How the Town of Pen in Maharashtra Builds Bappa and an Economy by Hand

Every year, as Ganeshotsav approaches, the small town of Pen in Maharashtra’s Raigad district begins to buzz with an energy that is both devotional and economic. The narrow lanes turn into open-air studios, courtyards double up as drying yards, and rows upon rows of half-finished idols wait for their final touch of paint. The air smells faintly of wet clay, colours brighten the workshops, and artisans, young and old, work with steady hands, racing against time to complete orders that travel far beyond the town’s borders. In Pen, Ganesh idol-making is not just a seasonal activity; it is the very heartbeat of the town, an occupation that ties together generations, sustains thousands of livelihoods, and has made this otherwise modest settlement a name known across India and abroad.

A Town Shaped by Tradition

This town in Maharashtra has an interesting history. Once a trading town along the Konkan route, it was known for its schools and for nurturing learning and craftsmanship. Its association with Ganesh idols, however, took root a little over a century ago, when the celebration of Ganesh Chaturthishifted from private household rituals to large public festivities. This movement, closely linked to the Indian freedom struggle, made the festival more vibrant and accessible, and with it came a greater demand for idols that were not just devotional but also artistically distinctive. Families in this quaint town, already skilled in craft, found themselves at the centre of this demand. Their work, admired for its detail and finesse, quickly grew in popularity, and soon the town of Pen transformed into a thriving hub where idol-making became both tradition and livelihood.

An Economy Built Around Bappa

Today, the economy here runs almost entirely on idol-making. If you were to visit during the monsoon months, you would see how deeply the town is tied to this craft. Workshops large and small employ entire families and even migrant artisans, each person contributing a particular skill, sculpting, moulding, painting, carpentry, transport, or sales. Thousands of workshops collectively produce several lakh idols annually, ranging from pocket-sized figurines for household shrines to towering statues meant for public pandals. This seasonal industry is worth hundreds of crores and sustains tens of thousands of people directly and indirectly. For many families, the income earned during these months provides financial support for the rest of the year. The ripple effect is equally significant; local shops selling paints, bamboo, wood, decorative items, and even food stalls thrive during this period, feeding into the town’s festive economy.

The Craft of a Pen Idol

The making of an idol is a process both intricate and soulful. It begins with a senior artist sculpting the master design, a form that decides the season’s proportions, posture, and expression. From this, moulds are prepared using fibre or rubber, which allow artisans to create multiple idols while maintaining consistency. Depending on size and client preference, these idols are either made of natural clay, shaadu mati, which is eco-friendly and traditional. Once cast, the idols are sun-dried, their seams smoothed out, and delicate details added layer by layer. Larger idols are reinforced with bamboo or wooden frames for stability, while separate carpentry teams prepare the bases and backdrops.

Painting follows, beginning with a primer, then skin tones, ornaments, and garments. The final act is the most revered, the painting of the eyes, or netra-daan. Artisans in here are especially known for this delicate touch, giving the idols their distinctive expressive gaze. This artistry has been formally recognised with a Geographical Indication (GI) tag, celebrating the town's unique identity and protecting its reputation in the market. Once finished, the idols are carefully packaged and dispatched to cities like Mumbai, Pune, Thane, and Nashik, as well as to international buyers in the United States, the United Kingdom, Australia, Singapore, the Gulf and more.

Challenges in a Changing World

Yet, as with any traditional craft, challenges remain. One of the biggest shifts has been the growing emphasis on eco-friendly idols. Concerns over Plaster of Paris not dissolving in natural water bodies have led civic bodies and consumers alike to demand clay idols. Many artisans in this quaint town in Maharashtra have embraced this change, running workshops in clay idol-making and even experimenting with reusing materials. However, working with clay is slower, costlier, and heavier for transport, making the transition gradual. Costs, too, have fluctuated. Raw materials like clay, paints, and even transport charges see seasonal spikes. Yet, despite these pressures, Pen’s artisans remain resilient. They innovate by introducing new designs and experimenting with finishes, while also holding on to the essence of what makes their idols special. 

Pen: A Living Heritage

Ultimately, Pen is not just a place where idols are made. It is a living heritage, where devotion and craftsmanship intersect, and where tradition has been transformed into a dignified livelihood for an entire community. Every idol that leaves Pen carries within it not just clay and paint but also the legacy of generations who have dedicated their lives to this art form. Supporting such traditions is more than a festive act; it is a way of sustaining cultural economies and ensuring that heritage is not lost to mechanisation or environmental neglect. As Ganesh Chaturthi fills Maharashtra and beyond with light, music, and devotion, Pen continues its quiet but vital work, shaping divinity with its hands, season after season.