Terracotta Pottery In India
Terracotta Pottery In India
Treasa Benny
Prologue The ancient art of pottery in India dates back to the Indus Valley Civilization (3300 to 1700 BC) which was one of three earliest civilizations (of the near east and south Asia) along with ancient Egypt and Mesopotamia. Pots were primarily created to store liquids like water and oils as well as animal fats and grains. It was observed that these pots could hold their shape and served as successful preserving vessels. Over time, materials used to create these vessels were also used to create decorative works of art as well as sculptures of worship; Terracotta being one of those materials. ‘Terracotta is the term normally used for sculpture made in earthenware, and also for various practical uses including vessels (notably flower pots)’ and other materials. The process of creating pottery from Terracotta is still vastly traditional and extremely labour-intensive. This craft requires extensive knowledge of the material as well as skills in shaping and forming to give each piece its unique character. A majority of the potters reside in rural areas of the country and are largely of the older uneducated generation. In recent years, this craft evolved into a relatively seasonal business, mostly when new pottery is required during the festivals or religious rituals. The nature of the material itself allows it to last for long periods of time, which lessens the demand to supply ratio. During the rest of the year, the potters take up other jobs (mostly agriculture) as a source of income to support themselves and their families. With technological advancements and lack of government funding, it’s rather sad to see this beautiful craft slowly being overtaken by “trendy” works of art. The craftsmen consider pottery more of a passion than a profession because of its integral role in Indian heritage. The material and the skill is woven into the lives and the cultural history of the people. The irony lies when said craftsmen prefer that their successors do not take up the craft because they won’t be able to earn a decent living. Not to mention traditional handicrafts are being replaced with utilitarian goods like plastic. Another reason for the decline of this craft is that the craftsmen have little to no knowledge in business and trade. Considering that they largely reside in rural parts of the country, traditions are prioritized over basic education. I truly believe once people take notice of this tradition, these artists’ skills will be appreciated for what they deserve. The beauty of this craft is that it is regional. Terracotta art created in the North contrasts the art you would find in the South. The minuscule differences found across the regions adds to this crafts’ rarity and allure. With the help of this project, I’m attempting to bring awareness and recognition to the skills of these artisans.
This book was designed and curated for the MFA-1 Graduate Program 2020 assignment “Design A-Z, History + Action� guided by Prof. Coogan. Special thanks to all of my peers and faculty in this program who helped in the creation of this book. Title text used throughout the book is set in Gavitas One, made by Sorkin Type Co, body text is set in Minion, created by Robert Slimbach and released in 1990 by Adobe Systems.
Contents PART I- HISTORY & ORIGINS
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Pottery in the Indian Subcontinent Growth of Terracotta The Craft and the Craftsman
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PART II- REGIONAL DISTRIBUTION
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West Bengal Madhya Pradesh Gujarat Bihar Rajasthan Tamil Nadu
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PART III- POPULAR MOTIFS
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Warli Kalash Ghadai Khavda Gundiyali Traditional Kutch Pokhran
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TERRACOTTA POTTERY IN INDIA
PART I
History & Origins
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PART I
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TERRACOTTA POTTERY IN INDIA
HISTORY & ORIGINS
Pottery in the Indian Subcontinent Pottery in the Indian subcontinent has an ancient history and is one of the most tangible and iconic elements of Indian art. In fact, being an agricultural country, pots (matki) for storage of water and grains were in demand. The real beginning of Indian pottery began with the Indus Valley Civilization and the art of shaping and baking clay articles as pottery, earthenware and porcelain has continued through the ages. While pottery and earthenware are definitely utilitarian and often decorative, porcelain and studio pottery belong to the sphere of art. Today, it is a cultural art that is still practiced extensively in the Indian subcontinent. Until recent times all Indian pottery has been earthenware, including terracotta.
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PART I
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TERRACOTTA POTTERY IN INDIA
HISTORY & ORIGINS
Growth of Terracotta The word ‘terracotta’ means baked sand, and as the name suggests, it is used to refer to items made out of earthen clay. It is the art of creating glazed or unglazed porous earthenware, figurines, and other decorative materials from clay which is dried and fired in temperatures of around 1000°C giving it a distinctly orange, red, brown, yellow, or grey color. Terracotta, a functional art, is the first creative expression of civilization. In fact, the use of the five elements: air, water, earth, fire, and ether in Terracotta art-form lend it both an air of mystery and auspiciousness as per Hindu beliefs. From the common earthen pot that stores drinking water to the giant-sized cultic equestrian figures of the rural Tamil deities of the Aiyyanar cult, terracotta art occupies a central position in Indian life and culture. It would be a long search for a village or locality in India where a potter is not to be found. In the world of Indian terracotta, we find the shared expression of an entire community. Terracotta art bears testimony to the varied and ancient traditions of its practice in India over five millennia. Having always had their existence outside the rigid rules of the shilpashastras or the constituted Hindu canons governing artistic expression, terracotta art enjoys enormous freedom in terms of imagination and conception.
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PART I
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TERRACOTTA POTTERY IN INDIA
HISTORY & ORIGINS
The Craft and the Craftsman “There is a real process to making pottery. First I take sand from the banks of the river, then immerse it in water pits for three days. Afterwards the ball of wet mud is placed on an electrically operated rotating wheel, where I roll it into the shape of a pot with my bare hands. Then I bake it until it turns hard in the heat. When the pots are hardened, they are polished with terracotta or black colouring and left in the sun to dry. Once the end products are ready, the women carry them in large cane baskets, balancing them on their heads as they take them to sell at the market.� - A potter, or kumbharwada, goes about his trade.
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PART I
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TERRACOTTA POTTERY IN INDIA
HISTORY & ORIGINS
What is interesting to note is that Terracotta art and pottery contributes massively to India’s rich culture and traditions and has great significance in the lives of people, across the various states of India. Terracotta in is not just a means of livelihood or a skill; it is an art that has sustained for generations in the rural areas of the country. Finery, decoration, the natural saffron colour and experiments with innovative shapes are some of the features that make this art turn heads. From flower pots, terracotta chimes to the thirst-quenching suraahi and matki, pottery is practised across the length and breadth of the country. A visit to the countryside and “potter villages” spaeaks volumes about the economic importance of this craft. In many parts of India, along with subsistence agriculture, people engage in pottery using traditional manual potter’s wheels and kilns, making earthenware an integral part of haat, bazaars and urban market spaces, especially during the festival season.
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TERRACOTTA POTTERY IN INDIA
PART II
Regional Distribution
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PART II
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TERRACOTTA POTTERY IN INDIA
REGIONAL DISTRIBUTION
West Bengal
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PART II
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TERRACOTTA POTTERY IN INDIA
West Bengal has a rich tradition of art and craft and terracotta art is one of them. In fact, rural areas of the state are a treasure trove of finely crafted terracotta pots, figurines including those of beautiful horses and other items, small and large, of practical use as well as decorative. Some of the well known towns for Terracotta art-form are Murshidabad, Jessore, Birbhaum, Digha, and Hooghly.
REGIONAL DISTRIBUTION
The art form came to this state in the 16th century with the influence of Vaishnavite movement which found expression in Terracotta sculpting on Krishna temples built by them.
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PART II
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TERRACOTTA POTTERY IN INDIA
REGIONAL DISTRIBUTION
Madhya Pradesh
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PART II
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TERRACOTTA POTTERY IN INDIA
Madhya Pradesh is one state which in addition to its huge forest reserves is also rich with grasslands, date palm trees and earthen clay. This central Indian state has a rich tradition of creating terracotta figures for rituals as well as for day to day uses. Bastar in Madhya Pradesh is very well known for its rich culture and tradition of making Terracotta pottery. The tribals of Bastar make beautiful designs and intricate statues of animals such as horses, elephants, and birds as well as beautiful, traditional temples made of clay. The statues are
REGIONAL DISTRIBUTION
also used for making sacrifices to their diety. The art of moulding terracotta in Madhya Pradesh shows a mature ability, the pantheon being even more varied and localised. In the rural areas, it is common to see terracotta animal figures placed under trees and in shrines made by potters.
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PART II
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TERRACOTTA POTTERY IN INDIA
REGIONAL DISTRIBUTION
Gujarat
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PART II
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TERRACOTTA POTTERY IN INDIA
Terracotta artisans from Gujarat, especially from Gundiyali in Bhuj district, use the potter’s wheel to create exquisite hand-painted clay pots with geometrical patterns almost identical to the ones excavated from the sites of Indus Valley civilization. Other terracotta items popular in the state include the votive figures of animals like horses, cow, elephants, tigers, bulls, buffalos, and even insects which are placed in shrines by devotees. States like Gujarat and Rajasthan have earned a distinctive reputation in the area of handmade art and pottery due to hand-painted exotic white terracotta jars. Gujarat is famous for its beautiful,
REGIONAL DISTRIBUTION
hand-painted clay products which are made using the wheel. The most common of these include clay pots which are designed to perfection and decorated with eye-catching geometrical designs and figures of fish, etc. The womenfolk are actively involved in decorating the earthen wares.
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PART II
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TERRACOTTA POTTERY IN INDIA
REGIONAL DISTRIBUTION
Handicrafts of Kutch Khavda’s pottery is an art form of Khavda, North Kutch (a city in the state of Gujarat). While the men do all the throwing in terracotta, the women handle all the surface decoration which in this northern Kutch village of Ludia is primarily in the form of painting. The potter gets mud from a specific acre (a lake) area near the village. It is called ‘Rann ka mitti’. This soft clay is shaped into a pot on a potter’s wheel and left to dry in shade, then Kumbhar women use red, black, and white clay-based paints to decorate each piece of pottery with distinct community-specific designs. After a while, it is cleaned and put in the sun to dry and then baked in a furnace, powered by simple and locally available fuels of dry wood and cow dung. The vessels are coated with a thin wash of geru (red color). The pots of Khavda get their red color from Geru, a type of soil (ocher/ umber), and the black and white dots and stripes are also made with natural material. Finished pieces lie aside, ready for drying. The terracotta pots of Khavda are distinct from the ones we may see elsewhere, because of their painting and form which is a result of repeated cleaning at every stage of the process of their making. Traditionally, potters shared a very close relationship with different communities in the villages as the communities were totally dependent on the potters to supply the earthenware to not only run the kitchens but also to observe various rituals associated with festivals and related occasions of birth, marriage, and death. The potters work very closely with their surrounding environment. Natural resources such as clay, water, leaves of a plant called ‘Jaru’ (local name), thorns, and tender stems of ‘Prosopis Julifera’, ‘white clay’, and black stone is required by the potters for activities related to the craft. Clay is used to making pottery items, water is used to prepare the dough of the clay, leaves of ‘Jaru’, thorns and stems of ‘Prosopis Julifera’ are used to cover the kiln during firing the vessles, ‘white clay’ and ‘black stone’ are used for decorating the vessels. All these used to be available to the potters very easily and free of cost.
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PART II
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TERRACOTTA POTTERY IN INDIA
REGIONAL DISTRIBUTION
Bihar
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PART II
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TERRACOTTA POTTERY IN INDIA
In Bihar, the art of Terracotta was commenced during the reign of Mauryan Emperors around 200-300 BC. Since then, Bihar has been the flagship state of India when it comes to procuring high-quality, and marvellous terracotta creation. Terracotta horses crafted in Darbhanga have worldwide popularity due to their rainbow colours. Apart from houses, elephants, lamps, and
REGIONAL DISTRIBUTION
flower pots that are normally seen on the rooftops of traditional-themed hotels and eat-outs are quite prevalent as well. Clay elephants are placed on roof tops to signify marriage in the house.
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PART II
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TERRACOTTA POTTERY IN INDIA
REGIONAL DISTRIBUTION
Rajasthan
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PART II
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TERRACOTTA POTTERY IN INDIA
Rajasthan has an age old tradition of terracotta art and the state is well known for its various distinctive terracotta articles. The arid state also has a special connection with clay and terracotta as people in villages carry water from distant sources to their homes in terracotta pots. Moreover, their daily worship is connected to terracotta idols of deities. Alwar in Rajasthan is famous for making paper-thin light-weight pottery, also known as Kagzi while Pokhran is known for red and white terracotta articles with incised geometrical patterns. Terracotta horse figures, Ganesha idols, as well as idols of local deities like Nag Dev or the serpent god, Bhairav, and other heroes made in Molela are popular in the state. Bikaner district is famous
REGIONAL DISTRIBUTION
for colorful pottery items painted with lac colors. Terracotta toys and animal figurines are sold in village haats or markets as well as in fairs. The art of making these toys is a legacy from the ancient Kalibangan site of Indus Valley civilization in Rajasthan. The clay used by artists comes from local ponds. Coarse clay is used for plaques and mixed with donkey dung collected by women folk in the proportion of 1:3 making the clay suitable for molding.
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PART II
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TERRACOTTA POTTERY IN INDIA
REGIONAL DISTRIBUTION
Terracotta of Molela Molela is internationally known; mainly for its production of brightly painted terracotta plaques and figurines of the local deities and gods. These clay gods are installed in the temples of towns and villages. Deities and gods are often depicted riding on a horse, a bull, a pig, a dog and even a crocodile. Molela ”peasant potters” descend from a tradition handed down, within families for over 5000 years and are today still satisfying a need for functional (water pots, cooking vessels etc.), decorative as well as religous ceramics. A potter belongs to the many varieties of the Caste of Kumhar (potter) which in some cases have a close relationship with religous ceremonies.Two main types of earthenware clays are extracted from a local river bed; a pure clay and a sandy clay. The dry clay is beaten and then sieved with a wire mesh to separate the stones and other impurities. The soft, purer clay is used mainly for throwing the functional wares. It dries to a grey colour which after firing turns terracotta red / brown or even a lustrous black finish (if smoke-fired in a closed kiln). When the clay is mixed with 5 -10% donkey dung it is ideal for building the plaques and other sculptural pieces. The impure clay, contains plenty of sand, is ideal for throwing the ” supporting - pots”(called Gher) used in the construction of the kiln, and fires to a light pink colour.Nowadays, since the impure clay has far too much sand, 25% pure clay is added. Slips (clay colurs) are only used on the functional wares.White slip is made from a white mineral known as Khadi. White colour is powdered Mica (quartz rich rock), turning a greenish white afer firing. Black is achieved by the mixing of carbon and water. The carbon is scraped from bread pans and burnt coconut skins. Slips are mainly used on the functional wares while the icons are painted with watercolors after the firing.
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PART II
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TERRACOTTA POTTERY IN INDIA
REGIONAL DISTRIBUTION
Tamil Nadu
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PART II
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TERRACOTTA POTTERY IN INDIA
Tamil Nadu, the temple state of India and one steeped in thousands of years of history and rich cultural heritage is known for making large terracotta horses. In fact, villages of the state follow a tradition of having a huge terracotta horse figure guarding its entrance. This horse is a companion of Aiyyanar, the Tamil Village God. His colorful statues are also flanked by large white horses and elephants or the lord is depicted riding on them. These statues are prepared by mixing sand and straw to clay to get a certain consistency and wood pieces covered in clay are used for legs. The rest of the ceramic pieces including the head and the accessories are separately created and joined on an auspicious day and fired in a straw and cow dung kiln covered with mud. Nowadays moulds
REGIONAL DISTRIBUTION
have come to be used for creating these horses given their popularity. Apart from Aiyyanar and his companions, shrines of other village gods and goddesses are also represented by terracotta statues. These include the Naga or Serpent shrine, Ganesha idols, etc. Apart from religious figurines, daily use items like water pots, cooking pots, grain storage containers, etc. are also made using Terracotta. As per legends, the potters of Tamilnadu, also known as kuyavar or velar, trace their origin to the heavenly master craftsman Vishwakarma.
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TERRACOTTA POTTERY IN INDIA
PART III
Popular Motifs
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PART III
Warli
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TERRACOTTA POTTERY IN INDIA
Warli painting is a style of tribal art mostly created by the tribal people from the North Sahyadri Range in India. This tribal art was originated in Maharashtra, where it is still practiced today. The Warli culture is centered around the concept of Mother Nature and elements of nature are often focal points depicted in Warli painting. These shapes are symbolic of different elements of nature.
POPULAR MOTIFS
The circle and the triangle come from their observation of nature. The circle represents the sun and the moon, while the triangle is derived from mountains and pointed trees.
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PART III
Kalash
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TERRACOTTA POTTERY IN INDIA
The Kalash design originated from the state of Gujarat. The highly decorative motifs make the pottery a popular decor item for many households. Bright saturated colors are often used and make these easily distinguishable from other common terracotta designs.
POPULAR MOTIFS
These pots are also commonly used for poojas (religious ceremonies) and other auspicious occasions.
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PART III
Ghadai
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TERRACOTTA POTTERY IN INDIA
This motif was named after the ageold technique called “Ghadai” used by traditional potters of Kutch (in the state of Gujarat) to create large objects. In this technique, a basic form is first thrown on the wheel. After that, using different sized round stones and a “paddle”, a desired shape and size is beaten out of it. While it looks deceptively simple, it requires a lot of skill and hard work. Women paint according to the community for whom the pot is made, and is usually done in black, white and red. Black is naturally found in stone from the landscapes around Kutch.
POPULAR MOTIFS
White is china clay, and red is made from geru (iron oxide). Bamboo brushes are used for painting. A woman achieves symmetry in her painting through practice. Women paint many pots of similar designs, but each one has an element of uniqueness to it. The beautiful bold lines and motifs are one of the characteristics of Kutch pottery.
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PART III
Khavda
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TERRACOTTA POTTERY IN INDIA
Khavda pottery, unchanged through centuries, is the art of making pottery with a special mud, found near the village lake called, ‘Rann Ki Mitti’. The fine mud is put into water to soften it and takes any shape easily…Used on a potters’ wheel called ‘chakda’ and shaped with hands, its special feature is its colour and the paintings adorning it. Once it takes shape, it is cleaned, sun dried and then baked in a furnace. The vessels are then coated with a thin wash of ‘Geru’, a type of soil which gives it the special colour.
POPULAR MOTIFS
The womenfolk then paint the items, by using natural colours. Frayed bamboo twigs is used to paint the natural colours. Blackish red is got by pounding the stone, ‘Geru’ and leaving it in water. The white is ‘khari’ mitti ( fine soil) mixed with water.
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PART III
Gundiyali
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TERRACOTTA POTTERY IN INDIA
Gundiyali is essentially a potters’ village, with skilled craftsmen whose forefathers migrated here from Sindh (Pakistan) a few hundred years back. Gundiyali pots resemble ancient painted Grey-ware pottery and the patterns that are painted on them also follow a similar aesthetic language. This human need for adornment and decoration is timeless. The pots of Gundiyali get their red colour from Geru, a type of soil (ocher/ umber), and the black and white dots and stripes are also made with natural material.
POPULAR MOTIFS
The terracotta pots of Gundiyali are distinct from the ones seen elsewhere because of their smooth finish which is a result of repeated cleaning at every stage of the process of their making.
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PART III
Traditional Kutch
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TERRACOTTA POTTERY IN INDIA
Painted Terracotta, an age old tradition from the times of Indus Valley civilization, is practiced today by only a few artisans in Kutch and Surendranagar region of Gujarat. Locally available clay is thrown on the wheel to create pots of various sizes while the extensive array of shapes are created from the same material through the technique of hand molding. Bamboo stick brushes are then utilized to create dramatic patterns in black and white obtained from charcoal and lime powder based colors.
POPULAR MOTIFS
Traditionally, the men create an extensive array of shapes, while the women handle the surface decoration primarily in the form of painting. Although pottery is a known craft across the civilizations, only the potters of Kutch know the distinct tapping technique.
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PART III
Pokhran
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TERRACOTTA POTTERY IN INDIA
Pokhran is renowned for white and red clay articles with geometric designs. Producing this style of pottery is laborious and a time consuming procedure that involves beating and grinding the clay by the craftspersons that results in its particular texture and fineness. The process of refinement requires great skill since it is quite arduous to manipulate the clay in order to craft the items.
POPULAR MOTIFS
The Pokhran products are reputed to be durable, tough and are known to be long lasting. At every stage of making, the master’s expertise and careful judgement plays a part in producing the final product.
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External Links https://en.wikipedia.org/wiki/Pottery_in_the_Indian_subcontinent http://arthistorysummerize.info/Art./ceramic-and-pottery-in-india-in-ancient-times/ https://www.culturalindia.net/indian-crafts/indian-pottery.html https://www.ellementry.com/blog/the-history-of-terracotta-in-india https://www.indiatimes.com/news/india/rakhigarhi-is-now-the-biggest-harappan-excavation-site-even-bigger-than-mohenjodaro-231896.html https://www.outlookindia.com/outlooktraveller/explore/story/70059/5-rare-indian-pottery-traditionsyou-should-know-about https://www.thestatesman.com/lifestyle/the-dying-culture-of-pottery-in-india-1502765323.html http://www.thesundayindian.com/en/story/dying-art-of-terracotta-pottery-gets-new-life/5/10256/ https://www.theguardian.com/world/2008/feb/21/india-art https://www.jstor.org/action/doBasicSearch?Query=indian+terracotta
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https://timesofindia.indiatimes.com/life-style/health-fitness/health-news/5-reasons-why-you-mustdrink-water-from-a-clay-pot-or-matka-in-summers/articleshow/75353942.cms https://timesofindia.indiatimes.com/city/allahabad/allahabad-potters-lives-to-get-a-make-over-soon/ articleshow/59760125.cms https://www.npr.org/sections/goatsandsoda/2016/10/25/498874275/the-story-behind-the-indian-lampthat-donald-trump-lit https://cultureandheritage.org/2017/10/terracotta-art-of-india.html https://indianexpress.com/article/lifestyle/art-and-culture/pottery-types-timeless-craft-tradition-eco-friendly-khurja-khavda-longpi-6090985/ https://contentwriter.in/terracotta-art-india/ https://mediaindia.eu/culture/terracotta-clay-art-an-ancient-indian-craft-still-going-strong/
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