M/s: Kesu Das, Baleswari Kala Kendra, Kashomba Nagar, Bhimpura,Balasore, Odisha, PIN- 756003

LACQUER: THE NATURAL RESIN AND DYE

The Lacquer, root of the word is the Sanskrit word Laksha meaning ‘one hundred thousand’. The modern Hindustani word lakh, meaning ‘hundred thousand,’ also derives from the same Sanskrit root-word. It is also known as ‘Palankasa’ & ‘Jatu’ in Sanskrit, ‘Jau’ in Odia, ‘Laha’ in Bengali, ‘Laka’ in Telugu, ‘Argu’ in Kannad, ‘Lakha’ in Marathi & Gujurati and ‘Laho’ in Hindi language. The archaic French word ‘Lacquerre’, (a kind of sealing wax), from Portuguese ‘Lacquerre’, unexplained variant of lacquerca (resinous substance), from Arabic Lakk, from Persian Lak, the verb lacquer meaning ‘to cover or coat with lacquer’.

Lacquer was used for both the Lacquer insect (because of their enormous number) and the scarlet resinous secretion it produces that was used as wood finish in ancient India and neighbouring areas.

Lacquer is non-toxic, bio degradable, eco-friendly and safe natural material for various applications of human contact and consumption. It possesses some unmatched physio-chemical properties for surface coating. Demand for safe natural materials for human contact and consumption is in the increase and expected to be sustainable.

The Advanced decorative techniques of using additional materials such as gold and silver powders and flakes (makie) were refined to very high standards in Japan after having been introduced in China. In the lacquering of the Chinese musical instrument, the Guqin, the lacquer is mixed with deer horn powder (or ceramic powder) to give it more strength so that it can stand up to fingering. True lacquer -work is Chinese or Japanese in origin. According to Encyclopedia Britannica, varnish resin derived from a tree indigenous to China, species Toxicodendron vernicifluum (formerly Rhus vernicifluum), is commonly known as the varnish tree. The manufacturing process was introduced in Japan and remained secret for centuries. The lacquer produces very hard, durable finishes that are both beautiful and very resistant to damage by water, acid, alkali or abrasion. The active ingredient of the resin is urushiol, a mixture of various phenols suspended in water, plus a few proteins.

In modern usage, Lacquer-based varnishes are referred to as shellacquer, while lacquer refers to other polymers dissolved in volatile organic compounds (VOCs), such as nitrocellulose, and later acrylic compounds dissolved in lacquer thinner, a mixture of several solvents typically containing butyl acetate and xylene or toluene. Lacquer resin was once imported in sizeable quantity into Europe from India along with Eastern woods.

India is the first country to start collection & cultivation of lacquer and has the knowledge of its uses. Lacquer has played a very important part for the growth of  civilization.  With  increasing  universal  environment  awareness,  the

importance of lacquer has assumed special relevance in the present age, being an eco-friendly, biodegradable and self-sustaining natural material. Since Lacquer insect is cultured on host trees, which are growing primarily in wasteland areas, promotion of lacquer and its culture can help in eco-system development. It is a source of livelihood of tribal and poor inhabiting forest and sub-forest areas.

The leading producer of lac is Jharkhand, followed by the Chhattisgarh, West Bengal, Odisha and Maharashtra states of India. Lac production is also found in Bangladesh, Myanmar, Thailand, Laos, Vietnam, parts of China, and Mexico.

Princely states in Odisha used to provide special support for promotion of lacquer cultivation. Odisha used to have a good production of lacquer, and artisans here, known as lakhara, sankhari, or jaura used to make various products from lacquer. After the end of feudal administration, gradually the government withdrew the patronage for lacquer. This and other factors like theft of lacquer from trees discouraged the people involved in the business forgenerations, and now many of the lakhara/sankahri/jaura families have abandoned the practice.

Balasore district was part of the ancient Kalinga which later became a territory of Toshala or Utkal, till the death of Mukunda Dev. It was annexed by Moghuls in 1568 and remained as a part of their suzerainty up to the middle of eighteenth century, to be precised up to 1750-51.Then the Marahattas occupied this part of Orissa and it became a part of the dominion of the Marahatta Rajas of Nagpur. The East India Company ceded this part through a treaty called treaty of Deogaon in 1803 and it became a part of Bengal Presidency up to 1912. But the first English Settlement came into existence in Balasore region in 1634 while Sahajahan was the emperor at Delhi. The first of English factories was established in this region in 1640.During this period Dutch and Danish settlements were also founded in this region. Balasore as a separate district was created in October,1828 while it was in the Bengal Presidency. With the creation of Bihar province, Orissa was diverted along with Balasore district from Bengal to Bihar. But with the creation of Orissa as a separate State on 1st April,1936 Balasore became an integral part of Orissa State. The national movement of independence surged ahead with the visit of Mahatma Gandhi in 1921. Similarly, Praja Andolan was initiated against the ruler of Nilagiri State. The state of Nilagiri merged with state of Orissa in January, 1948 and became a part of Balasore district. In 3rd April,1993 Bhadrak Sub-division became a separate district and from this day Balasore remains a district of Orissa with two Sub- divisions namely Balasore and Nilagiri having 7 Tahasils namely Balasore, Soro, Simulia, Nilagiri, Jaleswar, Basta & Baliapal and 12 Blocks namely Bhograi, Jaleswar, Baliapal, Basta, Balasore, Remuna, Nilagiri, Oupada, Khaira,

Soro & Bahanaga. The name of the district is being derived from the name of the town, which is old and important. The name Balasore is recognised from the Persian word BALA-E-SHORE which means “TOWN IN THE SEA”. The historical legend ascribes that the district has been named as per the LORD BANESHWAR (LORD SHIVA) of the town, which subsequently changed to Balasore during MUGHUL Rules.

The district Balasore accounts for people of different religions viz :- Hindu,Muslim,Sikh, Christian etc. with many a caste, creed and community. The copper coin Collected from Bhograi and the collection of statue of Lord Budha from placqueres like Avana, Kupari, Basta & Ajodhya magnify the existence of Budhaism in Balasore and it is expected to be popular during “ Bhoumakar ”.The statue of Lord Jaina at Jaleswar, Balasore & Avana hints about Jainism at Balasore and expected to be popular in 10th –11th century. Balasore is highly famous as for “Saibapitha”. Many a temples of (LORD SHIVA) are seen in various placqueres of Balasore. The temples of Lord Shiva are highly popular at Chandaneshwar Baneshwar Jhadeshwar Panchalingeshwar Bhusandeshwar, Maninageshwar. District Balasore has got fame as “ Saktapitha ” as found from “Bhudhar Chandi” of Sajanagarh,” Danda Kali” of Khantapara and “ Chandi Mandir “ of Kharjureshwar.The Sun temple of Ajodhya, Seragarh, Nilagiri & Bardhanpur Gifts picture about “Sun Devotee “. Vaishnab Dharma was popular from Gupta dynasty.

Vishnu temples at different placqueres of Balasore and Khirochora temple (built during 2nd Narasingha Dev) highlights the facts.The two Jagannath temples at the heart of Balasore & Jagannath temple at Nilagiri

,Mangalpur,Gud, Jaleswar, Kamarda,Deuligan & Baliapal magnify the culture of Balasore. Many Masjids, Churches, Gurudwar (at Remuna) etc. identify about different religion and placquere of workship at Balasore.

The famous festivals like Makara Sankranti, Raja Sankranti,Ganga Mela,Durga Puja,Kali Puja,Gonesh Chaturthi,Saraswati Puja,Laxmi Puja,Bishwakarma Puja,Chandan festival,Car festival, Maha Shivaratri,Dola Purnima, Idd, Moharrum ,Christmas Day etc.are performed with pump and ceremony by the people of Balasore. Balasore is famous for the most attractive and enjoyable game “ Akhada ” played during Durga Puja by Hindus & during Moharrum by Muslims.

The pre Independence Political Scenerio of Balasore is highly commendable and people of Balasore had played dynamic role for separate Orissa province and also for freedom movement.“Inchudi Salt Revolution ( Lavana Satyagrah)” and “Srijang Satyagrah ” for non-payment of Revenue Tax are famous in National Scenerio as part of struggle for freedom movement.

Education plays an important role in Balasore both before and after Independence. At present many a primary & secondary schools both in English and Regional language medium are imparting School Education. Many

a Degree Colleges Law College,College of Education,Engineering School and Colleges, Song & Music colleges, Art and Craft Colleges, Industrial Training Institutes, Management Colleges & Computer Institutes are found at different parts of District. Fakir Mohan University of Balasore is in a rapid progressive stage. Balasore is also highly repute in the field of Drama , Theatre ,Music & Literature. The Radha Govinda Theatre ,Bharati Theatre ,Sunhat Theatre & Juvenile Theatre were highly reputed before Independence and the institutions like Srashtha, Fakir Mohan Natya Parishad, Fakir Mohan Sahitya Parishad, Chadrabhaga, Nrutya Sangeeta Kala Mandir, Sai Kala Mandir etc. after Independence are highly repute in the field of Culture.

The traditional lacquer artisan caste ‘Sankhari’ by title Datta, Sen and Chand are found in a patch of northern part Odisha in Balasore and Mayurbhanj districts and southern part of West Bengal in Medinipur district too. They are used to sifting their traditional occupation now.

However, I have started conducting a survey in four Lacquer Art Sub Clusters

i.e. Barabati, Nalamganj, Arad Bazar of Balasore Town and Taratari under Kishore Chandrapur GP of Nilgiri Block of Balasore Cluster in Balasore district of Odisha. Besides that, I found raw lacquer is being collected in two placqueres

i.e. Haladipada in coastal belt and Taratari under Kishore Chandrapur GP of Nilgiri Block. Whereas, the raw lacquer is collected from the host plants like Nidrabati, Sirisha, Ber, Aswastha in coastal belt.  In Tartari, the lacquer collected from the host plants like Palasha, Kusumi, Ber from wild source in Kuldiha and Similipal forest range including cultivation sources too. A lacquer society found at Tartari involved in collection, propagation and processing of lacquer alongside production of lacquer crafts.

Balasore is a major lacquer zone of Odisha since time immemorial due to availability of massive lacquer host plants in a more favourable ecological and geo-climatic situation. Thus, the lacquer crafts seem traditionally developed here too. Due to non-accessing of appropriate technologies by the traditional artisans in the locality, the lacquer craft started languishing. In such a crucial stage, the Government of Odisha concerns like Directorate of Handicrafts & Cottage Industries, State Institute of Development of Art & Crafts, Integrated Tribal Development Agency including local NGos, SHGs of Artisans started reviving to sustain and develop the lacquer culture and technology here.

The forms, colours, subjects, techniques and styles have been improved as these were found before forty years back. There are no such lacquer artisans found either traditionally or modernly trained artisans in Barabati which is the most traditional lacquer cluster of Balasore. Artisans of Daudibhanga lane, just 500m away from Barabati are still continuing production of crafts colouring on clay dolls using forms, colours, subjects, techniques and styles without lacquer art. The artisans of Nalamganj used to continue forms, colours, subjects, techniques and styles with a slight improvement. The artisans of Arad Bazar used to continue forms, colours, subjects, techniques and styles with massive development in subjects as portraits, religions, tribal, folk tales and adopted contemporary forms. The artisans of Tartari used to continue forms, colours, subjects, techniques and styles with massive development in base materials like glass, synthetic fibre in addition to lacquer bangles. The findings of the continuing study stated as follows.

The lacquer art of Odisha has a correlation with the streams of ancient Indian art and culture though a clear-cut study could not be done yet about its genesis. The use of Lacquer bangle and Lacquer dolls in marriage and other celebrations goes back to ancient days. The Lacquer coated bamboo boxes and Lacquer bangles are more popular in southern Orissa. One research fellow Dr. Kunjabihari Dhal says; “‘Jaukandhei’ is the reformed art and craft of Dhangra Dhnagri- male- female clay dolls worshiped by primitive tribes of Mayurbhanj in Orissa. Due to its creative and delighting Touch, the inhabitants of Balasore Who are physically and culturally so close to Mayurbhanj have incorporated it into their art and cluture. By way of believing in the piousness of Lacquer in Hinduism, this couple-Lacquer dolls have been accepted by the mass. The folk artists of Balasore have reformed this Dhangra-dhangri clay dolls by innovating

the firing and designing with colored Lacquer in hot-process technology. Later on the

‘Shankhari’ and ‘Jaura’ communities of Balasore had introduced in their craft Lacquer bangles or fired clay dolls designed with coloured Lacquer which is known as ‘Baleswari Jaukandhei.’ This craft could easily grow up in Balasore because of the easy availability of Lacquer host plants in the dense forest of Mayurbhanj and Balasore. The clay on River Budha Balang basin is suitable for terracotta works. Therefore, the Shankhari community of Balasore continued this trade in maintaining their livelihood. Later on, the ancient port town of Balasore could transport the Lacquerbased crafts which led to the flourishing of the trade.

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