Wood Craft – Sawantwadi

Introduction:

Usage:

Traditionally, the toys were integral to childhood in Konkan households, often passed down through generations. Dolls dressed in Maharashtrian attire helped children understand regional clothing, while miniature animal figures sparked imaginative storytelling rooted in rural life. Folk memory and oral tradition were often reinforced through the use of such toys in domestic play and storytelling. Parents and grandparents would use these handcrafted toys to narrate mythological tales, folk legends, or everyday moral stories, embedding ethical and spiritual lessons in play.

In more formal settings, particularly in gurukuls and early village schools, these toys were used as pedagogical tools. Figures representing farmers, soldiers, deities, or musicians allowed educators to convey occupational diversity, caste systems, and epics like the Ramayana and Mahabharata. Their use was particularly prominent in early balwadi models of education, where learning through objects and dramatization was emphasized.

During Ganesh Chaturthi and other religious festivals, the toys would become part of elaborate display sets known as ghats or kolu. Families would arrange dolls and figurines—such as processions of kings, queens, tradespeople, and deities—on tiered steps to retell epics or reflect everyday village life, making the toys part of ritualistic and aesthetic expression. Some specific characters, like Kamadhenu, Garuda, or Dashavatara sets, were carved especially for these religious functions, and were handled with ceremonial care.

Furthermore, the royal patronage of the Bhonsale rulers elevated these toys into the realm of courtly art. Finely crafted soldiers, horses, chess sets, and palace guards were commissioned to adorn the court or be exchanged as diplomatic gifts. The Nawab of Sawantwadi, for instance, is said to have sent lacquered wooden objects to visitors and colonial officials as tokens of goodwill and cultural sophistication.

In recent decades, the usage has diversified. Sawantwadi toys are now often bought by tourists as souvenirs, by collectors of folk art, and by urban households as heritage decor or educational models. Their aesthetic appeal has also found resonance in interior design, with framed doll panels, miniature installations, or symbolic displays placed in modern living rooms or studios.

For artisans, these toys are not just products—they’re a means of survival and a medium of cultural resistance. As such, usage today also extends to exhibition circuits, craft melas, and museum displays, where they become tools for storytelling, cultural assertion, and economic sustenance.

Significance:

The significance of Sawantwadi wooden toys lies not only in their tangible artistry but also in their role as vessels of intangible heritage—of memory, identity, and resilience. These toys are more than artifacts; they are living embodiments of a regional consciousness that continues to navigate history, colonization, and modernity.

At the heart of their significance is cultural identity. Sawantwadi, nestled in the Konkan region of Maharashtra, has long been a confluence of coastal, Goan, and Maratha influences. The toys reflect this hybridity—whether in their costume detailing, facial features, or the stories they reference. A doll clad in a traditional nauvari saree or a soldier in Maratha regalia becomes a symbolic carrier of regional pride. For locals, owning or gifting these toys affirms a rootedness in local traditions amidst a rapidly homogenizing global culture.

These toys also occupy an important place in the preservation of artisanal knowledge. The techniques—ranging from the turning of hale wood (a locally available softwood) to the meticulous application of natural dyes and lacquer work—are deeply intergenerational. Passed from parent to child, often informally, the making of these toys forms part of an oral and embodied craft tradition. This traditional knowledge, steeped in rhythm and repetition, represents a form of learning rarely captured in formalized education systems.

From a socio-political lens, the toys have historically served as silent resistors to colonial erasure. During the British Raj, when imported machine-made toys from Europe flooded the markets, Sawantwadi’s rulers and artisans deliberately positioned their toys as local alternatives. Toy production became an act of swadeshi expression, bolstered by the patronage of the Sawantwadi royal family. To this day, the toys evoke that early assertion of self-reliance and cultural defiance.

Further, the toys hold significance in gendered and domestic spaces. For young girls, receiving a bride doll or a domestic scene set was not just play—it was social preparation for future roles. Yet, these roles were neither passive nor prescriptive; many of these dolls, especially the “working woman” sets, featured women as teachers, farmers, or goddesses wielding power, offering a more nuanced representation of femininity than commercial toys often provide.

The spiritual significance of the toys is also vital. Many figures are modeled after deities—Ganesha, Krishna, Lakshmi—and are used in religious rituals, home altars, and festival decorations. Their role in kolu arrangements during Navratri or ghat sthapana during Ganesh Chaturthi positions them not just as visual aids, but as objects imbued with reverence. The act of placing these toys on display becomes a form of everyday sacredness, a ritual that blurs the line between the secular and the sacred.

In contemporary times, the significance has expanded into discourses of sustainability and slow living. As mass-produced plastic toys dominate global markets, Sawantwadi toys have emerged as ethical alternatives, valued for being handmade, biodegradable, and infused with narrative. They are seen not just as crafts but as conscious lifestyle choices, appealing to environmentally-aware consumers and culture enthusiasts.

Myths & Legends:

Though not always documented in written form, the Sawantwadi toys are surrounded by several oral legends and folkloric associations, deeply woven into the town’s royal and cultural identity. One such enduring legend connects the craft’s origins to the royal family of Sawantwadi, especially Queen Satwashiladevi of the Bhonsale dynasty. According to local lore, she was deeply invested in preserving indigenous arts and crafts during the British colonial period. Moved by the flooding of foreign, mechanical toys in Indian markets, she is said to have encouraged local artisans to revive and reinterpret traditional toys, giving rise to what we now call the Sawantwadi wooden toys. Her patronage is remembered not only as support but as an active act of cultural resistance, turning the craft into an emblem of regional pride.

Some stories even mythologize the toys as “living beings” who come to life in the presence of devotion or innocence, similar to how dolls and deities are treated in many parts of India. In certain households, the Krishna and Radha figurines crafted in Sawantwadi are offered food during Janmashtami or are bathed and dressed during special festivals, treated not merely as representations but as manifestations of divine presence. These beliefs, while varying across families, point to a larger sentiment: that these toys are not simply objects, but carriers of soul (prana) and story (katha).

There are also folk tales around the craftsmen themselves, regarded by some as possessing divine blessings. In one telling, a toy-maker who once carved a perfect image of Goddess Durga was blessed with a dream visitation by the goddess herself. Upon waking, he found his tools mysteriously sharpened and his workshop filled with the fragrance of flowers—considered a sign of her divine approval. These oral tales, whispered between generations, have built a culture of sacred artistry, where the toy-making process is not just labor but a spiritual offering.

History:

The history of Sawantwadi wooden toys is as layered and colorful as the lacquer used to decorate them. Their evolution is deeply tied to the socio-political shifts in the Konkan region and the royal legacy of the Bhonsale rulers of Sawantwadi. As a princely state strategically positioned between Portuguese Goa and British Bombay, Sawantwadi served as a cultural corridor in the 18th and 19th centuries. The Bhonsale rulers, particularly Khem Sawant III and later his successors, actively supported the arts—not just for aesthetic enrichment, but as a means of defining regional identity amidst growing colonial influence.

In the 18th century, the toy-making tradition found a significant revival when European imports began replacing local crafts. The royalty, sensing both an economic and cultural threat, began patronizing local artisans who worked with hale wood (wrightia tinctoria) and natural dyes to produce toys that rivaled foreign goods. This movement paralleled broader swadeshi sentiments, long before the term entered national vocabulary. The Sawantwadi Palace became a hub of artisanal training, where artisans learned not just woodwork, but miniature painting, Ganjifa card, lacquer application, and color theory—resulting in a unique cross-pollination between fine arts and folk craft.

The toys initially centered around mythological figures and royal subjects, reflecting courtly life. Over time, they adapted to reflect everyday occupations, creating miniature farmers, vegetable vendors, postmen, and schoolchildren. This democratization of representation mirrored the town’s own transformation—from a princely capital to a people’s town, with art that celebrated the mundane and sacred alike.

The 20th century saw both decline and revival. The popularity of mass-produced plastic toys in the post-Independence era posed a serious threat, leading to dwindling sales and fading interest. Yet, with the rise of craft revival movements in the 1980s and 1990s, aided by NGOs and craft organizations, there was renewed interest in Sawantwadi’s toys. Collaborations with designers and heritage tourism initiatives brought the toys back into the spotlight. The royal family, especially Satwashiladevi Bhonsale, again played a crucial role in retraining artisans and reestablishing the craft’s visibility—a powerful echo of her 19th-century predecessors.

Design:

The design language of Sawantwadi wooden toys is an expressive blend of folk aesthetics, courtly elegance, and vibrant storytelling. Every toy is a product of an intimate relationship between form and function, ritual and play, and tradition and innovation. Traditionally made using hale wood (wrightia tinctoria) for its softness and fine grain, these toys are first carved into simple, minimal shapes that allow for rich surface detailing. It is through the application of vivid colors, intricate line work, and painstaking hand-painted miniature art that the toys come alive.

The designs are deeply embedded in narrative representation. Mythological characters like Krishna, Radha, Hanuman, and Shiva are popular figures, often adorned with floral motifs and sacred symbols. In addition to these deities, artisans also craft scenes of everyday village life—a farmer ploughing the fields, a woman drawing water from a well, a child flying a kite. These scenes are not just decorative—they are socio-cultural capsules, preserving a way of life that is rapidly vanishing in contemporary India.

The color palette is bold and rooted in tradition: red, green, yellow, and black dominate, often layered over a pristine white base. Natural dyes were originally used, though some contemporary versions incorporate synthetic pigments. The lacquered finish, a hallmark of Sawantwadi toys, adds a glass-like shine that heightens their visual appeal and durability. What’s unique is how the surface painting often resembles miniature paintings—delicate, ornate, and deeply expressive.

Another fascinating aspect of the design is motion. Some toys feature movable limbs or parts that rotate, nod, or spin—like the wooden peacock with a bobbing neck or a dancing figure that sways with the touch of a finger. This incorporation of kinesis into craft adds a layer of wonder, particularly for children, transforming static objects into living playmates.

Design evolution in recent decades has responded to both market demands and social storytelling. Newer themes such as doctors, lawyers, and teachers, or even global icons, have begun to appear, reflecting the aspirational narratives of present-day India. At the same time, efforts are being made to retain the traditional canon, ensuring that cultural memory is not lost in the face of modernization.

Challenges:

Despite its cultural and artistic brilliance, the Sawantwadi wooden toy tradition faces several persistent and emerging challenges. The first is the decline in skilled artisans. With younger generations turning towards more lucrative or stable careers, often in urban centers, the hereditary knowledge of carving and miniature painting is being lost. The transmission of this knowledge is deeply experiential—it cannot be replicated easily through manuals or videos, making it a high-risk craft in terms of continuity.

The second major challenge lies in market pressures and competition. The influx of mass-produced plastic toys, particularly from China and other industrial hubs, has significantly undermined the traditional market for handmade toys. These plastic alternatives are cheaper, more varied, and heavily advertised, often eclipsing the quieter, handcrafted elegance of Sawantwadi pieces. As a result, many artisans struggle with inconsistent sales and inadequate pricing that fails to reflect the labor-intensive nature of their work.

Raw material scarcity and rising costs pose economic hurdles. Hale wood, once abundantly available, is now regulated due to forest conservation laws. Artisans often find it difficult to access quality wood at affordable rates, and synthetic substitutes fail to replicate the feel and finish of the original.

There’s also a broader challenge of cultural invisibility. Despite its rich heritage, the Sawantwadi toy craft is not as well-known nationally or globally as it deserves to be. It is often sidelined in mainstream craft narratives that prioritize textiles or jewelry. This lack of visibility affects both policy attention and potential patronage.

While heritage tourism and institutional collaborations have created some momentum, they remain insufficient in scale and sustainability. Without consistent state support, educational outreach, and effective branding, these toys risk becoming mere museum artifacts rather than living, evolving cultural expressions.

However, it is worth noting that the same community grapples with these challenges with remarkable resilience. Artisans, often led by the remaining members of the royal family or supported by local NGOs, have begun conducting workshops, digital campaigns, and storytelling projects to keep the art form relevant. The way forward may lie in creating craft ecosystems that blend tradition with innovation, ensuring not just survival but revival.

Introduction Process:

The making of Sawantwadi wooden toys is a ritual of care, color, and community. Rooted in centuries-old practices nurtured within the royal patronage of the Sawantwadi palace, this craft moves through forests, workshops, and paint-smeared porches with quiet dignity. From the selection of seasoned hale wood to the final brushstroke of vermilion on a painted deity or puppet, every stage is imbued with skill passed down by observation, repetition, and reverence. What emerges is not just a toy, but a storytelling object—each hand-carved figure a vibrant ambassador of Konkan tradition, memory, and imagination.

Raw Materials:

• Wood: The most commonly used is Pangara wood (Indian coral tree), known for its softness, ease of carving, and smooth finish. Occasionally, wood from Hirda, Shivani, or Polas trees is also used.
• Natural Lac (Lakh): A resinous substance used for lacquer coating and coloring the toys. In Sawantwadi the 6 main colours of Lac have always been used and continue to be, but with the
  changing times and increasing costs, Lac has become rare and has been replaced with Water based
  powder colours.
• Colors and Pigments: Traditionally, natural dyes were used. Today, artisans use synthetic, oil-based, and enamel paints for brighter, more durable finishes.
• Chikki: This is made of Tamarind seed powder,clay and water. The ratio of tamarind to clay is about 80:20. This is used to smoothen the grain of the wood for easy painting.
• Adhesives: For fixing parts, artisans use natural glues and sometimes synthetic adhesives.
• Other Additions: For embellishments, small metal pieces or beads might be added.
• Varnish: Historically, lac provided a sufficient finish for these products. Today, although some artisans continue to use lac, many others prefer varnish to achieve a glossy, protective surface that also safeguards the colors. This varnish is conveniently sourced from local shops.

Tools & Tech:

With time, the tools used in this craft have changed. Artisans now employ machines to cut wood into smaller pieces and subsequently use a lathe to achieve a circular form. This modern approach notably reduces production time and enhances overall efficiency. Nevertheless, the final product frequently demands the delicate touch of a hand, imbuing the craft with its distinctive, human-centered character.

• Lathe Machine (Hand-operated or electric): Used to shape cylindrical toys like fruits, animals, or spinning tops. The wood is mounted and spun while the artisan carves the surface with tools.
• Chisels and Knives: Various sizes are used to carve intricate designs and fine features on toys.
• Files and Emery Paper: For smoothing and polishing after carving.
• Paint Brushes: Used for applying paint and lacquer detailing.
• Burnishing tools: Made of dried leaves or bamboo, used to give the toys a natural sheen.
  
• Spray machine: Artisans use a spray machine to give the initial color coat or, at times, a layer of varnish.

Rituals:

• Respect for Raw Material: Traditionally, the wood was sourced with a prayer to the tree, acknowledging its life and seeking blessings for the object to be made.
• Workspace Sanctity: The toy-making space, especially within artisan homes, is kept clean and sometimes adorned with a picture of a deity like Vishwakarma, the divine architect.
• First Piece Offering: Some artisans still practice offering the first finished piece of a batch to the family altar or temple.

process:

1. Selection and Cutting of Wood: Suitable wood is chosen based on grain, weight, and dryness. It is cut into manageable blocks.
2. Seasoning: The wood is dried thoroughly, either naturally under the sun or in a kiln, to prevent cracking and warping.
3. Shaping on Lathe: The block is mounted on a lathe and spun. The artisan uses chisels to shape the spinning wood into fruits, birds, dolls, or deities.
4. Carving and Detailing: After lathe work, details like facial features, patterns, or limbs are carved using knives.
5. Smoothing: To achieve a smooth finish on the wood surface, artisans coat it with chikki, a special paste prepared from tamarind seed powder, clay, and water. This application creates an additional smooth layer that effectively fills all the wood’s pores. Once dried in the sun, the surface is then sanded to perfection, making it ready for painting.
6. Painting: The toys are painted by hand using fine brushes. Traditional motifs often include folk art styles, floral designs, miniature costumes, and regional iconography. Artisans pay attention to detailing—eyes, jewelry, turbans, or sarees are often minutely painted in bright hues. Some toys are coated with natural lacquer, giving them a glossy finish.
7. Drying: After painting, toys are left to dry completely in shaded, well-ventilated spaces to avoid dust settling on wet surfaces. Sometimes multiple coats of color or varnish are applied with drying intervals.
8. Final Assembly (if needed): In composite toys or dolls with movable parts, the components are assembled. This might involve gluing, fitting, or inserting small accessories.
9. Quality Check and Packaging: The final product is checked for smoothness, color finish, and any defects. Once approved, toys are packed—sometimes in simple brown paper or cardboard boxes—for markets or exhibitions.

Waste:

• Wood Shavings and Dust: Produced during carving and lathe work. Some artisans reuse the finer dust for polishing, while coarser shavings may be used as fuel or composted.
• Paint Residue: Leftover paints and varnishes can be harmful if synthetic. Artisans try to minimize excess use, but improper disposal may pose environmental challenges.
• Broken or Rejected Toys: Damaged pieces are sometimes kept aside for repurposing, given to children in the neighborhood, or used in training apprentices for practice.
• Sustainability Concerns: With increasing commercialization, the use of non-biodegradable paints and chemicals has grown. Traditional artisans are now being encouraged—by NGOs and heritage initiatives—to return to natural dyes, optimize wood use, and reduce synthetic inputs.

Cluster Name: Sawantwadi

Introduction:

Sawantwadi is a small hill station located in the Sahyadri Mountain range of Western Ghats towards south-west of Maharashtra and extends till the Arabian Sea. Originally, known as Sunderwadi, Sawantwadi derived its name from its rulers the Khem-Sawants belonging to the Bhonsle clan in former Marathwada. Presently Sawantwadi, a small municipal town, is situated within Sindhudurg district in Maharashtra situated close to Goa and it is 500 kilometers away from Mumbai. Konkani is the local dialect spoken by residents of Sawantwadi although Marathi, Hindi, Urdu and English are also spoken as well.

History:

• Developed by the Sawant Bhonsle dynasty, the township of Sawantwadi is almost 300 years old.
• It is said to have been developed around 1580 by Khem Sawant Bhosle.
• It was last ruled by the King Shivaji Raje Bhonsle who continued independently even after Independence of India for almost 8 years.
• The remarkable history of this town and the marks of olden times are visible in the form of the Great Royal Palace (18 century), Lester gate (late 19 century), and Vitthal Mandir.
• Sawantwadi was the former capital of the erstwhile Kingdom of Sawantwadi.
• In 1947, it was merged with the Independent Republic of India.
• At once (till 18th Century) the Kingdom of Sawantwadi included major portion of today's North Goa district (Pedne, Bicholim, Sattari) and present day's Kudal and Vengurla from Sindhudurg district.
• Pedne, Bicholim, Sattari were later taken over by Portuguese as a part of New Conquest 1765-1788 and merged with then Old Conquest to form present day's Goa.
• The bulk of the people, the Marathas, Bhandaris, and Mahars were formerly famous, both by land and sea, for their fierce cruelty.
• Ever since the establishment of order under the British, Sawantwadi has more than once been the scene of revolt and disturbance.
• In the 18^th and 19^th century various schools were started to teach the crafts like Ganjifa, Lacquerware, to the artisans.
• The royal family of Sawantwadi still resides in the royal place adjacent to the Moti Talav. This is their ancestral home and they are preserving its heritage. There is also a museum constructed in some parts of the fort which is open to the public.

Geography:

• It comes in the Sindhudurg district of Maharashtra.
• It is situated at a two-hour drive from Dabolim, in the Konkan region, in west coast of Maharashtra and near the region of Goa.
• It has the Sahyadri mountains in its east and in its west there is the Arabian Sea.
• The nearest airport is at 86 km, the Dabolim airport in Goa.
• The Sawantwadi Railway satation connects to all major cities in India.
• The MSRTC buses come regularly on the Maharashtra to Sawantwadi road and can be used to commute to nearby places.
• The total geographical area of the town is 155.9 hectares.

Environment:

Infrastructure:

• There is a post office at a distance of around 0.9 km.
• The nearest police station is at around 1.2 km.

Architecture:

Sawantwadi's architectural heritage is largely defined by its historical significance as a princely state in the Konkan region. The Sawantwadi Palace, built by Khem Sawant III (1755-1803), stands as a prime example of its older architecture, showcasing a fascinating blend of native workmanship with English arches, all constructed using vibrant red laterite stones. Traditional homes in Sawantwadi often exhibit features responsive to the heavy monsoon rains, such as steeply sloped roofs to facilitate water runoff and extended eaves to protect walls from rain and sun. These structures frequently incorporated local materials like mud and stone, reflecting sustainable design principles and a deep understanding of the local climate and available resources.

In contrast, contemporary architecture in Sawantwadi, while increasingly incorporating modern sensibilities, also often seeks to harmonize with the region's natural topography and existing cultural traditions. Newer residences and commercial spaces may feature a more streamlined aesthetic, utilizing contemporary materials alongside elements like sloping terracotta-tiled roofs and brickwork that echo the traditional palette. Architects today are focusing on creating spaces that are not only visually appealing but also functional and environmentally sensitive, often integrating passive design strategies for natural ventilation and light, while sometimes reinterpreting traditional elements like courtyards to suit modern living.

Culture:

• Popular languages spoken here are Konkani, Marathi, Malvani, Hindi, English and Urdu.
• The arts and crafts are a prominent part of the culture of this region. They are prepared on a small scale or in home-based industries. These include wooden toys and paintings, Ganjifa cards, lacquerware, bamboo art and much more.
• The culture of Sawantawadi has India’s rural yet contemporary touch in it.

People:

• According to the 2011 census of India, the total population of Sawantwadi is 123,615. It includes 61,041 males and 62,574 females. Thus the sex ratio is around 1025 females per 1000 males.
• Here the literacy percentage is 78.22% out of which male literacy percentage is 41.46% and 36.76% is of the females.
• The people here live a slow, serene and contained life.
• The local people of Sawantwadi are known as Malvanis and they wear traditional attire with ornaments like bracelets, earrings and necklaces.
• Here, the population includes Konkanhast Brahmins, Dalits and also a small number of Malvani Muslims.
• People of Sawantwadi prefer cooking their meals with fresh coconut milk and spices, Sol Curry, Kokum which is their staple food and drink. They prepare vadas, puran polis and laddoos on special occasions.
• Rice, nachni bread, curry, vegetables are also consumed by people of Sawantwadi with crabs, prawns and pomphrets.

Famous For:

• Beautifully engineered and painted wooden toys
• Wooden replicas of local fruits: Used throughout Konkan to decorate the Ganpati Pandal during the Ganeshotsav.
• Bamboo art
• Sawantwadi Palace: The abode of the royalty of Sawantwadi for more than 300 years. This houses the workshops of local artisans and also showcases the history of the culture and arts and crafts of the town.
• The Sawantwadi market
• Lacquer crafts like chess set, candle sticks, furniture, dolls etc.
• Shilpgram: Here one can buy the handicrafts made by the local artisans. Some of these are Ganjifa cards, jewellery boxes, traditional lacquerware, bamboo craft, earthen pottery, hand-knit bags and purses. The process of making these products can also be seen here.
• Moti Talao (Talao-lake): It is a man-made lake, situated in the heart of the town, around which the town of Sawantwadi has been established. It also has colourful fountains in the evening, which is a tourist attraction.
• Raghunath market
• Amboli Ghat
• Yashwantgadh or the Redi fort
• Redi beach
• Atmeshwar Tali and Temple
• Velagar beach

Gallery

Craftsmen

List of craftsmen.

Documentation by:

Documented by ~ Krishna Saini
Compiled research ~ Team Gaatha

Process Reference:

Cluster Reference:

• https://www.indiagrowing.com/Maharashtra/Sindhudurg/Sawantwadi
• https://sawantwadi.maharashtraonline.in/city-guide/about-sawantwadi
• http://aboutsawantwadi.weebly.com/about.html
• https://www.incredibleindia.org/content/incredibleindia/en/destinations/kolhapur/sawantwadi.html
• https://villageinfo.in/maharashtra/sangli/shirala/sawantwadi.html
• https://www.nativeplanet.com/sawantwadi/#overview