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The world-famous craft of making art plates is only present in the city of Thanjavur, Tamil Nadu. These art plates, also known as ‘tri metalwork,’ are designed by almost 250 artisans of the Vishwakarma community who live in and around this city. These art plates were initially built under the Maratha dynasty as a gift for the visitors who arrived at the Maratha kingdom. However, today, the usage of these art plates has expanded to a multitude of purposes. With symbols of deities, animals, and saints inscribed in the centre and intricate floral designs and geometric patterns carved out at the peripheries, these art plates are emblems of the ancient Indian tradition and how this tradition finds its place in the contemporary world. The evolution of their usage and significance over the years, tells us a story of the journey of this handicraft from one generation to the next and allows us to catch a glimpse of our history in our present.
Rulers came and rulers went, however, the one thing that all Indian dynasties shared in common was a belief in the Sanskrit phrase, ‘Atithi Devo Bhava’ or ‘the guest is like God.’ Imagine being a ruler of a kingdom with expensive jewels and heaps of gold and silver- now imagine how you would welcome and thank all the visitors who came to your kingdom.
The Marathas that ruled over Thanjavur believed in the grandest of gestures to serve their guests. Therefore, in order to establish themselves as exemplary hosts, they asked the artisans to create a precious gift that displayed their status and wealth. This is how the art plates of Thanjavur came into being. Hence, in the ancient times, these art plates were used as souvenirs and tokens of thanks given out to all the visitors who set foot in the Thanjavur Maratha kingdom. These art plates became the epitome of paying respect to the guests. Since the central figure in the plate was usually of a deity (such as Laxmi or Ganesha) that symbolized wealth and abundance in the life of the receiver, these art plates also served the purpose of displaying the religious devotion of the Marathas and their gratitude towards their guests.
There is also evidence that suggests the usage of these art plates by the Kuruba community. The community of the Kurubas is that of ancestor worshippers who are known to possess golden discs known as the ‘hithāradha tāli.’ These discs were made by the Akasāles (goldsmiths) and contained figures of humans. These are either kept in the house or worn by women around their necks. In many cases, if the deceased individual was a celebrity, the disc was substituted with a large plate.
In the present day, the usage of these art plates has expanded to include different purposes. These plates could be bought as gifts for various occasions like birthdays, marriages, and house warming parties. These plates could be also be used as pieces of decoration, hung on walls or placed on stands. Many individuals say that these art plates bring positive vibrations into the house as well. Apart from being used as gifts or decoration items, these plates can also be used for prayer since they contain the images of deities. The fact that these plates could be shaped into any size, also increases their usage and market.
It is said that these art plates not only bring joy to the receiver but also help in keeping the Indian traditional art alive.
Different factors contribute to the significance of the Thanjavur art plates.
The Thanjavur art plates have an entire story of origin that is based on Indian history and tradition, as a result, one can say that these plates have a historical significance since they serve as reminders of the past rulers and their ideas.
These plates depict various deities and sacred animals that symbolize wealth and abundance in Hinduism, therefore, arises the religious significance of the art plates. Even to date, these plates are used for worship and prayer.
These plates also allow us to study the journey of the artisans in the past and how their knowledge has been transferred from one generation to the next. Moreover, these art plates help us comprehend how the techniques in the past have evolved and shaped to fit the present needs of society. Therefore, these art plates have a cultural significance since they facilitate our understanding of traditional handicraft and the factors that ensure their continuity.
Consequently, one can say that these art plates have economic significance since they are widely used for gifting and decoration purposes. The Geographical Indication (GI) tag that provided to the Thanjavur art plates also ensures its market and wide-scale promotion. Today, these art plates are not only exported all over the country but also exported all over the world. Many handicraft showrooms have also been developed to sell these plates. There have also been instances of these art plates being placed in museums due to their cultural and historic value. For example, the Thanjavur art plate made in the 20th century was placed in the Government museum in 2011.
The producers/artisans of these art plates have also been provided a specific logo/stamp to ensure the authenticity of the product.
According to Mr. Dattatrey, the Senior Assistant Director, Office of the Development Commissioner (handicrafts), the floral designs on the art plates are so beautifully designed that they can serve as inspiration for other utility products such as mirrors, candle stands, and jewellery boxes.
Therefore, not only the art plates themselves but also their design and the artisans who make them, have enormous significance in today’s world.
For a craft that dates back to several hundred years, there are plenty of myths and legends that surround its origin.
The most common myth is regarding the art plate artisans who come from the Vishwakarma community. It is believed that Vishwakarma had 5 faces, 3 eyes, and 10 arms and was born out of the third eye of Lord Shiva as the deity of all artisans. Five sons were born to Vishwakarma from his five faces and these sons then moved ahead to become the clan deities of specialized crafts.
The history of the Thanjavur art plates goes back to about 250 years, during the rule of the Maratha dynasty. In the 18th century, the Maratha ruler Raja Serfoji-II asked his artisans to create a beautiful piece of work that would display the royalty of his kingdom and also serve as a unique gift for all the guests. Thus, the goldsmiths decided to create Thanjavur art plates. These plates were made out of copper, silver, and brass and cost tens of thousands. The blend of red from the copper with the shine of the silver provided these art plates with a sense of beauty that immediately captured one’s attention. The skill of the artisan determined the period for which the lustre and shine would remain on the surface of the plate.
These art plates are made by the artisans of the Vishwakarma community. This craft of making art plates is not simply an inherited profession, but also a way of living for these artisans. At present, these art plates are made at the houses of the artisans, therefore making this a cottage industry.
Therefore, it was during the Maratha rule in Thanjavur that these art plates occupied a central position in Indian handicraft and tradition.
The Thanjavur art plates are round in shape and can be mounted on a wooden base or placed on the wall as hangings. These plates can be made into various sizes, however, the maximum possible size is 32 inches. The art plate comprises of 3 parts- a base plate made out brass, a circular plate with primary relief that contains deities or sacred animals, and the secondary relief with floral patterns and geometric designs.
Generally, the design follows a theme- this theme could be mythological or non-religious and sometimes, even special motifs are placed onto the art plate to enhance its beauty and cover space. Various other designs of birds, flowers, and geometric patterns are carved onto the sides of the art plate.
Usually, the deities/sacred animals that are carved onto the art plate have an important standing in Thanjavur and South Indian culture. Moreover, these figures are also used to signify abundance and wealth for the receiver of the art plate. Most commonly the following figures are seen on the art plates- Lakshmi (and her different forms), Ganesha, Shiva (as Nataraja), Saraswathi, peacocks, and elephants. Many times, these deities are also depicted with flowers such as lotuses that symbolize purity and spirituality in Hindu mythology.
The motifs on the art plate are influenced by flowers, deities, art, and architecture of the Brihadeshwara temple in Thanjavur. The centre circle of the plate is decorated in silver, the second circle has the sequence of motifs with the combination of gold and silver, and the final (outer circle) has a series of repeated motifs.
Even though the patterns carved out vary from one plate to the other, it is important to note that the placement of the symbols and the space between them is always specific so as the ensure a geometrically appealing and symmetrical art plate.
Nowadays, apart from the base of the brass plate, silver foils embossed with motifs are being seated on laminated shields on the wooden base and covered with transparent vinyl rounds. This technique has helped in creating a richer look of the art plates. The 20th-century art plate that was placed in the Government museum had images of Lord Nataraja, the sage Pathanjali, and the goddess Sivakami in a standing posture, over a lotus flower in the central part of the plate.
Symbolism: The most commonly depicted deity in the Thanjavur art plate is Goddess Laxmi who is seen as the goddess of wealth, prosperity, and abundance. The different forms of Laxmi on the art plates are-
Ashta- Laxmi- In this art plate design, all 8 manifestations of Laxmi are depicted, namely- Maha Lakshmi, Aishwarya Lakshmi, Dhana Lakshmi, Gaja Lakshmi, Veera Lakshmi, Santaan Lakshmi, Adhi Lakshmi, and Vijaya Lakshmi. These 8 forms of Laxmi bring forth eight different meanings and blessings, these are- prosperity, fertility, good fortune, good health, knowledge, strength, progeny, and power.
Gaja Laxmi- In this art plate design, Gaja Laxmi is placed in the centre of the plate. She is depicted as four-armed- carrying two lotuses and other two arms in Abhaya mudra and Varada mudra, wearing red garments and being surrounded by two elephants bathing her with water pots on each side. According to the beliefs, Gaja Laxmi is the giver of royalty or giver of animal wealth.
Apart from Laxmi, Nataraja (a form of Shiva) is also depicted on the art plate. He is shown as a symbol of the lord of dance and dramatic arts. Lord Ganesha is depicted on the art plates since he is considered to be the ‘Lord of the people.’ It is said that Ganesha is the remover of obstacles, the patron of arts and sciences, and the god of wisdom.
Although less frequently, goddess Saraswathi is also depicted on the Thanjavur art plate. She is seen as a symbol of purity and higher wisdom. She holds the musical instrument, ‘Veenai’ in her hands which has is considered to be an essential part of Thanjavur’s culture.
The peacock is perhaps the only animal that is displayed alone on the art plate. The peacock has a special significance in Hindu mythology since it is considered to be a bird of protection and guarding. The peacock is also known to protect the psychic self of an individual and bring joy and harmony into our lives. The feathers of the peacock are known to bring good luck and fortune to the house. The peacock is associated with many Hindu deities such as Krishna, Saraswathi, Brahma, and Kartikeya.
The artisans of the Thanjavur plate art face a large number of challenges in undertaking this art form in the present day. During the Maratha dynasty, these artisans had a high socioeconomic status and were supported by the kings in various ways. The kings ensured that the artisans lived luxurious lives and had enough material and sources to create their art.
However, as the role of the kings began decreasing, so did the status of these artisans and their funds. Today, Art plate artisans find it very difficult to survive and produce good quality products. The families engaged in this business have significantly reduced and a large number of traditional artists have moved on to find other occupations for themselves. Many artisans are working as daily wage earners as no financial institutions are coming forward to help them in becoming entrepreneurs. This is leading to a lack of skilled and traditional artisans further leading to the decline of this craft.
The main problem faced by the artisans is that of the increasing price of metals like silver, copper, and brass which are the foundation of the art plates. Therefore, The increasing cost and insufficiency of raw material supply are affecting the production. Moreover, the billing of electricity under the commercial slab is increasing the product cost.
Since the Thanjavur art plates are a purely decorative item, the scope of the market has also reduced for it since it has no utility attached to it.
Apart from this, the artisans also face other problems like not being able to avail the government schemes, lack of credit facilities, lack of recognition and encouragement, highly exploitative conditions created by middlemen, and respiratory diseases caused due to the hazardous air pollutants released during the melting of brass.
However, to counter these problems, the government has taken various initiatives these are-
Labour Experiences:Apart from the challenges that are faced by the labour in undertaking the craft, a few interesting points to note in their experience as Thanjavur art plate artisans are that- First, despite carrying out the work at the household level and claiming the designation of a cottage industry, the work done by these artisans is similar to an assembly line production wherein parts are added in a sequence till the final product is produced. The work is broadly undertaken in 3 levels- first comes the metal worker, then the jeweller and finally the stone-setter. Therefore, the production of these art plates is similar to the functioning of an assembly line. Second, only men from the Vishwakarma community are allowed to engage in the production of this craft, not women. This depicts the presence of gender stratification within the production process. Despite efforts towards gender equality, no attempt has been made by the government or other corporations to introduce women into the production activity. This will not only help combat the gender inequality issue but will also increase the possibility of having a larger labour force and saving this craft from its decline.
The chief material that is used for making the Thanjavur art plates is metal. This includes a combination of 3 types of metal, namely- copper, brass, and silver. The base plate is mainly made out of brass with silver and copper figures embedded onto it. Moreover, brass and copper are often blended to make this plate. Thin sheets of all three metals are used in the process.
Other raw materials include-
The following tools are used in the process of making the Thanjavur art plate-
All these tools are used at different stages of making the Thanjavur art plates.
The process of making the Thanjavur art plate is undertaken strategically. The art plate is composed of 3 main pieces-
The process of making the art plate is divided into three levels according to the three pieces that make the plate. The metalworker works on the base plate, the jeweller works on the circular metal plates, and the stone-setter works on the secondary relief. All of these three levels can be carried out by a single craftsman as well.
Stage 1: In this stage, the base plate is required to be created. It is usually made out of brass and is cut out depending on the required shape and size. The front side of this brass plate is polished thoroughly after which it is fixed firmly to a wooden base with an asphalt bed. A blowpipe is used for heating this entire frame up until the base design is prepared. After this, silver and copper sheets are placed onto the base for cross-checking of the size and then cut accordingly. These sheets are then heated with a dye to create an impression. Punches and chisels are used for etching and refining to create this impression.
Stage 2: In this stage, the metal sheets are encrusted and superimposed on the base plate. This is done with the help of a wax mixture made out of brick powder, gingili oil, and frankincense. Therefore, these materials are used for filling out the hollow depressions on the back of the metal relief sheets. After this, the relief sheets are positioned onto the base plate and encrusted by punching along the grooves. The relief sheet is then polished and prepared for the last stage of designing.
Stage 3: In this stage, the secondary relief is made. The main design of the deity/animal is made in the central metallic disc. Many different floral designs are also etched around the motif and in some rare cases, these designs also replace the main deity/animal in the centre. After this stage, the plate is cleaned with soapnut water and tamarind and left to dry. This helps in ensuring the shine and lustre of the art plate.
The corrosion of metals in art pieces/decorations is a common problem that is faced even by the Thanjavur art plates. Different temperatures, humidity, and climate conditions can fasten/slow down the process of corrosion of metal pieces. Even though the Thanjavur art plates are strong, the surface of the art plate can start fading or discolouring. Therefore, the art plate eventually loses it lustre and shine. To prevent this, efforts are being made by the Tamil Nadu government to introduce the artisans to some techniques/technology that would help in the surface treatment of these metals.
List of craftsmen.
Team Gaatha