In the quiet hamlets of Purba Bardhaman’s Natungram and Agradwip — Bengal’s renowned craft villages — artisans give life to blocks of wood, transforming them into small dolls. This three-century-old art form has now joined the list of West Bengal’s Geographical Indication (GI)-tagged products, reaffirming the legacy of one of the state’s oldest surviving folk crafts.
Other handicrafts and textile products to receive the tag include Santiniketan Batik, Kolkatti jewellery, Purulia lac, Begampur cotton handloom sarees, Fulia Jamdani, Cooch Behar Sitalpati, Sholapith craft, Khagra brass and bell metal utensils, Bankura brass and bell metal utensils, Santiniketan Ektara, Bishnupur Dashavatar Tash, Murshidabad silk and Bengal Sabai craft.
For artisans Bhakta Bhaskar and Dilip Bhaskar, however, the recognition means much more than a tag.
“This GI tag is a recognition of our ancestors’ hard work. Our family has been making these wooden dolls for generations, and we hope our children will continue carrying this tradition forward. It gives our craft the identity it deserves,” says Bhakta Bhaskar.
Over the years, wooden dolls inspired by Natungram’s iconic style have been made in several parts of Bengal. While craft enthusiasts often know that the original tradition belongs to Natungram and nearby Agradwip, many visitors from outside the state do not. According to the artisans, the GI tag firmly establishes the dolls’ provenance in Purba Bardhaman and acknowledges the centuries-old legacy nurtured by generations of craftspeople.
“People know of these dolls, but many don't know they belong to Natungram and Agradwip. The GI tag firmly establishes their roots. For us, these dolls are not just handicrafts — they are a part of our customs and heritage,” says Dilip Bhaskar.
The craft itself is a collective effort. One person alone cannot create a finished doll. From carving the wood and smoothening the surface to painting intricate motifs and adding the final details, the work is shared among members of artisan families. For both Bhakta and Dilip, the tradition has been passed down through generations, becoming an inseparable part of their family’s identity.
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While the essence of the craft remains unchanged, its methods have evolved. Earlier, artisans relied almost entirely on hand tools and natural colours extracted from organic materials.
At present, machines help achieve finer carving and smoother finishes, while acrylic and fabric paints offer greater durability. Yet every doll continues to be hand-finished, preserving its distinctive folk character.
Among the many figures crafted in Natungram — including Radha-Krishna, Gour-Nitai, Ravana and other mythological characters — the owl remains the most beloved. More than a decorative object, the wooden owl occupies a special place in Bengal’s cultural memory.
According to Dilip, before idol worship of Goddess Lakshmi became widespread in Bengal, many households worshipped the owl, believed to be the goddess’s ‘bahan’, during Lakshmi Puja. Even today, the owl is regarded as a symbol of prosperity.
“A wooden owl is more than a showpiece in our village. It is a symbol of prosperity, family and blessings. Even now, when a joint family separates into different households, they often commission multiple owls so that each family carries a piece of that legacy with them,” Dilip says.
That tradition reflects how deeply the craft is woven into the social fabric of the village. The dolls are not merely decorative artefacts, but heirlooms that accompany families through milestones, carrying memories and blessings across generations.
The craft has also travelled far beyond Natungram.
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Dilip regularly visits Kolkata to conduct workshops, introducing students of The Heritage Academy to the art of wooden dollmaking and ensuring that the tradition finds admirers among newer generations.
At the same time, artisans are adapting to changing tastes by incorporating the iconic owl motif into contemporary home decor, from furniture and utility items to decorative pieces, allowing the centuries-old craft to find a place in modern homes.
For families like the Bhaskars, the latest GI recognition is both validation and responsibility. It acknowledges an art form that has survived for nearly 300 years and, they hope, will inspire future generations to keep carving Bengal's heritage into wood — one doll at a time.