Craft document nayan & akash done by Nayan Shrimali

Mukha National Institute of Design

2010 Copyright National Institute of Design 2010

Mukha MASK MAKING Nagaon, Assam Akash More Nayan Shrimali Guide: Ramarao UG- Furniture and Interior Design 5th Semester National Institute of Design- 2010 Copyright National Institute of Design 2010

Index Preface.............................................................. 7 - Craft of Mukha making............. 8 Introduction.................................................... 11 Mukha (Mask)................................................. 15 - Origin........................................ 16 - Evolution................................... 17 - Community & Tradition........... 18 - Materials.................................... 19 - Tools.......................................... 21 Process............................................................ 23 -Finger Making Process................... 32 -Barfi Design................................... 34 Pith Mukha Process........................................ 37 Proposed Guidelines....................................... 43 Field Experience............................................. 47 Craftsmenâ&#x20AC;&#x2122;s Profile.......................................... 51 Copyright National Institute of Design 2010

Preface Copyright National Institute of Design 2010

Craft of mukha making

National Institute of Design, is a premier Design institute of India, that both believes in and practices multi- disciplinary approach in design. This institute promoted the rooted values in culture and art and with that also looks forward to integrate new technology in the design process to achieve effective and efficient communication.

Mukha making is a very old craft of Assam. This craft was practised by farmers for religious purpose. Initially they didn’t intend to earn money out mukha making. This craft is very close to the culture of Assam. It connects to the natural habitant of this locale. The materials involved in mukha making process are all natural material. Thus this craft manifests the essence of Assam. But the disappointing scene is this that, the craft of mask making is on the verge of extinction. Mukha making artist are not able to transfer their skills to the next generation. This amazing art need immediate attention and acceptance.

India is blessed with thousands of skilled craftsman and woman and through their skills, hundreds of different types of crafts are nurtured in our country. Craft document is an attempt to explore one such craft of our country and form an understanding about it. This course also provides an insight into the nature off cottage industry. With this, in this course we learn to interact with the craft, people, locale, culture and overall context.

“Brahma” The most ancient Mukha 8

Mukha Copyright National Institute of Design 2010

Introduction Copyright National Institute of Design 2010

Assam is a northeastern state of India with its capital

The geography of Assam is a place of interesting geologic origin, geomorphic characteristics, climate, rich biodiversity, and other factors.

at Dispur in the city of Guwahati. Located south of the eastern Himalayas, Assam comprises the Brahmaputra and the Barak river valleys along with the Karbi Anglong and the North Cachar Hills with an area of 30,285 square miles (78,438 km²).

Assam, extending from 89 degree 42 minutes E longitude to 96 degree E longitude and 24 degree 8 minutes N latitudes to 28 degree 2 minutes N latitudes in the gratitude is a North Eastern state of India. Assam is located at the central part of the North-East India and with an area of 78,438 km² it is almost equivalent to the size of Ireland or Austria. The people of Assam inhabit a multi-ethnic, multilinguistic and multi-religious society. They speak languages that belong to three main language groups: Indo-Aryan, Austro-Asiatic, and Tibeto-Burman. The large number of ethnic and linguistic groups, the population composition and the peopling process in the state has led to it being called an “India in miniature”.

Tea gardens in Moran, Assam

“These are faces of the people without whom our journey through these beautiful craft won’t get done”

was born in

Srimanta Sankaradeva

Established

Vaishnav Religion

led to

Bordhuva Nagoan

Vaishnav Monasteries

has

Bhavona Play

Mukha Bamboo Mukha

Face Mask Body Mask Latokari Mask Katari Daau Kaamkathi

Bamboo Cowdung Aatha Cloth Coconut sap Mud Jute Natural Colours

Pith Mukha

Kali Mask

Mukha(mask) Copyright National Institute of Design 2010

Origin Bordhuva in Nagaon district assam is the birth place of mukha’s. Srimanta Sankaradeva king of Bhuniya state was born in Nagaon district and he was the founder of these holy mukhas. The mukha were made for religious purpose only, the main purpose of mukha was to use them in the play bhavona. These Kshatriya Mukha originally came from Mongolian culture. “Mukha” used in play bhavona were for serving pupose of special effects in the play, as mystical characters like ‘Raavan’ or ‘Hanuman’ can not be played by a human face it needs some extra properties which were filled in by the masks. Bhavona was a very powerful medium of transferring ancient mysteries and myths to common people through the way of entertainment and knowledge.

A mural in Bordhuva showing death of Bhishama-pitamah in Mahabharata

Bordhuva in Nagaon, Assam

Bhavona, is a play written by Srimanta Sankardeva during his life period for promotion of vaishanav religion in Assam through this plays. The play is written in brajoli language. These plays were written by Srimanta Sankardeva in Ankiya format. These plays were a medium of religious communication. These plays were written on Ramayana text, where in mukhas were used by the artists.

Evolution Mukha’s were primarily made for artist who do performance in Bhavona and were worshipped too and still it’s the same. The technique of making has evolved from using traditional colours to paints and some master craftsman like Mr. Hemchandra Goswami tried using paper also in mask making process rather than Gobar and Mitti and he also makes different bamboo sculptures using the technique of Vishwakarma Mur (the basic technique in mask making).

Paper mask made by Mr. Hemchandra Goswami Old mukha’s preserved in Kolong Kala Kendra Vishwakarma Mur

These mukhas are made using the old traditional style of applying mud and cow dung over the hexagonal bamboo framework (vishwakarma mur). These are very old “mukha’s” preserved by Mr. Chitranjan Bora.

This mukha marks an evolution in the craft of making mukhas in Assam. This particular mask was made by Mr. Hemchandra Goswami at Majuli. He used paper for covering the outer structure of the mukha instaed of using the traditional materials, as in mud and cow dung. The inner structure prepared is also different from the traditional hexagonal pattern of vishvakarma mur. Copyright National Institute of Design 2010

Community and Tradition Majorly people who make masks are basically farmers and they don’t make mask for earning. It’s a devotional work they do at the time of bhavona. People who make masks in a Satra(village) are given title of “Khonikor”. Mask making is very old tradition in assam and its related entirely to the play performed in which they are used, Bhavona. Bhavona is a play in which parts of Ramayana are performed which were written by Srimanta Sankaradeb and they were known as Ankiya Plays.

Ram Leela

Beleifs - Should bath before start making masks - Empty Stomach - Khonikor’s feet should not touch the mask

Krishna Leela

Materials The major raw material used for making a mukha is as follows, Bamboo strips (2yrs old bamboo), Cow dung, Cloth, Aatha (natural gum made out of Dhekiya), Mud, Natural colors, Jute Coconut sap. The good thing about these material is that they are available free of cost. All these are natural things.

Dhekiya (Aatha)

Plum (Aatha)

Dhekiya (Aatha)

Cow dung

Jute hairs (Mora Paat)

Charcoal (Black color)

Hengul (Red color)

These are the natural materials from which colors for mukha painting are derived. Khori mati for white colour, Hengul for red colour, Chaorcaol for black colour, Haital for yellow colour.

Bamboo Tree

For mukha making, two years old bamboo are used because they are flexible. Bamboo are kept in water for four days so that the sugar content is removed. After this process the bamboo is protected from the insects.

Haital (Yellow color)

Khorimati (White color)

Tools Katari (small) – fine tuning Daau (Big)- Cutting bamboo into stripes Kaamkathi for detailing (made of bamboo using katari) These are all traditional tools used by the farmers for cutting bamboo.

Above are the different types of “Kaamkathi” made up of bamboo itself and they are made by the mask maker himself for sculpting the detailed features over the mask.

Craftsmen making “kaamkathi” from bamboo

Katari (fine cutting)

Daau (For cutting bamboo)

Process Copyright National Institute of Design 2010

â&#x20AC;&#x153;Bamboo Mukhaâ&#x20AC;? making process This flowchart explains the main stages involved in mukha making process. It takes three days to complete one bamboo mukha. The process of mukha making starts during winters in the beginning of month November. In vaishnav monasteries, for the play bhavona. This process requires immense hardwork and precision while working with the natural materials. One should always know the basic characteristic of materials before using them.

Fig. 2

After the bamboo is cut down into thin sticks the next step is to finish them and making them appropriate for the purpose of mask making process.(fig. 2) Firstly the sticks are made flat by removing the extra fibre over the surface of the stick than gradually its cut down into thin stripes of approximately 2cm width. (fig. 3)

Fig. 1

The process starts with cutting the bamboo into thin long stripes of approximately 2cm in width and the length varies according to the bamboo.(fig. 1) Craftsmen uses â&#x20AC;&#x2DC;daauâ&#x20AC;&#x2122; as their tool for carrying out the task of cutting bamboo into stripes. Craftsmen first slit the bamboo vertically in to thin sticks before processing them into stripes.

Fig. 3

Fig. 4

Fig. 5

Fig. 7

Fig. 9

The process of mask making begins with the 2cm wide bamboo stripes which are weaved together with each other in an hexagonal pattern which is commonly known as the “Vishvakarma Mur”.

“Vishvakarma” is referred as the “Principle Universal Architect”, the word Vishvakarma itself states its meaning “vishva” stands for world and “karma” stands for work or activity in hindi. “Vishvakarma” is the Hindu presiding deity of all craftsmen and architects.

These process of weaving the bamboo stripes continues according to the size and character of the mask (mukha). These pattern is strong enough to hold the basic skeleton of the mask (mukha) in the desired shape wanted by the craftsmen for it.(fig. 6)

These is the reason why the craftsmen call the hexagonal pattern of their mask making as “Vishvakarma Mur”, by doing these they are devoting themselves more towards there god.

Fig. 10

Fig. 6

Fig. 8

Fig. 11

When the whole process of weaving, bending and twisting is done we get a rough skeleton of the mask with stripes coming out of the edges. (fig. 14) After getting these structure the mask is given very little hint of nose on it by pulling the pattern somewhere near the centre into a small out coming structure over it.

Fig. 12

After getting the hexagonal pattern in the correct structure the craftsmen next step is to convert the structure into a form of mask, it takes a lot of bending and twisting of bamboo in while it gets it shape. (fig. 12) These takes a lot of effort from the craftsmen in shaping it as he has make sure that not a single stripes cracks otherwise he has to start it all from the beginning. (fig. 13)

Fig. 15

These is done by cutting of the extra stripes coming out of the edges and then covering the edges with coconut sap which very soft so it protects the artist from the sharp bamboo fibres. (fig. 15) Fig. 13

Fig. 14

Fig. 16

Fig. 17

Fig. 18

After getting the basic skeletal structure of the mask the next step is to apply the mixture of cow dung and aatha (natural gum) over it for getting a basic surface for further detailing of the features in the mask. (fig. 16)

The mixture of cow dung and aatha gets ready in about 20-30mins of time. After that it follows the process of applying these mixture over the skeletal structure of the mask.

After the mask gets completely dried its checked for any gaps or bumps over its surface. If any of these is found than its again coated with the mixture of cow dung and aatha over it and than again kept for drying.

The mixture of cow dung and aatha is made in coconut sap traditionally, they are mixed together well with hands or by using the kaamkathi. But craftsmen prefer using their hands more because the mixture should be well or it wonâ&#x20AC;&#x2122;t stick on to the surface of the mask.

The technique craftsmen uses for covering the surface of the skeletal structure is very simple, they uses small pieces of cotton cloth and dip it into the mixture of cow dung and aatha made earlier so that it takes that mixture over itself and than these pieces of cloths are applied over the structureâ&#x20AC;&#x2122;s front. (fig. 17)

These coating of cowdung and aatha is 100% natural so while wearing it on face there will be no side effects of it on the human skin. After completely checking and examining it, there are two hole being made on it for breathing for the artists.

After applying enough layers of cloth over the mask its kept for drying. Drying can take 1-2 days as per the weather in Assam.

Fig. 19

The next process compromises of sculpting and forming the character of the mask. In these process the same cow dung and aatha mixture is being used for adding detailed features to the mask all together. (fig. 19) First of all chunks of mixture of cow dung and aatha is applied over the surface of the mask by using a flat kaamkathi. After that primary features of nose, eyes, eyebrows and lips are created over the mask’s surface by using hands.

Fig. 20

Once the face of the mask is ready with the basic features than the next step follows the detailing of the features into a definite characteristic of the character. These task is carried out with very precision because it is the main character of the mask, its expressions and characteristics. (fig. 20) These detailed features are sculpted by the fine craftsmen using different types of kaamkathi’s for different purposes. They always keep in mind the characters role and mood in the play so that they can keep a appropriate expression over the face of the mask.

Mr. Chitranjan Bora with his “Mukha”

After drying the well sculpted mask the next level to it is to make the features permanent as they were made by using cow dung and aatha but this mixture will not stay for long so for this craftsmen uses the same technique of applying small pieces of cloths over the mask, but this time the application is more precise and a very thin layer is being applied over it with hands. (fig. 21) Later on this covering of clothing is precisely blended into the features of the mask so that it holds its shape and does not looses its features in its later periods.

Fig. 22

After getting wrapped with cotton cloth mixed with cow dung and aatha the next step is to add ears and teeth to the mask for giving it the final look for its character. The shapes for ears and teeth are cut down from a material known as “Kuhila” (pith), its a very soft and light material similar to thermocol. (fig. 23) These shapes are than fixed to the mask by using the mixture of cow dung and aatha at the proper place.

Fig. 24

Fig. 25

After fixing the ears and teeth the mask is again kept for drying before applying color to it. Drying is the most time taking thing in this mask making process. Often craftsmen uses fire for baking these masks for painting if need urgently. But its risky too, because if its not handled properly than it can burn your mask.

“Result of over baking of the mask” Fig. 21

Fig. 23

Fig. 26

When painting is all done some accessories are being put on the mask. Like old mythological characters wore big earrings known as “Kundal” here also we require same kind of ornamentation for the mask. These earrings are made by bending very thin stripes of bamboo together and than tieing them in one entity which forms a circle. Than it is being attached to the ears of the mask by piercing small holes in the ears of the mask and than tieing these earrings to them.

Fig. 27

After drying the mask in to a solid structure the next comes is the painting. Now a days artists uses artificial colors also cause they are easy to use. So first primer is applied on to the mask and after that its colored according to the need and the character of the mask. (fig. 27) As we can see here, cause its a mask for ‘Rakshash’ its painted blue with blood red eyes giving it a horrifying feeling.

Fig. 29

Fig. 28

Finger Making Process When craftsmen is making a Body mask or “Latokari Mukha” it involves making of the body also for the artist wearing it. The body of this mukha is made by the same hexagonal pattern (Vishwakarma Mur) of interlinking bamboo stripes, the way used in making a face mask. But when it comes to make the body it also involves some other detailed features too, in “Finger making” is one of them. The process of finger making starts with damping a bunch of hay in water so that it becomes soft and more flexible.

Fig. 33

Fig. 31

Fig. 32

After keeping the hay in water for sometime the craftsmen removes a required amount of hay from the container and starts bending it and squeezing it so that the hay gets more softened and flexible for further processing.

Once the hay gets properly softened and flexible the craftsmen start binding them together with a nylon thread or a normal thread can also be used. Binding process gives strength to the material and also helps in shaping it. This process continues till the craftsmen gets the desired finger shape he wants to make for the mask.

Fig. 30

Fig. 34

The image above shows the form created because of binding the hay together tightly. After getting this structure ready the next step is applying the mixture of cow dung and â&#x20AC;&#x153;aathaâ&#x20AC;? over it so that the surface becomes smooth for painting after drying.

Fig. 36

Fig. 35

This is the final finger created and kept for drying before joining it to the mask. Copyright National Institute of Design 2010

“Barfi Design” from Hay This is a decorating object created by tieing hay together to form a structure which resembles the form of tessellation of rhombus. In this process straws of hay are first tied together from top as shown in the image below.

After tying the straws the craftsmen opens them and make a ‘V’ shape out of it. Then this ‘V’ shaped straws are kept in specific pattern, a normal ‘V’ and a inverted ‘V’ next to it and continues. After placing them in the order of ‘V’ and inverted ‘hhV’ the craftsmen ties the straws at the intersection points of these arrangements with the straws. After tying them all together we get this beautiful tessellation of rhombus and its called the “Barfi Design”.

Fig. 37

Fig. 38

Fig. 39

“Pith Mukha” making Process Pith commonly known as “Kuhila” is a very soft material found on the land of Assam. Its mostly like thermocol. It can be easily cutted, shaped or joined.

After the layers are being peeled off the next step is to stick them together for making the mask structure and shape. These layers of pith are stick together by using the “Aatha” made up of “Dhekiya” a local vegetable, same as used in the bamboo mask making process.

This mask making process is used in making “Kali Mukha’s” for durga puja. No other type of mukha’s are made through these technique.

Fig. 41

Process of pith mask making beings with peeling of a thin layers of pith with using a very sharp knife. These layers are than used for making the structure of the mask.

Fig. 43

Fig. 40

Fig. 42

The whole structure and form of the pith mask is created by sticking layers of pith on each other in horizontal and vertical positions varying in different width and length as required by the structure. Its same as making a mask throught chart paper

Fig. 45

In above image one can see how the craftsperson is creating the form through sticking the prior cutted stripes on the mask.

Fig. 47

After creating the basic form the craftsperson ensures that the surface is well finished, so he applies more layers of thin pith over the mask for creating a smooth surface over it before detailing the features on the mask.

Fig. 44

After creating the basic structure of the mask the craftsmen begins with cutting small stripes on top and bottom of the mask for making a enclosed structure.

Fig. 48

Fig. 46

Forms for the nose and ears are separately made by the craftsmen and than joined to the mask by using â&#x20AC;&#x153;Aathaâ&#x20AC;?. Copyright National Institute of Design 2010

Craftsperson goes into detailing of the mask till he does not get a smooth and finished surface over the whole mask.

Fig. 49

After sticking the nose on to the mask the craftsman starts creating more detailed features on the mask like eyebrows, lips and teeths by sticking small and finely cutted pieces or shapes of pith. By adding small and thin layers of pith over the mask we get pretty uniform surface all around to work with.

Fig. 51

In the end final and more finer details are being done like making the eyes and creating holes in the nose for breathing and making hollow space between the lips for mouth of the artist wearing it are done by the craftsperson. Fig. 53

These is the final mask created by the craftsperson in one day. Later on its painted with natural colours as used in â&#x20AC;&#x153;Bamboo Mukhaâ&#x20AC;? for giving the final look to it.

Fig. 50

Fig. 52

These are some beautiful ornamental objects created by students at a workshop conducted at “Kolong Kala Kendra” by using the material “Pith” or “Kuhila”

Proposed guidelines for Future Development After experiencing the process of mukha making, we realized that it has immense potentials and significance. The beauty of this craft is this that it is very much connected to nature and ideally it should remain there only. We suggest that the natural and traditional essence in the art should be retained. To popularize this craft, following steps can be taken.

Mr. Hemchandra Goswami is a well known mask maker and he has a great importance in the development of this craft. His works are wonderful example of versatility of this art form. He has used the technique of vishwakarma mur and created different and more complicated forms. He also tried using paper as a material in mask making process

Involve younger generation in making mukhas Plan field visits for the students of art schools to such places so that they can learn the process of mukha making in its natural settings. Retain the traditional mukha making process but experiment and innovate in the narratives. There is a scope of introducing new stories along with existing religious narratives.

Here are few of his works we came across during our journey.

Sculptures by Mr. Hemchandra Goswami by using the technique of “Vishwakarma Mur” Sculptures by Mr. Hemchandra Goswami by using the technique of “Vishwakarma Mur”

Field Experience The process of making a craft document began with fascination for masks and ended with enriched and interesting experiences. After visiting Assam, we realized that being a part of a live process generated more learning than mere compilation of information. Information is available on internet also but experience can be gained only if you engage yourself in the actual process. Our field experience was very inspiring. People of Assam are very friendly and cooperative. They helped us in the entire information collection phase and also practically demonstrated the mukha making process. While interacting with them we got to know many nuances of a traditional art.

Akash More working on his mask at Kolong Kala Kendra

From left to right : Mr. Chitranjan Bora, Mr. Bubu Bora, Pallav Barauh, Nayan Shrimali and Akash More

Craftsmen’s Profile Name: Bubu Bora Hometown: Nagaon, Assam

Name: Ranjith Mahanta

Education: Till 8th standard

Hometown: Nagaon, Assam

Profession: Mr. Bubu Bora is very versatile craftsmen, he learned all the crafts which he does from his father.

Age: 35 years Education: Till 5th standard

Mask maker Acts and Directs “Bhavona” play Makes ornaments from bamboo Makes furniture Makes houses in the surrounding local area

Profession: Mr. Ranjith Mahanta is professionally a farmer. But he also practices the craft of mask making during the time of “Bhavona”.

From left to right- Akash More, Bubu Bora, Nayan Shrimali

Mr. Ranjith Mahanta