India is a great country with many castes, tribes, religions, languages, races and cultures. Otari Community is the immemorial reality of this great India. Since the ancient times, the casting various metals has been of the traditional business of the Otari Community. In those days, the means of communication & conveyance were insufficient, so these people used to travel with the help of horses, bullock carts. Otari Community has reached the states of Karnataka, Andhra Pradesh, Madhya Pradesh, Gujarat along with Maharashtra for the purpose of their traditional business. While other nomadic communities / tribes were seen resorting to valleys, mountains, forests etc. for their livelihood & stay, the Otari Community used to live & stay in the vicinity of villages. Since the occupation & traditional business of the Otari Community is to cast various metal articles, it is seen that the Otari Community remained close to the gates and outskirts of villages.

The customs of the Otari Community differ from province to province. In every region of India, the Otari Community was seen to be living a life maintaining certain cultural characteristics & values. A study of Otari Community shows that in the ancient times this Community commanded a very respectable position & stature in the then society. The Otari Community was known & had a great reputation as artists & sculptors in those courtiers of royal & other institutions & rulers of that time. The weapons and materials required for war were prepared & manufactured by this congregation with their traditional skills & dexterity. The Otari Community was mainly engaged in making big guns (cannons) used in wars. Therefore, this Community was of special importance as sculptors to those ruling regimes. But in the later period, the conditions of the Otari Community became miserable and this community started wandering & roving for their livelihood. In every family of Otaris, the children were taught the subtle knowledge of traditional casting and sculpture from their very childhood. Therefore, there is no doubt that the Otari Samaj was a University of Traditional Arts & Occupation of the Otari Community itself. Basically, it is the Otari Community, which gave the concept of Gods and Goddesses in the form their figurines, sculptures, effigies, replicas to the whole universe in a way bringing & depicting Gods to the masses and this very fact cannot be repudiated, contradicted nor denied.

Historical Background

After surveying history of the Otari Community, it is found that the very senior men of 90 / 95 years old among the Otari sect still say that earlier they used to cast & make cannons & weaponry. The Otari Community used to work in the Kingdom of Bijapur. As this monarchy broke up, so did the Otari Community. The Otari Community was known in different nomenclature in these four Kingdoms – 1) Otaris in the rank of Bidar-Shahi came to be known as “Bidare Otari”, 2) Those in Nizam-Shahi were called “Nizame Otari”, 3) Otaris in Gowalkondia Kingdom (Qutb Shahi) were called “Gonwalkonde Otari” and 4) Those in Adil-Shahi of Bijapur were called “Adile / Bijapure Otari”.

In the empire of the Bijapur, Otaris used to pour guns & cannons. In case of dereliction & delinquency of their duties, the King used to punish them and keep a strict vigil on the Otaris to prevent them from leaving the Kingdom. The fortifications of the Tower of Bijapur Fort are known by the name of Otaris. Otari population is spread all over India. “This Community, which was once used to live in Kingdoms, extracted minerals (metals) from the mines and smelted the best metals in furnaces. This Society was the backbone of the glorious history of India with a research attitude, artistic skills, amazing talents, living with self-reliance, self-respect & honour without beseeching, supplicating & adjuring before anybody.

The fate of “Otaris” and “Ghisadis” is slightly different. The Ghisadis used to make iron tools from finished metal i.e. the wheels of the chariots, the wheels of the carts, their tracks & rims, while the hafts, hilts & helves of the swords, knives, jambiyas had to be poured & casted by Otaris. The Embroidery and inlay artistic work was done on them. The metal idols of Gods and Goddesses, casting of cannons, Singhasans, Kalash, Prabhaval, Minors, brass figurines, rings & Nettippattam of the elephants and horses, embroidered discs, ornaments, embellishments, bells, cymbals, worship materials, decoration items, crowns, various culminations of temples, copper plates etc. Many decorative works & ornaments had to be made for royal horses and elephants. While constructing forts, buildings & temples, lead & iron were poured and stones were incorporated in it. In the fortifications, only metals were used for such fortifications. Every King had to have Otaris for this type of specialised work. The Great Shri Chhatrapati Shivaji Maharaj had done the construction of Murud, Janjira and Sindhudurg Forts with the help of Otaris, which remained unconquered for ages.

Many aspects regarding the Otari Community are revealed as the pages of history unfold. Among them, numerous sculptures such as the iron pillar “Vishnudhvaj” next to Qutub Minar in Delhi, Shree Vishnustambh in Daulatabad and various small and big guns, weaponry, sculptures, the huge five-metal bell in Padmalaya in Jalgaon District, the magnificent bells of Naroshankar Temple in Nashik Panchavati and Omkareshwar Temple in M.P. still indicate & apprise the legacy of Otari arts & skills till date. What is special about them is that these sculptures & artifacts have maintained their existence since the ancient times till today without any effect of weather and rust. Throughout the centuries, there were 20,000 smelters in the British Regime. (Ref. “Apoorna Kranti” – R.B. Patankar). The British started importing ready-made materials from England for railways and further for all kinds of uses. After that, due to Kirloskars, Tata Steel, all materials right from the nails to any metal items were imported from the England with their big furnaces and production prowess. All the ready forks started coming from the UK. Ghisadis, Gadilohars and Otari Communities ceased their traditional businesses and the existence of these communities were threatened with the technological advances.

History of Otari Community

The use of metals was not known in the Stone Age wherein the mankind used the objects of stone, clay, bone or wood. The Metals were gradually introduced to the mankind. While searching for stone for making tools, some green flakes & pebbles were found in the valley, which was copper. The human beings realized that such balls can be given the desired shape by knocking & forging them. The copper softens when heated too much. The Otaris discovered that with this process of heating & melting the copper, the desired items can be made. During that period zinc and tin metals were also found & discovered. When the metal is heated so much that it becomes liquid, it can be poured into the mold and made into an object was the biggest inventions of those times. The mankind came up with the idea of ​​combining two to three metals to make an alloy (bronze). The copper & tin were combined to make an alloy called bronze. From amongst these alloys, the harder one is bronze. Tools, weapons, idols, ornaments, embellishments, figurines, hafts etc. were made by humans through traditional castings. As the pouring & casting system was created in the later period, the “systems of castes” were created & developed based on the occupations people used to carry on. For example, Weaving = Weaver; Washing Clothes = Dhobi; Farming = Farmer; Pottery – making pots = Potter; Sewing Clothes = Tailor; Also from Otakam (pouring & casting) = Otari got the nomenclature. With the discovery of metals, the Stone Era ended, and the Metal Era began.

Surya Puja (Sun Worship) = Sun Temple = Evidence of existence of Otari can be found in India from the Ramayana / Mahabharata. In the Ramayana, Rama made an idol of Sita in her absence during the Homhavnadi religious function. Also, during the Mahabharata period (Dwapara Yuga) after the end of the war (defeat of the Kauravas), the Pandavas went to meet Dhritarashtra with Shri Krishna. Then Lord Krishna made five idols of Panchadhatu (Five Metals) of Bhima and took them with him. Before actually Dhritarashtra meeting Bhima, Dhritarashtra was presented with five statues of Bhima. Dhritarashtra, who was very enraged that his son Duryodhana had been killed by Bhima in the battle, had all the five statues of Panchadhatu of Bhima turned into ashes. (Ref. Mahabharata) The Ramayana & Mahabharata prove & corroborate the very existence of the Otari Community from the statues of Sita / Bhima respectively.

The original deity of Otari Community is Surya (the Sun). The mythological evidence for this is the Sun and peasant (agricultural) culture and some other societies were associated with sun worship. In India, amongst other communities, there was “Panchals” community. As Vishwakarma is the God of Panchals, they also called themselves Vishwakarma Samaj. From the history of Panchal Community, two prominent ancient things emerged as follows:

1. Vishwakarma

2. Tvashta (Tvashta Kasara) is the name the Sun which Panchals were closely related to. Moreover, the original name of the Vishwakarma is Tvashta.

!! इन्द्रोधाताय पर्जन्य: पुषात्वष्ठाय अर्थमाभग !!

!! विवस्वान विष्णुरंषुश्र्व वरुणो मित्र एवंच !!

Means the 12 names of the Sun are 1) Indra, 2) Dhata, 3) Parjanya, 4) Puja, 5) Tvashta, 6) Aryama, 7) Bhaga, 8) Vivsvan, 9) Vishnu, 10) Anshu, 11) Varuna (Air), 12 ) Mitra (Friend) etc. The Sun, its worship and their relationship & proximity with the Tvashta Panchal Community is proved.

The second reference in relation to the Vishwakarma according to Sambpurana was that the Sun has two queens 1) Radni (Dhau) 2) Nisubha (Earth) we called it as Dha Prithvi. Firstly, let us see which communities, castes, sub-castes live on the west coast of Maharashtra. Even though all these seemingly ordinary and contextless societies do not seem important in the context of the history of Maharashtra, but if you look closely, you will understand a lot from it. These communities are Somvanshi Kshatriyas (Panchkalshi), Wadval Chaukalshi (Wadval) Madhyandin Brahmins, Muslims, Bohra Muslims, Rana Seshashayi Kshatriyas (Shinde Bhandari Subcaste) Mahars, Chambars, Dheddhodi, Duble Adivasis, Warlis, Davars, Kunbis, Vanjaris, Kolis, Sonkolis, sub-caste of Kunbis, Bhusaris Goldsmith (Daivedna), Momin Telis, Chaudharies etc. have all lived amicably here for many centuries as symbiosis is a living chronicle of Maharashtra. All these communities have been doing their trading business for generations. The study of all these castes is going on from the context of their names, languages, Gods, deities, customs and traditions. Similarly, in the Vishwakarma society, there are Panchalas and Panchalas include Carpenters, Goldsmiths, Potters and Kasars. The original deity of these communities is the Great Goddess Kalika Mata and all of them are the worshipers of the Sun (Surya). In the Caste Certificate of many Otari Brothers in the State of Karnataka, in the caste c A large number of brass sun images are found in the temple of Otari. It proves that Otari is a Surya worshipper.olumn thereof, it is written Panchal. So it proves that the Otari Community is one of the castes of Panchala. Vishwakarma Kasar, Dhed, Sonkoli, Chowdhury etc. have been living cordially & harmoniously through all their customs, traditions and worship practices. According to Sambpurana, the Vishwakarma had two daughters and the close relationship of the entire Panchal society with the Sun and Goddess Kalika Mata comes to the fore.

The third reference comes from the name “Manth”. “Manth” is the original native male of Sutar (Carpenter) Community. They are the “Maya” community who believes in “Maya” culture (love). Manthas were excellent artisans, sculptors, artists, etc. and this is where the original connection to Otari Community comes from. Although there is no reference to Otaris in the “Wadvali Shabdkosh” (The dictionary of Wadvali Words) by the author Shri Ashok Save, the reference to traditional Potters, Sculptors, Artisans, Artists and Metal Casters (“Dhatu Shilpi”) seems to be the strong evidence that “Dhatu Shilpi” were the Otaris only. A large number of brass images of the Sun are often found in the Temples of Otaris, which proves that Otaris are Sun (Surya) Worshippers. The flag of Otaris is in blood red colour and the Goddess is Shri Kalika Mata. The lion is the vehicle of the said Goddess. Mythologically, it is well known that Shri Kalika Mata settled in the mountains of Buldhana, Shri Kalika Mata of Calcutta, Shri Kalika Mata of Srungeri Pithasan Shirsinghi in Karnataka are all forms and incarnations of Goddess Parvati. That is where the relation of Otaris comes forward very strongly from the Sun Temple. Of course, today the Otaris have slowly left behind the Sun Worship. Even today, while performing the Surya Puja (Sun Worship), offerings to the Digpals of the ten directions, while offering Samidha or Khir, the mantra that is said is “हमगर्भायन धर्मविग्रहाय, कालयकिन्नशय” while looking towards the east direction. The sacreed words “ॐ अनताय ठ:ठ ओतारी मुखाय नम:” शब्द पूजेतही वंदनीय आहे” are still salutary & salubrious in veneration & glorification of the Sun.

Ancient Existence of Otaris

The history of the existence of Otaris begins from the Vedic period. Excavations at Mohenjodado, Harappa have found bronze metal idols – dancing figurines etc. The researchers are still amazed, astonished & flabbergasted about the accuracy, neatness, balance of the body parts of these idols and the minute details of the ornaments on their limbs and their craftsmanship of the Otari Community. This is because, in the past when there were no such technical tools nor the technology available which are available nowadays, in order to teach the precision & adroitness of making vivid idols & adorning ornaments in such a technically meticulous manner, the Otaris of that time learned the art of casting & traditional skills without going to any University and the excellence achieved by them in those days is captivating, adorable and just incredible. In the filed of Otakam (castings), every Otari family was an University by itself in view of their unparallel experience and the proficiency in knowledge of various metals.

Who are Otaris?

The definition of Otari is:

1. Otari – “one who pours, one who pours the lava (melted liquid) of metals into objects, one who makes pots, one who makes metal idols” (Marathi Dictionary Vol. 1)

2. “One who melts the metals like copper, brass or aluminum, silver and pours that liquid into a mould of the desired shape is called Otari.”

Since the inception of this Universe, the Otaris are highly intelligent metal craftsmen and the original men who are constantly engaged in creating idols of various Gods and Goddesses and social utility, metal objects, replicas through traditional metal casting with their skills and expertise. About 400 years ago, Saint Shiromani Sri Ramdas Swami said in his Dasbodh Granth (Page No. 227, 6, 6) that,

“देव घडीला सोनारी, देव वोतीला वोतारी |

एक देव घडीला पाथरी, पाषाणाचा ||”

“God is made by Goldsmith, God is casted by Otari,

God is made of stone by Patharvat.”

That is, the sages have accepted the ancient existence of Otaris as the original cosmic man “Otari” in metalwork profession from the Vedic times, who pours the figurines of the Gods & Goddesses through the traditional castings of various metals.

Just try to understand the definition of the word “Otari” as follows, you will know what Otari means in its true sense:

O = Otari/Origin – The origin of the entire Universe (संपूर्ण विश्वाचा प्रारंभ ओतारी

अस्तित्व)

T = Talent – Possessing the talent/expertise of natural aptitude (स्वाभाविक

योग्यतेची प्रतिभा / निपुणता जपणारा)

A = Active – Creative (कृतिशील)

R = Reproduction – Replicator (प्रतिकृती तयार करणारा)

I = Intelligent – Intensely intelligent (प्रखर बुद्धिमान)

(Ref: ”Otari Samaj Jiwan Ani Lok Sankruti” Book by Shri Shantaramji Wandre)

(English Compilation: Shri Arun Sawant)