The ancient art of lost wax casting in India
Lost wax casting is an ancient metalworking technique with deep roots in India, demonstrating an unparalleled ability to produce intricate metal sculptures. Its origins in the subcontinent are traceable to the Indus Valley Civilisation as early as 3500 BC, one of the earliest pieces found is of the iconic Dancing Girl of Mohenjo-daro. This tradition continues today in varied forms across the country, from the folk art of Dhokra to the highly refined religious idols of South India.
The process is fundamentally consistent, relying on the principle of a 'lost' wax model being replaced by molten metal. An artisan first sculpts an exact replica of the final piece using a malleable wax, often a composition of beeswax, oil, and resin. This wax model is meticulously detailed, capturing all the features of the intended sculpture. This replica is then coated in layers of fine clay, sometimes sourced from termite hills and mixed with materials like cow dung or rice husk, to form a refractory mould. Runners and pouring channels are incorporated into the mould. Once dried, the entire clay encased structure is heated, a stage known as burnout. The wax melts and drains out through the channels, leaving a hollow cavity that perfectly preserves the intricate details of the original wax model. Molten metal is historically bronze, or panchaloha (five metals: copper, tin, zinc, silver, and gold), and today often brass or various copper alloys are then poured into the cavity. After cooling and solidification, the external clay mould is carefully broken away, revealing the raw metal sculpture. The final stage involves extensive finishing, including filing, chiselling, and polishing, to remove imperfections and enhance the surface detail.
Two major applications showcase the regional and historical significance of this technique in India.
The Dhokra tradition, named after the Dhokra Damar metalworking community, predominantly in the eastern and central states like West Bengal, Odisha, Jharkhand, and Chhattisgarh, represents a powerful folk art form. The Dhokra process typically uses the hollow casting method, where a clay core is covered with a thin layer of wax, conserving the use of metal. Products were originally functional or ritualistic, but the craft is now known for unique curios, wall art, and decorative items. These brassware items are characterised by their primitive simplicity, a raw, earthy finish, and often feature folk motifs, tribal deities, and animals like the revered horse and elephant.
In stark contrast, the technique reached its high point of classical artistic and technical sophistication during the Chola dynasty in South India (c. 850 to 1250 CE). Chola bronzes typically using, an alloy of copper, tin, and lead, but were sometimes made from a traditional mixture of five metals called Panchaloha, which included gold, silver, copper, iron, and lead or tin.
Chola bronzes, often made using the solid casting variation of the lost wax method, are famed for their graceful proportions, dynamic poses, and intricate ornamentation. Their primary purpose was the creation of movable bronze sculptures of Hindu deities. Unlike large, immovable stone idols within temple sanctums, these mobile bronze icons could be taken out for daily rituals, public processions, and major festivals, allowing the deity to interact with the devotees and participate in community life. The sthapathy community, particularly in Swamimalai, Tamil Nadu, continues to follow these ancient, prescribed methods for creating sacred idols.
In contemporary India, the lost wax casting tradition is experiencing a revival. Institutions and government initiatives have supported artisans, fostering commercial viability that provides access to urban consumers and the international market. While materials have diversified to include modern alloys, the fundamental, multi-step casting process remains a testament to an unbroken, centuries old artistic and metallurgical lineage that originated on the banks of the Indus river.
