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There is a strange gleam in Farooq Khan’s eyes when he
talks of how he used to beat hot copper and brass into exquisite vases
of all shapes and sizes. There are large Mughalai dum teapots, brass
utensils with handles and snouts, copper tumblers and wide biryani
handis (vessels) all around him in his one-room shop on the most
congested, crowded Old Market Road of Shivaji Nagar. That the shop has
no name but only a tiny, faded circular board with ‘166 ‘ written on it
hasn’t stopped a handful of clients — nowadays mainly the five-star
hotels of Bangalore, Farooq’s son, Lateef tells me — from finding their
way here. Farooq looks wiser than his 68 years. His forehead is
creased, and laughter lines are well defined — perhaps, the result of
hours and hours spent close to a fire, eyes screwed to carefully etch
details on hot metal. He learnt to bend and mould copper and brassware
from his father, Mohiuddin Khan, who learnt it from his father, Dawood
Khan, who was taught by his father Hassan Khan, the first one in the
family to master these techniques. This art is almost dead, Farooq says,
shaking his head slightly. The hollow-casting method of making
copper and brassware is rather elaborate. Farooq discontinued his
schooling to learn it. It took him five to ten years to master it. First
a clay model of the object is made, which is then covered with a thin
coating of wax. This mould is then rotated on a lathe to create enough
friction to spread the wax evenly. Moist clay is then smeared on it to
keep the wax coating scatheless. After the clay is burnt tight, a tiny
hole is made on the mould, and it is put to fire. The wax melts and
flows out, leaving a vessel-shaped gap in the mould. Molten metal is
poured into the gap. Repeated cooling and heating tempers the metal.
Plates and vessels are then made by hammering and shaping. This
long, tiresome process is probably one of the reasons why nobody seem
interested in learning it. “The main reason is, of course, the easily
available, mass-produced, cheaper substitutes like aluminium and
stainless steelware,” says Lateef, the fifth-generation entrant. “I
don’t know how to make the ware. But I learnt how to do kalai
(polishing) using acid and tin. I also trade in old brass and
copperware. ITC Gardenia, Taj Vivanta, etc are our clients. They show us
pictures and clips of vessels from abroad, and I get them made for them
here. Foreigners also come to us.” A stroke paralysed Farooq’s left
hand and tongue a few years back. Though he can walk and talk now, he
hasn’t yet found strength enough to hammer metal into shape. He has
trained a couple of workers but he fears the art is already lost. On the other hand A
few bylanes away from Farooq’s shop No. 166 is PR Kopathi’s Nandini
Clay Works. “Specialist in Ganesh idols,” his visiting card says. He is
touching up a 10-ft tall Ganesha idol perched on the footpath outside
his shop. The plaster of Paris idol looks pleased and benevolent — just
the right expression devotees look for in their God. “I have been making
Ganeshas for over 20 years now. So the expressions on the idol’s face
come effortlessly,” Kopathi says. This is the busiest time of the
year for Kopathi -- Ganesha Chathurthi festival time. He has hundreds of
Ganeshas, bejewelled and dressed in bright colours, sitting, standing
and reclining on the benches and shelves in the shop. “This is when
people come to buy the idols, but I have to start making them in
January,” he says. “I have to come up with new designs. I make them in
clay first. Once ready, they will take 45 days to dry. Then I make a
rubber moulding, which takes about 10 days to make, and 10 days to dry.
Then the production starts.” He learnt the art while studying terracota
and pottery making at the Khadi Village Industries Commission. Once
in a while, eager students, mostly women, approach him to learn the
techniques. “It looks beautiful and easy. So people want to learn. They
try it for two days, and hardly anyone turns up on the third day,” he
laughs. Neither Farooq nor Kopathi assume any artistic airs. They
have no exalted goals to nudge people into seeing things from a
different perspective or to make them reflect on their existence. But
both of them use their creative skills and imagination to produce works
of beauty, and even utility. There is hardly any line dividing artists
and artisans, their art by the road taught me. v_malavika@dnaindia.net
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