BHADRAPUR, Jhapa: Once renowned for clay idols that traveled from Mechi to Mahakali, the hands of artist Bishnu Rajbanshi now symbolize not only artistic heritage but also a struggle for survival.
For the past three decades, Rajbanshi, a second-generation sculptor, has been earning his livelihood by crafting clay idols near the Motiyawari Mata Temple in Bhadrapur–6. Inheriting the skill from his father, he turned it into a profession that has supported the education of his two children and sustained his four-member family. However, in recent years, his traditional occupation has been pushed into deep economic संकट.
Despite unwavering dedication and hard work, Rajbanshi says his products are no longer selling due to increasing market encroachment. His legally registered enterprise, Abhishek Murti Udyog, has been severely affected by the influx of cheaper idols illegally imported from India.
“If the illegal import of idols from India is not stopped, artists like us who survive on sweat and soil will be left to starve,” Rajbanshi laments. He recalls a time when his workshop was widely recognized across Nepal, adding that today those days feel almost like a fabricated story of the past.
Rajbanshi remains actively involved in producing idols required for major Hindu festivals such as Dashain, Tihar, Chhath, Saraswati Puja, Vishwakarma Puja, and Devi worship. He also creates sculptures reflecting the traditions and cultural identity of indigenous communities.
Skilled in crafting idols of deities including Lord Shiva, Parvati, Kali, Saraswati, Vishwakarma, Lakshmi, and Bhagwati using both clay and cement, Rajbanshi says his business has suffered further due to the widespread belief that Indian idols are cheaper. Indian traders, he claims, now travel from village to village selling imported idols, drawing customers away from local artisans.
Ironically, Rajbanshi says his idols are often cheaper than those from across the border, but a lack of publicity means customers remain unaware. Beyond his profession, he is also active in social service and is known as an advocate for respecting domestic labor and skills.
Calling corruption a major cause of social distortion, Rajbanshi has been leading a campaign to declare Bhadrapur a “corruption-free city.” He frequently raises concerns over substandard road expansion and upgrading projects carried out under the Integrated Urban Development Program, alleging that commission-driven practices have compromised quality. Though formally less educated, he is widely recognized as a conscious and vocal citizen.
Rajbanshi stresses the need to instill the value of domestic labor and skills among the younger generation. He believes that democracy requires honest and capable leadership, and argues that as long as the state is run based on money and influence, the republic will remain beyond the reach of the working class.
Despite supporting his family and contributing to society through his craft, Rajbanshi says he is worried that no one has come forward to learn the art of sculpture from him. With a declining customer base, his profession itself is now at risk.
Even today, Rajbanshi continues to work joyfully with clay in the indigenous area of Maheshpur in Bhadrapur. However, illegal imports, state neglect, and lack of protection have placed not just his art but a generations-old tradition in danger. “If domestic art and labor are not protected,” he warns, “our identity rooted in clay will be confined to history alone.”
