From Asharikandi to Murshidabad: A terracotta Durga idol bridges Assam & Bengal

Dhubri, Oct 10: A terracotta artist from Asharikandi village in Dhubri, Nikhil Paul, is making waves with his artwork at a Durga Puja pandal in Murshidabad, West Bengal.

Themed "Matir Maya," or the "illusion of the soil”, Paul’s unique idol of Goddess Durga pays tribute to ancient roots, where clay figurines were integral to daily life.

Carefully crafted over several months, the terracotta Durga idol has retains the natural burnt-red hue of the clay, standing in stark contrast to the vibrantly painted idols typically seen during Durga Puja.

Every detail of the idol, from the goddess's serene expression to the intricate designs on her attire, has been sculpted by hand using techniques passed down through generations.

“I wanted to showcase the beauty of our traditional art form in a way that resonates with modern audiences,” Paul shared. He added that his creation reflects devotion and serves as a reminder of a vanishing art.

In addition to its cultural significance, the terracotta Durga idol offers an environmentally sustainable alternative to traditional painted idols, often made with non-biodegradable materials that pose environmental hazards during immersion in water bodies.

By utilising terracotta, Paul’s creation embodies a return to tradition and serves as an eco-friendly solution to the growing concerns surrounding pollution during Durga Puja festivities.

This creation is a testament to Assam’s rich cultural legacy, garnering significant attention and appreciation from devotees and art enthusiasts alike. This marks the first time Asharikandi terracotta art has made its way to the historic city during the festive season.

Terracotta, a centuries-old ceramic craft, has long been a hallmark of Asharikandi, a village renowned for its artisans tracing their heritage back to the ancient Indus Valley Civilization.

However, terracotta craftsmanship has faced a steep decline in recent years due to the rise of synthetic materials and waning interest among younger generations. Paul’s idol represents a hopeful revival of this ancient form.

“This idol reminds us of our roots and the need to preserve such art forms for future generations,” said a Murshidabad resident who visited the pandal.

As Paul’s work continues to draw admiration, it may mark the beginning of a renaissance for Asharikandi’s craftsmen, ensuring that the stories and skills embedded in the clay are passed on to future generations.