The Black Pottery of NIZAMABAD
“Just as the universe is contained in the self, So is India contained in the villages’’ -Mahatma Gandhi
“Just as the universe is contained in the self, So is India contained in the villages’’ -Mahatma Gandhi
For all the Black Potters . . .
For all the Black Potters . . .
Acknowledgmen Acknowl edgment t
Any attempt at any level cannot be completed s uccesfully without the support and guidance of learned people. I express my immense gratitude to my mentor, Mr. Shouvik Bose (Associate prof. FC-dept) who FC-dept) who encouraged me to come up with this project and helped me throughout. I thank Mrs. Sreenanda palit (CC- FC dept.)for dept.) for inspiring me about the craft. I am also thankful to Facebook’s Nizamabad Black Black Pottery Team who who provided me the contacts of the potters and the organizations. Last but not the least, my f riend, Kratikesh Mishra, Mishra, who helped and accompanied me throughout the field visit.
Acknowledgmen Acknowl edgment t
Any attempt at any level cannot be completed s uccesfully without the support and guidance of learned people. I express my immense gratitude to my mentor, Mr. Shouvik Bose (Associate prof. FC-dept) who FC-dept) who encouraged me to come up with this project and helped me throughout. I thank Mrs. Sreenanda palit (CC- FC dept.)for dept.) for inspiring me about the craft. I am also thankful to Facebook’s Nizamabad Black Black Pottery Team who who provided me the contacts of the potters and the organizations. Last but not the least, my f riend, Kratikesh Mishra, Mishra, who helped and accompanied me throughout the field visit.
Contents
1.
2. 3. 4. 5. 6.
7. 8. 9. 10. 11. 12.
13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.
Indian pottery ....................... ......................... .......................... ......................... .... The past ....................... ......................... .......................... ......................... ...... Legends ......................... ......................... .......................... ......................... ..... The different kinds ....................... .......................... ......................... ......... Religious importance ...................... ......................... .......................... ........ Introduction ...................... .......................... ......................... .......................... ....... Nizamabad: Potters’ village ....................... .......................... ......................... .... Craft Cluster ....................... .......................... ......................... .......................... .... General characteristics of the district ....................... .......................... ............ Location and geographical area ......... ......................... .......................... ............ Forest .......................... ......................... .......................... ......................... ....... Topography ......................... .......................... ......................... ...................... Profile of the villagers .................. ......................... .......................... ................... Geographical area of production .......... ......................... .......................... ........ Geographical Indication ....................... .......................... ......................... .......... Historical record of the craft ....................... .......................... ......................... .. Bidriware ....................... ......................... .......................... ......................... ............ Craft production process ...................... ......................... ........................ ........... . Resources ......................... .......................... ......................... .............. ............ Tools ...................... ......................... .......................... ......................... ............. Understanding clay ....................... ......................... .......................... .......... Steps involved .......................... ......................... .......................... .................. Production process – Visuals ...................... .......................... ......................... .... Local terms ....................... .......................... ......................... .......................... ......... Role play ......................... .......................... ......................... .......................... ........... Markets ......................... .......................... ......................... .......................... ............ Issues in Black pottery value chain ........................ .......................... ................. Challenges and Problems ........................ ......................... .......................... ......... Helping Hands ......................... .......................... ......................... .......................... Product review ...................... .......................... ......................... ......................... .... Major craft events ....................... .......................... ......................... ..................... Award winning potters ...................... .......................... ......................... ............. Potters’ interview .......................... ......................... .......................... .................... Bibliography ........................ ......................... .......................... ......................... .....
1-4 2 2 3 4 7 8-11 13 15 16-19 19 19 20-21 22-23 24-25 26-27 28 29-36 31 31 32-34 35-36 37-67 69 70-71 72-73 74 75 76 77 78 79 80 83
Contents
1.
2. 3. 4. 5. 6.
7. 8. 9. 10. 11. 12.
13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.
Indian pottery ....................... ......................... .......................... ......................... .... The past ....................... ......................... .......................... ......................... ...... Legends ......................... ......................... .......................... ......................... ..... The different kinds ....................... .......................... ......................... ......... Religious importance ...................... ......................... .......................... ........ Introduction ...................... .......................... ......................... .......................... ....... Nizamabad: Potters’ village ....................... .......................... ......................... .... Craft Cluster ....................... .......................... ......................... .......................... .... General characteristics of the district ....................... .......................... ............ Location and geographical area ......... ......................... .......................... ............ Forest .......................... ......................... .......................... ......................... ....... Topography ......................... .......................... ......................... ...................... Profile of the villagers .................. ......................... .......................... ................... Geographical area of production .......... ......................... .......................... ........ Geographical Indication ....................... .......................... ......................... .......... Historical record of the craft ....................... .......................... ......................... .. Bidriware ....................... ......................... .......................... ......................... ............ Craft production process ...................... ......................... ........................ ........... . Resources ......................... .......................... ......................... .............. ............ Tools ...................... ......................... .......................... ......................... ............. Understanding clay ....................... ......................... .......................... .......... Steps involved .......................... ......................... .......................... .................. Production process – Visuals ...................... .......................... ......................... .... Local terms ....................... .......................... ......................... .......................... ......... Role play ......................... .......................... ......................... .......................... ........... Markets ......................... .......................... ......................... .......................... ............ Issues in Black pottery value chain ........................ .......................... ................. Challenges and Problems ........................ ......................... .......................... ......... Helping Hands ......................... .......................... ......................... .......................... Product review ...................... .......................... ......................... ......................... .... Major craft events ....................... .......................... ......................... ..................... Award winning potters ...................... .......................... ......................... ............. Potters’ interview .......................... ......................... .......................... .................... Bibliography ........................ ......................... .......................... ......................... .....
1-4 2 2 3 4 7 8-11 13 15 16-19 19 19 20-21 22-23 24-25 26-27 28 29-36 31 31 32-34 35-36 37-67 69 70-71 72-73 74 75 76 77 78 79 80 83
Indian Pottery
P
--ottery ottery making in India has been a much s oughtafter vocation. The roots of Indian pottery are entrenched deep into its history. In fact, Indians learnt and used the art of pottery even when history was non-existent. The invention that changed the face of the world – the potter’s wheel, had come to the Indians long back, sometime in the distant past. Men made pottery primarily to meet their daily requirements i.e. for utilitarian purposes. Natural as it is to human beings, creativity took its own course and men started using pottery
for decorative purposes as well. The damp clay molded in different shapes and sizes are artistic expression of the vision and moors of the society. Pottery is the measure of a country’s civilization. Being one of the oldest crafts, man has expressed his feelings and his aesthetics in clay. A piece of pottery has a visual message in its shape and color. It is the most sensual of all arts. It is not only to be looked at, but also to be handled carefull y. Even today, the story of Indian pottery remains undiminished in its glory and progress. Different regions of India have different and distinctive art of pottery. The same vase can be found in an astounding variety of shapes, sizes and designs – depending upon the location of its creation. The diversity of Indian handicrafts are all so much evident in its pottery traditions. Be it Bengal and terracotta, Rajasthan and blue pottery, Uttar Pradesh, Gujarat – every Indian state is special in its own traditions of pottery. Among the various media chosen by man for expressing his joy through art, music or literature, the simplest has been soft and malleable clay. Nimble fingers mould the most beautiful form and expression. Clay is such a fascinating medium that if a lump of it is given to a child, he instinctively creates things out of it. Pottery is the measure of a country’s civilization. Being one of the oldest crafts, man has expressed his feelings and his aesthetics in clay. A piece of pottery has a visual message in its shape and colour. It is the most sensual of all arts. It is
01
Indian Pottery
P
--ottery ottery making in India has been a much s oughtafter vocation. The roots of Indian pottery are entrenched deep into its history. In fact, Indians learnt and used the art of pottery even when history was non-existent. The invention that changed the face of the world – the potter’s wheel, had come to the Indians long back, sometime in the distant past. Men made pottery primarily to meet their daily requirements i.e. for utilitarian purposes. Natural as it is to human beings, creativity took its own course and men started using pottery
for decorative purposes as well. The damp clay molded in different shapes and sizes are artistic expression of the vision and moors of the society. Pottery is the measure of a country’s civilization. Being one of the oldest crafts, man has expressed his feelings and his aesthetics in clay. A piece of pottery has a visual message in its shape and color. It is the most sensual of all arts. It is not only to be looked at, but also to be handled carefull y. Even today, the story of Indian pottery remains undiminished in its glory and progress. Different regions of India have different and distinctive art of pottery. The same vase can be found in an astounding variety of shapes, sizes and designs – depending upon the location of its creation. The diversity of Indian handicrafts are all so much evident in its pottery traditions. Be it Bengal and terracotta, Rajasthan and blue pottery, Uttar Pradesh, Gujarat – every Indian state is special in its own traditions of pottery. Among the various media chosen by man for expressing his joy through art, music or literature, the simplest has been soft and malleable clay. Nimble fingers mould the most beautiful form and expression. Clay is such a fascinating medium that if a lump of it is given to a child, he instinctively creates things out of it. Pottery is the measure of a country’s civilization. Being one of the oldest crafts, man has expressed his feelings and his aesthetics in clay. A piece of pottery has a visual message in its shape and colour. It is the most sensual of all arts. It is
01
not only to be looked at, but also to be handled carefully. No wonder then that pottery has been called the lyric of handicrafts. Lyrical because of its irresistible and universal appeal. But, it is the association of religion with this art that has given it a deeper significance and another dimension too. In a warm country like India, w ith the economy built on agriculture, pots for storage of water and grain were in demand. The Indus valley pottery was mostly decorative. The combination of design, concept and execution made it beautiful. The evolution of Indian ceramics began with the Harappan age and the art of shaping and baking clay articles as pottery, earthenware and porcelain has endured through the ages. While pottery and earthenware are distinctly utilitarian and often decorative, porcelain and studio pottery belong to the realm of art. Except for a few examples of Indian ceramics, which have been produced from a single mould, most of it is completely handmodeled, a tradition carried over to the 20th century.
The past There is evidence of pottery making, both handmade and wheel-thrown, from all over India. At Harappa and Mohenjodaro, pottery has been excavated showing that potter’s place was quite an important one in society. The craft was well advanced. Rectangular kilns for firing the product were in use. Seals, grain and water containers were made that were put to use effectively.
The place of the potter in the craft tradition of India is unique. India has more than a million potters. They are exquisite masters - men and women alike. Despite the hi-tech that has invaded the Indian scenario, it is doubtful if it will ever destroy the potter’s inherent creativity. Hopefully, new generations will perceive the worth of pottery.
The different kinds
Legends Legends reveal that Brahma created man out of clay. The same thing reflects when a potter creates so many pots and toys out of it. Hence, the name ‘Prajapati’ is given to a potter in India.
India is diverse in many aspects. And one can easily find this diversity in profusion in the domestic pottery that is found in innumerable shapes and sizes. This aspect is almost inseparable from any Indian scene. The common earthenware is unsophisticated. The shapes are natural, simple but attractive and true to the material. In India, the emphasis has been on the chasteness of the line to lend dignity to the form. Above all, it has to be superbly functional. The most common clay object is the all-purpose kullar (cup-like container) used for keeping water or tea and is sometimes decorated with geometrical and floral designs. Pottery used for festive purposes is particularly gay. The ones used for storing grain or water is huge. There are immense variety of objects specially produced for the occasion like lamps f or Diwali, toys for Dussehra, pots for seedling at Sankranti and the gaily-painted pots for marriages. Common pottery comes in a bewildering profusion. Being functional, each has a special use. The differences between two pots, which
02
superficially look alike, are subtle. Besides their normal use, some products are also used for decoration as well. These are generally made with special attention by putting intricate designs (Karigari) on it. These are termed as Karigari pottery. Ashtrays, flower-vases, tea sets, paperweights, decorative animal figures are a few examples of Karigari pottery. The Indus valley civilization had a rich craft tradition as well as a high degree of technical excellence in the field of pottery making, sculpture (metal, stone and terracotta), jewellery, weaving etc. A lot of material information from excavations at Harappa, Mohenjo-daro etc. substantiate the craft tradition of the Indus valley civil ization. The craftsmen not only catered to all the local needs but surplus items were sent to ancient Arabian cultures via ancient sea routes. The Indus Valley Civilization was followed by the Vedic age (1500 B.C.), when the Vedas were written. There are numerous references in the Vedas on artisans involved in pottery making, weaving, wood crafting etc. The Rig Veda in
03
not only to be looked at, but also to be handled carefully. No wonder then that pottery has been called the lyric of handicrafts. Lyrical because of its irresistible and universal appeal. But, it is the association of religion with this art that has given it a deeper significance and another dimension too. In a warm country like India, w ith the economy built on agriculture, pots for storage of water and grain were in demand. The Indus valley pottery was mostly decorative. The combination of design, concept and execution made it beautiful. The evolution of Indian ceramics began with the Harappan age and the art of shaping and baking clay articles as pottery, earthenware and porcelain has endured through the ages. While pottery and earthenware are distinctly utilitarian and often decorative, porcelain and studio pottery belong to the realm of art. Except for a few examples of Indian ceramics, which have been produced from a single mould, most of it is completely handmodeled, a tradition carried over to the 20th
The place of the potter in the craft tradition of India is unique. India has more than a million potters. They are exquisite masters - men and women alike. Despite the hi-tech that has invaded the Indian scenario, it is doubtful if it will ever destroy the potter’s inherent creativity. Hopefully, new generations will perceive the worth of pottery.
The different kinds
Legends Legends reveal that Brahma created man out of clay. The same thing reflects when a potter creates so many pots and toys out of it. Hence, the name ‘Prajapati’ is given to a potter in India.
India is diverse in many aspects. And one can easily find this diversity in profusion in the domestic pottery that is found in innumerable shapes and sizes. This aspect is almost inseparable from any Indian scene. The common earthenware is unsophisticated. The shapes are natural, simple but attractive and true to the material. In India, the emphasis has been on the chasteness of the line to lend dignity to the form. Above all, it has to be superbly functional. The most common clay object is the all-purpose kullar (cup-like container) used for keeping water or tea and is sometimes decorated with geometrical and floral designs. Pottery used for festive purposes is particularly gay. The ones used for storing grain or water is huge.
century.
The past There is evidence of pottery making, both handmade and wheel-thrown, from all over India. At Harappa and Mohenjodaro, pottery has been excavated showing that potter’s place was quite an important one in society. The craft was well advanced. Rectangular kilns for firing the product were in use. Seals, grain and water containers were made that were put to use effectively.
There are immense variety of objects specially produced for the occasion like lamps f or Diwali, toys for Dussehra, pots for seedling at Sankranti and the gaily-painted pots for marriages. Common pottery comes in a bewildering profusion. Being functional, each has a special use. The differences between two pots, which
superficially look alike, are subtle. Besides their normal use, some products are also used for decoration as well. These are generally made with special attention by putting intricate designs (Karigari) on it. These are termed as Karigari pottery. Ashtrays, flower-vases, tea sets, paperweights, decorative animal figures are a few examples of Karigari pottery. The Indus valley civilization had a rich craft tradition as well as a high degree of technical excellence in the field of pottery making, sculpture (metal, stone and terracotta), jewellery, weaving etc. A lot of material information from excavations at Harappa, Mohenjo-daro etc. substantiate the craft tradition of the Indus valley civil ization. The craftsmen not only catered to all the local needs but surplus items were sent to ancient Arabian cultures via ancient sea routes. The Indus Valley Civilization was followed by the Vedic age (1500 B.C.), when the Vedas were written. There are numerous references in the Vedas on artisans involved in pottery making, weaving, wood crafting etc. The Rig Veda in
02
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articular refers to a variety of pottery made from clay, wood and metal. It also refers to weavers and weaving.
of which continue today.
The period between 1st century B.C. and 1st century A.D. was a period of political turmoil as a result of foreign invasions from central Asia. The impact of these intrusions can be seen in the Buddhist sculptures from Taxila, Begram, Bamiyan, Swat valley etc. (all from the present day Pakistani North West Frontier province) which show a high degree of Greek influence.
Religious importance
The depiction of Buddha, having curly hair and wearing draperies, until date is the result of this Greek influence. The sculpture of the Kushan king Kanishka from this period depicting him wearing leather boots and a heavy warm coat amply reflects the influence of the central Asian Culture on Indian craftsmanship. Jewellery, sculpture, textile making, leather products, metal working etc. were the main crafts that inherited these foreign influences and assimilated them in accordance with the Indian milieu. The Gupta (AD 320-647) age is referred to as the classical period in Indian history. The points in the field of craft include the rock cut temples of Ellora and the Ajanta murals. These murals give us a realistic view of the lifestyle of that time. The craftsmen of this period, under royal patronage excelled in jewellery making, woodcarving, sculpture, stone carving and weaving. The Mughal era was the golden period. The Mughals not only invaded India and ruled it but also brought with them a rich heritage, which they had acquired from Persia. They introduced new techniques like inlay work, glass engraving, carpet weaving, brocades, enamelling etc. The famous Peacock Throne of the Mughals is one of the finest examples of gem inlay work and metal craft, having few parallels in world art. They also laid the foundation for the famous Mughal miniature painting, Petra dura or inlay work, enamelled jewellery and a host of other other craft traditions many
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The Black Pottery Despite the paramount role played by domestic earthenware, it is its religious ass ociation that gives it a far wider dimension. Each region, each village has a galaxy of deities deities to be worshiped on special occasions. Clay being at hand and comparatively inexpensive, it is not surprising that such a vast amount of religious earthenware gets proliferated in this field. These are classified under three heads: (a) figurines of divinities (b) ceremonial pottery and (c) votive offerings. In the first, Ganesh is the most popular god – the god of omen. Durga at Dussehra time and Saraswati, the Goddess of Learning are nationally worshiped. Festivals related to these deities give the potter a motivation to work on the fine art, as his creation is in high demand during those days.
05
articular refers to a variety of pottery made from clay, wood and metal. It also refers to weavers and weaving.
of which continue today.
The period between 1st century B.C. and 1st century A.D. was a period of political turmoil as a result of foreign invasions from central Asia. The impact of these intrusions can be seen in the Buddhist sculptures from Taxila, Begram, Bamiyan, Swat valley etc. (all from the present day Pakistani North West Frontier province) which show a high degree of Greek influence.
Religious importance
The depiction of Buddha, having curly hair and wearing draperies, until date is the result of this Greek influence. The sculpture of the Kushan king Kanishka from this period depicting him wearing leather boots and a heavy warm coat amply reflects the influence of the central Asian Culture on Indian craftsmanship. Jewellery, sculpture, textile making, leather products, metal working etc. were the main crafts that inherited these foreign influences and assimilated them in accordance with the Indian milieu. The Gupta (AD 320-647) age is referred to as the classical period in Indian history. The points in the field of craft include the rock cut temples of Ellora and the Ajanta murals. These murals give us a realistic view of the lifestyle of that time. The craftsmen of this period, under royal patronage excelled in jewellery making, woodcarving, sculpture, stone carving and weaving. The Mughal era was the golden period. The Mughals not only invaded India and ruled it but also brought with them a rich heritage, which they had acquired from Persia. They introduced new techniques like inlay work, glass engraving, carpet weaving, brocades, enamelling etc. The famous Peacock Throne of the Mughals is one of the finest examples of gem inlay work and metal craft, having few parallels in world art. They also laid the foundation for the famous Mughal miniature painting, Petra dura or inlay work, enamelled jewellery and a host of other other craft traditions many
The Black Pottery Despite the paramount role played by domestic earthenware, it is its religious ass ociation that gives it a far wider dimension. Each region, each village has a galaxy of deities deities to be worshiped on special occasions. Clay being at hand and comparatively inexpensive, it is not surprising that such a vast amount of religious earthenware gets proliferated in this field. These are classified under three heads: (a) figurines of divinities (b) ceremonial pottery and (c) votive offerings. In the first, Ganesh is the most popular god – the god of omen. Durga at Dussehra time and Saraswati, the Goddess of Learning are nationally worshiped. Festivals related to these deities give the potter a motivation to work on the fine art, as his creation is in high demand during those days.
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INTRODUCTION
Pottery is a basic craft of very ancient origin. It symbolises man’s creativeness in unison with nature. Moulded out of earth, man in his turn took the earth in his hands and shaped a whole world of teeming shapes out of it to extend the boundaries of his material existence and to express his creative spirit. From earliest times, the pot, whether moulded by hands or thrown on the potter’s wheel, has remained a symbol of man’s first craftsmanship and the ancient civilisations are judged by the degree of skill and beauty that is contained in their pottery. The potter’s wheel was the first instrument that used man’s inventiveness to design forms that could afford him both use and delight. It is a
by hand onto the etched grooves of the design, washed with water, and finally burnished to highlight the starry sparkle of the design against the black ground of the clay. They stand out with their striking designs of flowing lines and floral patterns on the surface. The Kumhars make articles out of clay which has a very fine texture and shapes very well to different forms. Articles include Gods’ and Goddesses’ statues, vases, cups and saucers, water jugs, plates, jars, flower pots, hookah, coin banks, s pice containers, etc. These products fetch rich market during fairs and festivals. This particular smooth black play is plentifully available in the district.
humble Indian craft that has a great tradition and “Black Pottery” of Pottery” of Nizamabad is one of them. “Black pottery” where double glazing and double firing is done in a totally sealed container. The distinctive black colour is imparted to the pottery by processing the products through a unique technique. After it is given shape and fired in kilns, the pottery is washed with a slip of powered mango bark and crude carbonate of soda. The surface is then polished with mustard oil; a sharp twig is used for decoration (Nakkashi). Then the product is subjected to smoke-firing, which results in its characteristic black shine. The beauty of the technique, however, lies in the engraving or Nakkashi, usually in floral patterns, which is executed on the unbaked pot with a fine bamboo twig. After firing, a powdered mixture of lead, mercury and tin or ‘Bukani’ is filled in
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INTRODUCTION
Pottery is a basic craft of very ancient origin. It symbolises man’s creativeness in unison with nature. Moulded out of earth, man in his turn took the earth in his hands and shaped a whole world of teeming shapes out of it to extend the boundaries of his material existence and to express his creative spirit. From earliest times, the pot, whether moulded by hands or thrown on the potter’s wheel, has remained a symbol of man’s first craftsmanship and the ancient civilisations are judged by the degree of skill and beauty that is contained in their pottery. The potter’s wheel was the first instrument that used man’s inventiveness to design forms that could afford him both use and delight. It is a
by hand onto the etched grooves of the design, washed with water, and finally burnished to highlight the starry sparkle of the design against the black ground of the clay. They stand out with their striking designs of flowing lines and floral patterns on the surface. The Kumhars make articles out of clay which has a very fine texture and shapes very well to different forms. Articles include Gods’ and Goddesses’ statues, vases, cups and saucers, water jugs, plates, jars, flower pots, hookah, coin banks, s pice containers, etc. These products fetch rich market during fairs and festivals. This particular smooth black play is plentifully available in the district.
humble Indian craft that has a great tradition and “Black Pottery” of Pottery” of Nizamabad is one of them. “Black pottery” where double glazing and double firing is done in a totally sealed container. The distinctive black colour is imparted to the pottery by processing the products through a unique technique. After it is given shape and fired in kilns, the pottery is washed with a slip of powered mango bark and crude carbonate of soda. The surface is then polished with mustard oil; a sharp twig is used for decoration (Nakkashi). Then the product is subjected to smoke-firing, which results in its characteristic black shine. The beauty of the technique, however, lies in the engraving or Nakkashi, usually in floral patterns, which is executed on the unbaked pot with a fine bamboo twig. After firing, a powdered mixture of lead, mercury and tin or ‘Bukani’ is filled in
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Nizamabad : POTTERS’ VILLAGE
The village is famous for a unique form of black pottery, and almost every family in the village is engaged in this home-based craft. The clay is procured from local ponds and mixed with a widely available local product – goat excreta. The objects are then formed on potter’s wheels that are run by electricity (when available), manually (when not). Designs are etched or painted, and the objects fired in ovens fueled with cow dung. Unlike many other artisans, the Nizamabad potters incur virtually no production costs, as most materials are freely available locally. Nevertheless, they live in abject poverty, as they are dependent on traders from Delhi and Mumbai, who purchase finished objects.
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Nizamabad : POTTERS’ VILLAGE
The village is famous for a unique form of black pottery, and almost every family in the village is engaged in this home-based craft. The clay is procured from local ponds and mixed with a widely available local product – goat excreta. The objects are then formed on potter’s wheels that are run by electricity (when available), manually (when not). Designs are etched or painted, and the objects fired in ovens fueled with cow dung. Unlike many other artisans, the Nizamabad potters incur virtually no production costs, as most materials are freely available locally. Nevertheless, they live in abject poverty, as they are dependent on traders from Delhi and Mumbai, who purchase finished objects.
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Craft Cluster
Hussainabad Mohalla Nizamabad Azamgarh District (UP)
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Craft Cluster
Hussainabad Mohalla Nizamabad Azamgarh District (UP)
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General characteristics of the district - Azamgarh
The district is named after its headquarters town, Azamgarh, which was founded in 1665 by Azam, son of Vikramajit. Vikramajit, a descendant of Gautam-Rajputs of Mehnagar in Nizamabad pargana, like some of his predecessors, had embraced the faith of Islam.
In 2006 the Ministry of Panchayati Raj named Azamgarh one of the country’s 250 most backward districts. It is one of the 34 districts in Uttar Pradesh currently receiving funds from the Backward Regions Grant Fund Programme (BRGFP).
Azamgarh has the distinction of participating in every small and big struggle to free India from its colonial rulers. The Great Historian, Writer, Social Reformer, Nationalist Mahapandit Rahul Sankrityayan played a major role in Indian Freedom Struggle.
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General characteristics of the district - Azamgarh
The district is named after its headquarters town, Azamgarh, which was founded in 1665 by Azam, son of Vikramajit. Vikramajit, a descendant of Gautam-Rajputs of Mehnagar in Nizamabad pargana, like some of his predecessors, had embraced the faith of Islam.
In 2006 the Ministry of Panchayati Raj named Azamgarh one of the country’s 250 most backward districts. It is one of the 34 districts in Uttar Pradesh currently receiving funds from the Backward Regions Grant Fund Programme (BRGFP).
Azamgarh has the distinction of participating in every small and big struggle to free India from its colonial rulers. The Great Historian, Writer, Social Reformer, Nationalist Mahapandit Rahul Sankrityayan played a major role in Indian Freedom Struggle.
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Location and Geographical Area
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Location and Geographical Area
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Location and Geographical Area
Azamgarh is located between 25 ° 38’’ and 26° 27’ north of latitude and the meridians of 82° 40 ‘ and 83° 52’ east of longitude. It is bounded by Mau on the east, Gorakhpur on the north, Ghazipur on the south-east, Jaunpur on the southwest, Sultanpur on the west and Ambedkar Nagar on the northwest. The district has an area of 4054 Sq. km. Nizamabad is a small town situated about 100 km (62 miles) north of Varanasi (Uttar Pradesh). It is accessible from Varanasi and Gorakhpur by road. The village of Nizamabad is famous for its black pottery and practically all the households in this village earn their living onl y by making black pottery. This village is densely populated and the houses
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are located close together. A noteworthy feature of this village is its pathways that are paved with interlocking bricks.
Topography
Forest
Tons River is the main river flowing through the district. The river has its origin in the mountains of Kumaon and Nepal and makes the northern boundary of Azamgarh District and separates it from Gorakhpur.
The forests cover an area of about 110 hectares in 2010-11.The main species growing in this forest is: Mango, Jamun, Neem, Eucalyptus, Teak, Jackfruit, etc.
District mainly comprises plain lands w ithout any hills, the only variations in the surface being caused by the dire lands along the streams that drain it. Except in the proximity of the Ghaghara River, the region slopes gently towards the southeast. Topography of Azamgarh District also includes depressions of varying depth and extent in which the surface drainage of the interior coll ects. Further, there are some high lying plains.
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Location and Geographical Area
Azamgarh is located between 25 ° 38’’ and 26° 27’ north of latitude and the meridians of 82° 40 ‘ and 83° 52’ east of longitude. It is bounded by Mau on the east, Gorakhpur on the north, Ghazipur on the south-east, Jaunpur on the southwest, Sultanpur on the west and Ambedkar Nagar on the northwest. The district has an area of 4054 Sq. km. Nizamabad is a small town situated about 100 km (62 miles) north of Varanasi (Uttar Pradesh). It is accessible from Varanasi and Gorakhpur by road. The village of Nizamabad is famous for its black pottery and practically all the households in this village earn their living onl y by making black pottery. This village is densely populated and the houses
are located close together. A noteworthy feature of this village is its pathways that are paved with interlocking bricks.
Topography
Forest
Tons River is the main river flowing through the district. The river has its origin in the mountains of Kumaon and Nepal and makes the northern boundary of Azamgarh District and separates it from Gorakhpur.
The forests cover an area of about 110 hectares in 2010-11.The main species growing in this forest is: Mango, Jamun, Neem, Eucalyptus, Teak, Jackfruit, etc.
District mainly comprises plain lands w ithout any hills, the only variations in the surface being caused by the dire lands along the streams that drain it. Except in the proximity of the Ghaghara River, the region slopes gently towards the southeast. Topography of Azamgarh District also includes depressions of varying depth and extent in which the surface drainage of the interior coll ects. Further, there are some high lying plains.
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Profile of the Villagers The main occupation of the people of Azamgarh district is agriculture. They are involved in the cultivation of paddy, pulses, oil seeds, sugar cane, and potato. They also grow fruits l ike mango and guava. In order to meet the present demand, different types of service enterprises have come up. The major ones include Photo Studio and Videography, Tent House, DTP and Screen Printing, Cyber Café, Automobile Repairing, Beauty Parlour, Educational Institutions, Tailoring, Dhabas and Restaurants, Photo Copier, etc. Not only those, but pottery also contributes substantially to the economic life of the people. The fancy pottery made in Nizamabad is famous in the world. The potters this place makes tea-pots, sugar-bowls and other decorative articles. The earthen wares and statues of Gods and Goddesses particularly of Ganesh, Laxmi, Shiva, Durga and Saraswati are also made. These products fetch rich market during fairs and festivals. This particular smooth black play is plentifully available in the district. The potters generally do not go out to sell their goods but traders come from Mumbai and Delhi to make bulk purchases from them.
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Profile of the Villagers The main occupation of the people of Azamgarh district is agriculture. They are involved in the cultivation of paddy, pulses, oil seeds, sugar cane, and potato. They also grow fruits l ike mango and guava. In order to meet the present demand, different types of service enterprises have come up. The major ones include Photo Studio and Videography, Tent House, DTP and Screen Printing, Cyber Café, Automobile Repairing, Beauty Parlour, Educational Institutions, Tailoring, Dhabas and Restaurants, Photo Copier, etc. Not only those, but pottery also contributes substantially to the economic life of the people. The fancy pottery made in Nizamabad is famous in the world. The potters this place makes tea-pots, sugar-bowls and other decorative articles. The earthen wares and statues of Gods and Goddesses particularly of Ganesh, Laxmi, Shiva, Durga and Saraswati are also made. These products fetch rich market during fairs and festivals. This particular smooth black play is plentifully available in the district. The potters generally do not go out to sell their goods but traders come from Mumbai and Delhi to make bulk purchases from them.
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Geographical Area of Production
Nizamabad Black pottery cluster is scattered in all parts of Azamgarh district.
Map of Nizamabad
Map of Azamgarh, Uttar Pradesh (India)
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Geographical Area of Production
Nizamabad Black pottery cluster is scattered in all parts of Azamgarh district.
Map of Nizamabad
Map of Azamgarh, Uttar Pradesh (India)
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Geographical Indication GI tag conveys an assurance of quality and distinctiveness, which is essentially attributable to the fact of its origin in that defined geographical locality, region or country. APPLICATION NUMBER –459 GI Journal No. 68 Type of Good – CLASS 27 ‘Black ack Pottery’ The black clay pottery was applied for Geographical Indication (GI) tag in October 2013 with support of NABARD of Lucknow and Human Welfare Association of Varanasi. It was registered for GI tag in December 2015 which gives the right to name the product to specific geographic region of origin only.
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Geographical Indication GI tag conveys an assurance of quality and distinctiveness, which is essentially attributable to the fact of its origin in that defined geographical locality, region or country. APPLICATION NUMBER –459 GI Journal No. 68 Type of Good – CLASS 27 ‘Black ack Pottery’ The black clay pottery was applied for Geographical Indication (GI) tag in October 2013 with support of NABARD of Lucknow and Human Welfare Association of Varanasi. It was registered for GI tag in December 2015 which gives the right to name the product to specific geographic region of origin only.
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Historical record of the Craft
The art of making this kind of pottery originated in the Kutch region of Gujarat. It is believed to have been brought to Nizamabad during the reign of the Mughals. In the mid-17th century Muslim invaders attacked this town, which was originally called Hanumantgarh (Hindu), changing the name to Nizamabad. Early in the 19th century one of its feudal rulers invited potters from Gujarat to come and live here in exchange for land. The four lakes surrounding the town were linked together with underground pathways, so that the ladies could bathe in priv ate. The potters were asked to provide pots for pouring and holding water, and gradually the shapes of the pots became influenced by Muslim forms.
The highly decorative silver inlay incorporated into the pottery here has developed through the influence of ‘Bidri metalwork’ brought in by the Muslims from Hyderabad.
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Historical record of the Craft
The art of making this kind of pottery originated in the Kutch region of Gujarat. It is believed to have been brought to Nizamabad during the reign of the Mughals. In the mid-17th century Muslim invaders attacked this town, which was originally called Hanumantgarh (Hindu), changing the name to Nizamabad. Early in the 19th century one of its feudal rulers invited potters from Gujarat to come and live here in exchange for land. The four lakes surrounding the town were linked together with underground pathways, so that the ladies could bathe in priv ate. The potters were asked to provide pots for pouring and holding water, and gradually the shapes of the pots became influenced by Muslim forms.
The highly decorative silver inlay incorporated into the pottery here has developed through the influence of ‘Bidri metalwork’ brought in by the Muslims from Hyderabad.
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Bidriware The craft of Bidriware originated in Bidar in Karnataka during the reign of the Bahamani rulers. It later spread to various parts of the country but currently it is in existence only in the states of Karnataka and Andhra Pradesh. It can be safely said without any fear of triggering a debate that the best quality of Bidriware is presently produced in Hyderabad in Andhra Pradesh. The Bidriware craft is indeed an exquis ite craft. Bidri craftsmen need to possess not just skill and patience but a lot of creativity as well so that they can bring into existence by artistic means beautiful designs of shining silver on a dull black background. The Mughals are credited with patronizing Bidriware in this country. Bidriware is divided into three different forms. The distinction is on the basis of the depth of embedding and the quality of metal. The deeply cut work is referred to as Nashan, the raised work is referred to as Zar Nashan and the wire inlay work is better known as Tarkashi. An alloy of zinc and copper serves as the main raw material of Bidriware. This alloy is referred to as white alloy because the proportion of copper that is mixed in the alloy is very little as compared to zinc. The reason behind this unequal proportion is to produce the right base which can be turned to deep black in the final oxidization process. There are several processes that are involved in the Bidriware craft. The designing stage which follows the sand casting and the filling stage is however the one that requires exceptional skills. After drawing the designs free hand, they are engraved by the artists with the help of steel chisels. Then it is time for the intricate process of inlaying silver into those engravings. When it is complete, the entire surface takes the color of silver and it becomes very difficult to comprehend
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the designs. So a particular variety of sand is mixed with sal ammoniac and applied on the s urface. The surface then turns black and the silver designs gain prominency.
CRAFT PRODUCTION PROCESS
A vast array of articles which includes vases, ashtrays, candle stands, trays, boxes and buttons are the products of Bidriware. One is very impressed to see the various designs ranging from flowers and leaves to geometrical figures in beautiful silver set against a very dark backdrop. Bidriware is a time consuming craft but one which impresses everyone.
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Bidriware The craft of Bidriware originated in Bidar in Karnataka during the reign of the Bahamani rulers. It later spread to various parts of the country but currently it is in existence only in the states of Karnataka and Andhra Pradesh. It can be safely said without any fear of triggering a debate that the best quality of Bidriware is presently produced in Hyderabad in Andhra Pradesh. The Bidriware craft is indeed an exquis ite craft. Bidri craftsmen need to possess not just skill and patience but a lot of creativity as well so that they can bring into existence by artistic means beautiful designs of shining silver on a dull black background. The Mughals are credited with patronizing Bidriware in this country. Bidriware is divided into three different forms. The distinction is on the basis of the depth of embedding and the quality of metal. The deeply cut work is referred to as Nashan, the raised work is referred to as Zar Nashan and the wire inlay work is better known as Tarkashi. An alloy of zinc and copper serves as the main raw material of Bidriware. This alloy is referred to as white alloy because the proportion of copper that is mixed in the alloy is very little as compared to zinc. The reason behind this unequal proportion is to produce the right base which can be turned to deep black in the final oxidization process. There are several processes that are involved in the Bidriware craft. The designing stage which follows the sand casting and the filling stage is however the one that requires exceptional skills. After drawing the designs free hand, they are engraved by the artists with the help of steel chisels. Then it is time for the intricate process of inlaying silver into those engravings. When it is complete, the entire surface takes the color of silver and it becomes very difficult to comprehend
CRAFT PRODUCTION PROCESS
the designs. So a particular variety of sand is mixed with sal ammoniac and applied on the s urface. The surface then turns black and the silver designs gain prominency. A vast array of articles which includes vases, ashtrays, candle stands, trays, boxes and buttons are the products of Bidriware. One is very impressed to see the various designs ranging from flowers and leaves to geometrical figures in beautiful silver set against a very dark backdrop. Bidriware is a time consuming craft but one which impresses everyone.
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Black PotteryProduction process Clay craft is probably one of the earliest man-made creations. The shapes imparted to the clay, which are required for a variety of uses, are turned on the wheel. However, certain portions such as the spout or the handle are left out as they are cast separately and then attached to the body. The product is then decorated by incising patterns on the surface for making geometrical patterns.
Tools Resources Clay/soil: River Tons, Ponds, fields Slip: Bamboo leaves, Mango bark: Locally Available Levigated Ochre: Fariya Ochre: Fariya Village Mercury: Varanasi Mercury: Varanasi Starch/Gum: Locally Starch/Gum: Locally Available Mustard oil: Locally Available Paddy Husk: Locally Husk: Locally Available Dung cakes: Make their own Coal/ Firewood: Forest Sand and Ash: Ponds and Fields Lead, Zinc: Market Zinc: Market
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The main tools used for making black pottery are: Kumhar ka charkha or chakka– potter’s chakka– potter’s wheel wooden stick to rotate the wheel Chakhayat— wooden Kamachi— hollow hollow cylindrical tube hammer Maria— hammer Maria— Seet patia— wooden wooden slab on which the clay is beaten
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Black PotteryProduction process Clay craft is probably one of the earliest man-made creations. The shapes imparted to the clay, which are required for a variety of uses, are turned on the wheel. However, certain portions such as the spout or the handle are left out as they are cast separately and then attached to the body. The product is then decorated by incising patterns on the surface for making geometrical patterns.
Tools Resources Clay/soil: River Tons, Ponds, fields Slip: Bamboo leaves, Mango bark: Locally Available Levigated Ochre: Fariya Ochre: Fariya Village Mercury: Varanasi Mercury: Varanasi Starch/Gum: Locally Starch/Gum: Locally Available Mustard oil: Locally Available Paddy Husk: Locally Husk: Locally Available Dung cakes: Make their own Coal/ Firewood: Forest Sand and Ash: Ponds and Fields Lead, Zinc: Market Zinc: Market
The main tools used for making black pottery are: Kumhar ka charkha or chakka– potter’s chakka– potter’s wheel wooden stick to rotate the wheel Chakhayat— wooden Kamachi— hollow hollow cylindrical tube hammer Maria— hammer Maria— Seet patia— wooden wooden slab on which the clay is beaten
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Understanding Underst anding Clay C lay
What is clay? Is it simply dirt? Well, yes and no. “Dirt” covers a lot of ground. We can break dirt into s everal sections: topsoil, clay, inelastic earth, and rock. Topsoil contains a lot of organic material, which makes it good for growing plants. Cl ays and inelastic earths are the results of decomposing rocks, in which the particle size is extremely small. Rocks include bedrock and boulders all the w ay down to fine sand. Clay differs from the inelastic earths and fine sand because of its ability, when wet with the proper amount of water, to form a cohesive mass and to retain its shape when moulded. This quality is known as clay’s plasticity. When heated to high temperatures, clay also partially melts, resulting in the tight, hard rock-like substance known as ceramic material.
Where does it come from? Scientists tell us that our world was once a body of molten lava. The outside cooled and a variety of chemical elements blended and stratified into a crust made of mostly igneous rock. The rock surfaces of our earth began to erode as our atmosphere began to form moisture along with the other forces we associate with weathering. In time, the rock began to disintegrate into clay. The gasses and pressure from below worked up through the crust while the rigid exterior continued to work erode the surface stone. Of course, the procedure continues even today.
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Why is a basic understanding of clay important? Our pottery skills will be greatly enhanced if we know the three foundations underlying of pottery making. Your development as a potter rests squarely on practice, experience, and experimentation. Clay has a beguiling magic; it is easy to underestimate how intricate a craft and art pottery is. For all that clay can move to your lightest touch, it takes time and experience to gain mastery over many of the skills involved. Many problems in forming and drying the objects can be traced back to the composition of the clay. The colour and character of many glazes depend upon it. The fit of the glaze on the clay body (expansion and contraction of both) is an important consideration for anyone working with glazes or clays. The composition of the clay in the heating and cooling kiln which may cause major problems for anyone trying to fire their work. An understanding of the nature of clay is critical for most forming and firing techniques and if the crafts person doesn’t understand what is going on throughout the total process, the greatest glaze in the world will not insure the efforts.
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Understanding Underst anding Clay C lay
What is clay? Is it simply dirt? Well, yes and no. “Dirt” covers a lot of ground. We can break dirt into s everal sections: topsoil, clay, inelastic earth, and rock. Topsoil contains a lot of organic material, which makes it good for growing plants. Cl ays and inelastic earths are the results of decomposing rocks, in which the particle size is extremely small. Rocks include bedrock and boulders all the w ay down to fine sand. Clay differs from the inelastic earths and fine sand because of its ability, when wet with the proper amount of water, to form a cohesive mass and to retain its shape when moulded. This quality is known as clay’s plasticity. When heated to high temperatures, clay also partially melts, resulting in the tight, hard rock-like substance known as ceramic material.
Where does it come from? Scientists tell us that our world was once a body of molten lava. The outside cooled and a variety of chemical elements blended and stratified into a crust made of mostly igneous rock. The rock surfaces of our earth began to erode as our atmosphere began to form moisture along with the other forces we associate with weathering. In time, the rock began to disintegrate into clay. The gasses and pressure from below worked up through the crust while the rigid exterior continued to work erode the surface stone. Of course, the procedure continues even today.
Why is a basic understanding of clay important? Our pottery skills will be greatly enhanced if we know the three foundations underlying of pottery making. Your development as a potter rests squarely on practice, experience, and experimentation. Clay has a beguiling magic; it is easy to underestimate how intricate a craft and art pottery is. For all that clay can move to your lightest touch, it takes time and experience to gain mastery over many of the skills involved. Many problems in forming and drying the objects can be traced back to the composition of the clay. The colour and character of many glazes depend upon it. The fit of the glaze on the clay body (expansion and contraction of both) is an important consideration for anyone working with glazes or clays. The composition of the clay in the heating and cooling kiln which may cause major problems for anyone trying to fire their work. An understanding of the nature of clay is critical for most forming and firing techniques and if the crafts person doesn’t understand what is going on throughout the total process, the greatest glaze in the world will not insure the efforts.
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What are primary and seconday clays (Residual and Sedimentary)? Clay types are identified by the way they geologically formed. We have two main classifications, primary and secondary. These are sometimes called residual and sedimentary. In other words, the primary or res idual clays remained at their original location and the secondary or sedimentary clays were moved from the primary site to a new location by wind, rain, or ice. Natural weathering has relocated most of the surface of our world and primary clay deposits are relatively rare. Of course, the amount of mineral impurities and organic matter would be greater in those clays which had been transported from their original location and subjected to a mix of miscellaneous other inclusions as they were being moved and relocated. The grinding action of clay particles in water, wind, and ice created, as a consequence, very fine particle sizes, making secondary clay extremely plastic. As the materials settled in river and lake beds, the weighty, coarser particles settled first, leaving the minute, more plastic particles on the surface.
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The Clay Particle When we look at clay through an electron microscope, the clay particles seen as a thin hexagonal plate, approximately 100 times longer than it is thick. When we add the water to clay, moisture between the flat plates creates an attraction so that the particles do not easily pull apart, but they slide easily over one another. The flat shape of the clay particle and attraction when water is added gives the strength and plasticity which we associate with clay in its workable state. When the clay object is formed and the material is dry, the tiny, flat, packed particles s eem to lock closely together giving its structural soundness.
Clay vs. Clay Body We use the term clay to refer to those materials of a plastic quality which are formed by natural forces and which are to be found in nature. The term ‘clay body’ will be used to indicate a mixture of clay like materials with other inclusions for a specific pottery technique. In other words, a ‘clay body’ may have several different kinds of clay and other ingredients for colour, plasticity, warping, cracking, shrinkage, porosity, firing temperature, texture and etc. A single clay from the natural world will seldom have all of the characteristics which the potter will need for a particular technique.
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Steps involved The various steps entailed in the production process of black pottery are delineated below:
metal tools and burnishing the surfaces with an agate pebble before the potter removes it from the wheel.
1. Soil procurement
5. Preparing clay slip
The mitti/clay is taken from nearby ponds. The dug-out mitti is brought to their homes and beaten into a fine powder. Adding water as required.
The dried pots are dipped in Kabiz. A liquid clay slip is prepared by grinding mango tree barks, bamboo leaves and some other things all of which are carbonized during firing.
Getting the right clay is a big problem. Usually, clay has small stones and the artisans have to put in a lot of effort in preparing it.
6. Slip Application
2. Clay preparation
The slip is applied by dipping and pouring.
The clay has to be first soaked in water and passed through a sieve to remove tiny stones and coarse materials.
The turned and polished products is then dried in the shade.
7. Polishing The wet clay mix is then dried until it is hard enough to work with.
3. Wheel work Estimated quantity of prepared clay is placed on the wheel and turned beautifully by the potter achieving the desired shape with finesse.
After drying, mustard oil is applied and the surfaces polished with a soft cloth. In order to maintain an unblemished shiny surface. The polishing of the terracotta wares before firing is what gives end products a sheen finish.
8. Nakkashi
The Nizamabad black pottery is characterised by simple and ancient curvilinear contours. The shapes bring out immediate nuances and differences in each of its various forms whether decorative or utilitarian.
The designs are etched on the polished pots freehand using a pointed needle.
4. Turning/Shaping
9. Smoke Firing
The turning is carried out is next stage when the clay has set. Using the selection of locally made
Firing is done in a closed clay kiln by placing dung-cakes between the wares and covering the
Sometimes using traditional geometric designs and sometimes floral.
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What are primary and seconday clays (Residual and Sedimentary)? Clay types are identified by the way they geologically formed. We have two main classifications, primary and secondary. These are sometimes called residual and sedimentary. In other words, the primary or res idual clays remained at their original location and the secondary or sedimentary clays were moved from the primary site to a new location by wind, rain, or ice. Natural weathering has relocated most of the surface of our world and primary clay deposits are relatively rare. Of course, the amount of mineral impurities and organic matter would be greater in those clays which had been transported from their original location and subjected to a mix of miscellaneous other inclusions as they were being moved and relocated. The grinding action of clay particles in water, wind, and ice created, as a consequence, very fine particle sizes, making secondary clay extremely plastic. As the materials settled in river and lake beds, the weighty, coarser particles settled first, leaving the minute, more plastic particles on the surface.
The Clay Particle When we look at clay through an electron microscope, the clay particles seen as a thin hexagonal plate, approximately 100 times longer than it is thick. When we add the water to clay, moisture between the flat plates creates an attraction so that the particles do not easily pull apart, but they slide easily over one another. The flat shape of the clay particle and attraction when water is added gives the strength and plasticity which we associate with clay in its workable state. When the clay object is formed and the material is dry, the tiny, flat, packed particles s eem to lock closely together giving its structural soundness.
Clay vs. Clay Body We use the term clay to refer to those materials of a plastic quality which are formed by natural forces and which are to be found in nature. The term ‘clay body’ will be used to indicate a mixture of clay like materials with other inclusions for a specific pottery technique. In other words, a ‘clay body’ may have several different kinds of clay and other ingredients for colour, plasticity, warping, cracking, shrinkage, porosity, firing temperature, texture and etc. A single clay from the natural world will seldom have all of the characteristics which the potter will need for a particular technique.
Steps involved The various steps entailed in the production process of black pottery are delineated below:
metal tools and burnishing the surfaces with an agate pebble before the potter removes it from the wheel.
1. Soil procurement
5. Preparing clay slip
The mitti/clay is taken from nearby ponds. The dug-out mitti is brought to their homes and beaten into a fine powder. Adding water as required.
The dried pots are dipped in Kabiz. A liquid clay slip is prepared by grinding mango tree barks, bamboo leaves and some other things all of which are carbonized during firing.
Getting the right clay is a big problem. Usually, clay has small stones and the artisans have to put in a lot of effort in preparing it.
6. Slip Application
2. Clay preparation
The slip is applied by dipping and pouring.
The clay has to be first soaked in water and passed through a sieve to remove tiny stones and coarse materials.
The turned and polished products is then dried in the shade.
7. Polishing The wet clay mix is then dried until it is hard enough to work with.
3. Wheel work Estimated quantity of prepared clay is placed on the wheel and turned beautifully by the potter achieving the desired shape with finesse.
After drying, mustard oil is applied and the surfaces polished with a soft cloth. In order to maintain an unblemished shiny surface. The polishing of the terracotta wares before firing is what gives end products a sheen finish.
8. Nakkashi
The Nizamabad black pottery is characterised by simple and ancient curvilinear contours. The shapes bring out immediate nuances and differences in each of its various forms whether decorative or utilitarian.
The designs are etched on the polished pots freehand using a pointed needle.
4. Turning/Shaping
9. Smoke Firing
The turning is carried out is next stage when the clay has set. Using the selection of locally made
Firing is done in a closed clay kiln by placing dung-cakes between the wares and covering the
Sometimes using traditional geometric designs and sometimes floral.
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heap with straw and ash. The latest is fitted onto the chamber. Added mixture of ash, dung and water is meered around the seam to seal it. This allows the smoky atmosphere to be created inside the kiln which gives the pottery its black hue. During the firing, some dried goat dung is thrown into the kiln to enhance the blackening. The kiln is opened the following day and the highly polished black pots carefully are unpacked.
10. Inlay work The mixture of Lead, Zinc and Mercury is pressed into the engraved lines with a thumb to create the sparkling silver motifs.
Whole Process Whole (VISUALS)
The Lead and Zinc are brought from the market and beaten into thin strips resembling silver foil. Equal portions are pounded into powder mixed with a few drops of Mercury on palm with the hand.
The silver-grey silver-grey etchings contrasts with the black background making the piece truly a work of art.
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heap with straw and ash. The latest is fitted onto the chamber. Added mixture of ash, dung and water is meered around the seam to seal it. This allows the smoky atmosphere to be created inside the kiln which gives the pottery its black hue. During the firing, some dried goat dung is thrown into the kiln to enhance the blackening. The kiln is opened the following day and the highly polished black pots carefully are unpacked.
10. Inlay work
Whole Process Whole (VISUALS)
The mixture of Lead, Zinc and Mercury is pressed into the engraved lines with a thumb to create the sparkling silver motifs. The Lead and Zinc are brought from the market and beaten into thin strips resembling silver foil. Equal portions are pounded into powder mixed with a few drops of Mercury on palm with the hand.
The silver-grey silver-grey etchings contrasts with the black background making the piece truly a work of art.
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Whole Whol e Process
Bringing to their homes.
Procuring soil.
Beat to make smaller in size and spread it on floor. floor.
Potter digging out soil from the field.
Soaking soil in water so that it becomes soft.
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Whole Whol e Process
Bringing to their homes.
Procuring soil.
Beat to make smaller in size and spread it on floor. floor.
Potter digging out soil from the field.
Soaking soil in water so that it becomes soft.
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Mixing soil properly.
Passing water-soil through the cloth to remove the tiny stones.
Sieving removes the unwanted materials making fit for pottery.
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Mixing soil properly.
Passing water-soil through the cloth to remove the tiny stones.
Sieving removes the unwanted materials making fit for pottery.
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Wet clay mix is dried after sieving.
The potter adds mango barks and dead bambooleaves to the clay.
The potter takes the clay to the work place after it is dried.
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After mixing, the clay is ready for the next stage.
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Wet clay mix is dried after sieving.
The potter adds mango barks and dead bambooleaves to the clay.
The potter takes the clay to the work place after it is dried.
After mixing, the clay is ready for the next stage.
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The potter takes the clay and prepares prepares it to work upon it.
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Estimated quantity of prepared clay is placed on the wheel.
Puts much effort to make it soft and smooth.
After clay is ready, the potter sits on the wheel and turns it.
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The potter takes the clay and prepares prepares it to work upon it.
Estimated quantity of prepared clay is placed on the wheel.
Puts much effort to make it soft and smooth.
After clay is ready, the potter sits on the wheel and turns it.
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A typical setup of the black potter
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A typical setup of the black potter
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The potter turns the wheel...
After making the base shapes, the pots are left to set.
and achieves desired shapes with finesse.
Shaping is carried out after pot is set.
Using locally made metal tools, the potter burnishes the surfaces with an agate pebble.
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The potter turns the wheel...
After making the base shapes, the pots are left to set.
and achieves desired shapes with finesse.
Shaping is carried out after pot is set.
Using locally made metal tools, the potter burnishes the surfaces with an agate pebble.
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The dried pots are dipped in Kabiz. A liquid clay slip is prepared. during firing.
Slip is prepared by grinding mango tree barks, bamboo leaves and ...
The slip is applied by dipping and pouring.
... some other things all of which are carbonized during firing.
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The dried pots are dipped in Kabiz. A liquid clay slip is prepared. during firing.
Slip is prepared by grinding mango tree barks, bamboo leaves and ...
The slip is applied by dipping and pouring.
... some other things all of which are carbonized during firing.
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The polishing before firing is what gives the end products a sheen finish.
The turned and polished products is then dried in the shade.
The potter uses pointed locally made needle (of metal or sometimes bamboo) for for etching.
After drying, mustard oil is applied and the surfaces polished with a soft cloth.
The designs are etched on the polished pots freehand.
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The polishing before firing is what gives the end products a sheen finish.
The turned and polished products is then dried in the shade.
The potter uses pointed locally made needle (of metal or sometimes bamboo) for for etching.
After drying, mustard oil is applied and the surfaces polished with a soft cloth.
The designs are etched on the polished pots freehand.
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The goyethhas are made by mixing cattle dung and hay. Let Let it set in the sun.
Some etched and non-etched products ready for smoke firing.
The dung cakes produces smoke during firing and hene hene it is used.
For smoke firing, the potters uses goyethha/ uses goyethha/ kandi. kandi.
A woman carrying a heap of dungcakes on her head.
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The goyethhas are made by mixing cattle dung and hay. Let Let it set in the sun.
Some etched and non-etched products ready for smoke firing.
The dung cakes produces smoke during firing and hene hene it is used.
For smoke firing, the potters uses goyethha/ uses goyethha/ kandi. kandi.
A woman carrying a heap of dungcakes on her head.
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In black pottery, firing is done in a closed clay kiln. kiln.
Adding mixture of ash, dung and water is meered around the seam to sealit.
The potter places the dung-cakes between the wares.
The smoky atmosphere is created inside the kiln which gives the pottery its black hue.
And covers the heap with straw and ash. The lattest is fitted onto the chamber.
After firing it for several hours, the potter opens the kiln to add dried goat dung.
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In black pottery, firing is done in a closed clay kiln. kiln.
Adding mixture of ash, dung and water is meered around the seam to sealit.
The potter places the dung-cakes between the wares.
The smoky atmosphere is created inside the kiln which gives the pottery its black hue.
And covers the heap with straw and ash. The lattest is fitted onto the chamber.
After firing it for several hours, the potter opens the kiln to add dried goat dung.
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During firing, some dried goat dung is thrown into the kilnto enhance the blackening.
The shiny black pottery products.
The kiln is opened the following day ...
Melting the mixture of Lead and Zinc.
... and the highly polished black pots carefully are unpacked.
Pouring the melt on the clay dish.
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During firing, some dried goat dung is thrown into the kilnto enhance the blackening.
The shiny black pottery products.
The kiln is opened the following day ...
Melting the mixture of Lead and Zinc.
... and the highly polished black pots carefully are unpacked.
Pouring the melt on the clay dish.
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The melt is pressed using another clay dish to make the thin metal sheet.
Equal portions are pounded into powder ...
The sheet is further beaten into thin strips.
... mixed with a few drops of Mercury on palm with the hand.
The strips are then cut into smaller pieces and are now ready to work with. with.
Converting the mixture into powder.
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The melt is pressed using another clay dish to make the thin metal sheet.
Equal portions are pounded into powder ...
The sheet is further beaten into thin strips.
... mixed with a few drops of Mercury on palm with the hand.
The strips are then cut into smaller pieces and are now ready to work with. with.
Converting the mixture into powder.
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The etchings are filled with the powdered mixture.
The polished ware without etching.
The silver etchings contrasts with the black background.
The polished ware etched and fired.
And here, the potter gets done with the piece of art.
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The polished ware etched, fired and inlayed.
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The etchings are filled with the powdered mixture.
The polished ware without etching.
The silver etchings contrasts with the black background.
The polished ware etched and fired.
And here, the potter gets done with the piece of art.
The polished ware etched, fired and inlayed.
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Local Terms Bhatti- kiln in which the pots are fired. Bukani- powdered mixture of lead, zinc, mercury and tin. Chakhait/ Chakhayat- wooden stick to rotate the wheel. Chakka- potter’s Chakka potter’s wheel. Charkha- potter’s Charkha potter’s wheel. Cholanni- sharp bamboo twig used for etching. Kabiz- a mixture of ‘piari mitti’ and ‘sajji mitti’. Kandi- Dung Kandi Dung cakes. Kullhar- cup. Kullhar cup. Kumhar- the Kumhar the potter. Martaban- Jars Martaban Jars Mitti- Soil/clay Nakkashi- engraving Nakkashi engraving done on the unbaked clay pots with cholanni. Peerha- wooden Peerha wooden slab on which clay is beaten. Piari-mitti- yellow Piari-mitti yellow earth (a form of fuller’s earth). Sajji mitti- crude mitti- crude carbonate of soda. Seet patia- wooden patia- wooden slab on which clay is beaten. Surahi- long-necked Surahi long-necked and spouted vessels.
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Local Terms Bhatti- kiln in which the pots are fired. Bukani- powdered mixture of lead, zinc, mercury and tin. Chakhait/ Chakhayat- wooden stick to rotate the wheel. Chakka- potter’s Chakka potter’s wheel. Charkha- potter’s Charkha potter’s wheel. Cholanni- sharp bamboo twig used for etching. Kabiz- a mixture of ‘piari mitti’ and ‘sajji mitti’. Kandi- Dung Kandi Dung cakes. Kullhar- cup. Kullhar cup. Kumhar- the Kumhar the potter. Martaban- Jars Martaban Jars Mitti- Soil/clay Nakkashi- engraving Nakkashi engraving done on the unbaked clay pots with cholanni. Peerha- wooden Peerha wooden slab on which clay is beaten. Piari-mitti- yellow Piari-mitti yellow earth (a form of fuller’s earth). Sajji mitti- crude mitti- crude carbonate of soda. Seet patia- wooden patia- wooden slab on which clay is beaten. Surahi- long-necked Surahi long-necked and spouted vessels.
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Role play In Black pottery, all the members are involved in the production process. From the youngest to the eldest, everyone. Each one has his own contribution. Men generally sit on wheel and shape the product, women help in cl eaning and finishing, the young also help in preparing the clay and setting up the kiln. Generally, the division of labour is done in the following manner: Men: 1. 2. 3. 4. 5. 6. 7. 8.
Mitti/soil collection Converting mitti into powder Removal of unwanted materials from mitti Clay preparation Wheel work Shaping Firing Nakkashi
1. 2. 3. 4.
Slip making Slip application Polishing Inlay work
Women:
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Role play In Black pottery, all the members are involved in the production process. From the youngest to the eldest, everyone. Each one has his own contribution. Men generally sit on wheel and shape the product, women help in cl eaning and finishing, the young also help in preparing the clay and setting up the kiln. Generally, the division of labour is done in the following manner: Men: 1. 2. 3. 4. 5. 6. 7. 8.
Mitti/soil collection Converting mitti into powder Removal of unwanted materials from mitti Clay preparation Wheel work Shaping Firing Nakkashi
1. 2. 3. 4.
Slip making Slip application Polishing Inlay work
Women:
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Markets
Local markets Exhibitions and fairs With little or no access to bigger markets, most of the individual artisans are supplying their products to local traders in their area. Due to the fragile nature of the terracotta products, the artisans suffer losses in breakage and during the storage. The local people use a lot of black pottery products for their cooking, decoration and day-to-day use.
Some of the prominent craftspeople participate in state government exhibitions (Udhyog Melas) where they can sell their wares directly to the end-user. Some of them have even participated in workshops and national exhibitions.
Some of the products are used customarily during weddings in the area (with the custom being that a newly married couple should decorate their rooftop with elephants and horses made of black terracotta). Many of the teashops use the tea cups or kullhars (though these are not of black terracotta) for selling tea locally. A lot of the local inhabitants use clay pots for cooking, storing water and building their roofs.
Institutional markets In an effort to provide livelihoods and promote the revival of the languishing craft, the Central and State Governments have also initiated training workshops-cum-production centres in the area. They are making efforts to revive the craft and upgrade the skill and technique levels of the artisans. Since they cater to an urban population, they have even provided packaging workshops and generally add a margin of 10-20 per cent to the original cost.
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Markets
Local markets Exhibitions and fairs With little or no access to bigger markets, most of the individual artisans are supplying their products to local traders in their area. Due to the fragile nature of the terracotta products, the artisans suffer losses in breakage and during the storage. The local people use a lot of black pottery products for their cooking, decoration and day-to-day use.
Some of the prominent craftspeople participate in state government exhibitions (Udhyog Melas) where they can sell their wares directly to the end-user. Some of them have even participated in workshops and national exhibitions.
Some of the products are used customarily during weddings in the area (with the custom being that a newly married couple should decorate their rooftop with elephants and horses made of black terracotta). Many of the teashops use the tea cups or kullhars (though these are not of black terracotta) for selling tea locally. A lot of the local inhabitants use clay pots for cooking, storing water and building their roofs.
Institutional markets In an effort to provide livelihoods and promote the revival of the languishing craft, the Central and State Governments have also initiated training workshops-cum-production centres in the area. They are making efforts to revive the craft and upgrade the skill and technique levels of the artisans. Since they cater to an urban population, they have even provided packaging workshops and generally add a margin of 10-20 per cent to the original cost.
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Issues in Black Pottery Value chain Challenges and Problems (a) Proper Costing and Pricing of the Products
Most of the artisans calculate their per day labour charges as Rs. 90 to 100 while determining the price of their products. The labour charges of the women are not included while making these calculations. The products made are of low value and low quality, and hardly any production is done for commercial sales except the high production of roof tiles that are sold l ocally. The profit margin of the producers is very small in these tiles though the volume of production is high.
(b) Vulnerability of the Craftspersons The potters (kumbhars) generally do not have any landholdings and during the monsoons, nearly all of the craftspeople have to take up jobs as either farm hands or labourers. During the monsoons, all their craft-related activities come to a standstill as there is no provision f or drying the terracotta or sheds to work in. (c) Economies of Scale
Since the craft is practised mostly within in the family, most families are mini production centres on their own and handle all the processes themselves. All members of the family contribute their time and labour in some manner. There is, however, no consolidation amongst the families to form larger groups. Most of them work as family units or individual artisans. (d) Product Diversification and Design Inputs
Most of the people involved in the terracotta craft are the kumbhars, who live below the poverty line, and have very little money for any kind of capital inputs, which is why they do not want to risk diversifying into products with new designs, which may not sell. Thus, hardly any design development has taken place in the terracotta cluster. Most of the craftspersons are making the same products or using the same designs that have been in vogue over the years. Consequently, there is a lot of competition among the artisans as all of
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them are producing similar kinds of products and selling them in the same markets. During Diwali, the production is centred around the making of diyas, lamps, and deities used for the religious ceremony. Many of the products have exclusive usage, as for instance, some tribes use terracotta products during various tribal ceremonies, such as animal figurines, pots used during wedding ceremonies, jewellery, masks, and pots for storing the Mahua liqu or. Thus, the artisans do get large orders, but these are seasonal during the festival period and weddings.
For shaping, the wheel is driven by electricity, but the electric supply is not regular and consistent during the day. Many potters have to work during the night which results in many health issues. If women come in contact with high levels of mercury during pregnancy, it can cause real problems for the mother and the baby.
(e) Poor Marketing
One of the main obstacles faced by this craft cluster is the shrinking market. The target segment at which the terracotta products are aimed has, over the last few years, shifted to using plastic articles such as plastic cups instead of kullhars , plastic pots instead of matkas, and plastic toys instead of clay toys as plastic articles are considered to be cheaper and long lasting. (f) Low Level of Skills
Babies exposed to mercury in the womb can have brain damage and hearing and vision problems. The other problems faced by the potters in production of their goods is that the clay ovens used by them did not have any temperature control. For lack of uniformity of temperature, very often the objects made by them are not of the the desired quality. Due to uneven temperatures the objects start leaking when water is poured in them.
One of the main issues at the primary level is the fact that the craft is limited to v ery few families and restricted to Jasidih town in Dumka. Since the only difference between black and red terracotta products lies in the firing technique, and pottery skills are prevalent among a large number of people in the area, more artisans should be taught the specific art of black terracotta. The quality of the products should also be enhanced in order to sell them in more upmarket stores or in metros where they can fetch a better price. The making of roof tiles is the only viable business that is fetching returns for the artisans. (g) Poor External Linkages
Although this terracotta technique is unique to the area, there is an absence of linkages with technical institutions, design schools, and marketing bodies which could promote the development of this craft.
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Issues in Black Pottery Value chain Challenges and Problems (a) Proper Costing and Pricing of the Products
Most of the artisans calculate their per day labour charges as Rs. 90 to 100 while determining the price of their products. The labour charges of the women are not included while making these calculations. The products made are of low value and low quality, and hardly any production is done for commercial sales except the high production of roof tiles that are sold l ocally. The profit margin of the producers is very small in these tiles though the volume of production is high.
(b) Vulnerability of the Craftspersons The potters (kumbhars) generally do not have any landholdings and during the monsoons, nearly all of the craftspeople have to take up jobs as either farm hands or labourers. During the monsoons, all their craft-related activities come to a standstill as there is no provision f or drying the terracotta or sheds to work in. (c) Economies of Scale
Since the craft is practised mostly within in the family, most families are mini production centres on their own and handle all the processes themselves. All members of the family contribute their time and labour in some manner. There is, however, no consolidation amongst the families to form larger groups. Most of them work as family units or individual artisans. (d) Product Diversification and Design Inputs
Most of the people involved in the terracotta craft are the kumbhars, who live below the poverty line, and have very little money for any kind of capital inputs, which is why they do not want to risk diversifying into products with new designs, which may not sell. Thus, hardly any design development has taken place in the terracotta cluster. Most of the craftspersons are making the same products or using the same designs that have been in vogue over the years. Consequently, there is a lot of competition among the artisans as all of
them are producing similar kinds of products and selling them in the same markets. During Diwali, the production is centred around the making of diyas, lamps, and deities used for the religious ceremony. Many of the products have exclusive usage, as for instance, some tribes use terracotta products during various tribal ceremonies, such as animal figurines, pots used during wedding ceremonies, jewellery, masks, and pots for storing the Mahua liqu or. Thus, the artisans do get large orders, but these are seasonal during the festival period and weddings.
For shaping, the wheel is driven by electricity, but the electric supply is not regular and consistent during the day. Many potters have to work during the night which results in many health issues. If women come in contact with high levels of mercury during pregnancy, it can cause real problems for the mother and the baby.
(e) Poor Marketing
One of the main obstacles faced by this craft cluster is the shrinking market. The target segment at which the terracotta products are aimed has, over the last few years, shifted to using plastic articles such as plastic cups instead of kullhars , plastic pots instead of matkas, and plastic toys instead of clay toys as plastic articles are considered to be cheaper and long lasting. (f) Low Level of Skills
Babies exposed to mercury in the womb can have brain damage and hearing and vision problems. The other problems faced by the potters in production of their goods is that the clay ovens used by them did not have any temperature control. For lack of uniformity of temperature, very often the objects made by them are not of the the desired quality. Due to uneven temperatures the objects start leaking when water is poured in them.
One of the main issues at the primary level is the fact that the craft is limited to v ery few families and restricted to Jasidih town in Dumka. Since the only difference between black and red terracotta products lies in the firing technique, and pottery skills are prevalent among a large number of people in the area, more artisans should be taught the specific art of black terracotta. The quality of the products should also be enhanced in order to sell them in more upmarket stores or in metros where they can fetch a better price. The making of roof tiles is the only viable business that is fetching returns for the artisans. (g) Poor External Linkages
Although this terracotta technique is unique to the area, there is an absence of linkages with technical institutions, design schools, and marketing bodies which could promote the development of this craft.
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Product review
Helping hands
INTACH (Indian National Trust for Art and Cultural Heritage) Activitiesa) b) c) d) e) f)
Directory of Traditional Building Crafts Design and Skill Development Workshop Social Development Initiative Exhibitions and Documentary Films Heritage Craft Cell Heritage Craft Festivals
ITRHD (Indian Trust for Rural Heritage and Development)
Quality
Price
The quality of these products varies from average to good, as they do not get easily chipped off. Chipping generally happens during transportation but chances can be reduced by packing wel l. The products are much stronger than other clay potteries. Their finishing is good, which indicates the characteristics of the skilled artisans.
Considering that both the product quality and designs are average to good, the products are priced well. They can cost as cheap as Rs.10 (without patterns/nakkashi) and can go up to Rs.30,000 INR. New product ranges and designs can easily be introduced in the higher price brackets. With modifications in design and finishing, the product can command a good price.
Colour and Design
Product potential in the markets
The product colour is limited to black and silver only. The product range and designs designs are very regular and hence there is enough scope for innovation. New designs for new products can be tried with better finishing. There are products also available which are made in parts and can be assembled. Products need some improvisations in terms of new forms.
In the present state, the black pottery products can be appropriate for the international market. With little improvisation in product and design enhancements in both quality and skill, the products can achieve international appeal. For the domestic market, the products are quite good.
Activitiesa) b) c) d) e) f) g) h)
Management of day-to-day business and affairs of the Society. Issue appeals and applications for money and funds. Invest and deal with funds and money of the Society. Establish funds for the employees of the Society, including their families. Raise funds and loans for the Society. Receive monies, securities, instruments and/or any other moveable. Prepare and execute plans and programmes for the objectives of the Society. Arrange for the documentation of materials relating to cultural property.
Black Pottery products in an exhibition
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Product review
Helping hands
INTACH (Indian National Trust for Art and Cultural Heritage) Activitiesa) b) c) d) e) f)
Directory of Traditional Building Crafts Design and Skill Development Workshop Social Development Initiative Exhibitions and Documentary Films Heritage Craft Cell Heritage Craft Festivals
ITRHD (Indian Trust for Rural Heritage and Development)
Quality
Price
The quality of these products varies from average to good, as they do not get easily chipped off. Chipping generally happens during transportation but chances can be reduced by packing wel l. The products are much stronger than other clay potteries. Their finishing is good, which indicates the characteristics of the skilled artisans.
Considering that both the product quality and designs are average to good, the products are priced well. They can cost as cheap as Rs.10 (without patterns/nakkashi) and can go up to Rs.30,000 INR. New product ranges and designs can easily be introduced in the higher price brackets. With modifications in design and finishing, the product can command a good price.
Colour and Design
Product potential in the markets
The product colour is limited to black and silver only. The product range and designs designs are very regular and hence there is enough scope for innovation. New designs for new products can be tried with better finishing. There are products also available which are made in parts and can be assembled. Products need some improvisations in terms of new forms.
In the present state, the black pottery products can be appropriate for the international market. With little improvisation in product and design enhancements in both quality and skill, the products can achieve international appeal. For the domestic market, the products are quite good.
Activitiesa) b) c) d) e) f) g) h)
Management of day-to-day business and affairs of the Society. Issue appeals and applications for money and funds. Invest and deal with funds and money of the Society. Establish funds for the employees of the Society, including their families. Raise funds and loans for the Society. Receive monies, securities, instruments and/or any other moveable. Prepare and execute plans and programmes for the objectives of the Society. Arrange for the documentation of materials relating to cultural property.
Black Pottery products in an exhibition
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Major Crafts Events
Azamgarh Mahotsav Organised by Indian Trust for Rural Heritage and Development (ITRHD) and sponsored by UP tourism (for last two years). The craft festival brings the colours and craft of Azamgarh - Black pottery (Nizamabad) and more.
Some award winning potters
Surajkund International Craft Mela, Haryana Rich showcase of regional and international crafts and traditions.
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Ramjatan Prajapati (National) Aanand Kumar Prajapati (State) Sohit Prajapati (State)
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Major Crafts Events
Azamgarh Mahotsav Organised by Indian Trust for Rural Heritage and Development (ITRHD) and sponsored by UP tourism (for last two years). The craft festival brings the colours and craft of Azamgarh - Black pottery (Nizamabad) and more.
Some award winning potters
Surajkund International Craft Mela, Haryana Rich showcase of regional and international crafts and traditions.
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Ramjatan Prajapati (National) Aanand Kumar Prajapati (State) Sohit Prajapati (State)
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In coversation with the Potters
Kishan Mohan Prajapati: Prajapati:
women help in cleaning and inishing, the young also
help in preparing the clay and setting up the kiln. I have learned this craft from my parents and have been practising it since 1980. In those days, black pottery was famous and in popular demand but now the fame is lost. For our livelihood we cannot go outside to sell our items so we have to sell t hem locally. Sometimes, we get a chance to participate in e xhibitions and we sell our products there.
Aanand Kumar Prajapati: Prajapati:
Unlike some other crafts, the entire family of a potter contributes in it. Now, the wheel is driven by electricity, but the electric supply is not regular and consistent during the day. If we have proper and suicient electric supply here,
it will help in the growth of the crafted increase production. Many potters have to work during the night which results in many health issues.
We can earn Rs. 500-600 as a daily wager in big cities, like Bombay, Gujarat etc. But our working for oneself is better than working for someone else. You can see t he inesse if the craft. We We ourselves make the pottery and we ourselves do the inishing and iring.
You can understand how much labour is involved. If the artisans will accordingly get the money then they will be happy.
Ramjatan Prajapati: There is a saying “Carpenters work alone, Blacksmiths work in twos, but the Potter toils in bunches” It means - All the members of t he potter’s family, from the youngest to the eldest, are involved in making of this craft. Each one has his own contribution. Men generally sit on wheel and shape the product,
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In coversation with the Potters
Kishan Mohan Prajapati: Prajapati:
women help in cleaning and inishing, the young also
help in preparing the clay and setting up the kiln. I have learned this craft from my parents and have been practising it since 1980. In those days, black pottery was famous and in popular demand but now the fame is lost. For our livelihood we cannot go outside to sell our items so we have to sell t hem locally. Sometimes, we get a chance to participate in e xhibitions and we sell our products there.
Aanand Kumar Prajapati: Prajapati:
Unlike some other crafts, the entire family of a potter contributes in it. Now, the wheel is driven by electricity, but the electric supply is not regular and consistent during the day. If we have proper and suicient electric supply here,
it will help in the growth of the crafted increase production. Many potters have to work during the night which results in many health issues.
We can earn Rs. 500-600 as a daily wager in big cities, like Bombay, Gujarat etc. But our working for oneself is better than working for someone else. You can see t he inesse if the craft. We We ourselves make the pottery and we ourselves do the inishing and iring.
You can understand how much labour is involved. If the artisans will accordingly get the money then they will be happy.
Ramjatan Prajapati: There is a saying “Carpenters work alone, Blacksmiths work in twos, but the Potter toils in bunches” It means - All the members of t he potter’s family, from the youngest to the eldest, are involved in making of this craft. Each one has his own contribution. Men generally sit on wheel and shape the product,
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Bibliography
Field visit to Nizamabad Singh, G. (1979), Pottery in India, New Delhi: Vikas Pottery in Indian Villages, [Online], Available at http://www.indianetzone.com/41/pottery_indian_villages.htm, http://www.indianetzone.com/41/pott ery_indian_villages.htm, [Accessed on 15 Oct 2016] Ministry of Information and Broadcasting (1968), Indian Handicrafts, New Delhi: Publications Division, Ministry of Information and Broadcasting, Government of India Ranjan, Aditi and MP, (2007), Crafts of India - Handmade in India Periman, jane, (2000), Traditional pottery of India Warshaw, Josie, (2004), The Practical Potter- A step by step Handbook
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Bibliography
Field visit to Nizamabad Singh, G. (1979), Pottery in India, New Delhi: Vikas Pottery in Indian Villages, [Online], Available at http://www.indianetzone.com/41/pottery_indian_villages.htm, http://www.indianetzone.com/41/pott ery_indian_villages.htm, [Accessed on 15 Oct 2016] Ministry of Information and Broadcasting (1968), Indian Handicrafts, New Delhi: Publications Division, Ministry of Information and Broadcasting, Government of India Ranjan, Aditi and MP, (2007), Crafts of India - Handmade in India Periman, jane, (2000), Traditional pottery of India Warshaw, Josie, (2004), The Practical Potter- A step by step Handbook
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“The Hindu does not worship an idol, Made of wood and metal. He sees consciousness Within the earthen-ness And loses himself in it.”
-Swami Vivekananda
“The Hindu does not worship an idol, Made of wood and metal. He sees consciousness Within the earthen-ness And loses himself in it.”
-Swami Vivekananda
WORK OF NAVEEN SINGH
WORK OF NAVEEN SINGH
