Mangaluru, Mar 21: Lately, artisan-centric 1,000- year old Shri Kalikamba Vinayaka temple on Car Street seems to be on a revival mode. It had been in a subdued mode because of lack of resources to maintain and add on its infrastructure activities for lack of resources. It is managed by the artisan community whose resources and members are on the decline.  On March 17, 2022, the temple complex had erected in place a new wooden dwajasthamba with modern mechanical lifting tackle. It is set for formal inauguration on March 27.

Traditionally, the artisans had the patronage of royalty and local chieftains. But, in modern times, there have been shrinking opportunities to earn a living through work. Among the reasons are import of readymade jewelry, the use of cement, concrete, aluminium and fibre-based doors and windows, instead of wood-based, in construction, production by machines in factories, instead of home-based workshops, and factory-made agricultural implements replacing traditional ones.  

While the Vishwakarmis addressed their problems to the rulers of the day, they turn to Mangalore’s Shri Kalikamba Vinayaka Temple for spiritual solace and community bonding. This temple and its Gurumutt, located in the Car Street area, is said to be one thousand years old. According to oral tradition, a sculptor belonging to the Vishwa Brahmin community, Bhujangacharya, established the temple by installing the image of Devi. Every five years, an assembly of Vishwakarmis representing eight towns of Dakshin Kannada/ Udupi districts and ten leaders from Mangalore select the administrators (Mokteshwar) of the temple.

Though Vishwa Brahmins are an honest, hardworking and law-abiding community, their economic status has progressively declined over the years. Even so, they supported the upkeep of Kalikamba Vinayaka Temple through their modest contributions. There have been instances of maintaining the daily rituals and annual celebrations even by borrowings. Apart from Mangalore City, the eight towns falling within the jurisdiction of the temple are Moodbidri, Bantwal, Nandavara, Ullal, Manjeshwar, Panambur, Haleyangady and Mulki. Villages have their own artisan communities headed by Mokteshwars. There are about 260 such village community Mokteshwars rendering service to the temple. The geographic jurisdiction of the temple extends to Hejmadi in the north, Charmadi in the east, Manjeshwar in the south and the Arabian Sea to the west.  

It is interesting to go back to 1228 years and recall the description of the community by John Stuart in his District Manual on South Canara, published in 1894. According to him, “ Artisans in Canara are generally of Canarese than Tulu origin, as they mostly speak Canarese and follow the ordinary rule of inheritance, but this is no doubt partly due to their not being land-owning classes. They wear a sacred thread like the Brahmins, but it is believed their pretensions are due to increasing prosperity within comparatively recent times”. The following, according to Stuart, are the principal castes in this group. Akkasale and Sonar (goldsmiths), Kammara (blacksmiths), Kanchugara (braziers), Kalkatta (masons),  Cheptagar, Colayari, Charodi, Gudigar and Muvvari (all carpenters).

Akkasales are goldsmiths of Tulu origin, but a number of them work in brass, iron and wood also. In their customs and manners they closely resemble Shivalli Brahmins. Sonar or Sonagara, is another goldsmith class. They speak Konkani and are believed to have come from Goa. Chaptegaras are carpenters who also speak Konkani and are believed to have come from the Konkan region. Gudigaras are a Canarese caste of wood carvers and painters. Kanchugaras are also a Canarese caste of brass workers. They are Hindus of the Vaishnava Sect and pay special reverence to Lord Venkatramana of Tirupati.  

Do you perceive these characteristics among artisans of today? Or, the scene has changed over the last 127 years?

Over to you!