Wooden Toys ~ Nirmal

Introduction:

Usage:

In the early days, traditional toys were popular at melas (fairs), with artisans crafting items like junjuna (rattle), bullock carts, and animal figures for children, as well as products for religious activities such as Jatara Puna and Ganesh Puja. Over time, the craft expanded beyond toys to include utility items like trays (kishti), settes (kanchima chowki), cots (palang), bangles, and jewelry boxes. However, with the advent of mechanical and industrial toys, the focus shifted toward more decorative and tabletop items. Despite these changes, Nirmal toys emerged as the most prominent and recognizable products of this evolving craft.

Significance:

The roots of Nirmal toys trace back to Nirmal town in the Adilabad district of Telangana. Nirmal toys are a vibrant testament to Telangana’s rich artistic and cultural heritage, depicting themes inspired by Telugu mythology, folklore, and the natural beauty of the region through their bright, contrasting colours. Crafted with skill passed down through generations, these toys showcase mastery in woodworking and painting techniques. Influence of traditional art, combined with the aesthetic of south India, is evident in the intricate detailing of these creations.
Unique to the craft is the use of soft, lightweight wood, particularly from the white sander tree, which grows naturally in the barren lands of Jhandra and Mondikutta villages and matures over 15 years. This wood is not only safe for children but also carries the essence of local materials. Historically, artisans used indigenous mineral and vegetable dyes, creating colors from natural elements like sapheda powder for white, pewdi powder for yellow, and soot for black. Gold accents were even derived from herbal extracts. Today, these natural dyes have largely been replaced by acrylic and poster paints. Despite this shift, the craft retains its distinctive charm, blending traditional techniques with modern adaptations.
While the craft shares similarities in process and materials with Kondapalli and Channapatna toys, it stands apart in form and visual identity. Kondapalli toys often depict stories of gods, village life, and culture, with an emphasis on movement, such as a dancing woman with her head and skirt in motion. Channapatna toys feature human figures, sounds, and wheels, often showcasing playful interactions. In contrast, Nirmal toys are renowned for their realistic depictions of flora and fauna, offering lifelike representations that reflect the natural beauty of the region.
Beyond their artistic allure, Nirmal toys symbolize community pride and serve as a vital source of economic livelihood for artisans in Nirmal town. Whether as playthings or decorative pieces, they captivate with their vibrant colors, intricate designs, and profound cultural significance, making them cherished artefacts of Telangana’s artistic legacy.

Myths & Legends:

History:

The history of toys is as old as humanity itself. A child’s imagination can go beyond reality, yet when we look at commercial toys—where adults create toys for children—most of the inspiration comes from existing ideas. They often add an element of fun in these miniature versions.

Animal figurines have been a common feature in almost all major urban centers of the Harappan Civilization. Both domestic and wild animals were represented in terracotta, including bulls, dogs, horses, rams, pigs, and rhinoceroses. Some figurines had movable heads and holes for attaching wheels, suggesting they were used as toys. These popular artifacts reflect the types of animals and birds seen during that era, which the Harappans skillfully recreated in clay. Through their portrayal of strength and vigor, terracotta craftsmen demonstrated their mastery over the technique.

At most archaeological sites, terracotta toys have been found, but this does not mean that clay was the only material used. The abundance of terracotta objects is due to their durability—wooden objects decompose quickly, making them difficult to recover after thousands of years. Even in traditional village life today, wooden toys like latoo (spinning tops), gilli-danda, and sticks with wheels are still common, crafted by local artisans.

In South India, Kovalanpottal, located in South Madurai, has a history dating back to around 300 BCE. Excavations conducted in 1980 uncovered three trenches, each measuring four square meters, reaching a depth of 2.5 meters and revealing five layers of occupation. A variety of antiquities were unearthed, including iron fragments, glass and conch bangles, different types of beads, copper artifacts, and terracotta toys. Evidence of toys is prominent in many excavated sites.

In earlier times, every region in India had skilled artisans who crafted objects and fabrics, selling them in local bazaars. Wooden and clay toys played a significant role in children’s lives. The history of wooden toy-making in India is deeply rooted in regions like Telangana, particularly in Kondapalli and Etikoppaka, where artisans have practiced this craft for generations.

The origins of Nirmal craftsmanship have two prevailing narratives—some believe the artisans migrated from Rajasthan, while others argue they are native to the region. Regardless of their origins, these craftsmen have preserved a rich legacy of ornamental and functional art, passing their skills down through generations.

The craft flourished under the patronage of 17th-century ruler Neema Rayadu, who played a crucial role in its development. Later, the Nizam of Hyderabad, a great admirer of this artistry, was honored during his visit to Nirmal with grand handcrafted decorations, including an exquisite banana bud with golden-hued petals that unfurled to shower him with flowers.
Cultural traditions also highlight the artisans’ deep reverence for their work, such as the practice of worshiping tools on Amavasya, a day when they refrain from using them. To safeguard their heritage, the craftsmen organized themselves into the Nirmal Toys and Arts Industrial Cooperative Society in 1955. The craft gained official recognition in 2009 when it was awarded the Geographical Indication (GI) tag, providing legal protection and promoting its unique artistic heritage.

Design:

The design process of Nirmal toys is divided into two key stages: one artisan shapes the form, while another specializes in painting the finished piece. Inspired by nature, artisans carefully replicate forms, adjusting their size while maintaining realistic proportions. The aesthetic appeal of these toys emerges through intricate painting, where artists use bright, contrasting colors to create visually striking combinations.

Nirmal toys are primarily crafted from locally sourced Ponki Chekka wood, valued for its lightness and flexibility. Artisans carve the wood into desired shapes, glue various parts together, and coat them with Chinta Lappam, a mixture of sawdust and boiled tamarind seeds. This is followed by an application of white clay to smooth the surface before coloring. Traditionally, natural dyes were used for painting, though synthetic paints are now occasionally incorporated.

The designs often draw inspiration from nature, mythology, and everyday life. Artisans create intricate replicas of fruits, vegetables, animals, and birds, as well as depictions of characters and scenes from epics like the Ramayana and Mahabharata. The lightweight nature of Nirmal toys sets them apart from other wooden crafts, such as Kondapalli toys, making them unique in both form and artistic execution.

Challenges:

The craft faces numerous challenges, such as deforestation and the long time required for trees to mature, threatening the availability of essential raw materials. The lack of recognition and the gradual extinction of traditional handicrafts pose further risks to the craft’s survival. Modern preferences, including the rise of online gaming, have led to a decline in demand for handcrafted toys. Additionally, younger generations show a growing disinterest in continuing this labor-intensive craft.

When we visited Nirmal town expecting to see a craft cluster like other handmade product hubs, we found a lack of awareness among the local people. We could not find a specific area or lane where traditional art was being actively practiced. Only one unit is keeping the tradition alive and engaging a group of artisans.

Introduction Process:

The process of making Nirmal toys may sound simple—joining wooden pieces, applying a coating, and coloring. But when observed closely, it requires immense skill and patience to complete just one piece. After each step, artisans must also wait for the material to dry.

To speed up production, artisans work in an assembly line, with each person specializing in a specific task—shaping the wood, finishing, painting, etc. Among all the steps, surface finishing and achieving a smooth texture take the most time and effort.

Raw Materials:

Wood: Wood is the main raw material that is used for making Nirmal wooden toys, they use Poniki wood for making of the toys.

Water: Water is used for preparing the mixer of sawdust and tamarind seeds.

Tamarind Seeds: Tamarind seeds are used to make a paste called chintambali which acts stronger than fevicol.

Colours: Colours are used for enhancing the beauty of toys. Acrylic paints and poster colours are used these days.
Natural colours used earlier: The paints that used were earlier made from minerals, gums and herbs.

White – Sapheda powder, Yellow- Pewdi powder, Green – Kheerma, Black – soot that is formed as a layer on the lid of deepam/diya is scraped of and used as black colour. Red – Sandi powder, Orange – Chanduram (Generally used in Hanuman temple as teekha. Sares powder – It is used to uniformly mix water with colour powder.

Suddamatti (Whiteclay): Suddamatti acts as a base layer before application of paints to give uniform coverage of paints. It also enhances the look of the paints on the wood.

Sawdust: Sawdust is mixed with chintambali to make makku. Makku coating is given on the wood to give shape and add detailing to the to the form. Different grain sizes are used depending on the coverage that is needed.

Tools & Tech:

Cutting Tools: Used to carve wooden logs into specific shapes, ensuring the foundational structure of the toys.

Filers: Available in three sizes—10 inches, 8 inches, and 6 inches—filers help refine details and smooth edges.

Chisels: Used to scrape away excess wood and shape the toy into the desired form.

Paintbrushes: Essential for adding vibrant colors and intricate details to the toys.

Sieves: Used to filter sawdust before mixing it with Chinta Lappam to ensure a fine and even texture.

Sandpaper: Available in 50- and 100-grade, sandpaper is used to smoothen the surface after applying Makku and Suddamatti.

Table Flat Jig Saw Machine: A woodworking tool used for cutting curved lines in wood while also being capable of making straight cuts.

Pillar Drill Machine: A stationary tool that allows for quick and precise drilling, ensuring accuracy and efficiency in the production process.

Table Saw/Power Saw Machine: A woodworking tool with a circular saw blade used for making accurate and precise cuts in wood, ensuring consistency in toy-making.

Rituals:

process:

Pre-process:
Poniki wood, favored for its lightweight and durable properties, undergoes several stages of preparation. The wood is first submerged in water for a week to reduce its rigidity. After soaking, it is allowed to cure, preventing the development of pores and breakages while being worked on.

Air Drying– is essential, as the wood is exposed to air for drying, with the duration depending on weather conditions. To preserve tamarind seeds used in the process, bleaching powder is added. Earlier, before packing, ash powder from burnt wood was sprinkled on the seeds. Around 100 kg of tamarind seeds are bought annually, stored in rice bags, with 1 kg costing ₹10.

Storage of tamarind seeds– is crucial; exposure to sun and air must be avoided to prevent drying. The paste (Chinta Lappam) can be stored for up to 10 days in plastic coverings to restrict airflow.

Making the Chintambali– involves boiling tamarind seeds and sawdust with white clay. First, tamarind seeds are broken down and boiled for 5–9 hours before being ground into a paste. The paste is then cooked for an additional two hours. After boiling and grinding, sawdust is mixed with tamarind seeds to form Chinta Lappam, which is used as a binding material in the toy-making process.

Process:

Cutting of the Wood- Done using a power saw to achieve the required size. A hand saw is then used to make finer cuts, and a chisel helps carve the desired shape. No measuring tools are typically used; artisans rely on hand measurements in inches. Various parts of the product are cut separately before being joined together to form the final structure, with slots made for interlocking.

Application of Chintambali- This mixture is used to join the separate wooden pieces. Smaller parts like legs and beaks are reinforced with bamboo sticks. The assembled product is then set aside for a day to dry completely.

Filing the Wood- It is carried out once the Chintambali has dried. Filers are used to smoothen the surface and remove unwanted portions. A wooden tool called tape is commonly used to apply Chintambali evenly and refine the toy’s structure.

Application of Makku- It enhances detailing and weight. Makku (a thicker mixture of Chintambali and sawdust) is coated onto the surface to cover imperfections and add intricate details. Depending on the weight needed, different sizes of sawdust are mixed into Chintambali. After drying, the surface is filed again to achieve a smooth finish. Another layer of Makku is added to even out the form, and it is left to dry for 24 hours. Excess dried Makku is removed with a filer, and an awl tool is used to create holes for bird legs. Further layers of Makku are applied to highlight details like eyes and wings. To cover cracks, artisans glue paper onto the required portions before applying another layer of Makku.

Giving a Surface Finish with Sandpaper- After the second layer of Makku has dried, it is further refined with 50-number sandpaper.

Application of Suddamatti- A coat of Suddamatti (white clay) is applied, and once dried, the toy is filed again with 100-number sandpaper to prepare it for painting.

Painting the Form- The process involves mixing colors with thinner. Artisans use blue, red, yellow, black, and white paints, sourced from local markets, and blend them to achieve specific shades. The toy is given a base coat, followed by intricate detailing using thin brushes. Finally, a lacquer coating is applied to give the toy a glossy and polished finish, completing the Nirmal toy-making process.

Waste:

no waste

Cluster Name: Nirmal

Introduction:

Nirmal, a city and the district headquarters of Nirmal district in Telangana, is renowned for its handcrafted wooden toys. Though only a few units continue the tradition today, Nirmal toys retain a unique charm, making them a distinctive and cherished offering from the region.

History:

Nirmal district, located in northern Telangana, has a rich historical legacy that traces back to ancient times, with influence from the Satavahanas, Kakatiyas, and the Qutb Shahis. It later came under the control of the Mughal Empire and the Nizam of Hyderabad, during which the region gained cultural prominence. The district derives its name from King Nimma Rayudu, a 17th-century ruler who played a pivotal role in the region's development, particularly in promoting Nirmal craftsmanship. His patronage fostered the growth of local art forms, including the renowned Nirmal toys, which gained further recognition under the Nizam's rule. The Nizam supported local artisans, even inviting craftsmen from Rajasthan, which enriched the craft. During the colonial period, Nirmal, like many regions, faced challenges due to industrialization, but it managed to preserve its traditional craftsmanship. Today, Nirmal is celebrated for its vibrant cultural history, which includes the famous Nirmal toys and its many historical landmarks, such as forts and temples, that continue to draw attention both locally and internationally.

Geography:

Nirmal district was carved out of the erstwhile Adilabad district and is situated in northern Telangana. It shares its borders with Maharashtra and the Telangana districts of Komaram Bheem Asifabad, Adilabad, Mancherial, Jagtial, and Nizamabad. The district is administratively divided into two revenue divisions—Nirmal and Bhainsa—comprising 19 mandals, with its headquarters located in Nirmal town.

By Air: The nearest International airport is Rajiv Gandhi International Airport located in Hyderabad (220km).

By Road: Nirmal is located at a distance of nearly 220 km from the capital city of Telangana, Hyderabad. The city is easily accessible mainly by road.

Environment:

Nirmal district experiences a tropical climate with distinct hot and dry summers. The temperature during summers can soar above 40 degrees. It receives monsoon with rainfall ranging from 900 to 1200mm. The winter months are pleasant with temperature ranging between 12 to 12 degrees.

Infrastructure:

Nirmal district is a developing region with essential infrastructure that supports its growing economy and cultural heritage. The district is well connected by road, with National Highway 44 passing through it, and has two major RTC depots in Nirmal and Bhainsa. The district is also served by the Godavari River, which provides irrigation through small and medium projects.

Nirmal town, the district headquarters, boasts a strong educational system with schools and institutions, including the prestigious IIIT Basara. Additionally, the district has reliable power supply through hydro-electric power from the Kadem Minor Irrigation Project and other sources. The district’s rich historical and cultural significance, coupled with modern facilities, contributes to its development and attracts tourists and investors.

Architecture:

The architecture of Nirmal town is similar to that of any other growing town. Most constructions are concrete-based, with maximum utilization of space. People use different types of materials based on their preferences, which prevents the town from having a distinct architectural identity.

Along the main road, most buildings are large complexes with multiple shops. However, as we move further away, we find one- or two-story constructions. Overall, there are no specific architectural features that make the town easily identifiable. The only distinguishing factors are the local language and the choice of colors, which indicate that we are in Telangana.

Nirmal Fort, built to defend the region, features robust walls and a commanding view of the surrounding area. The architecture of the town is also reflected in the design of the Sri Gnana Saraswathi Temple, with its elaborate carvings and classical South Indian style.

Culture:

Nirmal district has a vibrant cultural heritage, with a deep-rooted tradition in arts and crafts. The district celebrates several traditional art forms, such as Yakshaganam, Bagavatham, and Kolatam. Local festivals and rituals are an integral part of Nirmal’s cultural landscape, with the Sri Gnana Saraswathi Temple in Basar being a significant religious and cultural site. Nirmal’s culture is a blend of history, artistry, and spiritual practices, making it an important cultural hub in Telangana.

People:

Famous For:

The district offers numerous attractions for travelers and nature lovers.

Sri Gnana Saraswathi Temple, Basar – Situated on the banks of the Godavari River, this temple is famous for Akshara Sweekaram, the initiation of children into learning.

IIIT Basara – The prestigious International Institute of Information Technology (IIIT) is located in the district.

Kuntala Waterfalls – A breathtaking natural attraction, drawing thousands of tourists during the monsoon season.

Kadem Project – A significant minor irrigation project, also serving as a scenic spot for visitors.

With its blend of rich history, artistic excellence, and natural beauty, Nirmal district stands as a significant cultural and economic hub in Telangana.

Gallery

Craftsmen

List of craftsmen.

Documentation by:

Team Gaatha

Process Reference:

Terracotta Toy Artefacts of Harappan Culture: A Medium of Learning for Children
Suruchika Chawla1and Ambika Patel

https:// headstreams.org/indus-valley-civilisation-toys-made-for-children

A Critical Review of Traditional Art of Nirmal Toys by
Chandrakanth Muneshwar and Dr.Bukya Babu Rao

Excavations of Archaeological sites in Tamilnadu
Editor | T.S.SRIDHAR, I

Cluster Reference: