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Home / Gallery / Puppet Making

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Design Gallery

Puppet Making

by
Antony William
NID, Bengaluru
  • Printer-friendly version
  • The hide is first cleaned and smoothened to render it ready for the cutting/design process.

  • It is then cut into the required shapes as per the prescribed design plan.

  • The hide is smoothened and the surface is made rough for better painting works to be done.

  • The line drawing is done using a rekini, a bamboo pen dipped in waterproof ink.

  • The manal and chikaare used to create incisions for detailing on the puppet.

  • Photo colours are used to add colours to the puppet.

  • Perforations are punched on the surface of the puppet in various designs in order to add details.

  • The translucent nature of the hide and the play of light through the perforations add to the appeal of the puppet.

  • The different parts of the puppet are attached to each other through thread knots to enable movement among different components of the puppet.

  • Bamboo sticks are affixed on the puppet to ensure appropriate projection/manipulation for various parts of the puppet during the show.

  • The figures are mainly inspired from mythological epics like Ramayana, Mahabharata.

  • A masterpiece of the ‘Tolu Bommalata’, the local name for leather puppetry in Nimamalkunte.

The hide is first cleaned and smoothened to render it ready for the cutting/design process.

It is then cut into the required shapes as per the prescribed design plan.

The hide is smoothened and the surface is made rough for better painting works to be done.

The line drawing is done using a rekini, a bamboo pen dipped in waterproof ink.

The manal and chikaare used to create incisions for detailing on the puppet.

Photo colours are used to add colours to the puppet.

Perforations are punched on the surface of the puppet in various designs in order to add details.

The translucent nature of the hide and the play of light through the perforations add to the appeal of the puppet.

The different parts of the puppet are attached to each other through thread knots to enable movement among different components of the puppet.

Bamboo sticks are affixed on the puppet to ensure appropriate projection/manipulation for various parts of the puppet during the show.

The figures are mainly inspired from mythological epics like Ramayana, Mahabharata.

A masterpiece of the ‘Tolu Bommalata’, the local name for leather puppetry in Nimamalkunte.

The legacy of this craft can be traced back to 200 years ago to an ancient folk world. Indian tradition and religion has had a significant influence on leather-puppetry, this has been evident from its mention inthe two great Hindu epics- the Mahabharata and the Ramayana. These have been an integral cherished part of the craft of Southern India. The art form offers a splendid history of the region. A consistent triangular relationship exists between the three words often used in this art form of leather-puppetry “Killekyatha” and “Bangarakka”. These two were well known communities of Karnataka a few decades ago. Its origin can be traced back to the pre-historic times.

Vegetable colours were earlier used but photo colours are now used as these colours are readily available. The puppet sizes range from 3 inches to about 6 feet. They are used as shadow puppets. They have a wider range of products- from lampshades to door hanging and wall hangings. In Nimmalakunta about 60 families are engaged in this craft. They depict stories related to the Hindu Mythology such as Ramayana and Mahabharata . The puppets are heavily decorated. The theatres where these puppet shows are performed are known as Tolubommalata. These artisans migrated from Maharashtra to Andhra Pradesh during the Maratha rule. The themes are mostly based on mythological epics like Satisulodhana and Dasavatra.
 

The hide is first cleaned and smoothened to render it ready for the cutting/design process.

It is then cut into the required shapes as per the prescribed design plan.

The hide is smoothened and the surface is made rough for better painting works to be done.

The line drawing is done using a rekini, a bamboo pen dipped in waterproof ink.

The manal and chikaare used to create incisions for detailing on the puppet.

Photo colours are used to add colours to the puppet.

Perforations are punched on the surface of the puppet in various designs in order to add details.

The translucent nature of the hide and the play of light through the perforations add to the appeal of the puppet.

The different parts of the puppet are attached to each other through thread knots to enable movement among different components of the puppet.

Bamboo sticks are affixed on the puppet to ensure appropriate projection/manipulation for various parts of the puppet during the show.

The figures are mainly inspired from mythological epics like Ramayana, Mahabharata.

A masterpiece of the ‘Tolu Bommalata’, the local name for leather puppetry in Nimamalkunte.


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