37 year old Bhutnath Kumbhakar of Panchmura village in Bankura is a traditional potter whose great grandfather was master craftsman Rash Behari Kumbhakar who received the national award for his elegant version of what was to become famous as the Bankura horse. Business boomed thereafter in Panchmura and Rashbehari’s family, in particular, were much sought after for their skills. 

Bhutnath picked up his art as a young lad of 10 or 12, under the watchful eye of his father and uncles, making small items at first. He preferred to spend his time dabbling with clay, experimenting with shapes and forms, than attend to his studies. He received a scholarship from the Centre for Cultural Resources and Training in 1992 at a very young age. Consumed by his art, he finally gave up school after completing his Madhyamik exams. The only thought that drove him was the future of this craft, its relevance in a changing market and how to keep the Panchmura flag flying high. 

Panchmura artisans had long ago progressed from crafting traditional pots (harhi, kolshi) to focus only on crafting animals and other pottery for decorative or votive use. But the demand for the Bankura horse too has petered out, having glutted the market ever since the object rose to fame. Therefore, specialized artists like Bhutnath and members of his extended family who no longer cater to local votive needs, have been concentrating on developing their traditional craft with novel ideas, catering to specific needs of customers from cities. They do not cater to local votive needs, where aesthetics and refinement are not essential, according to Bhutnath.  This is how he manages to sustain himself today.  

Many of his sculptures - like his Krishnadhenu  - a depiction of Krishna’s stories on the divine Kamdhenu, and his depiction of Hanuman, have received recognition and been exhibited at State fairs. He has also won state awards for his exceptional sculptures and his unique Ektara clay sculpture won him a district level award. It often takes him over two months to execute a single model. He is often called upon to conduct workshops by the government. His wife too works alongside him.

Bhutnath’s young son, 10 year old Neel has begun to learn the ropes from his father. But Bhutnath, proud that he is of his son’s prowess does not encourage him overmuch. While he is grateful for the recognition and respect his work has received so far, the combined earnings of all 5 members of his family works out to a modest Rs 15000 per month. Under such circumstances, Bhutnath’s main worry is how he would sustain himself in his old age, since pottery is a taxing craft. Not everybody gets the pension that the state government offers to artists and the general feeling is that it would be better to educate their children and encourage them to get proper jobs than continue with this art. In fact, members of the younger generation have made a deliberate effort to distance themselves from their traditional art.  Bhutnath’s cousin, the son of the well-known Bauldas Karmakar is a student of the Indian Institute of Technology. Another cousin has joined the Air Force.  

Bhutnath admits that the government today is far more sensitized to their needs than ever before and has developed some programmes for their benefits.  Under once such programme, most Panchmura potters, in recent times, are busy producing tiles and wall murals for government buildings in response to a surge in demand emanating from mainly Kolkata.