooden sticks, allowing the wax to melt and flow out—this is the dewaxing stage. Meanwhile, metal pieces (e.g., 200 g bronze to 800 g brass) are melted in a crucible surrounded by lit wood coals. Air is blown continuously through the pipe to maintain the temperature (1000–1200°C).

When the mould glows red-hot, indicating readiness, it is lifted and placed near the crucible. The mould is inverted, and molten metal is poured into the channels, replacing the lost wax. The filled mould is left to cool naturally.

d. Cooling and Finishing
12. Cooling: Depending on the size, the mould cools for 1–6 hours. If necessary, water is sprinkled lightly to hasten cooling. Once ready, the outer soil mould is carefully broken with a wooden mallet. The cast piece is revealed and further cleaned with wire brushes and filing tools.

13. Finishing: For the final stage, artisans use different buffing machines to polish the surface and bring out the natural shine of brass or bronze. In some cases, simple hand tools are also employed to add fine detailing or accentuate patterns, giving each piece its unique character.

Waste:

One remarkable aspect of the Dhokra casting tradition is its sustainable and waste-free process. If we observe closely, almost no significant waste is generated at any stage. The only by-products are ashes from the furnace and fumes released when the wax is melted. Even these remain minimal compared to industrial processes.

For defective or broken pieces, artisans never discard the material. Instead, brass and bronze are carefully collected, re-melted, and reused in new castings, ensuring that the valuable metal is never wasted. The clay mould, once broken, naturally disintegrates back into the soil, returning to the environment without harm.

Traditional inputs, such as black field soil, riverbed clay, termite soil, cow dung, rice husk, and sem leaves, are all locally available, biodegradable, and non-toxic. This makes the craft deeply aligned with principles of circular economy and ecological balance.

Thus, the centuries-old practice of Dhokra is not only a testament to artistic imagination and metallurgical knowledge, but also an example of sustainable living, where every resource is respected, reused, and returned to nature.

Cluster Name: Kondagaon

Introduction:

Kondagaon, located about 70 kilometers from Jagdalpur, serves as the district headquarters of Kondagaon in Chhattisgarh. It is the third-largest city in the Bastar division and was carved out of the larger Bastar district on 24 January 2012, becoming the 27th district of Chhattisgarh. The town is most celebrated for its bell metal craft (Dhokra art) and other indigenous art forms rooted in the traditions of Bastar’s tribal communities. Thanks to its rich craft heritage, Kondagaon has earned the title of “Shilp Sheher” (Craft City) of Chhattisgarh, a place where artistry and tradition continue to thrive through generations of skilled artisans.

History:

The ancient name of Kondagaon was Kandanar or Kondanar. According to local legend, the settlement originated when the chief of the Marar community received a divine vision. Their carriage had become entangled in vines, forcing them to rest in the area. It is said that the goddess instructed them to settle there, and the fertile land encouraged the foundation of a village.

In the Gondi language, the word Kondanar translates to “village of horses,” a name that reflects both the tribal roots of the region and its rich local folklore.

Kondagaon’s development accelerated after the construction of the Keshakal Valley road in 1905, which connected it with Jagdalpur and surrounding areas, encouraging trade, migration, and new settlements.

The town’s importance was formally recognized in 2012, when Kondagaon was declared a district headquarters, highlighting its growing administrative and cultural prominence within Chhattisgarh.

Geography:

Kondagaon is set in the southern part of Chhattisgarh, within the heart of the Bastar plateau, where forests, hills, and rivers define both the landscape and the life of its people. Dense stands of sal, teak, bamboo, and other minor forest produce form a natural abundance that has long sustained local communities. Seasonal rivers like the Indravati and its tributaries nourish fertile plains, while the forests provide lac, honey, and raw materials that have historically supported craft-based livelihoods. This rich ecological setting is more than a backdrop, it actively inspires the artistry of Kondagaon’s famed bell-metal (dokra), terracotta, iron and wood carving traditions, where patterns and motifs often mirror the flora, fauna, and rhythms of the land.

Environment:

Kondagaon is a small town where the main road cuts through the center of the city. The atmosphere along this road is lively and bustling, lined with a variety of shops and businesses. As a district headquarters, people from surrounding villages frequently visit for official work, trade, or shopping.

However, once you step away from the main road, the town quickly transforms into a peaceful landscape filled with greenery. The air feels noticeably fresher and calmer in the inner areas, offering a stark contrast to the busy marketplace.

On the main road, small eateries and tea stalls are common, where people can be seen enjoying samosas and cups of chai. The locals are generally warm and welcoming, rarely interfering but always curious to know more about outsiders.

The town comes alive during the weekly haat bazaar on Sundays, when villagers from nearby areas gather to buy essentials and exchange news, filling the streets with energy and color.

By night, usually after 8 or 9 p.m., Kondagaon becomes quiet and serene. Most shops close down, with the exception of a few stalls near the bus stand, which remain open to serve late-night travelers.

Infrastructure:

Over time, Kondagaon has grown into a recognized craft hub of Bastar, with infrastructure that bridges its deep-rooted traditions and modern market demands. The town is located along National Highway 30, giving artisans access to Raipur and Jagdalpur, while retaining strong rural linkages. Craft-specific institutions form the backbone of the artisan ecosystem here: Shilpgram, a dedicated craft village, provides space for artisans to live, work, and showcase their creations; the Bastar Art Centre serves as a state-supported platform to train, innovate, and market crafts; and local cooperative societies help artisans pool resources, standardize production, and access wider markets. Organizations like Saathi Samaj Sevi Sanstha also play a vital role by supporting artisans with training, design development, and market linkages, helping them adapt their traditional skills to contemporary opportunities. Small-scale foundries and household workshops continue to dot the villages, while initiatives like the Kondagaon Craft Park and government training centers offer structured support for design, marketing, and entrepreneurship. Together, these nodes of infrastructure ensure that Kondagaon’s artisans remain connected to both tradition and opportunity, crafting objects that travel far beyond the forests that first inspired them.

Architecture:

Kondagaon is no longer a village; it has grown into a bustling town. Its architecture has changed with time, today it is difficult to spot the old houses with sloping roofs and clay tiles. Almost all houses have now been replaced with brick and cement structures, a change brought about by urban influence and improved financial conditions.

Unfortunately, most new constructions do not follow the local aesthetic. Buildings look almost identical, making Kondagaon visually uniform and less distinctive in terms of architecture. For those wishing to explore authentic traditional houses, one must take turns off the main road leading into the city, where older settlements still preserve the original styles.

Broadly, Kondagaon’s built environment can be divided into three categories:

Traditional Architecture: Tribal villages feature mud houses with thatched or tiled roofs, often decorated with local motifs and symbolic patterns.

Modern Infrastructure: The district now has educational institutions (some dating back to the 1930s), healthcare centers, government offices, and artisan clusters, reflecting its gradual urban growth.

Industrial Profile: Kondagaon is also home to timber mills, small-scale industries, and thriving handicraft clusters, particularly those centered on bell metal (Dhokra) and woodcraft.

Culture:

Kondagaon carries within it the vibrant pulse of Bastar’s living traditions, where festivals, rituals, and everyday practices reflect a seamless weave of community, art, and belief. The cultural calendar is alive with celebrations such as the Goncha Festival, Bastar Dussehra, Hareli, and Pola, among many others. In the local Halbi language, the words Jagar and Jatra describe these communal gatherings, where villages come together in color and rhythm. Men and women don their traditional tribal attire and join in dances that echo through the night, accompanied by a rich orchestra of indigenous instruments: the Mandar (double-headed drum), Dhapra and Nishan (large drums), Nagara, and Dholak, alongside wind instruments like the Tudburi, Mohri-Shehnai, Bansuri, and the Todi, a tribal trumpet. The soundscape extends to unique instruments rarely found elsewhere, the Surai Baja, an earthen pot instrument, and the Dhankul, crafted with a large pot, bow, and a frame, producing a distinctive resonance. Adding to the spectacle is the Tupki Barrel Gun, a harmless but loud instrument fired during festivities, mimicking the crack of a gun to heighten excitement.

Beyond the festivals, Kondagaon’s culture also speaks through its rituals of remembrance. In graveyards, families raise carved and painted memorial pillars to honor the departed, depicting scenes from the person’s life, their desires, passions, or objects they cherished most. These strikingly personal monuments stand as both markers of memory and vibrant expressions of the community’s philosophy, where life, art, and afterlife remain deeply intertwined. Together, such practices embody the unique cultural fabric of Kondagaon, a living heritage that nourishes and inspires its celebrated crafts.

People:

Kondagaon, as a town and district headquarters, is home to a diverse mix of communities. On the main streets, you’ll find Marwari families running food shops, Punjabis engaged in the automobile trade, and Jains managing hotels and businesses. At first glance, it is difficult to distinguish people by appearance, most residents dress in modern clothing similar to any other Indian town.

However, during the weekly haat bazaar, the diversity of the region becomes more visible. Kondagaon and its surroundings are home to several tribal communities, including the Gonds, Baigas, and Halbas, who have preserved their distinct traditions, languages, and vibrant cultural expressions for centuries. While clothing styles in town have become increasingly uniform, tribal identity can sometimes still be recognized through physical build, traditional tattoos, or ornaments.

Overall, Kondagaon has a mixed social fabric, shaped by traders, settlers, and tribal groups alike. The architecture and appearances may have modernized, but in conversations and interactions, one can still feel the true essence of the region, its warmth, resilience, and deep cultural roots.

Famous For:

The main occupation around Kondagaon is farming, with rice being the primary crop. While traveling through the region, one can easily spot numerous rice mills along the way. However, the town is best known for its Dhokra craft, a traditional lost-wax metal casting technique practiced by the Ghadwa community, and for its distinctive wrought iron work.

Rich in tribal culture, the region also nurtures other crafts such as wood carving, bamboo work, and terracotta. Together, these diverse traditions contribute to Kondagaon’s reputation as the “Craft City” of Chhattisgarh.

Gallery

Craftsmen

List of craftsmen.

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