BLUE POTTERY JAIPUR by komal verma

BLUE POTTERY ART

JAIPUR, RAJASTHAN 1

CONTENTS

Acknowledgment About Rajasthan History Of Jaipur Architecture Of Jaipur People Of Jaipur Blue Pottery Introduction Craft Evolution Govt. Supports Raw Materials Process Of Making Issues During The Process Machine And Tools Workplace And Environment Products

5 7 8 10 11 14 15 16 17 18 23 32 34 36 37 3

ACKNOWLEDGEMENT

As part of our Craft Documentation for our 2nd semester module, I selected the Jaipur Blue Pottery. This handicraft has connection from the ancient world to the modern world and has evolved as the time passes. The craft from a decorative product has moved into utility product as the craft understood the demand and possibility in the market. I would like to thank Mr. Ajay Kaushik, HOD of design department, and our module tutor Mr. Sudhir Tiranga, and all other faculties of lifestyle accessory department Mr. Satish Ranga, Ms. Joshna Handa, Mrs. Rashmi Nandal, Mrs.Shefali Yadav for the immense support and guidance for the study of blue pottery. I would also like to thank all the Blue Pottery artisans in Jaipur who helped us discover and understand their craft. I would also like to thank all my batchmates of my as well as the other departments for their suggestions and help regardig my project.

ABOUT RAJASTHAN

Rajasthan is the largest state of the country. Covering an area 342,239 square kilometers, Rajasthan is divided into 33 districts. Jaipur is the capital of the state. Rajasthan shares its borders with the Pakistani provinces of Punjab and Sindh and the Indian states of Punjab, Haryana, Uttar Pradesh, Madhya Pradesh and Gujarat. The Geographical features of Rajasthan include the Aravalli range and the Thar Desert. Since most of the northwestern part of Rajasthan is covered by the Thar Desert; hence it is sandy and dry, Also known as the gateway of the Thar Desert, Jodhpur is the most expensive city in the desert. The other prominent districts located in the desert are Bikaner, Jaisalmer, Barmer and Nagour. A famous hill station, Mount Abu is located in the Aravalli Range. Guru Shikhar is the highest peak on the mountain with a height of 5,650 feet above sea level. The major river systems of the Marwar and the Godwar regions are the Luni river and its tributaries. Rajasthan has a rich history and culture. The state is known for its numerous attractions which include majestic forts, decorated havelis and carved temples. Some popular places of attraction are the Jantar Mantar in Jaipur; Jodhpur’s Mehrangarh Fort and Step well; the amazing Dilwara temples, which are located a little more than two kilometres from the hill station Mount Abu, the Chittorgarh Fort and Lake Palace. Rajasthan’s capital, Jaipur, is known as the pink city because the ancient houses located here are made from a type of sandstone that is pinkish in colour. There are many Jain temples located in the state. Some famous temples are Ranakpur Temple, Lodurva Jain Temples, Mirpur Jain Temple, Sarun Mata Temple Kotpuli, Bhandasar and Karni Mata Temple of Bikaner and Mandore of Jodhpur to name a few.

HISTORY OF JAIPUR

Jaipur is the capital of Rajasthan. Jaipur district, which is situated in the eastern part of Rajasthan. It is one of the inest planned cities of India, located in the semi-desert lands of Rajasthan. The city, which once had been the capital of the royalty and now, is the capital city of Rajasthan. The city of Jaipur is the style of the Rajput’s and the Royal families. At present, Jaipur is a major business center and a metropolitan city. Jaipur was founded in 1727 by Maharaja Jai Singh II, who ruled Jaipur State from 1699-1744. Initially his capital was Amber, which lies at a distance of 11 km from Jaipur. Jaipur is the irst planned city of India and the King took great interest while designing this city of victory. After several battles with Marathas, Jai Singh was keen on the security aspect of the city. Due to this reason, he focused on his scienti ic and cultural interests to make a brilliant city. Being, a lover of mathematics and science, Jai Singh sought advice from Vidyadhar Bhattacharya, a Brahmin scholar of Bengal, to aid him design the city architecture. Vidyadhar referred the ancient Indian literature on astronomy, books of Ptolemy and Euclid, and discussed the plan with the King. With a strategic plan, the construction of the city started in 1727, It took around 4 years to complete the major palaces, whereas the remaining seven blocks were allotted to the public. In order to ensure the security, huge forti ication walls were made along with seven strong gates. According to that time, architecture of the town was very advanced and certainly the best in Indian subcontinent. In 1876, when Prince of Wales visited Jaipur, the whole city was painted pink to welcome him and after that, Jaipur was titled ‘Pink City’. Still, the neat and broadly laid-out avenues, painted in pink provide a magical charm to the city. Jaipur is rich in its cultural and architectural beauty, which can be traced in the various historical and aesthetic places that reside in the city. In the 19th century the city grew rapidly and became prosperous; by 1900, it had a population of 160,000. The city had several hospitals. Its chief industries were in metals and marble, fostered by a school of art founded in 1868. The city also had three colleges, including a Sanskrit college (1865) and a girls’ school (1867) initiated under the reign of the enigmatic Maharaja Swai Ram Singh II. There was also a wealthy and enterprising community of native bankers, particularly the Jains nad the Marwari’s. Rajasthan is known for chivalry of its rulers, formidable forts, beautiful places, rich age-old culture comprising folk songs, colorful ances, and a rich tradition of arts and crafts, exquisitive jewelry, brassware, ceramics, textiles, stone and terracotta sculptures, ivory and lacquer works and a host of other handicrafts spread over into almost every nook and corner of the State. In terms of its rich cultural traditions, arts and crafts, songs, dresses and culinary traditions.

CLIMATE Jaipur has a hot semiarid climate. Temperatures vary in diﬀerent seasons. In the summer months of April to June, average daily temperature of around 35 degree celsius. May and June are the hottest months in Jaipur. Temperature reaches up to 40-45 degree celsius in these months. Annually the rainfall is concentrated in the monsoon months between June( last of June) and September. It receives over 500 mm (approx. 20inch) of rainfall an average. The winter months of November to February are mild and pleasant, with average temperatures in the 5-18 degree celsius range and little or no humidity, December and January re the coolest months in Jaipur. Temperature varies between 5-10 degree celsius in these months.

ECONOMY In addition to its role as the provincial capital, educational and administrative center, the economy of Jaipur is fueled by tourism, gemstone cutting, the manufacture of jewellery and luxury textiles, and information technology. Three major trade promotion organizations have their of ices in Jaipur. These are: Federation of Indian Chambers of Commerce & Industry, (FICCI) the PHD chamber of Commerce & Industry(PHDCCI) and the Confederation of Indian Industry (CII) which has its regional of ices here. In 2008, Jaipur was ranked 31 among the 50 Emerging Global Outsourcing cities. Jaipur Stock Exchange is one of the regional stock exchanges in India and was founded in 1989. Jaipur is a major hub for arts and crafts. It has many traditional shops selling antiques, jewellery, handicrafts, gems, bangles, pottery, carpets, textiles, leather and metal products. Jaipur is one of India’s largest manufactures of hand-knotted rugs. Jaipur leg, rubber based prosthetic leg for people with below-knee amputations, was designed and is produced in Jaipur.

GEOGRAPHY Jaipur is situated in the eastern part of Rajasthan, surrounded on three sides by the rugged Aravali hills.Jaipur is located at 26°55’N 75°49’E (26.92°N 75.82°E). Alwar and Sikar in the North; by Sikar, Nagaur, and Ajmer, Tonk, and Sawai Madhopur in the south and by Dausa and Bharatpur districts in East surround it.

ARCHITECTURE OF JAIPUR The city was planned according to Indian Vastu Shastra by Vidyadhar Bhattacharya in 1727. There are three gates facing east, west and north. The eastern gate is called Suraj Pol (sun gate), the western gate is called Chand Pol (moon gate) and the northern gate faces the ancestral capital of Amer. The city is unusual among pre-modern Indian cities in the regularity of its streets, and the diversion of the city into six sectors by broad streets 34 m (111 ft) wide. The urban quarters are further divided by networks of gridded streets. Five quarters wrap around the east, south and west sides of a central palace quarter, with a sixth quarter immediately to the east. The palace quarter encloses the Hawa Mahal palace complex, formal gardens, and a small lake. Nahargarh Fort, which was the residence of the king Sawai Jai Singh II, crowns the hill in the northwest corner of the old city.

PEOPLE OF JAIPUR

People of Jaipur have been greeting their guests with regal courtesy and genuine affection for decades. Even in the era of Kings and dynasties, these common people have left behind legends of loyalty, affection and compassion, Despite being rugged in their appearance, the people of Jaipur are well built, cheerful and simple. These desert folk are hardly touched by the swiftness of modern times. The people of Jaipur prefer to wear bright coloured clothes and probably compensate the barren landscape. The woen are often seen clad in dazzling colours like Red, Yellow, Green and Orange attires with eye-catching embroidery of gold, silver Zari or gota. The tribal ladies of Jaipur love to adorn themselves with loads of Silver Jewellery and the men too are often seen wearing earrings. The men wear turbans or pagadis of Bandhej that is made in the process of Tie and Dye in bright colors. Jaipur is a land with vibrant culture and a thousand – year old heritage. The people of Jaipur primarily speak Hindi in the Rajasthani accent. However, there are deviations according to various regions. The people of Jaipur are called as Jaipuris in the eastern part of Rajasthan and their culture epitomizes the various essence that the state of Rajasthan stands for royalty, chivalry, legacy, history, festivals and colors. The brown-skinned desert people are quite affable and win the hearts of the tourists with their sweet smiles and warm and cordial hospitality during any hour of need. The Jaipuri men are seen all across the streets and market places of Jaipur, who are turbaned and moving around with their women, dressed in swirling skirts and lashing Meenakari (enamel) jewellery that is one of the notable art forms in the desert. They wear heavy lac bangles that reach above their elbows and often bear tattoos on their arms and even chin.

COMMUNITY Most of the families basically belong to Kumawat and Prajapati caste which are supposed to practice pottery. Though, a majority of these artisans belong to Kumhar(potters) family, who have stopped working on red clay and moved on to practice Blue Pottery on a large scale.

ARTISANS Lala Ram had learnt the craft from Jaipur. DDRC, RUDA and DC Handicraft comes to the village to help the artisan in their problems. Govt.. also conducts handicraft exhibitions where artisan get chance to show their products and are able to sell them. Ravi Ram used to work in Jaipur in Blue Pottery. He had started learning the craft from his uncle who used to work in Jaipur.

LIVELIHOOD The people in Jaipur used to do labor works and agriculture for their livelihood now most of them has switch to Blue Pottery this became big part of their livelihood as they are able to learn better while working in Blue Pottery, In the Starting they all used to live in huts but now they all live in concrete buildings. Most of the house have proper toilet in their home. They don't have proper drainage system most of the waste water lushes out of the roads. There is no untouchability and since the invention of RUDA all the caste people work in this craft. Most of the people in the village stopped going to other places to work. Now people from other places started to stay in village to work in Blue Pottery. During school holidays children’s also came and join in making Blue Pottery. In olden times Blue Pottery was done in few houses with in them but now there are units where artisan go and work as a cooperative group where everyone earns better wages. Some of the artisan know all the work in Blue Pottery where as some are only interested in doing particular work according to their skill. Today there are about 1500 artisans working in Blue Pottery in Jaipur. Each got around Rs 400 to Rs 500 wages per day. Ÿ

FESTIVALS Holi, Diwali, Mahashivratri, Gangaur, Teej, Navratri and Dussehra are the main festivals.

SUPPORT NID students also come here to study the craft. NID had invited the artisan to their campus where they discussed their problems and able to ind solutions to their problems. Artisans where also advertised the best practices to make their products in great quality. In the staring iring the kiln was used to be done by wood now diesel is used for the new modern kiln.

BLUE POTTERY Blue Pottery is a symbol of the adaptations and has an in luence of Persian, Turkish and Chinese pottery. The name ‘blue pottery’ comes from the eye - catching Persian blue dye used to colour the pottery. The colour palette is restricted to blue derived from the cobalt oxide. Its uniqueness lies in the fact that it is primarily a ceramic body made of quartz, unlike other potteries, which are made of clay, The completely hand painted motifs add to its exclusively. The peculiar ceramic composition makes pottery rather a misnomer, the only allegiance to pottery being the ‘potter’s wheel’, which is used by the potters. Dating back to possibly 5000 BC in Egypt, this art has traveled down the ages and to diﬀerent lands, but the true home of this art was Mesopotamia where the ancient civilizations of Babylonia and Assyria. The art of glazed pottery has its origin in Persia. The craft reached considerable perfection in the country in its time. Excavations carried out in Persia have reached that the early potters were familiar with the use of luster of diﬀerent hues, one of the few things apparently which the Chinese potter did not employ, even if he knew that metallic luster was a serviceable medium for decorative purposes. The introduction to India was through the irst Muslim incursion into Sind, and the city of Multan was the cradle f the art here. During the Mughal period, especially of Akbar, Jahangir and Shahjahan, the technique, basically Persian still, was put to uses in the Indian context.

INTRODUCTION Handicrafts sector occupies an important place in Rajasthan economy as it contributes signi icantly to employment generation and export earnings. The economic importance of the sector also lies in its high employment potential, low capital investment, high value addition and continuously increasing demand both in the domestic and overseas markets. Jaipur Blue Pottery plays an important role in the export market of decorative and life-style products. The industry is spread all over Jaipur in rural and urban areas. There are many small enterprise and units with similar process of manufacturing and producing similar products. Kot Jewar is one of the three cluster in and around Jaipur and Neota actively involved in his craft.

CRAFT EVOLUTION The bene its from this business seem to low directly to the owners cum members of the Self -Help Group(SHG). The success of this SHG has become a model to be emulated not only in the Blue Pottery industry but in other areas of rural and handicraft sector. In the city of Jaipur, a marginal farmer Lala Ram who had been trained in Blue Pottery work by Design and Development Research Centre, in Jaipur started a Blue Pottery unit and due to its limited success, other persons too followed his example and set up their own units. But being illiterate, they were exploited by raw material suppliers and buyers and also due to personal rivalries, they were unable to make enough pro its and many of them had to close down their products, which was low both in terms of shape and designs as well as the high percentage of breakage and blackening of items in the manufacturing process was also providing detrimental to the sustenance of these units. The RUDA a govt. organization which came into existence in 1995 with the mandate to promote sustainable livelihood in the rural non-farm sector stepped in to help resolve many of their problems and took the lead in the creation of this SHG of the artisans at Jaipur, to support it in terms of designing and marketing of products as well as by providing technical help. The SHG was formed by encouraging these individual manufactures to come together with the aim of stopping competition among them and instead to pool their resources and expertise and share pro its. The SHG is not a cooperative society but a group of small owners of units, formed on the basis of informal understanding. These people who were earlier solely dependant on an exporter, were able to stand on their own and form a SHG which has become self-suf icient to a great extent in marketing of its products and has emerged as a major player in the Blue Pottery.

GOVernmenT SUPPORTS The industrial policies of the successive Governments have always pronounced promotion and protection to the handicraft sector. The last policy statement in 1991 was concerned more with liberalization, privatization issues than with promotion of small-scale or handicraft sector but earlier pronouncements continued to apply. However, Khadi and village industries commission, agency has been entrusted with promotion of rural industries in which Blue Pottery gets covered under mineralbased industries. The Industrial Policy 1998 of govt. of Rajasthan, has special reference to small-scale and cottage industries emphasizing special measures to promote them in terms of marketing, technical guidance, raw material availability, design development and exemption from sale tax and purchases by government departments. These provisions existed in equal measure in Industrial policies of 1990 and 1994. There are a no. of govt. agencies which look after various aspects of development and promotion of rural, cottage and handicraft industries, ranging from departments, boards, commissions to registered societies. Important agencies are Ministry of Rural Development Commissioner, Handicrafts, Small -Scale Industries Services Institute, National Bank of Rural Development, Khadi and Village Industries Commission and various nationalized banks. At the Rajasthan State level, the agencies concerned with promotion of Blue Pottery are Department of Rural Development, Rural Non-Farm Development agency (RUDA), Rajasthan Small Industries Corporation Ltd. Small-Scale Industries Department and Khadi and Village Industries Board, Indian Institute of Crafts and Design and various banking institutions. The role pf these institutions is restricted basically to providing help to State level institutions in terms of policy and technical guidance, funds, training of staﬀ, marketing, export promotion, project and design development. It is the primary responsibility of State govt. to promote handicrafts while Federal Govt. basically plays the role of a facilitator.

RAW MATERIALS

Ground Quartz Stone

Crushed Glass

The powdered form and is obtained from the nearest market. Since it is the main raw material, it is normally bought in tonnes. The cost of quartz stone is Rs. 1200 to 1300 per tonne. The cost of this stone has doubled in seven to eight years. Previously powdered form was not available in the market. The stone made in-house powdered which consumed extra time and money for making it into powdered form.

Green glass, which is normally used in making tea glasses, is taken or making. It costs around Rs. 4 to 5 per kilogram. The obtained glass is irst treated before being used for the dough. The treatment involves thorough washing of the glass, breaking it into ine pieces and then grinding it into powder in the grinding machine. Fine broken pieces of glass are now available in the market.

Multani Mitti (Fuller’s Earth)

Tragacanth Gum Katira gond is a type of adhesive which is readily available in the market. It costs Rs. 80 to 85 per kilogram. It is available in big pieces. It is also treated by breaking it by hand, grinding in into powder in the grinding machine and then screening it with an iron jaali.

This is available in the market in small pieces. It costs Rs. 8 to 10 per kilogram. Before production multani mitti is rede ined.

Saji (Sodium Bicarbonate) It is available in the market in the form of small pieces. It costs Rs. 40 to 50 per kilogram. Broken pieces of multani mitti and saaji are taken in equal proportions and then ground to a powdered form in the grinding machine.

STORAGE AND AVAILABILITY OF RAW MATERIAL Most of the units purchased raw materials from the same local dealer or procured directly from Byawar or Arga. Although they have not suf icient space for the storage purpose and those who have space, place them carelessly in open area. Due to eﬀect of temperature, the plastic bags burst which are not been taken care. Due to this the raw material get contaminated by the external impurities which come with air, water, dust. It is a slow process which do not come to notice but it shows its bad eﬀect after iring.

COLOUR The colors used in the Blue Pottery are of two types oxide colors and ferro colors. The usual oxides used for coloring are cobalt oxide(for dark blue color), copper oxide(for light blue color), chrome oxide(for green color), cadmium oxide (for a bright yellow color). The ferro colors are used for the colors brown and yellow.

PROCESS OF MAKING STEP 1 - MOULDING PREPARATION OF THE DOUGH The dough used for moulding is prepared by adding ive things. The dough consist of quartz stone powder of 40 kg which is the major item, powdered glass of 5 kg, Katira gond powder of 1 kg and a mixture of multani mitti and saaji of 1 kg. These are out on the hard loor and are thoroughly mixed till the mixture becomes homogenous. After that, water around 20 liters is mixed into it till smooth nonstick dough gets prepared. The dough is then kept for 8 to 10 hours.

PRESSING IT INTO MOULDS A small amount of prepared dough is taken and then rolled by hand on the base stone. It is then cut with a knife in equal parts according to the item being prepared. After this the dough is lattened with the help of a lattening tool till it takes the form of a 4-5 millimeter thick chapatti. The chapatti is carefully put into the mold which is shaken lightly so that the chapati sets in the mold. After that, a mixture of ine bajri (stones) and raakh (burnt wood dust) is put into the mold and is lightly pressed so that the dough takes the exact shape of the mold. The extra dough is cut oﬀ with a knife. The mold is then turned upside down on the base stone and removed. The dough with bajri and raakh is left in this form for one to two days for drying.

CLEANING The dried dough is now in the shape of the mold. It is again turned upside down and the raakh and bajri mix is removed from it. During the process of drying , some raakh sticks to the vessel. It is cleaned with the help of a small broom made locally from husk.

SHAPING PROCESS Once the vessel is ready, it is rubbed lightly by hand on the base stone to make its edges even. After doing this, the vessel becomes evenly shaped.

ADDING BASE Except for tiles and wall hangings, most of the vessels are prepared in two or more parts. After the vessel is ready, a base is added below the vessel, it is done by putting it on the potter’s wheel. The wheel is set in motion and the vessel is ixed at the center of the wheel. A little amount of dough is taken and with a touch of water, the base of the vessel is added. It is again left for drying for one to two days.

SMOOTHENING PROCESS The vessel is now ready in form. It is rubbed with regmaal to smoothen the surface. A little amount of wet dough is taken and mixed further with water and is applied on the vessel. It is then removed with a knife there by smoothening the vessel. The process is repeated two to three times rill the vessel becomes absolutely even. It is then left for drying. After it dries, it is again rubbed with sand paper.

STEP 2 - WHITE COATING COATING WITH MIXTURE After this process a solution of quartz powder of 10kg, powdered glass of 3 kg, edible lour(maida) and water is made. The vessel is dipped in this solution and taken out in such that it is evenly coated. It is then left for drying.

STEP 3- DESIGNING/ ART WORK DESIGNING A design is made on the dried, coated vessel with a solution of cobalt oxide and edible gum. The initial rings on the vessel(if circular) are made by keeping it on the potter’s wheel and touching the brush tip on the vessel. The later intricate design is then made by brushes of varying thickness. The patterns are drawn on pricing paper and small holes are made on the lines of the drawing. Then the tracing paper is kept on the product and using the charcoal powder it is traced on to the product. Thus the patterns remain the same and can be used multiple times on the same product for a consistent drawing of patterns. Squirrel hair is used as brush for drawing the outlines with cobalt oxide of the drawing.

STEP - 4 COLORING Once the design of the vessel is complete, the colouring is done by using oxides of various metals. These oxides are mixed with edible gum and then ground on the stone. The color is carefully illed with a brush. The vessel is left for drying. First background is painted then the inside part of patterns are painted.

STEP 5- GLAZING After this, a coating of glaze is done on the vessel. The mixture of glaze is prepared by mixing the following things in their respective proportions: Powdered glass of 21 kg, Borex or suhaaga of 17.5 kg, zinc oxide 1.5 kg, potassium nitrate 2.5 kg and Boric acid of 7.5 kg. This mixture is heated in the kiln till it melts. On cooling, the mixture transforms forms into the form of small pebbles. It is then ground to a powdered form in the grinding machine. The mixture is mixed with water and maida (for an adhesive). The solution is then coated on to the vessel.

STEP 6- FIRING Finally, the prepared vessels are heated in the closed kiln fuelled with charcoal for four to ive hours at the temperature of 600 to 700 degree celsisus. Most of the material melts, but 80 percent of the quartz is left, and this maintains the form of the vessel. The kiln is left to cool for three days, avoiding any rapid temperature change which cracks very easily. Care is taken that no two vessels touch each other as they may turn black.

ISSUES DURING THE PROCESS

PRESS MOULDING PROCESS No organised space in available to store ready dough. I left in casually in a space where people came with slippers and shoes which have impurities. These are mixed in dough when it is kneaded. Usually the work station is in open area, with a stone slab on which they knead the dough. Dough which is left extra during casting, reduces its plasticity if it is kneaded again and again to reuse for the other product. The moist ash is kept in open area, where soil can easily be mixed which is full of unknown impurities.

FINISHING AND DRYING Totally depend on Sun for drying. Artisans face problem during rainy and winter season for drying. Some the units do not have cemented or solid loor space to place product. Tools have been prepared by the artisans by the locally available material like grass and iron scrap. Self made iron plates are used as a tool for measuring tiles. Concrete or rough stone slab for leveling and sandpaper of diﬀerent grade are used for inishing.

ENGORGE Ratio of mixing water into the composition is not ixed. No measuring apparatus is used which lead to multiple error of application of thick or more diluted engorge. The mixing it done by hand only which some time causes uneven mixing. Again articles need to keep in sun for the whole day for drying. There is no system of keeping engorged articles at a speci ic place. Keep them casually one on other which causes chipping and unwanted damage which leaves its impression even after repairing. Artisans use polythene sheets to cover article to prevent them to absorb moisture from air. Unwanted absorption and release of moisture causes cracks.

PAINTING AND COLORING Most of the units use the traditional method of color preparation on stone slab for ine color. It is much time ensuring and laborious. Some units are equipped with color preparing machine but artisan use it only for some colors because the machine is not suitable for the colors of heavy mineral. This also lead to the design of the quality of painting. The painters are paid on piece basis. That's why he works with an intention to complete maximum no. of pieces in a day ignoring the quality of artwork. Because of low quality in painting buyer don't take it as value for money. Artisan are showing less sensitivity toward the color combination and pattern making.

Decoration Most of the units have the same color palette. They usually depend on exporters and clients for new designs. As observed all the units follow the same designs and patterns. The artists copy each other and make similar patterns. Now a days Blue Pottery artists use clipart and copying foreign patterns which may be harmful for the identity of Blue Pottery patterns.

GLAZING Preparing of composition is totally based on approximation, They never use of any measuring apparatus and then keep the article under sun after glazing. The Glaze is thick and viscous, due to this an article takes one or two days for drying. Because of thick layer, artisans need to give a inishing touch before loading them into the kiln. Then need to remove glaze from the bottom to prevent the article from the unwanted accumulation of glaze.

PROBLEMS FACED AFTER FIRING Red and black spots appear due to presence of iron oxide in the body. Mat inish results because the article does not get the moderate temperature required for the shine or due to uneven iring. Bend in articles - Due to the lack of enough support at the bottom. Breakage and cracks in articles - results due to unnecessary moisture content in the body or mishandling of the article at the time inishing or loading. Cracks usually appear in lead free glaze and it may also appears due to sudden change in temperature or when hot article is taken out of the kiln in a hurry without getting it cooled upto the moderate temperature. Blisters surface occur because of over heating. Glaze lows down t the bottom because of the application of thick glaze, or sometime glaze get collected at the corners,’ Black layer ‘ on articles results due to reduction or because of un ired glaze colors lowing down during iring with glaze because of uneven application at the time of painting. This leaves thick coat of color as patch or because of the use of less glue.

Squirrel Hand brush for colouring

MACHINE AND TOOLS 34

squirrel hand brush for colouring

Grass Brush for cleaning

Electric Pottery Wheel

Electric Grinder

Potter’s Wheel

Hand Beater

Grinding Stone

workplace and environment

products

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