While the lost wax technique flourishes in various states across India, nowhere is it more refined perhaps than in the Dhokra, from Chattisgarh, Bastar. Its complex multi-steeped process that requires making of the core in fine clay missed with sand, then making an armature of waxen threads and strips that depict the utility object or everyday people or ritualistic images; cocooning it all up into a clay mould with outlet vents and an inlet; then pouring molten brass and casting it; removing the cast, finishing and polishing with sandpaper. The Gharuas of Bastar, choose wax for metal casting their idols, specifically meant for installation in the village shrine, of a deity under the trees. Of the three types of cast forms, while two have primarily metal content and for usually flat motifs or thin-walled hollow containers or even delicate figurines with no clay core, the third includes objects of larger volume such as animals and lamp stands, where a clay core are retained inside a thin layer of metal. Often with lattice design, the clay is removed while finishing to keep the objects gleaming with light flowing through. The core is kept as light as possible using the easily available and light rice husk. The more delicate decorative parts are then added on to wax and with a hot iron rod are joined together. Hollow bamboo sticks create channels for the molten metal to enter the wax filled cavity. Sometimes, the whole artwork is placed in an open kiln for firing and when the wax melts to evaporate, the liquefied metal is poured into the central cavity. And thus begin the journey of every single piece of dhokra art object.