JAIPUR’S
BLUE POTTERY
SLADocumentation Documentation SLA SLA Documentation 2018-2019 2018-2019 2018-2019
ACKNOWLEDGEMENT We have taken efforts in this project. However, it would not have been possible without the kind support and help of many individuals and organizations. We would like to extend our sincere thanks to all of them. We are highly indebted to Dr. Jayaram Poduvaal for his guidance and constant supervision as well as for providing necessary information regarding the project & also for his support in completing the project. We would like to express our gratitude towards Mrs. Anju Pawar, Mr.Rohit and Mrs. Swathi for their kind co-operation and encouragement which helped us in the completion of this project and for providing us with all the facility that was required. We would like to express our special gratitude and thanks to the Faculty of Maharaja Ranjitsinh Gaekwad Institute of Design for providing us with an opportunity like this. Our thanks and appreciations also go to our batchmates in developing the project and people who have willingly helped us out with their abilities.
A Document by Shreya Yadav, Poorva Chaudhary and Janvi Shah Maharaja Ranjitsinh Gaekwad University of Design MSU, Faculty of Fine Arts, Vadodara
02
CONTENTS
01
LOCATION
05
About Rajasthan
04
MATERIAL AND 25 PROCESS
About Jaipur
Tools and Equipmets Process
02
INTRODUCTION 13
05
CORE ISSUES 35 AND SCOPE FOR INTERVENTION Governement Support
03
ABOUT BLUE POTTERY History The 3 clusters Present Status of the Craft Product Range
19
06
CONCLUSION
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CHAPTER I
LOCATION • ABOUT RAJASTHAN • ABOUT JAIPUR
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01
LOCATION N
W
E
S
JAIPUR
INDIA
LITERACY RATE IN RAJASTHAN
SEX RATIO IN RAJASTHAN
69%
58%
42%
FEMALES
31% MALES
FEMALES
MALES
ABOUT RAJASTHAN Rajasthan which is also known as the “Land of Maharajas” is the largest state of India, covering an area of about 342,239 sq. km. It comprises of 33 districts and its largest city is Jaipur. The state retains the glory and richness of those times with its marvelous monuments, colorful traditions and customs.Under the rule of Mughal emperor Akbar, a truce was established between Rajput and their non Rajputs neighbors, thus ushering in an era of political stability which occasioned lavish and consistent court patronage to the arts and architecture. Most of Rajasthan’s once impregnable forts and opulent palaces have been opened to visitors. Rajasthan attracts thousands of tourists in India. Tourism makes up the eight percent of the state’s domestic product. Rajasthan is famous for the forts, temples and decorated havelis. Many old and neglected forts and palaces have been converted into heritage hotels. Due to this, employment in the hospitality sector has increased. Rajasthan has several tourist sites like, Mount Abu, Ajmer, Alwar, Bharatpur, Bikaner, Jaipur, Jodhpur, Udaipur, Pali, Jaisalmer and Chittorgarh.
The state is connected to many highways, most popular being NH8. There are three airports in Rajasthan which connect the state with major cities of the country. Most of the cities are connected through railways. The mother tongue of the majority of people in Rajasthan is Rajasthani. Rajasthani and Hindi are most widely used languages. The turbans are the most important part of men’s traditional costume as it represents the region and community they belong to. Women wear skirts (ghaghras) in vibrant and bright colors. It is known for its traditional, colourful art. The block prints, tie and dye prints, Bagaru prints, Sanganer prints, Zari embroidery, wooden furniture and handicrafts, carpets and blue pottery are some of the major export products for Rajasthan. Deepawali, Holi, gangaur, teej, gogaji, makar Sankranti and Janmashtami are the main religious festivals. Folk music and Ghoomar dance are a vital part or Rajasthani culture.
ABOUT JAIPUR JAIPUR, THE CAPITAL OF RAJASTHAN,which is situated in the eastern part of Rajasthan. The city which once had been tahe capital of the royalty now is the capital city of Rajasthan. The very structure of Jaipur resembles the taste of the Rajputs and the Royal families. At present, Jaipur is a major business center with all requisites of a metropolitan city. The rulers of Jaipur patronized a number of arts and crafts. They invited skilled artisans, artists and craftsmen from India and abroad. The different communities settled in various partsof city and made Jaipur their home. As a result, Jaipur is a major hub for various kinds of arts and crafts.Jaipur traces back its origins to 1727 when it was established by Jai Singh II, the Raja of Amber.
He shifted his capital from Amber to the new city because of the rapidly-growing population and an increasing water scarcity. Noted architect Vidyadhar Bhattacharya used the established principles of Vastu Shastra to build the city. The rulers of Jaipur patronized a number of arts and crafts. They invited skilled artisans, artists and craftsmen from India and abroad. Some of the crafts include Bandhani; Block printing; Stone carving and Sculpture; Tarkashi; Zari, Gota, Kinari and Zardozi; Silver Jewellery; Gems, Kundan, Meenakari and Jewellery; Miniature paintings; Blue Pottery; Ivory carving; Shellac work; Leatherware, etc.
JAIPUR
Climate Jaipur has a hot semi-arid climate, receiving over 650 millimetres of rainfall annually, but most rains occur in the monsoon months between June and September. Temperatures remain relatively high throughout the year, with the summer months of April to early July having average daily temperatures of around 30 °C (86 °F). During the monsoon there are frequent, heavy rains and thunderstorms, but flooding is not common. The winter months of November to February are mild and pleasant, with average temperatures ranging from 15–18 °C (59–64 °F) and with little or no humidity. There are however occasional cold waves that lead to temperatures near freezing. The major rivers passing through the Jaipur district are Banas and Banganga. Ground water resources to the extent of about 28.65 million cubic meter are available in the district. Although serious drought is rare, poor water management and exploitation of groundwater with extensive tube-well systems threatens agriculture in some areas.
Culture This royal town has magnificent architecture and is the first planned city of India. The buildings here are made with pink-painted sandstone which brings it the name of Pink City. With fantastic attractions all around the city, it invites tourists from all over the world. Jaipur’s rich cultural heritage is displayed in the traditions, customs, lifestyle, art and architecture of this place. In fact the best understanding of Jaipur’s culture can be attained through its art, music and architecture. Those huge fortresses of Mughal and Rajput reigns, the Hawa Mahal, Amber Fort, Jal Mahal aptly describe the culture of the city. heir colourful outfits and unique jewellery are the part of their culture displayed in a flamboyant way. They love to dance to the tunes of Rajasthani folk songs. Also famous for its handicrafts, Jaipur has markets flooded with handicraft items.
Carved silver jewellery, kundan as well as meenakarijewellery, ivory carved sculptures, wood work and leather goods, are all so finely made that they would undoubtedly catch your eye. Known for blue pottery, miniature paintings and traditional clothes with work of bandhni, zari and zardosi, are certainly the best examples that depict rich culture of Jaipur The main language of Jaipur is Rajasthani. Dhundhari, Marwari, Hindi and English are also spoken in the city.
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People The people of Jaipur fiercely guard their traditions and culture, which is reflected in their day-today life. They wear brightly coloured clothes and jewellery and are cheerful in nature. Their warm hospitality has enabled people from different parts of India and the world to enjoy their stay in Jaipur. The city has a population of 3,073,350, of which 78% are Hindus, 18.6% are Muslims, 2.3% are Jains and others are 1.0%. They work in various industries like manufacturing, business, IT, education and tourism.
Food Jaipur in Rajasthan is a city famed for several things, be its famous Hawa Mahal, the warm and friendly locals or the forgotten havelis within the streets and also for its grand royal cuisine that is the eclectic mix of north Indian specialties, with an amazing blend of vegetarian and non- vegetarian for the bygone era of uniting kings and peasants with food. Examples: Dal BaatiChurma, Laal Maas, Mohan Maas
Festivals Jaipur has been titled as “The Pink City� of India. The name itself puts a colorful impression upon our minds. Being the capital city of Rajasthan, it has so much to offer its visitors. Its vibrant culture, heritage palaces, monuments and forts draw numerous tourists to this land every year. It is equally famous for the colorful fairs and festivals held here. Exciting and attractive fairs are held and varied festivals are observed throughout the year. Some of the major festivals like Diwali, Teej, Gangaur, Camel Festival, Kite Festival and Elephant Festival can be enjoyed being in the land of royals.
SANGANE R
NEOTA Neota village is located in Sanganer Tehsil of Jaipur district in Rajasthan, India. It is situated 11km away from sub-district headquarter Sanganer and 25km away from district headquarter Jaipur. As per 2009 stats, Neota village is also a gram panchayat. The total geographical area of village is 1675.38 hectares. Neota has a total population of 4,301 peoples. There are about 680 houses in Neota village. Jaipur is nearest town to Neota which is approximately 25km away.
MAUZAMABAD
KOT JEWAR Kot Jewar is a small Village/hamlet in Dudu Tehsil in Jaipur District of Rajasthan State, India. It comes under Kot Jewar Panchayath. It belongs to Jaipur Division . It is located 43 KM towards west from District head quarters Jaipur. 23 KM from Dudu. 46 KM from State capital Jaipur.Blue Pottery Craft started in Jaipur and latter many people learned this craft and started practicing it in places near to Jaipur.There are around 200 families in Kot Jewar practicing Blue pottery. These families basically belong to Kumawat and Prajapati caste which are supposed to practice pottery.
CHAPTER II
INTRODUCTION
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02
INTRODUCTION INTRODUCTION TO BLUE POTTERY
The name Blue Pottery comes from the Persian blue color dye which is specifically used for adorning the product(s), and every single piece is hand-painted. This significant art of blue pottery making comprises of Egyptian dough and paste. There is no usage of clay and is glazed on the low fire temperature and hence becomes very brittle and fragile. The magic of blue pottery is featured by a ‘semi-transparent’ character which is decorated with motifs of animals and birds and is also used in making of products like coasters, small bowls, vases, boxes for jewelry, and ashtrays; although, at first it was used to make pots, urns, and jars.
Once, this beautiful talent was initiated and simultaneously Mughals started to employ, this concept slowly came into the existence in Kashmir too. Later on, it entered in Delhi and finally was adopted by the artisans of Jaipur forever. Blue Pottery patterns became one of the precious moments and hub for the pink city and till date, this tradition is up-to the mark.
CHAPTER III
ABOUT BLUE POTTERY • WHAT IS BLUE POTTERY? • HISTORY • ABOUT THE THREE CLUSTERS • PRESENT STATUS OF THE CRAFT • PRODUCT RANGE?
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03
ABOUT BLUE POTTERY
WHAT IS BLUE POTTERY? The Blue Pottery or Blue Glaze pottery is an ancient and unique craft practiced in India from time immemorial. It was once a native craft of Persia that was brought to India by Mughals and later got patronized by Indian ruler. Historically Jaipur city has evolved as the main center for producing the famous Blue pottery articles. Blue pottery as the name suggests is mainly made in blue color. But, with the changing time and availability of new colors, artisans are working using other colors too. The art derived its name from the eye-catching Persian blue color used in it. The distinguishing factor which makes the craft of Blue Pottery different from any other pottery techniques being practiced around the world is that it is the only pottery technique that does not use clay. This blue pottery technique is an imported one. It is a mix of Chinese glazing technology with Persian decorative arts. Blue pottery caught the local people’s interest and many started learning this craft soon, most of the Kumbhar (pottery) families also shifted from working on red clay to blue pottery later, on a larger scale. Also the blue color used in it makes it distinct in appearance. Originally blue and turquoise green colors were used on a white base. The pottery is semi translucent or opaque in nature. Blue pottery rarely develops crack due to continuous smoothing of the surface and low firing. It is suitable for daily use and is hygienic. Since it is fired at a very low temperature it makes it fragile.
Blue pottery has grown to an industry where it provides livelihood to many people. Though new designs are adapted to enhance the craft, artisans have also been keen on keeping their traditional ways. The design patterns are mostly of floral, animal and birds motifs.
HISTORY AND ORIGIN The history of the art of pottery is as old as the history of mankind. Glass was discovered in the ancient civilizations of Egypt, Syria, Iran and Indus Valley. It was further discovered that when alkaline soil was mixed with copper and heated it gave a turquoise blue color. In Iran, utensils made out of a shining soil flourished. This was in practice even before the advent of Islam. Being of Blue color it was highly acceptable to Islamic culture. This discovery of “Gila- Lazwart” or cobalt oxide did wonders to the earthen pots. It was used to glaze and paint pots which on heating assumed a deep blue color. The technique of applying yellow lead oxide in the tiles of the Golconda Palaces came from Iran. This art crept into Afghanistan and then to Multan, Lahore, Delhi and Agra.
Pottery is shining and flourished successfully in China too. The Chinese had further discovered porcelain and celadon but without the vibrant blue color the pottery looked dull and lifeless. In 1301 AD Abdul QuasimQasani wrote a book on the art of evolving colours and painting on pottery. During this period, the Chinese learnt all about Gila- lazwart from the Iranians. The Chinese were prepared to pay the price of gold for this wonderful element. Much later, Arab merchants would buy Gila- lazwart from Ajmer in India and sell it in China. A new name “Muslim blue” was also tagged on.
History of Blue Pottery in Jaipur The art of making blue glaze pottery came to Rajasthan via Kashmir, their entry point to India. When the city of Jaipur was founded in 1727 by Sawai Jai Singh I, craftsmen from all over the country were invited to come and make their home in this new city. In keeping with the traditions of his forefathers, Sawai Ram Singh II (1835-1880) set up a school of art and continued to encourage artists and craftsmen for practising this craft. Blue Pottery took an interesting route in finding its home in Jaipur. Ram Singh II attended a kite flying session and wateched as his kite masters were engaged in battle with two brothers name Churaman and Kaluram from Achnera (Agra). When the ruler saw that the brothers managed to bring down the royal kites every time, he was intrigued. He asked the brothers their secret. Sawai Ram Singh II was impressed so he invited the brothers to stay in Jaipur and teach this unique form of glazed pottery at his new art school.Both were appointed head of the department in the Museum and School of Arts. For the next 100 years this department was solely under the control of their family.
They told him that they were potters by profession and had coated their stings with the same blue green glass that they used for their pots. On the verge of Extinction Blue Pottery, had enormous potential and should have flourished, but over the years master potters refused to share their trade secrets with their fellow craftsmen so their was an eventual lowering of standards and a gradual dying out of the craft. In 1952 the art school was closed down and all handicrafts vanished from the scene including blue pottery. Over the years the craft was kept alive by her Highness Gayatri Devi who widely promoted Blue Pottery. He revived this craft by understanding, experimenting and then disseminating the skills to the unemployed youth of the nearby villages such as KotJewar, Mehla,Mohana, Sanganer, Jamdoli and Neota, etc.
Also done in places Jaipur is still the main hub for this craft. There are 25 to 30 units which depend on this art for their livelihood. However, except the Jaipur, some other states and cities like Amritsar, Rampur, Tamil Nadu, Delhi, Punjab, and U.P. also produce blue pottery and ceramics. Few castes like Khaarwaal, Kumbars, Bahairva, and Nat still practices this ethnic art. Needless to say, this industry has been growing day by day, providing work to many. The rich colors and exquisite designs set the blue pottery apart from other pottery items. It has now even earned a place in the household as a decorative item.Jaipur is still the main hub for this craft. There are 25 to 30 units which depend on this art for their livelihood. However, except the Jaipur, some other states and cities like Amritsar, Rampur, Tamil Nadu, Delhi, Punjab, and U.P. also produce blue pottery and ceramics. Few castes like Khaarwaal, Kumbars, Bahairva, and Nat still practices this ethnic art.
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THE THREE CLUSTERS Kot Jewar Kot Jewar is situated about 46 kilometres from Jaipur, nestled in the foothills of a small hillock lying to the west of the Delhi-Mumbai highway. Kot Jewar is in Dudu Tehsil in Jaipur District of Rajasthan. It comes under kot Jewar Panchayath. It belongs to Jaipur Division. There are no medical facilities worth the name in the village, just a primary school and before the advent of Blue Pottery in the village, just a few households, toiling in the parched fields. The Languages spoken are Hindi and Rajasthani. According to Census 2011, kotJewar’s population is 876. Out of this, 436 are males whereas the females count 440 here. This village has 157 children in the age group of 0-6 years. Out of this 69 are boys and 88 are girls. A lot of artists and people not having a creative background joined to learn blue pottery. Therefore, there is no specific community involved and practicing this craft.
Though, a majority of these artisans belong to Kumbhar (potters) family, who have stopped working on red clay and moved on to practice Blue Pottery on a large scale. There are around 200 families in Kot Jewar practicing this craft and around 20-25 families practicing in Jaipur. These families basically belong to Kumawat and Prajapati caste which are supposed to practice pottery. Blue Pottery Craft started in Jaipur and latter many people learned this craft and started practicing it in places near to Jaipur. Though presently there are only few centers where Blue Pottery is being practiced, new people are gradually showing interest in blue pottery due to its increased demands in recent years. Presently, apart from many big setups in Jaipur the craft is being practiced in nearby places like Kot Jewar, Sanganer, Neota, Delhi and Khuria. People in Jaipur are still practicing the traditional way while those in Khurja have moved on to make the base in red clay and then glazing it in vibrant colors.
Jaipur Jaipur is the headquarters of Rajasthan. Jaipur district which is situated in the eastern part of Rajasthan. The city which once had been the capital of the royalty now is the capital city of Rajasthan. The very structure of Jaipur resembles the taste of the Rajputs and the Royal families. At present, Jaipur is a major business centre with all requisites of a metropolitan city. The rulers of Jaipur patronized a number of arts and crafts. They invited skilled artisans, art- ists and craftsmen from India and abroad. The different communities settled in various parts of city and made Jaipur their home. As a result, Jaipur is a major hub for various kinds of arts and crafts.
Planned by Vidyadhar Bhattacharya, Jaipur holds the distinction of being the first planned city of India. Renowned globally for its coloured gems, the capital city of Rajasthan combines the allure of its ancient history with all the advantages of a metropolis. The bustling modern city is one of the three corners of the golden triangle that includes Delhi, Agra and Jaipur. Jaipur traces back its origins to 1727 when it was established by Jai Singh II, the Raja of Amber. He shifted his capital from Amber to the new city because of the rapidly-growing population and an increasing water scarcity. Noted architect Vidyadhar Bhattacharya used the established principles of Vastu Shastra to build the city.
Neota According to Census 2011 information the location code or village code of Neota village is 080091. Neota village is located in Sanganer Tehsil of Jaipur district in Rajasthan, India. It is situated 11km away from sub-district headquarter Sanganer and 25km away from district headquarter Jaipur. As per 2009 stats, Neota village is also a gram panchayat.
The total geographical area of village is 1675.38 hectares. Neota has a total population of 4,301 peoples. There are about 680 houses in Neota village. Jaipur is nearest town to Neota which is approximately 25km away. Literacy rate in Neota village is 58%. 2528 out of total 4301 population is literate here. In males the literacy rate is 68% as 1516 males out of total 2207 are literate while female literacy rate is 48% as 1012 out of total 2094 females are literate in this Village.
Product Range Light Fixtures
Wall Lights
Floor Lights
Hanging Lights
Table Lamps
Card Holder
Photo Frame
Stackable File Rack
Ash Tray
Mobile Stand
Paper Weight
Board Pins
Desk Calendar
Wet Sponge Container
Table Clock
Kitchen Tiles
Knife Holder
Napkin Hanger
Tea- Coffee Jars
Trays Cups/ Mug ( Lead Free)
Soup Bowl ( lead Free)
Small Furniture
Pickle burnies
Salt & pepper container
Fork and spoon holder
Napkin Holder
Cutlery Set
Table Mat
Tea coaster
Toothpick holder
Sculptural Lamps
Table Stationary
Kitchen Accessories
Dining Table Acces- conies (only possible with lead free glaze)
Mukhvas
Bar Accessories
Bottle Hanger
Glass Hanger
Cube Container
Snacks Plates
Bathroom Accessories
Soap Dish
Tissue Paper holder
Tooth brush holder
Hand wash bottle
Mirrors
CHAPTER IV
MATERIALS AND PROCESS • TOOLS AND EQUIPMENTS • PROCESS
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04
MATERIALS AND PROCESS
The Process Blue pottery is a traditional craft of Jaipur which is basically a frit ware. No actual clay is used either in the body of the pot or glaze. The main component is quartz which is easily and plentifully available in nearby quarries in BEAWAR. The quartz is finely ground and mixed with other ingredients which can be worked into dough of sufficient plasticity that is then poured or pressed into the moulds. Unfired where its hand painted with colored oxides, dipped in clear glaze and lastly fired once. Now they use diesel but traditionally wood was used for firing.
The items cannot be reworked on once they are fired. As with all glazed pottery, one is never sure whether the finished product will have the exact hue desired. The smallest mistake in glaze composition or firing procedures could lead to the ware either cracking or turning black. The difficulty and complexity of the pottery making process is itself is combined with continual risk of firings.They considered blue pottery ideal for small decorative items, gifts and souvenirs but not suitable for practical items such as bowls, plates, vases, etc.
Blue pottery is produced through a combination of processes:
1. BODY MAKING INGREDIENTS USED• Multani mitti (Fuller’s earth) This is available in the market in small pieces. It costs rs 8 to 10 per kilogram. Before production multani mitti is refined.
• Ground quartz stone It is in the powdered form and which is obtained from the market. Since it is the main raw material, it is normally bought in tons. The cost of quartz is Rs 1200 to 1300 per ton. The cost of this stone has doubled in seven to eight years. Pervasively powdered form was not available in the market. The stone made in house powdered which consumed extra time and money for making into powdered form.
• Ground quartz stone It is in the powdered form and which is obtained from the market. Since it is the main raw material, it is normally bought in tons. The cost of quartz is Rs 1200 to 1300 per ton. The cost of this stone has doubled in seven to eight years. Pervasively powdered form was not available in the market. The stone made in house powdered which consumed extra time and money for making into powdered form. • Katira Gond (Tragacanth Gum)
• Saji (Sodium bicarbonate)
Katira Gond is a type of adhesive made from banyan tree which is readily available in the market. It costs Rs 80 to 85 per kilogram. It is available in the big pieces. It is also treated by breaking it by hand, grinding it into powder in the grinding machine and then screening it with an iron jaali.
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 Saji are taken into equal proportions and then ground to a powdered form in the grinding machine.
• 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 Saji are taken into equal proportions and then ground to a powdered form in the grinding machine. • Crushed glass Green glass, which is normally used in making tea glasses, is taken for making. It costs around Rs 4 to 5 per kilogram. The obtained glass is first treated before being used for the dough. The treatment involves through washing of the glass, breaking it into fine pieces and then grinding it into powder in the grinding machine. Fine broken pieces of glass are now available in the market.
• Colours used The colors used in 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), chrome oxide (for a bright yellow color). The Ferro colors are used for the colors brown and yellow.
STEP 1: PREPARATION OF THE DOUGH (FOR MOULDING) The dough used for molding is prepared by adding five things. The dough consists of quartz stone powder of 40 kg which is the major item, powdered glass of 5kg, Katira gond powder of 1kg and a mixture of multani mitti and saji of 1 kg.
These are out on the hard floor and are thoroughly mixed till the mixture becomes homogeneous. After that, water around 20 liters is mixed into it till smooth non sticky dough get prepared. The dough is then kept for 8-10 hours.
STEP 2:PRESSING IT INTO THE MOULDS A small amount of prepared dough is taken and then rolled by hand on the base stone. It is then cut into knife into equal parts according to the item being prepared.
After this the dough is hand flattened into a chapatti and then further smoothed to a uniform texture with the help of a thapi (wooden tool). The chapatti thus formed is gently pressed into a mold by hand.
After that, a mixture of fine bajri (stones) and raakh (burnt wood dust) is put into the mold and I lightly pressed so that the dough takes the exact shape of the mold. The ash supports and protects the item when the mold is turned over or repositioned.
The extra dough is cut off with a knife and then the mold in turned upside down on the base stone and removed. It takes one or two days for drying.
STEP 3: 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.
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STEP 4: SHAPING 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
STEP 5: 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, in rounded vessel, it is done by putting it on the potter’s wheel.
The wheel is set in motion and the vessel is fixed at the center of the wheel. A little mount 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 or two days.
STEP 6: SMOOTHENING PROCESS The vessel is now ready in form. It is rubbed with regmaal to give a smooth 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 the knife by smoothening the vessel.
The process is repeated two or three times till the vessel becomes absolutely even. It is then left for drying. After it dries, it is again rubbed with sand paper.
STEP 7: COATING WITH MIXTURE After this process a solution of quartz powder of 10kg, powdered glass of 3kg, edible flour (maida) and water is made.
The vessel is dipped in this solution and taken out in such a way that it is evenly coated. It is then left for drying.
2. DECORATION The twice coated (first with slip then with engobe) pot, vase, cylinder or any other symmetrical form is placed on a slowly revolving potter’s wheel.
The area to be decorated is divided into two or four or other equal divisions to form a template for a repeating pattern. Motifs are carefully outlined in pencil, ensuring soft registration.
3. COLOURING Once the design of the vessel is complete the coloring 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 filled with a brush.
The vessel is left for drying. First background is painted then the inside part of patterns are painted. Ingredients: glass powder (200 mesh), borax (200 mesh), lead oxide.
4. GLAZING These ingredients are mixed with water and ground to prepare a homogeneous solution that functions as a low fire transparent glaze. The decorated ware is thoroughly cleaned by a small vacuum cleaner to ensure that it is dust free prior to glazing.
The item is carefully dipped in the glaze and set aside to dry. The use of lead oxide has been minimized over the years and wherever possible, efforts are being made to produce lead free pottery.
5. FIRING Blue Pottery is low fired, reaching a maximum of 800°C. Firing is done in traditional round updraft kilns about 8 feet high, enabling workers to load and unload the wear and make it stand upright inside the central space that functions as a funnel for the heat generated by the ignited fuel (wood in earlier decades, today we have shifted to diesel). The glazed ware is carefully arranged and stacked on the kiln shelves supported by different kinds of terracotta and quartz covered kiln furniture including stilts and saggars.
The fuel is lit underneath the kiln and the initial smoke is allowed to clear somewhere between 750800°C the glaze begins to melt, losing its opacity and becoming transparent, revealing the designs underneath. A complete firing takes 4-5 hours and it takes about 36 hours for the kiln to cool completely.
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TOOLS: The basic tools used in Blue Pottery are outlined below:
Chakki (Grinder):
The electrical grinding machine is used to grind the pieces of raw material (Saaji, Katria Gond, Multani Mitti and glass) into fine powder.
Molds:
Molds of desired shape and size are made out of Plaster Of Paris in which the articles are casted. These molds are long lasting if kept carefully.
Tarazu (Weighing Tool):
The dough is prepared by mixing Quartz Powder, Multani Mitti, Katria Gond, Saaji and glass in definite proportion. To weigh them the traditional weighing tool is used.
Jaali (Iron Sieve):
Iron sieve is used to sieve/filter all the grinded raw materials for filtering out unwanted and big particles.
Flattening Tool:
Made out of fired clay, a flattening tool is used to flatten the dough which is then either cut into tiles or put in the molds to take the desired shape.
Regmaal (Sand Paper):
Sand papers of different grains are used to make the surface of the product smooth. Generally the artisans use 60, 100 and 180 number of sand paper (more the number finer the grain) to rub the surface at different stages.
Chaak (Potter’s Wheel):
The artisans in recent years have started using electrical wheels instead of the traditional hand driven one. The potter’s wheel is generally used to make small piece, necks of the vases or base or a product.
Saancha (Iron Cutter):
For basic shape of tiles, photo frames etc. which have definite size and are flat in nature artisans use saancha to cut them. This makes the work easy, less time consuming and accurate.
Brushes:
Different numbers of brushes are used to paint beautiful motifs on the surface of a Blue Pottery product. Earlier the artisans used to make their own brushes using the hair from the squirrel’s tail. These brushes were long lasting but now with the ban on these material artisans buy brushes from market.
Koochi (Broom):
A small broom locally called as Koochi is made out of husk. It is used to brush off the dust generated while smoothing the surface with sand paper.
Patiya (Cement Plates):
Casted cement plates of certain shapes are used during firing to stack the final products on top of each other. This separation helps in flow of heat and avoids sticking of products. The shape of these plates is broad from behind and tapers in front. This shape fits well in a circular kiln and thus accommodates more products.
Patti (Iron Blade/ Knife):
The blades are used to remove the unwanted material from a product after casting and in order to give a uniform thickness to the product. The blades are also used to cut the dough. It is bent from front so that the scooping process becomes easy.
Bhatti (Heating Kiln):
Nali (Terracotta Stands):
To create gaps between two patiya’s three nali’s are used. The stacking is done by keeping the products on one patiya then placing the nali’s on three corners with the help of terracotta dough (which prevent unevenness) and then another patiya is kept on top of it.
The final products are fired in a traditional closed kiln made out of clay and brick. These are generally circular in shape to trap the heat and can accommodate an average of 50-60 products kept on a patiya (cement plates) and separated by a nali (terracotta stands). They are closed from above and wood is put from below.
Grinding Stone:
A small grinding stone is used to grind Multani Mitti, Saaji, Katira Gond and glass. These stones are found on river bed and are available in local market.
Base Stone:
It is a flat stone block on which the products are initially rubbed to smoothen the surface and remove unwanted material/coarseness.
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CHAPTER V
CORE ISSUES AND SCOPE FOR INTERVENTION
• GOVERNMENT SUPPORT • NGOs
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CORE ISSUES AND SCOPE FOR INTERVENTION
Core Issues Two of the major issues we noticed while researching wereIssues related to Kiln • Artisans working in Blue Pottery are struggling with this traditional wood kiln. They usually face the problem of uneven firing. They donot have have equipments and upgrade technology of temperature control, which increases the percentage of rejection. • This Kiln is totally wood based which requires 5 to 7 ton wood in one firing, costs of 5000/- to 6000/- which is itself a very important issue to highlight. A state like Rajasthan which is already suffers from the unavailability of wood because of semi desert condition. Even though the use of wood in firing abundantly is not appreciable.
Recommondation: • Urgent requirement of a substitute kiln to stop the use of wood kiln. • Gas Kiln can be an option but the electric klin may be prove unsuccessful because of irregular availability of electricity and desiel kiln may prove costly if it compare to the today’s date production. • Need to design the furniture of the Kiln for even firing and equipments to control and regulate the temperature.
Issues related to preperation of Body Composition (Khamir) • Use of measuring euipment is not standardised. • No fixed trend to record the quantity of materials at every time they mixed, so that one can register the false step. • The addition of water in composition is based on approximation. No fixed measuring equipment is used. • There is an important issue which has been highlighted during the intraction with artisans was their earlier method of preperation dough (khamir). It was prepared with manual beating of dough with the sprinkle of water. This dough contains more plasticity, which can be helpful in reducing breakage and cracks. The old arisans recommend this method but because of its laboriousity they use the regular method of dough preperation.
Recommondation: • Workshop should be conducted for the artisans to demonstrate the use and make them realise the importance of using standradized measuring equipments for better results. • Need to conduct workshops to educate artisans to maintain regular records of every material in composition which help them to reduce errors happened due to approximation. • A machine can be designed to resoulve the issue of dough preperation according to the earlier traditional method, which require less water and give more plasticity and can prove production friendly
Some other common issues1. Percentage of literacy and skill is low among laborer’s- Mostly tribes are involved in this profession and literacy percentage is low in these people People who are involved this field have low experience.
3. Deficiency of finance- Most of the people engaged in blue pottery work are facing problems in arrangement capital.
4. No Standard method of preparation of dyeVery few skilled artisans know the procedure of 2. Non-existing of Marketing systems- Blue making dyes and taking moulds. Blue Pottery pottery is completely export based. Due to lack of productrequires different mould for every part of education and training artisans are fully dependent the body. upon exporters; they cannot interact with domestic producers.
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Scope for InterventionOther than the ways already mentioned above, here are some other things that can be done for the betterment of this craft1. Government role in the promotion blue pottery should be encouraged in Jaipur. Government should provide some rebate on blue pottery products. 2. Artist of Blue Pottery should be given some training in respect of making of blue pottery. Some special training centersshould be established. 3. Advanced marketing strategies should be introduced in blue pottery industry. 4. Some innovative techniques should be introduced in the making of blue pottery. 5. Some special schemes should be introduced for blue pottery industry in Jaipur.
Neerja International Inc. ABOUT NEERJA INTERNATIONAL Neerja International is the world renowned and well-acclaimed leader and largest Manufacturer and Exporter of Blue Pottery. It’s Warehouse and Showroom are housed in the Pink City of Jaipur in India. Neerja International dates back to 1978 and was founded by the enthusiastic Ms. Leela Bordia.
Owing to her entrepreneurial zeal, she has been instrumental in creating more than 300 Blue Pottery Products and 1000 unique designs of her own vision and imagination. The Company supports hundreds of Blue Pottery craftsmen and their families in and around Jaipur and work jointly to create a self reliant atmosphere in the villages where this craft is still professed.
WORK CULTURE AND PRACTICES Neerja International’s work culture and practices are based on building self reliant innumerable units right at the place of residence of the artisans itself. Since the time that Mrs. Leela Bordia started going to the villages, her whole concept was to let the craftsmen live at their own abode and do farming along with making pottery. She always wanted that the craftsmen still enjoyed their houses and farm land rather than coming to live in a cramped room in the city. This helps the crafts people to work at your own will and wish with no pressure of time and money, to shed. Neither do they have to take the trouble of coming to a factory workshop or some other place for creating Blue Pottery items.They can stay at home and work as well as cater to the need of the family and farming. Normally the women of the house, finish their daily chores and help their husbands in making pottery. They could be doing one of the various processes.
The company promotes new and innovative designs and items on a regular basis for the Blue Pottery items. The company appreciates and encourages new streams of thoughts and ideas from its creative artists which give rise to new business opportunities and gains for the company as well as the craftsmen. Novel and Innovative Ideas for Blue Pottery objects are the USP of Neerja International.
CONCLUSION Blue Pottery is commonly acknowledged as an exceptional craft of Jaipur. At present blue pottery industry provides employment to many people in Jaipur. It is labour concentrated and uses conventional techniques for production of pottery. Blue Pottery making is a lengthy process. The artisans of most of the units are using traditional designs for products or depend on exporters. Blue pottery is resistant, germ-free, and suitable for daily use. Advanced marketing strategies should be introduced in blue pottery industry. This industry is facing ignorance from government and outside world. This industry is waiting for effective Government response and innovative marketing techniques should be increased.
References 1. Jaipur Blue Pottery A Tribute - Leela Bordia 2. https://studiopotter.org/contributions-women-development-jaipur-blue-pottery. 3. An Interactive Design Study of Jaipur Blue Pottery Need Assessment Survey Report MSME Design Clinic Scheme, 2011.Swati Gupta. Blue Art Pottery Samiti. 4. Statement of case for blue pottery of Jaipur in Rajasthan. 5. Managing Dwindling Glaze of Jaipur Blue Pottery: A case study of Rajasthan,India. International Journal of Research Science & Management
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