One of the most tangible art of India
The Potter and the Clay At the wheel centre, I lay, like a lousy lump of clay I wait for that first stroke of play, As your hands explore it’s majestic way. The pulls and the shaping, the stretches and the scraping, you mould me right, with that warm touching Caressed my skin and held with love, like you are peace and I am dove. You gave me my elegance, you gave me my goal, I emerge as a winner after that fiery toll I am shining, I am smiling like a queen’s grace, I am reformed, as a beautiful vase. The Potter and the Clay, as they call, I know for us these words are too small You are the creator, I am the creation, Someday this world will understand the value of our relation.
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Contents Introduction
01.
What is Pottery Art ?
05.
Ancient History
10.
Pottery in India
20.
Styles in different States of India
26.
The Community of Potters
40.
The Art of Pottery Making
56.
Benefits of using Clay Articles
75.
The Sustainable Art
85.
References
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Image Credits
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Introduction The four main elements- earth, water, fire and air nestle comfortably in the art of pottery. The traditional art of pottery initially found home in earthenware utensils and deities and the craftsmen to these is a community known as Kumbhar who mainly belong to the Hindu religion. Hindu mythology traces them to have been descended from the Prajapati, the son of Hindu God Brahma and are hence also referred to as Prajapati. Wrapped in years and years of history, handy works have been recovered by excavating old cities, giving hints about their continued craft from yug to yug. This book is a documentation about the art of pottery in India. It will take you through the ancient history of pottery and how it evolved over ages. The significance of pottery in India and the spread of this art in different states of India. The potters who kept this art alive till now and how they are adapting with the technology. The benefits of pottery and its sustainability. This book is dedicated to all the potters from every corner of India and their family.
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What is Pottery Art ? Pottery art, one of the oldest and most widespread of the decorative arts, consisting of objects made of clay and hardened with heat. The objects made are commonly useful ones, such as vessels for holding liquids or plates or bowls from which food can be served. Clay, the basic material of pottery, has two distinctive characteristics: it is plastic (i.e., it can be molded and will retain the shape imposed upon it); and it hardens on firing to form a brittle but otherwise virtually indestructible material. Firing also protects the clay body against the effects of water. Fire heated pots are more durable and resistant to water than sun dried pots.
Generally there are three types of pottery: Earthenware: Earthenware is glazed or unglazed non vitreous pottery that has normally been fired below 1,200 °C (2,190 °F). Basic earthenware, often called terracotta, absorbs liquids such as water. However, earthenware can be made impervious to liquids by coating it with a ceramic glaze.
Stoneware: Stoneware is very hard and, although sometimes translucent, usually opaque. The colour of the body varies considerably; it can be red, brown, gray, white, or black. In the 20th century, stoneware was used mostly by artist-potters, such as Bernard Leach and his followers.
Porcelain: Porcelain is a ceramic material made by heating materials, generally including a material like kaolin, in a kiln. Porcelain was first made in China during the Tang dynasty.
The Art of Pottery
Earthenware Pottery
Stoneware Pottery
Porcelain Pottery
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KULLADS USED AT TEA STALLS
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The Art of Pottery
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Ancient History Out of all of humankind’s handicrafts, pottery is the oldest. Even writing, the very method of communication used to communicate today, came after the first pots. And like many things, it’s theorized that it was discovered by complete accident. In ancient times, people would transport water in handwoven baskets. The water, especially that from rivers, would have some clay in it. As the clay dried out, it would take on the shape of the basket. Eventually, people realized that these clay linings could be used as sturdy containers. They gathered clay, shaped it, and baked in the sun or hot ashes, sometimes decorating them with primitive tools. Thus, the first clay pots (and by extension, all of pottery) was born. The first potter’s wheel is believed to have come from Sumer in 3129 BC, although there is evidence that points to other places of origin. Precursors to the wheel started appearing as early as 4500 BC though, so an exact date is likely impossible. That said, the idea of using a wheel to assist in the creation of pottery.
Nowadays, pottery is heated through the use of a kiln. It’s widely accepted that the ancient Egyptians created the first kilns, lined with bricks made with clay and straw for insulation. They were also among the first to glaze their pottery before firing. Much like their modern equivalent, this glaze gave the pottery a glass-like sheen and texture and made the item non-porous. Eventually, people figured out that mixing sand in with the clay resulted in pots strong enough to withstand being directly in a fire. This was likely sometime during the medieval period. The same concept is used today when creating casserole dishes for baking. It also helps prevent warping, cracking, or exploding inside of the kiln during firing. From a very early date in history, some say at least 400 B. C., earthenware pottery was produced on a mass scale by a potter’s wheel in many parts of the world.
From a very early date in history, some say at least 400 B. C., earthenware pottery was produced on a mass scale by a potter’s wheel in many parts of the world.
The Egyptians made kilns to place their clay pots in for firing. The kiln was lined with a kind of insulation brick that was made from a mixture of straw and clay which had been dried in the sun. Later, the ancient Egyptians used a finer clay with a high quartz content for their delicate pottery. They rubbed the pieces with a smooth stone to give the a dull sheen or coated them with a fine layer of another color of clay.
Ancient Greek vases are highly valued for form and decoration. The graceful lines an perfect balance speak to our desire for beauty. The pottery was decorated with pictures of the daily lives of the people and stories of their gods, goddesses and heroes. On the red figure vases the background was painted black and the figures were left the natural red color of the clay. The color was reversed on the black-figured vases.
The Art of Pottery
In medieval times sand was mixed with clay to make cooking pots strong enough to be placed over an open fire. Today, for the same reason, casseroles used for baking are made from clay mixed with grog which is a ground-up fired pottery. The openness of grog clay allows water to evaporate more evenly as it dries and prevents cracking and warping during the firing. Grog clay eases the problem of heat expansion which can cause large thick pieces of pottery or sculpture to blow up in the kiln. Around the middle of the thirteenth century German potters started to produce stoneware. This pottery was made form finer clays and fired at a higher temperature than earthenware. Stoneware was tan or gray in color, strong and naturally non-porous.
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TWO POTTERY VESSELS CHINA, NEOLITHIC PERIOD, 3RD-2ND MILLENNIUM BC
Evolution of Pottery Art Pottery plays an important role in studying culture and reconstructing the past. Historically with distinct culture, the style of pottery changed. It reflects the social, economic and environmental conditions a culture thrived in, which helps the archaeologists and historians in understanding our past. The art of pottery evolved over many ages to the art we know today.
Neolithic Age: We find the first reference of pottery in this age. Naturally it is hand-made pottery but during the later period footwheel is also used. This was unglazed/unburnished that used to have rough surface, they were handmade course grey pots. People used clay mixed with mica and sand for making the pots.In many cases twisted rice husk cords were impressed into wet clay for decoration.
Chalcolithic Age: Chalcolithic Era, the first metal age, is marked by the occurrence of distinct cultures in various parts of our country namely – Ahar culture in South Eastern Rajasthan, Malwa culture in Western MP, Jorwe culture in Western Maharashtra, etc. During this period, there were 3 types of pottery:
Black-and-red-ware Pottery: Black and red ware seems to have been widely used. Cultures like Ahar-Banas showed the presence of Black and Red ware pottery with white linear designs. Black-on-red ware: Jorwe ware is painted black-on-red and has a matt surface treated with a wash.
Ochre Coloured Pottery (OCP): OCP people area also regarded as the junior contemporaries of Harappa. This pottery is identified with the Copper Hoard Culture that was found in upper Ganga Valley and Ganga Yamuna doab area.
The Art of Pottery
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Harappan Civilization: Both polished and unpolished
Vedic Era: The Vedic Era saw the emergence of
types of pottery existed, pottery generally has a red surface and is wheel thrown although handmade ones too exist. Most of the pottery is polychrome meaning more than two colours are used to colour the pottery. The colour of the pottery ranges from orange to red. The period covered by the OCP culture is roughly placed between 2000 BC and 1500 BC. This was majorly found in Jodhpur (Rajasthan), Atranjikhera (UP).
Painted Grey Ware (PGW) Culture. The Rig Vedic sites have PGW but iron objects and cereals are absent. Hence it is considered a pre-iron phase of PGW. This pottery is an Iron Age pottery found in the Gangetic plain and Ghaggar Hakra valley. Are confined to few geographical locations, namely – Punjab, Haryana and upper Ganga Valley. This culture is associated with village and town settlements (but without large cities). They are characterized by a style of fine, grey pottery painted with geometric patterns in black.
Later Vedic Era: The later Vedic people were acquainted with 4 types of pottery Black-and-red ware, black slipped ware, painted grey ware and red ware.
End of Later Vedic Era: Towards the very end of Later Vedic Age around 6th century BC, we see the emergence of the 2nd phase of urbanization. Made of fine fabric and served as tableware for the richer class. Considered deluxe pottery only found with the elites revealing societal stratification which was a result of Brahmanical hegemony. Glossy, shining type pottery was used. Found in Ahichatra, Hastinapur (both in UP), Navdatoli (Madhya Pradesh).
Megalithic Era: This culture is placed between- 3rd Century BC to 1st Century AD. Megaliths refers to monuments constructed of big (mega) stones (lith). This culture is particularly known for its large stone graves. In the South this age is characterized by the use of iron. The pots were well baked and durable, bulk of these were plain however, a sherd from Koldihawa reveals black painting on the surface.
Jōmon Japan: Prehistoric Culture and Society
The Art of Pottery
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The Art of Pottery
Pottery Art in India Pottery in the Indian subcontinent has an ancient history and is one of the most tangible and iconic elements of Indian art. Evidence of pottery has been found in the early settlements of Lahuradewa and later the Indus Valley Civilization. Today, it is a cultural art that is still practiced extensively in Indian subcontinent. Hindu traditions historically discouraged the use of pottery for eating off, which probably explains the noticeable lack of traditions of fine or luxury pottery in South Asia, in contrast to East Asia and other parts of Eurasia. Large matki jars for the storage of water or other things form the largest part of traditional Indian pottery, as well as objects such as lamps. Small simple kulhar cups, and also oil lamps, that are disposable after a single use remain common. Today, pottery thrives as an art form in India.Like all other handicrafts and crafts, the tradition of pottery making in India is very old. The ancient pottery of a country speaks volumes about its civilization. There has also been much figurative sculpture and decorative tilework in ceramics in the subcontinent, with the production of terracotta figurines being widespread in different regions and periods. In Bengal in particular, a lack of stone produced an extensive tradition of architectural sculpture for temples and mosques in terracotta and carved brick. The approximately life-size figures decorating gopurams in South India are usually painted terracotta
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INDIAN POTTERY 1920s
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In India pottery was practised in different cultures : Sothi Siswal Culture: Sothi-Siswal is the site of a PreIndus Valley Civilisation settlement dating to as early as 4600 BCE. According to Tejas Garge, Sothi culture precedes Siswal culture considerably, and should be seen as the earlier tradition. Sothi-Siswal culture is named after these two sites, located 70 km apart. As many as 165 sites of this culture have been reported. There are also broad similarities between Sothi-Siswal and Kot Diji ceramics. Kot Diji culture area is located just to the northwest of the Sothi-Siswal area. Sothi Siswal ceramics are found as far south as the Ahar Banas culture area in southeastern Rajasthan.
Ahar-Banas
Culture: Ahar-Banas culture is a Chalcolithic archaeological culture on the banks of Ahar River of southeastern Rajasthan state in India, lasting from c. 3000 to 1500 BC, contemporary and adjacent to the Indus Valley Civilization. Situated along the Banas and Berach Rivers, as well as the Ahar River, the Ahar Banas people were exploiting the copper ores of the Aravalli Range to make axes and other artefacts. They were sustained on a number of crops, including wheat and barley. The design motifs of the seals are generally quite simple, with wide-ranging parallels from various Indus Civilization sites. Rangpur Culture: Rangpur culture, near Vanala on Saurashtra peninsula in Gujarat, lies on the tip between the Gulf of Khambhat and Gulf of Kutch, it belongs to the period of the Indus valley civilization, and lies to the northwest of the larger site of Lothal. Trail Diggings were conducted by Archeological Survey of India (ASI) during 1931 led by M.S.Vats(madho sarup vats). Later, Ghurye (1939), Dikshit (1947) and S.R.Rao (1953–56) excavated the site under ASI projects. S.R.Rao has classified the deposits into four periods with three sub periods in Harappan Culture, Period II with an earlier Period, Microlithic and a Middle Paleolithic State (River sections) with points, scrapers and blades of jasper.
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Styles in different States of India Over time India’s simple style of molding clay went into an evolution. A number of distinct styles emerged from this simple style. Every village of almost every state of India has a potter (Khumbar or Kumhar) who ‘wheels’ out an amazing variety of household utensils and other objects of utility. They sit outside their huts, spinning their wheels, creating bowls, mugs, plates, urns, for storing and carrying water, flowerpots, foot scrubbers, small pots and a myriad other articles required by an Indian household. With the spread of urbanization, the potter settlements have now mushroomed on the outskirts of big cities and towns. As India has a diverse culture and traditions in different states, the pottery developed accordingly. Every state of India has their own style and traditions when it comes to the Art of Pottery.
The Art of Pottery
KASHMIR
DELHI
HIMACHAL PRADESH
UTTAR PRADESH
RAJASTHAN
WEST BENGAL
GUJRAT
MAHARASHTRA
GOA
TAMIL NADU
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Kashmir Moving straight onto Kashmir, one can find earthenware of ordinary clay, but with a glaze-like surface, which has gained popularity. The first sign of pottery in Kashmir can be traced between 3000 BC and 1000 BC, thanks to Burzahom archaeological site located on the outskirts of Srinagar. The traditional storing of water in earthen pots is still prevalent in rural areas of the valley. During marriages, traditional musical instruments, like Tumbakneer and Noar are still a common feature which are purely made using clay.
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However, pottery, a traditional trade in Kumar Mohalla, Nishat, Srinagar is on the verge of extinction. The plight of potters here is clearly visible as there are only few potters left to continue this trade and many have switched over to other jobs mostly based on dailywages in agriculture. Today, the convenience of easyto-buy and well priced modern items has displaced traditional pottery. The potters say that while this change is inevitable, the government must do more to protect their trade. After all, pottery is integral to Kashmir’s heritage.
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Kangra (Himachal Pradesh) This district is famous for its clayware articles. There is a famous place known as “Andretta” in this district. Andretta is a village and an artists’ colony in Himachal Pradesh. The artists’ colony was established in the 1920s, when Irish theatre artist and environmentalist, Norah Richards, shifted here from Lahore. Near Palampur in the Kangra District, with Dhauladhar range of the Himalayas as a backdrop, Andretta over the years has attracted many noted artists, theatre practitioners, painters and more recently potters.
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Delhi
West Bengal
Delhi is famous for its characteristic ‘Blue’ pottery. It has a very old tradition, which is very distinctive. This particular art form has been named as blue pottery because the eye-catching Persian blue dye is used to color the clay. Blue pottery is glazed and high-fired which makes it tougher than most of the others. There is a pottery village in Delhi, sponsored by the South Asia Foundation. The pottery village is a small rural set-up located near Pitampura in West Delhi. The Foundation works for the upliftment of the poor while putting special emphasis on the craft sector. The pottery village, therefore, is home to hundreds of Rajasthani potter families who have settled here permanently.
Manasha pottery of West Bengal represents the snake goddess and is a quaint, double curved pot with a face painted on it. Similarly, the Dakshini Rai pots, found in the Sundarbans area, are round pots with an edging running along the mouth signifying a crown and worshipped as the god who protects people against tigers. Such articles are of interest to the tourist and though not readily available outside Bengal, one finds stray pieces at the emporia in the major cities of India.
The Art of Pottery
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Rajasthan Rajasthan pottery has certain distinct characteristics. The mouths of water pots are small, probably to prevent spilling when water is being carried, a natural precaution in a place where water is so precious. Alwar is noted for its paper-thin pottery, known as kagzi (paper) pottery. Molela in Rajasthan is a village, which specializes in producing reliefs of gods and goddesses, mainly Ganesh, the elephant god. These reliefs are painted in vibrant reds, yellows and pinks and the figure is fired. Jaipur pottery , made out of Egyptian paste, is thrown on the wheel and fired in wood-kilns, usually at very low temperatures. This naturally makes it fragile though few can resist the charm of the delicate white and blue floral motif, which is painted onto the body after firing. The range of items is primarily decorative such as ashtrays, vases, coasters, small bowls and boxes for trinkets. In the Pokhran pottery, pieces in different shapes are made for varied uses. The important thing here is that the shape is dictated by the function. The best known is the water bottle used during long journeys.
Uttar Pradesh Uttar Pradesh produces some of the finest and most decorative Chunar, symbolized by its fine black clay pottery. This is inlaid with silver paint in intricate designs. The art perfected in Nizamabad, is highly glossy and has luster. Luster is derived from a powder called kabiz made from the mud of rice fields. Its formula is a closely guarded secret. Khurja , in Uttar Pradesh, a three hours drive from Delhi, is also well known for its cheap but tough tableware. A specialty of Khurja is a type of pitcher like a pilgrim’s bottle. Meerut, Hapur, Chinhat and Mansalia are important centers of this state where ordinary domestic articles and glazed items, mostly tableware, are made. Produced on a mass scale, fired at high temperatures, these pottery items retain their mud colour and are in popular demand. w w w. p i c f a i r. c o m
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Maharashtra Kumbharwada is one of the first settlements in Dharavi, built by migrants from Gujarat in the second half of the 19th Century. It’s home to the pottery industry, one of Dharavi’s most famous local crafts. In the small gaps between their houses, artisans throw and fire pots of all shapes and sizes, from small cups for yoghurt to diya candles, larger water pots or ornamental vases. The potters brought their family trade with them, and maintained – like many in Mumbai – strong ties to their ancestral villages. They’re in constant communication (physical and online) with their families in the North, collaborating to improve kiln designs, visiting their villages regularly, and significantly, importing their clay from there.
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Gujarat
Goa
In Gujarat , a mixture of white and black clay is used in pottery making. After they are sun-dried, the clay articles are painted. Only earth pigments, ground and mixed with water are used to make the pots. The object is first coated with a uniform base color and the patterns are then painted in various colors. A vast repertoire of motifs is spontaneously rendered by craftswomen. Designs are made of dots, zigzag stripes and diagonals. Floral and animal patterns are only occasionally used. Kutch and Saurashtra in Gujarat are noted for their beautiful earthenware.
Goa’s earthenware has a charm of its own. A wide range of figures and panels, apart from attractive water and flowerpots, are made. Pottery is one of Goa’s oldest crafts. Several decades before it was recorded in history, Goan potters have been known to provide temples with clay lamps and cooking vessels. It was they who brought fresh food supplies, drinking, and cooking vessels for mass meals. Fresh clay vessels were considered pure by their very nature. As they were wielded out of the earth, water, and fire 3 basic elements that support life. They held a prominent status in Goan societ
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Tamil Nadu Southern India has its own distinctive glazed pottery. Vellore in North Arcot district has a tradition of black and red pottery. Udilampatti in Madurai district has black pottery over with yellow. Panruti in South Arcot district is famous for its clay figures of deities and toys. Karigiri also in South Arcot district is famous for its glazed pottery (which uses China clay called mamakette decorated with patterns and dish trays), flower vases, decorative animal and bird figures and tablewares.
Potter from Tamil Nadu
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The Art of Pottery
kumbhakāra Kumbara
Kovara
Pot
Kummara
Kumbhar
Kumhar
Maker
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The Community of Potters The Kumhars derive their name from the Sanskrit word Kumbhakar meaning earthen-pot maker. Traditionally known as the kumbhar or khumhar’s, they are potters who make earthen vessels, water pots, decorative homewares, toys and idols of gods and goddesses. The name Kumhar denotes a maker of pots and pitchers or someone who creates. They are an integral part of Indian society because their creations are an integral part of an Indian’s daily life rituals. One of the largest castes, they are reportedly spread across 212 districts of India, predominantly in the states of Punjab, Haryana, Rajasthan, Uttar Pradesh, Bihar, West Bengal, Gujarat, Maharashtra, parts of Karnataka and Andhra Pradesh. They are known by different names in each state.
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A potter’s family in front of their house making diyas, from Rajasthan.
The Art of Pottery
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Their Lives In a typical Kumbhar household, the entire family is involved in various stages of making of the products. The men are the primary artisans, involved with working on the wheel while women are involved in preparing the mitti ka gola, the clay dough and decorating the products. The men set up the bhatti and are assisted by the women. All the children who are of the age attend nearby schools and intend to complete their education to find jobs in the city. The parents are supportive and in fact prefer if their children find work outside the kumbhar community because of better opportunities and better income. They don’t force their children to continue this art as they want their children to have a better lifestyle and a fixed income. Although they don’t regret becoming Kumbhar themselves, they feel their children would have a more secure future if they opt for some other career.
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The children themselves are involved passively in the production process, sometimes filling the bhatti, dipping the pots in geru and painting the diyas. Their parents say that the children learn from watching them but they are not usually seen on the wheel making the pots nowadays contrary to their parents who worked on the wheel since their early childhood helping their fathers. They say, there were times when families would marry their daughters to the Kumbhar community, but this does not hold true anymore. In Fact nowadays they prefer men outside the Kumbhar community. Some adults in the family has taken up full-time jobs in government/ private sectors to support their family. This may have disconnected them from the pottery craft, but they do practise pottery whenever they have time. The current generation believes that they must find a median between pottery and regular jobs to maintain a decent livelihood, but none of them forfeit the art of pottery completely acknowledging they can disassociate from.
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The life of a potter involves a lot of labour work and long hours with less returns, which forces their children to seek other professions. There are other opportunities in the modern world which the potters had to adapt to sustain their living. They earn by teaching the students at pottery workshops held by the schools and the pottery sessions at marriages and birthday parties fetches them a decent income depending on the number of participants. Sometimes the potters also get orders from the middlemen who would want a certain amount of wares to be produced for a commercial outlet or for designer stores.
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The story of Prajapati community Once Brahma divided sugarcane among his sons and each of them ate his share, but the Kumhara who was greatly absorbed in his work, forgot to eat. The piece which he had kept near his clay lump struck root and soon grew into a sugarcane plant. A few days later, when Brahma asked his sons for sugarcane, none of them could give it to him, except the Kumhara who offered a full plant. Brahma was pleased by the devotion of the potter to his work and awarded him the title Prajapati. w w w. s a h a p e d i a . o r g
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The beliefs of the Hindu potters There are a lot of Hindu potters in India, they believe in different Hindu traditions. Most of them worship the trinity of god in the morning along with their tools as a respect towards the art. The Hindu Kumhar claim that they emerged on earth with the blessing of the Hindu trinity – Brahma, Vishnu and Shiva. Brahma the creator gave them his art, Vishnu the preserver his wheel and Shiva the destroyer, his form. Many communities believe in this. w w w. s a h a p e d i a . o r g
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Pots kept for drying before the burning process in the house.
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Arumugam Perumal (Runs a pottery business) He is a 35 year old potter, this pottery business was started by his grandfather. He took over after his father, this is the 3rd generation in this business. He uses machinery tools that help him in making creative and artistic clay articles. He has learned many new modern techniques and he combines them with his own techniques to get the most out of it.
Brijlal Prajapati (Potter from Nizamabad) He is a potter belonging to the Prajapati Community from Nizamabad. He has been practising pottery since the 1980s. He says he learned it from his parents while helping them in his childhood. Now his whole family helps him with this process of making pots. Due to lack of transport facilities in his village he is forced to sell his products within the boundaries of the village.
Abdul Ahad (Potter from Kumhar Mohalla, Kashmir) Abdul Ahad a 70-year-old potter from Kumhar Mohalla, Kashmir is one of the last remaining potters, and himself a classic example of the decline in pottery trade. Ahad inherited the pottery craft from his father but his own children remain away from it, they say the returns are too dismal to support the family. Ahad blames the availability of stainless steel and aluminium products for the decline in demand of the pottery.
Nilesh Khandekar He is a 4th year design student at United World Institute of Design in the LSA department. He has a keen interest in the art of pottery and has done some amazing work in this field. He developed interest in this art during his 2nd year in UID, his mentor Deepak sir helped him learn this art. He worked with different kinds of clay and explored different techniques. He is planning to carry forward this art as a hobby and discover new things and in the pottery art.
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The Art of Pottery
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The Art of Pottery
The Art of Pottery Making Tracing the process of making pots
The primary material required for any type of pottery is Clay. This is available in different forms in different states of India. The clay in its natural form is further processed through various steps to make it soft and kneadable for making pots. This whole process requires constant monitoring of clay to obtain the best consistency. Every community of potter has their own way of making pots based on their traditions, culture and location.
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Clay Making In the initial stages, the clay is in the form of mud. This mud is acquired from nearby places in towns/ villages, in cities sometimes the agent or the middlemen supplies the mud to the potters. This mud is not in its best form at the beginning, it consists of lots of stones and other non required materials. Different regions have different methods of separating the stones, the common method is to soak the mud in water and then separate the stones using a sieve (chalanee). Then the mud is gathered and kept in a moist place wrapped with a cloth. This mud is then kneaded thoroughly to get a soft and consistent texture. This is a very difficult task and requires a lot of labour work. After the basic clay is ready, it depends on potter to potter to make any other transformation based on their products. Women collect water in the early hours of the morning to facilitate the preparation process
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Girls gathering sand to make the clay
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Contemporary method of preparing mud using a pug mill
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Women of the house preparing the clay mounds
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Potter arranging the clay mounds together
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Preparing the Mounds Once the clay is prepared, women of the family take charge to convert the prepared clay to form the dough which can weigh upto 5-7 kg depending on the requirement of the potter. Each dough takes upto 5 minutes to mould. While making the dough, water is consistently added to smoothen the clay. At some places the potters hire women to make this dough. Nowadays, machinery is available in the market for making doughs, but requires more labour and time in comparison to the manual method.
Behind the Wheel Once the clay dough is ready, the artist grabs his seat behind the wheel to turn this chunk of clay into beautiful articles. The clay is placed in the middle of the wheel and then the wheel is rotated. Majorly the wheel is automated, but in some small villages the potter rotates the wheel manually using a stick consistently. As the wheel rotates, the potters use their artistic hands to shape the clay in different sizes and shapes of pots. The pot is then detached from the clay using a fine thread and then placed on a wooden plank till it’s ready for baking. There are also other methods of making pots, especially larger pots. These larger pots are made in two parts owing to their size and are later joined together using a fine paste made of clay. The two halves are made using a pre-made structure of Plaster of Paris mould. Clay is applied manually on the inner walls of these two moulds. Once this is complete, the two halves are left for drying with a layer of newspaper, stuck on the inner surface to make it stay firm and avoid cracks.
The potter moving the electric wheel out in sun in order to get some light in chilly winters.
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Hand-beaten pottery is an alternative to the spinning wheel. It is considered that the first pots made by humans were made using this technique. A difficult technique to master, it takes much skill and practice to make hand-beaten pots.
Sun drying the moulded pots
After the pots are made from the clay, they are arranged on trays together and then they are placed in the sunlight for drying. They are stacked on top of each other to store a massive amount of products made on a daily basis. This takes around seven to eight hours for sufficient drying depending on the climate of different regions. In case of monsoons, the drying process is carried out inside the potter’s house under the fans which takes about two to three days for drying.
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Preparing and firing the bhatti The final stage involves the burning process of the pots using bhatti (kiln) which comprises cotton, hay dust, textile scrap, stones, terracotta and brick pieces. In places like Uttar Pradesh, they add dried goat dunk during the firing to give a black finish to the pots. h t t p : // w w w . d s o u r c e . i n /
During this process, the whole family of the potter takes part to set up the furnace. First, the men assemble and arrange the pathra in sequence in order to form a uniform platform. By this time, the women collect the gunny bags consisting of bhusi and chindi for it to be placed upon the platform which was formed initially. Thereafter, the metal sheets are placed onto the earlier base. The pots are kept on these metal sheets. Once, the bhatti is filled, a final layer of metal sheets is formed as a covering for the bhatti. This restricts the heat from escaping, thereby retaining it and continues for about 9-10 hours and sees the temperature of bhatti reaching upto 900 degrees Celsius.
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The Art of Pottery
This process of burning is carried out in different styles in different regions depending on their cultures and traditions.
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The burning process is usually carried out once in a fortnight but it again depends on the potters and their demands. After the burning process is complete, the goods are removed from the bhatti and stored in godown or in a small store area. In a bhatti of about 100 pots, around 30 percent of it gets broken or dismantled during burning. These are segregated and the repairable ones are mended using cement paste. This is applied by hands, with the help of a small piece of wood. Thereafter, it is left for drying under the sun. After it’s dried, the cement patch is painted over with a mixture of gerua and water.
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The Art of Pottery
Benefits of using clay articles Pottery is more than just any regular art, the use of clay articles in day-to-day life has many benefits. Back in the day, earthenware was a constant in Indian kitchens. Right from storing water to cooking, women managed it all with a single pot or ‘handi’, as it’s called in rural India. And, despite the availability of fancy and expensive cooking utensils, it looks like it’s time to go back to the basics.
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Use of clay articles in cooking
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We often see terracotta sets, mostly serving as showpieces, at home decor outlets, but a proper earthen pot is hardly ever put to use in the kitchen. However, it comes with a host of health benefits, since it cooks the food slowly. It also scores over aluminium, as studies point out. “As a result of their frequent use in private households, a study was undertaken to detect migration of this metal to foodstuffs from drink containers, coffee-pots, grill pans and camping cookware made of aluminium. An estimate of the health risk to consumers is calculated, based on the tolerable weekly intake (TWI) specified by the European Food Safety Authority of 1 mg/kg body weight for all groups of people. In some instances, the TWI is significantly exceeded, dependent upon the food contact material and the food itself,” You could also check the weight of aluminium cookware when it’s purchased and after a couple of years, and you’re likely to spot a marked difference.
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The Art of Pottery
Authentic way of serving food.
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While it may be difficult to find a pure clay pot, here are some reasons to include it in your kitchen. Maintains the nutritive value Due to slow cooking, clay pots allow moisture and heat to circulate through the food, thus retaining the nutritional level. In metal utensils, this tends to get lost. When cooking meats especially, the thermal inertia helps the muscle proteins denature and collagen break down completely, hence keeping it tender for a longer duration.
Neutralise the pH level As clay pots are alkaline in nature, it interacts with the acidity in the food, hence neutralising the pH balance and making it healthier.
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Cut down oil consumption As they are heat-resistant and the dish cooks slowly, you can cut down on extra oil, such as vegetables. Earthen pots retain the oil and give moisture to food so you don’t add unnecessary fat to make your food tastier.
Adds more nutrients It is said that clay pots add many important nutrients like calcium, phosphorus, iron, magnesium and sulfur to food, which are extremely beneficial to our body.
Add an earthy flavour The aroma that your food will have after being cooked in an earthen pot is unbeatable.
Economical Clay pots are affordable and easy on your pocket. Moreover, as the tradition of cooking in clay pots is almost dying, by purchasing one you indirectly help a family financially.
Use of clay articles in gardening There are many benefits of using clay garden pots. Clay pots are actually made from unglazed terra cotta, a natural soil product. These were the garden pots of choice for centuries until plastic became both affordable and practical. Today, nearly every gardener has plastic pots lurking about the garden. There are numerous benefits. Clay pots are porous. Because clay is made from natural materials, both air and water “breathe” through the pot’s shell. If you’re the kind of gardener who kills your plants with kindness and tends to over water them, clay pots can be your salvation, because water evaporates much more quickly from clay than plastic pots. They are good for house plants that like a dry environment. Again, because clay loses moisture more quickly than plastic, they’re good for plants such as cacti and succulents that are more sensitive to moist environments. You can use them for plants that tend to get top heavy and they won’t tip. Because clay pots are heavy, it takes a lot to push them over. Clay pots are beautiful. When they’re new, the pretty brick color goes with everything. As they age, they collect mineral deposits, or the white crud as I like to call it. Even that is beautiful because each clay pot is unique. Moss can grow on clay, which also looks attractive outdoors.
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The Art of Pottery
The Sustainable Art When looking for sustainability in pottery, everything from the process of making the craft to using it is sustainable except for the transportation and the painting of the pots with shimmer and other chemicals. This shimmer gets into the drainage system. Since the customers are drawn towards everything glitter, there is a demand in the market. Hence, they are fulfilling it for their survival.
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Burning the Bhatti
The bhatti is fired throughout the day and is a 6-9 hour long process. The bhatti is closed from 3 sides. These bhattis are generally located outside the potter’s house. The area nearby gets covered in smoke when the bhatti are fired. This smoke enters their homes. Although most of the people around are not bothered by this as they are accustomed to it. In fact the smoke helps in killing mosquitoes which reduces the risk of malaria.
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Raw materials Since clay itself is derived from the earth, it does not pollute the environment even if there is a wastage. Sun dried pots or diyas can be reused to make new articles before the baking process. Baked pots that face breakage or are over burnt can’t be recycled in clay mounds. Most of these are disposed of, but fortunately do not cause harm to the environment. The entire process of pottery itself is quite sustainable. The materials are either sourced directly from the earth or reuse waste materials such as cotton waste and textile waste for burning the bhatti. The production process is a good system that represents sustainable material sourcing, and could be a model for other unsustainable crafts.
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Resusing broken pots
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Padmashree Pandit Brahmodev, inspired from the Japanese pottery during a visit to Japan, he explored the method of mixing broken pieces of ceramic along with the new clay powder for better molding and strength. These pieces of ceramics are imported from industries in Surat.
Let’s preserve the Art of Pottery
References 01. www.britannica.com/ 02. www.craftsinindia.com/ 03. issuu.com/kachumpa/docs/tanya-mathew_ potterycraftofmumbai 04. peoplegroupsindia.com/ 05. www.instagram.com/khandekrn// 06. www.thecitizen.in/ 07. youtu.be/Sa3Kc12H-Zc 08. youtu.be/nkPO7KMSRGU 09. youtu.be/S424y8KtQnw 10. youtu.be/SS1cXIOM4DQ 11. www.thestatesman.com/
The Art of Pottery
Image source 01. Unsplash.com 02. Pexels.com 03. deccanherald.com 04. outlookindia.com 05. www.instagram.com/khandekrn// 06. sahapedia.org 07. dsource.in 08. picfair.com 09. kitsa.org 10. siccode.com/ 11. en.wikipedia.org *All the images used are taken from the internet (for educational purpose) and has no commercial value.
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