While wandering through Cuttack, Nietzsche’s famous words, “If you stare into the abyss, the abyss stares back at you,” resonate strongly. For me, this abyss is history itself, staring back through the delicate weaves of metal wire—exquisite filigree jewellery that adorns the market stalls.
These intricate pieces, masterfully crafted from silver and copper, are not just adornments; they are echoes of a deep artistic tradition that prompts us to ask: In an age of mass production and reverse engineering, what is authentic? To answer that, we will delve into the ancient craft of filigree to witness its origins, evolution, and the way it bridges art, history, and modernity.
Various forms of folk art famous in Odisha
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Tarkashi: The Confluence of Odisha’s Art with the Silver Filigree Craft
Derived from the Latin words filum for “thread” and granum for “grain,” filigree (also known as filigrann or filigrene) is an ancient technique of intricate metalwork that has inspired artists and connoisseurs alike for more than 5,000 years. From the ancient Mesopotamians, this craft spread to other cultures, attaining its zenith among Greek and Etruscan artisans before eventually reaching the Indian subcontinent.
In India, Cuttack, Odisha, is the one place in the world that has managed to sustain the ancient tradition of silver filigree, carrying it forward into contemporary times. The city is now renowned as the Silver City of India.
Tarakasi derives from the Odia language: tara meaning “wire,” and kasi meaning to “wind the wire tightly,” referring to the meticulous process of creating this art form. Like Meenakari and Kundan designs on jewelry, the elegance of the filigree design lies in the weblike pattern of silver lace. It is a testament to human creativity and sustainability, embodying the deep connections between craft and culture.
The Historical Roots of Filigree
Filigree spread to different parts of the world through cross-cultural exchanges, eventually flourishing in India. Historians debate the exact origins of filigree in Odisha. Some theories suggest influences from Persian, Indonesian, and Greek traditions, possibly brought to the region by sea trade routes or Oriya merchants known as the Sadhabas.
Although references to silver filigree craftsmen date back to the 12th century in Odishan records, it was during the Mughal period that the craft gained significant recognition, evolving into fine art under the patronage of various rulers. Cuttack, in particular, became widely known for this master craft, gaining prominence during the Kakatiyan and Vijayanagara periods in Andhra Pradesh, where it thrived in towns like Cuttack in Odisha, Karimnagar in Andhra Pradesh, and Srinagar in Kashmir.
The Silversmith’s handbook (1877), appreciates the finest filigree work from places like Delhi, Cuttack, and Trichinopoly in India, alongside Genoa, Paris, Florence, Malta, Norway, and Sweden. Indian filigree, especially from Cuttack, is renowned for its quality and affordability. Currently, over two hundred families in Cuttack are keeping the craft alive, creating wonderful silver filigree pieces that testify to its international acclaim for artisanal brilliance.
Classifications
Silver filigree is an open-work technique in which thin silver or gold wire is used to make fine ornaments. The work consists of crafting very fine, flexible metallic threads, shaped by artisans into intricate configurations like curls, twists, and braids. The techniques employed include soldering, nipping, twisting, and knitting, bringing the design to life.
Filigree is divided into two principal sectors of artwork: decorative and ornamental. These can also be classified based on the strength and regularity of the work. There are three primary design styles in silver filigree:
Rose Work
- Focuses on floral and leaf motifs.
- Transforms decorative items into intricate jewelry designs.
Siko Work
- Uses thicker wires called sika to create sturdy frames.
- Supports more delicate internal designs.
Jali Work
- The most intricate of the styles.
- Produces fine, mesh-like patterns with thin wires, resembling a lattice or net.
Additionally, silver filigree includes three key elements: Sika (the frame), Rua (small decorative balls), and Gopal (floral or rose-like designs). These classifications highlight the versatility and precision of this art form, contributing to its lasting admiration and use in both decorative and functional pieces.
Areas of Production
In and around Cuttack City, artisans are concentrated in areas such as Mansingpatna, Mahamadia Bazar, Ramgarh, Seikhbazar, Chandni Chowk, Alisabazar, Dagarapada, Nimchoudi, Nayasarak, Choudhury Bazaar, Nuapatna, Mangalabag, and Chauliaganj. Other blocks like Athagarh, Baramba, and Narasinghpur in Cuttack District also host skilled artisans. Today, silver filigree is also crafted in other places like Bania Sahi, Jaunliapati, Mansingh Patna, Shaikh Bazar, and Nayasarak.
Evolving Craftsmanship: Production Process of the Filigree
Silver filigree, a timeless craft, has evolved while preserving its core craftsmanship with changing fashion and cultural influences. In Cuttack, the heart of this intricate artistry, each ruler influenced designs and materials used, shaping filigree into its contemporary form. This delicate craft now blends tradition with contemporary trends, and its fascinating process unfolds in five key stages: raw materials, tools, process, testing, and work cycles. Curious to know how humble metal transforms into breathtaking masterpieces?
The Journey of Metals to Masterpieces
The raw materials used in silver filigree are mainly metal ores amalgamated through chemical processes. Let us look into these materials:
Metal Composition:
- Silver
- Copper
- Zinc
- Cadmium
- Tin
Chemicals: The following chemicals are used in the cleansing and polishing steps of the production process:
- Suaga (Borax)
- Kaincha (Abrus Precatorius Seed)
- Diluted Sulphuric Acid
- Soap Nut, or Ritha Phala
Tools of Tradition
Silver filigree tools can be categorised into historical and modern, though the functions remained largely unchanged. The Ghadia, for instance, an earthenware pot for melting silver, is an essential tool that evolved slightly, while the Bhati or Unhei, originally a mud filled hole used as a furnace, is now stone-lined.
From Concept to Creation: Designing the Filigree
Craftsmen designing the pattern on paper
The process starts with designers translating their ideas onto paper, carefully calculating dimensions and the number of components required. This detailed planning ensures that even the most intricate details are captured in the later stages of production.
Metal Casting and Wire Drawing: Shaping the Foundations
Silver wire is the basic raw material used in the process.
Once the design is finalised, pure silver bars are weighed and mixed with copper and other metals to create alloys. These alloys are melted in a pot called Ghadia and poured into a mold (Dhala) to form silver ingots. These ingots are then hammered into thin rods, which pass through wire-drawing machines to produce fine silver wires. For more intricate designs, the wires are drawn through progressively smaller grooves using an iron plate (Janta), achieving the desired gauge and delicacy.
Main Frame Design: Building the Structure
The frame is annealed using heat to add strength to the structure.
The main frame of the filigree, or Sika, is crafted using thicker wires for durability. Using tools like Chimuta (tweezers) and Mudi Matha Sabala for circular designs, artisans carefully twist and bend the wires into the intended shapes. Smaller pieces of Sika wire are then soldered within the frame, creating internal partitions that form the intricate foundation of the design.
Devilling into the Details
The quality and precision of each step in making the filigree are carefully checked– assessing the strength and appearance of the metal, as well as the neatness and intricacy of the design. Work cycles vary depending on the complexity of the design, taking more time for intricate pieces to be produced.
Intricate Filigree Work: The Heart of the Craft
Filigree designs come in two main forms:
- Intricate In-Frame Designs: Delicate Jali wires are molded into patterns using tweezers, pliers, and cutters; temporarily glued with Kaincha glue before the soldering process.
- Dama Chain: This solid chain is crafted using knitting techniques, where artisans twist two fine wires together and knit them with a safety pin and tweezers.
Soldering: Bringing the Components Together
The soldering process is essential to joining the filigree elements. Historically, this was done in open furnaces with handheld fans.Today, powdered solder is sprinkled over the design and melted with a blowtorch to fuse the components.
Cleaning and Polishing: Preparing for Perfection
After soldering, the piece is cleaned with a mixture of water and borax to remove oxidation. The product is then polished using a Maskala to achieve a smooth finish. A diluted sulphuric acid bath follows, and a wash with soap nut (Ritha Phala) prepares the piece for its final stage of polishing. A wire brush brings out a bright, gleaming shine.
Shaping and Detailing: Giving Life to the Design
For three-dimensional designs, tools like Kansula—a die-like structure with various hollow hemispheres—are used to pound the product into its final shape. Additional details, such as flowers or leaves, are created using metal dies and engraved with a graver (Kalam). Once all components are assembled, the piece is ready for finishing.
Final Touches: Fittings and Finishing Options
Different fittings are applied depending on the product. Additional treatments, such as gold plating, oxidizing for an antique look, or lacquer application to prevent tarnishing, add the final touches to the piece.
Range of Silver Filigree Products
Silver filigree work used to decorate the God
The silver filigree of Cuttack richly possesses a history which reflects the artistic and cultural values of Odisha. Some of the items are –
- Ornaments
The exquisite silver filigree jewellery has become a fashion statement among people in Odisha alongside different parts of the country. A diverse range of ornaments like necklaces, pendants, bangles, bracelets, earrings, toe rings, brooches, and full jewellery sets are in huge demand among customers.
- Display Items
Artisans also create remarkable display items, such as chariots, animal figures, and idols of Jagannath, Balabhadra, and Subhadra. Other notable creations include replicas of temples and musical instruments. These display items highlight the versatility and artistic brilliance of filigree craftsmanship.
- Utility Products
Filigree craftsmanship also extends to functional yet beautiful items of ornamental value, like betel boxes, rosewater sprinklers, card holders, hookah sets, caskets, trays, and photo frames.
- Odissi Dance Ornamentation
Silver filigree also plays an important role in the traditional costumes of classical dance. Highlights of Odissi performances, enhancing their beauty, are chokers, armlets, belts, ear ornaments, tikas, and bell-shaped jhumkas.
- Durga Puja Pandals
Cuttack’s Durga Puja decorations are the real picture postcards of silver filigree craftsmanship. The Chowdhary Bazar Puja Mandap is particularly well-known for its gate and decorations in silver filigree, which originated in 1957.
This diversity in product types showcases the broad applications of silver filigree, from personal adornments to cultural and ceremonial expressions.
Cuttack’s silver filigree, shaped by centuries of influence from the Mughals to the Marathas and the British, is an amalgamation of the heritage and post-independence innovation– a testament to the artisans’ enduring mastery. This craft remains a cultural cornerstone of Odisha, showcased in Durga Puja pandals and Odissi costumes captivate devotees and modern art enthusiasts both locally and globally.
This ancient craft now faces a new challenge from non-traditional artisans coupled with inadequate government interventions, threatening its authenticity. While the craft has been granted geographical indication status, much remains to be done to safeguard its purity. As we look to the future, preserving this legacy will require not just admiration but also meaningful action to protect a tradition that has defined Cuttack’s cultural identity for centuries.
Words by Rageshree Ranade, born in 1993, is a visual artist and writer based between New Delhi and Jabalpur. She holds an M.F.A. from Shiv Nadar University (2019) and a B.V.A. from Maharaja Sayajirao University (2016). Rageshree has exhibited at prestigious venues like the Kiran Nadar Museum of Art, Art Konsult, and Shiv Nadar University, and has contributed to respected publications such as Art & Deal and MASH. Her leadership roles include Editor-in-Chief, Editorial Consultant, Content Strategist and Content Officer at organizations like MASH, Utsha, Mezink, and TEDx. She has directed projects at the various organisations like India Art Fair and Palette Art Gallery. A dedicated advocate for art & culture writing, Rageshree has served as a guest lecturer at Raja Mansingh Tomar University and Dr. Hari Singh Gour Vishwavidyalaya, and is currently invited to share her journey at SEMS Welfare Foundation.
