38Potters have been forming vessels from clay bodies for millions of years. When nomadic man settled down and discovered fire, the firing of clay pots was not far behind. Pinch pots, made from balls of clay into which fingers or thumbs are inserted to make the opening, may have been the first pottery. Coil pots, formed from long coils of clay that are blended together, were not far behind. These first pots were fired at low temperatures and were thus fragile and porous.Ancient potters partially solved this by burnishing the surfaces with a rock or hard wood before firing. These low-temperature fired pots were blackened by these fires. Decoration was generally the result of incisions or insertions of tools into soft clay. Early potters created objects that could be used for practical purposes, as well as objects that represented their fertility gods.POTTERS
39TTHE MYTH: Once upon a time, Lord Shiva decided to get married to Goddess Parvathi. Utensils were required for the ceremony and serving food, while clothes and jewelry needed to be made. The Brahmins were the priests, while the Kshatriyas were the warriors. Vaishyas were businessmen and merchants. The only remaining caste was the Shudra caste. They were the workers and the cultivators, and were known as Kalakars.Hence it was decided to take them and split them into roles such as Malakars, Kamaar, Taati, Bonika, Mali, Dhobhi, Samaar, Kumharis and the Kisaan who was the cultivator. All the Kalakars (craftsmen) together came of help in Lord Shiva’s marriage.Pottery was in use in South Asia dating back to prehistoric times, including areas now forming Pakistan and northwest India, during the Mehrgarh Period II (5,500-4,800 BC) and Mehrgarh Period III (4,800-3,500 BC), known as the ceramic Neolithic and chalcolithic. Pottery, including items known as the ed-Dur vessels, originated in regions of the Saraswati River / Indus River and have been found in a number of sites in the Indus Civilization.Despite an extensive prehistoric record of pottery, including painted wares, little “fine” or luxury pottery was made in the subcontinent in historic times. Most traditional Indian pottery vessels are large pots or jars for storage, or small cups or lamps, often treated as disposable. In contrast there are long traditions of sculpted figures, often rather large, in terracotta.HISTORY
40The potter can form his product in one of many ways. Clay may be modeled by hand or with the assistance of a potter’s wheel, may be jiggered using a tool that copies the form of a master model onto a production piece, may be poured into a mold and dried, or cut or stamped into squares or slabs. The methods for forming pottery is as varied as the artisans who create them.Pottery must be fired to a temperature high enough to mature the clay, meaning that the high temperature hardens the piece to enable it to hold water. An integral part of this firing is the addition of liquid glaze (it may be painted on or dipped in the glaze) to the surface of the unfired pot, which changes chemical composition and fuses to the surface of the fired pot. Then, the pottery is called vitreous, meaning it can hold water.CREATINGTHE MODEL
41TECHNIQUESPINCH POTS:Begin a pinch pot by forming a lump of clay into a smooth sphere that fits the size of the hand. While holding the sphere of clay, press the thumb into the center of the ball, half-way to the bottom. While revolving the ball in one hand, press the walls out evenly with the thumb into the inside and the fingers on the outside. Smooth the surface with a damp sponge.COIL METHOD:Coils of clay can be used to build bowls, vases and other forms in various shapes and sizes. Keeping the fingers flat, form the clay into sausage shapes, then roll into ropes 1/4 to 1/2 inches thick. Make a shallow dish with the pinch pot method and turn up-side down to serve as a foot of base. Place a coil along the edge of the foot. Dampen the fingers and join the next coil to it, with a little pressure. Keep adding coils . Coils may be pressed with the fingers or a tool on both the inside and outside to create interesting texture.
42All handbuilding techniques can be used on one piece, such as using a slab to form the sides of a vessel, and then using coils and pinching to create an interesting rim or handles. Handbuilding techniques can also be used to alter and enhance a form thrown on a wheel.SLAB METHOD:Place two strips of wood on canvas a little further apart than the width of the finished slabs. Working on a textured fabric will leave imprints on the clay slab. Place clay on the cloth between the strips of wood and roll out. Use a pointed tool to trim the slab of clay to desired size. Rub a wet finger over the edges to be joined and score with a tool. Roll out a thin coil of sticky clay and place it along one edge. Press the two edges together. Slabs of clay may be placed over rocks, bowls, plastic forms etc. to create interesting shapes. As the clay dries, it shrinks away from the form but retains the shape of the form.
00THE JOURNEY OF THE MAKINGFROM CLAY TO FORM
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46 Fig: Artisan using a “tool” to create an intricate design on diya
47Pottery requires very few tools and many can be made or adapted from kitchen utensils and other household items. There are, however, a few essentials, which can be bought from pottery suppliers.TOOLSFORMING TOOLSPOTTER’S WHEELA potter’s wheel is a machine used in the shaping of round ceramic ware. The wheel may also be used during the process of trimming the excess body from dried ware, and for applying incised decoration or rings of colour.SPONGESAll potters need a selection of natural and synthetic sponges to remove excess water from the insides and surfaces of pots, smooth rims, and to apply slip and glaze decoration.CUTTING WIREEssential for wedging clay and cutting parts off a wheel head, wires are usually about 18inches long with wooden toggles at each end. Potters usually prefer to use a metal wire with handles made for slicing through the clay. It can be made of fishing wire of suitable thickness. ROLLING PINRolling pins can easily and quickly roll out slabs of clay. They are best used with the thickness strips to produce a consistent girth. It should preferably be long and without handles.
48DECORATING TOOLSWOODEN MODELING TOOLSUsed to smooth surfaces, shape sculptures and blend seams. It comes in a wide variety of shapes and sizes but a combination of two or three can be used to serve many functions. *Tip: Use a wooden chopstick for smoothing surfaces and blending seams.WOODEN RIBSUsed for smoothing and refining wheel thrown pots, but are available in shapes to suit any kind of work.POTTER’S NEEDLEUseful for marking levels on rims while the product is rotating on the wheel. It can also be used for scoring small areas and also for cutting pieces out of slabs of clay.RIBBON/LOOP TOOLSUsed to trim the bases of wheel-thrown pots and also to hollow out handmade shapes, especially sculpture forms.
49PROCESSFig: Artisan collecting clay
50The clay is collected from the nearby river popularly known as ‘Betthalli River’ which is 4-5 km away from the village, the clay is generally collected by the agents, artisans doesn’t do the sourcing of the clay himself. After the clay is received by the potters, water is added to the mud block and kept for drying. Indigenous techniques are used to remove the peebles and other unwanted particles , they also make it even by pressing it under their feet. Once the mud is ready to use, it is then put on the potter’s wheel and the products are made according to the demandFig 16: Artisan removing stones and mixing clay
51Fig: Artisan centering the lump of clay on the wheel in a way that no space is left in between the clay particles for air to enter.
52CENTERINGBefore the clay can be formed into a pot, it has to be centered, so that every part of it lines up with the very heart of the wheel. The unruly clay wobbles at first, heading off in all directions. The potter adds water and presses his hands against the sides of the clay as it spins, pushing the clay closer to the wheel head, smoothing uneven places, and pressing bumpy edges. Finally, under the firm and gentle guidance of the potter, the clay begins to center. It is a process that requires much time, trust, and patience. But by the end, the clay gets smooth, solid, and perfectly aligned - on its way to becoming a true work of art.
53OPENINGThe clay sits on the wheel, smooth, round, and perfectly centered. But there is a problem. The lump is solid through and through. There is no opening that will turn the heavy lump of clay into a bowl, a cup, or a vase. At this point in the process, there is too much in the way, and it is of no use at all. So the wheel spins and the potter gets to work, resting his left hand lightly on the outside of the clay, using his right hand to press into the top of the clay. He moves the extra clay aside; he opens up an empty space. As the clay is opened up, new room is made available to hold good things.
54Fig: Artisan giving an opening to a lump of clay centered on the wheel
55Fig: Artisan stretching the clay and giving it a shape
56SHAPINGThis is the moment of truth, the moment the potter has been waiting for. Every step before this one is preparation; every step after this is finishing work. In shaping a pot, the potter puts one hand on the inside of the pot and one hand on the outside, squeezing the clay in-between, moving from the bottom to the top. The clay is stretched, thinned, and directed between the potter’s hands. As each person is shaped according to God’s plan, so each pot is shaped according to the potter’s will. Whether he is creating a pot because there is a need for something to function in the household, a need for beauty somewhere in the world, or a need to express the joy of creativity, he makes each pot as he sees fit.
57TRANSFORMINGThen the potter picks the pot off the shelf and stacks it in the kiln. They are then cleaned, wedged, stretched, and dryed. The pot is now flung into the blazing furnace. The kiln heats the pot to about a thousand degrees Fahrenheit.But after it is fired, the pot becomes smaller, lighter, and much more stronger. The firing process heats the clay so hot that a permanent change takes place; it no longer dissolves in water. The process isn’t easy or comfortable, but the clay pot is not good for anything until it is transformed by fire.
58Fig: Artisan transforming the shaped clay
59Fig: Artisan polishing the clay bottle
60POLISHING AND DECORATIONFiring gives the pots a lovely, tactile soft feel. After the burning/baking process is done and the products are ready . In ancient times, animal fat, oil, and wax were often used to make it more waterproof and to restore the pre-firing high gloss. Today, most potters use a form of wax. Paraffin wax, candle wax, and beeswax, have all been used successfully. By applying the wax to a small area of heated ware and polishing a high sheen can be achieved.The artisans in Bettahalasuru aren’t that aware of these kind of products, they do not give any finishing to the final product , after the burning process they directly sale the products in the market.Fig: Artisan decorating the diyas
61EMBELLISHMENTSThere are endless methods for embellishing or decorating pottery, while the clay is carveable from the forming stage through final glazing and beyond. In Bettanahalasuru the potters while moulding the clay often create textures to wet pots through impressing a variety of tools and objects into the surface, like making few traditional patterns on the edges, some of them also make small flower patterns to give it a fancy look.Fig: Artisan attachinng handle to the diya
62Fig: Artisan making handles and other embellishments
63 Fig: Clay pots kept under the sun for dryingDRYING
Fig: Artisan setting up the fire for baking 64The items are arranged on the plank of wood in order and dried within the room. The outer attachments are to be made to the lamps, it is done by fixing the clay immersed in water into the required shapes. In uneven bottom layers, they are smoothened by pasting a light mixture of the clay to it and rubbing on to the smooth granite stone surface. After the prepared clay materials are completely dried reached to the quantity of customer’s request it is dried under direct sunlight and taken for the Bhatti(kiln). After the clay materials are arranged, firewood is placed to provide heat to the Bhatti for about 7-8 hours at 800-12000 C. After the heating process the clay items are left over night for cooling completely.BURNING
00VENDING THEIR HANDINESSSKILLS FOR TRADE
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67WORKING OF THE ARTISANSECONOMYThe craft items have a good market in the city but still are lagging behind far than its wage calculated in terms of actual time spent in its making. Above this is very much seasonal so market is not available round the year as in festive season during deepavali - karthik poornima. Their keeping this art alive as their tradition also as their source of income in spite of facing all adversities.They make 100 pieces per day on average and earn 20k.DIVISION OF LABOURThey spend at least 9 hours a day for 100 pieces per day where two people will be woking on each wheel. But entire indirectly the entire family is involved in some or the other process liking sorcing mud, mixing md, baking the pot/diyas etc.Craftsmen spend several months on a piece to meticulously curve out the details. With handoperated simple tools they used to engrave exotic designs on the Sholapith. It was very laborious and time-consuming job. No part of the pith is wasted and leftover bits are used for making flowers, birds and animal figures. Here entire families are engaged in the craft, yet it is the master craftsmen who take charge of the most intricate works.TRADITION OF LEARNING: HEREDITARYFrom the very young age, they are trained to make some Sholapith articles. Hereditary have developed in them perfected forms and motifs and their inborn sense of art displays itself in the use of these forms and motifs to create one of the most impressive items of decoration and ornamentation. By helping the elderly artisan in crafting the Sholapith as well as through day to day experience the young craftsmen acquires the training at home. The oral tradition of learning the technical skill of the craft is the only means to train the novice artisan. In Maheshpur village I find a Sholapith craft training centre supported by Department of Rural Development, Kolkata where the women and younger craftsmen can learn to create new designs or different objects to fulfil the demand of the modern taste.
68Fig: Artisan polishing the shaped diyas
69Fig: Decorative clay horses displayed for the saleFig 30: Tea cups made out of clay are been displayed for sale
70MARKETING PRODUCTSThe raw material like clay is brought from Varma Agra which is 20 Km away from pottery town and is carried by road transportation like tempo or truck. After the burning process when the product is ready, the artisans doesn’t invest more hours giving a finishing look, they sell the products right away. Their customers are usually the local people and they take the orders in bulk on a daily or monthly basis, there are no minimum order criteria. In bulk they generally charge less comparatively when taking individual orders. The education background of the artisans are not that strong, as they have to help with the family income. In Bettanahalasuru the customers are not the local people, because more than half of the villagers are into pottery only, they usually sell their product in the town. Some potters have agents who sell their products on profits, other potters who can’t afford the cost of third person, take their own products to sell in the market. There pottery is passed through ages, so the skills are inborn and they grow into it, they always design their own products. Some of the potters have different business as well, because pottery alone can’t make ends meet.
00BEYONG CRAFT,BEYOND CULTURESTORIES FROM THE HOME WHERE THE HANDS CREATE FORM
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73Fig: Students interacting with the residents of Bettanahalsuru
74Fig: Students interacting with the artisans of Bettanahalsuru
75MUNI RAJU: BETTANAHALASURUMuni raju, 47 year old has been practising pottery since more than 20 years which he learnt from his father and now it is his main source of income. His native place is a village called Narayanapura. Raju also work a bus driver in a nearby school, because pottery alone can’t make his ends meet, with a family of four members, wife and two kids. On asking whether his kids will follow the same step as him, he said pottery won’t bring much money and happiness in their life, so he encourages his kids to study hard and get better jobs of their own interests. For Raju himself, he is attached to the aroma of wet mud which he moulds everyday in something new and beautiful. Raju works from his semi-kutcha house. Initially he started making flower pots, but because of decreasing market demands, he has to shift his work to making just the diyas, on an average he makes 300 diyas per day, making diyas there was a sudden rise in the income as per the market demands, as it all increased the price of mud as well as transportation also rose. During festivals, diyas are sold at a very large scale but there is no such profit at that time as well. Talking about variation in design, he usually make 3-4 types of different diyas.INTERVIEWS
76CHANDRA SHEKHAR: BETTANAHALASURUChandra Shekhar a 48 year old potter has been living in Bettahalasuru since his birth and now owns a house. He and his wife have three daughters, the elder one is married, and the other two does pottery workshops in school, colleges, fair etc. Shekhar studied till class 6 in Kannada medium school, after that he started helping his father with pottery. He makes his own design when it comes to making a product, but for sourcing the raw materials, he said it’s getting costly because of urbanisation around the village. Including the earnings of the daughters , they make 20 thousand per month.
77LAKSHMI DEVI: BETTANAHALASURULakshmi devi amma is 50 year old from andhra pradesh, after her marriage to Yenkaya her husband, she shifted to Bettanahalasuru and now its been 30 years she got associated with this craft. Her husband doesn’t work because of health issues, so she is involved fully into this craft throughout the year. Lakshmi amma is well settled in her own kutcha house. She have a daughter and a son both married and are settled happily. Her working hour is quite tiresome from morning 10am to evening 4pm, at this age she easily gets tired. The higher demand for her products are during Deepawali and Karthik Poornima, as people use diyas all around their home and surroundings. On adapting new techniques, she said it totally depends on the availability of tools. Currently she earns 20 thousand in a month.
78PAPAMMA : POTTERY TOWNPapamma a 65 year old potter, have been living in pottery town since childhood , and he is in this business from past 50 years. Papamma and his wife is blessed with two sons and a daughter, his sons help him with the pottery business and also they are into few other small business for extra income, his daughter is married housewife. Pappama is a grandfather, he have three grandchildren, all of them go to school. On asking about the types of soil/clay used for making the products, he said red soil, black soil and sand. He usually make pots, and sculptures of God during festivals, price range varies from Rs.5 to Rs.500, it all depends on the size of the products. When we asked about what does government do or does government help the potters with anything, be it giving incentives, more knowledge about the market, government scheme, Papamma replied- we don’t get any help from the government.
79Analysis of the data obtained from the field survey reveals the following characteristic features of the Indian clay pottery industry.• The unit of production of the pottery industry is of home scale level.• Maximum older people whose age is above 45 years are continuing in the occupation. This occupation is average 200 working-days of employment per annum on an average to each family. None of the respondents is willing that their children should learn this age-old traditional occupation.• This occupation is not providing adequate employment for the respondents who are completely dependent on this occupation. On an average only 50 percent families are continuing in this occupation, and the rest are engaged in other professions as an unskilled labour.• Out of the total workers engaged in pottery production 30 percent are highly skilled, 50 percent are semi-skilled and rest are 20 percent are unskilled workers. For upgradation of their skill, no systematic HRD programmes were organized by any agencies.• Around 70 percent products are traditional, 20 percent is moderate and hardly 10 percent contemporary products are produced by the potters and they are either staying in the city or close to city.• No modern technology and new techniques od production have been introduced so far under any development scheme of the government. FEATURES OF THE INDIAN CLAY POTTERY INDUSTRY
80CHALLENGES FACED BY THE ARTISANSClay pottery is an ancient craft of the world. Clay pots, toys, art products, terracotta, tiles, black & red pottery , wall hangings, animals, fruits & vegetables, water coolers etc. are found in many countries and have good demand in domestic as well as export markets yet it is facing in flourishing as a craft. Potters are facing problem in supporting their family so they work as laborers on very low wages in allied activities like building bricks, refractory, crockery, electrical porcelain items, stone carving etc. One will be surprised to know that even today clay pots are used for cooking rice, dal and vegetables in some remote areas as the food cooked in these vessels is very tasty & hygienic.• Despite of the facts that domestic and export markets exist for earthen ware, wide acceptance of paper and plastic products have posed serious threat to clay pottery as whole and it has received sever set back. • Due to urbanisation which is resulting afforestation the people are facing problem to get the raw materials such as the dry leaves and mud. People were blaming the ‘corporate world’ as it may be the reason to kill their craft.• Also as the market is seasonal; they wish and want a bulk and regular orders and expect people to use these earthen products.• Rapid growth of urbanization has adversely affected potters living in urban areas and they are finding it increasingly difficult to carry out their activities due to non availability suitable clay and protest from the neighbors against smoke coming out from the oven. • Due to high cost of production of clay pots in comparison to paper & plastic products, the demand has considerably decreased. Therefore artisans are unable to meet their bare necessities like fooding, clothing, medicine and education to their children.
81SWOT ANALYSISSTRENGTHS • Less competition since they are the only ones in the market• There is no wastage of clay since it is reusable.WEAKNESSESS• Storage is an issue due to fragile nature of the products and lack of space.• A considerable lack of productivity as well as demand from consumers is seen during monsoons.• The land is government owned and not their own.• Market demand is seasonalOPPORTUNITIES• The innovation in design are feasible.THREATS• Government can seize their land anytime since they don’t own it.• This profession may die as the upcoming generation may not continue in this held due to lack of profits and opportunities involved.
82It is obvious that if you want to eat a fruit from your tree, then the first thing is to pour water to its root. The pathetic fallacy is that, not only these art forms are in a miserable dying condition in most parts of India, but the earthen dolls and earthen products are also being sold in high prices in different showrooms in metropolis. Government is reluctant to improve the condition of this art. There are no changes for noticeable improvement where we can feel a satisfactory growth in future for the people engaged in this art. Some of the artisans curse their fate and started to accept that on the long run they will not survive if they further engage themselves in this profession which they inherited from their ancestors.An eager step from administration and conscious civilians should be taken that can help to rejuvenate this enriched art. Proper sales promotion and advertisement can be conducted in front of interested businessmen that will perhaps help in improvising the sales of the product. Some awareness and aggressive promotional activities both in the part of stakeholders and government should be necessarily taken to establish earthen product side by side with modern glass or stone product of that category. The present enquiry will help to explore the need to organize the earthen doll sector both in national and international, keeping in mind that there it noticeable demand of the product. The study also highlights the necessity to adopt new approach to survive as a product being flexible with conventional methods of manufacturing to marketing. Tradition has its own importance. Time has its own rules, that is why new thing happens and few fade out with the passage of time.INTENTION FOR IMPROVEMENT
83Economically, potters exist on a subsistence level and any extra expenditure, such as dowry or unforeseen illness, entails a loan with the accompanying inevitable debts. It has been recommended by various government commission that potters should be included in the category of ‘Socially and Educationally Backward Classes’. This will entitle them to affirmative action programmes such as reservations on seats in institutions of higher learning and jobs, special training programs and interest free loan schemes for equipment such as electric wheels and kilns. Transition periods are difficult and it will take time for a new aesthetic to emerge from a new technology. Change is inevitably brought about by economic and social pressures in a time of political and industrial development. But it is pity that the old should be stigmatized for the wrong reasons as being primitive, and that social status should depend the destruction of what was beautiful and precious.THE FUTURE OF POTTERS IN INDIA
84Fig: Artisan smoothening the surface of diya
85We the students of Fashion Communication department (NIFT Bengaluru) did our craft cluster study on ‘Pottery’ for a week, which comprised of workshop at college campus followed with a cluster visit to Bettahalasuru. This one week was more beyond than a learning experience. We saw the world of pottery through the eyes of the potters, their experiences, their learning, their approach in the field of pottery. Our experience was nonetheless different, we got a chance to sit and watch the diyas and diyas being made by the artisans, which was very satisfying, one after the other, and simultaneously getting to know their lifestyle. We were so awestruck by their skills that we wanted to inculcate few into ourselves. And to know that they all learned it by themselves was more of a surprise to us. Also, the place Bettahalasuru (village located in Bangalore), is not that big with too many houses, but has lot to give in terms of experiences. In our few visits, we observed the lifestyle not only of the artisans, but also of their families. It was the usual as any other village, women doing their chores, kids riding their bikes, cows mooing in unison, dogs peeping into the house, it was just as we imagined it would to be. Our experience was more than words to describe.OUREXPERIENCE
86Pottery, one of the oldest and most widespread of the decorative arts, consisting of objects made of clay and hardened with heat. From our one week of workshops and cluster visit to Bettanahalasuru, we got to know various things about the craft, the artisans inspired us to look at this craft differently. The intricacy of this art is mind-blowing and an eye-opener. The study not only did enlighten us about the craft, but has also brought a new dimension to our approach towards things and people. It made us realise the value of patience, skills and hard work put by people at every step for the product to come out as beautiful as we see in markets. Their struggles is harsh but a true reality which provokes us to to bring changes in our mindset about the craft.The Indian pottery industry is suffering from irregular supply of raw materials, lack of working capitals, obsolete technology, lack of diversification of products, competition from the organised sector, lack of good marketing facilities, and lack of Research and Development efforts, management problems, etc. The artisans are often exploited by the middlemen who always squeeze the profit. There is a need of capital for increased productivity of the sector. The Government and non-government initiatives can solve the problem and develop the industries at its best level. It goes without saying that realization of policies will need very efficient and committed functionaries. Since the artisans are in the hands of stereotype machinery it may be necessary that the entire programme for the development may be organized through various governmental institutions. CONCLUSION
87GLOSSARY• Diya: A small cup-shaped oil lamp made of baked clay.• Tika: A mark worn by a Hindu on the forehead to indicate caste, status, or sect, or as an ornament.• Cakra: Wheel in kannada• Shiva: One of the three chief divinities of the later Hindu pantheon.• Parvathi: Hindu goddess of fertility, love and devotion; as well as of divine strength and power.• Kamaar: People of central India now engaged in the practice of plow agriculture.• Taati: It is called Ice-apple in British English.• Maali: People who are engaged with gardening.• Dhobi: People who are engaged in the practice of washing clothes.• Samar: Hindu and Muslim unisex name meaning ‘Battlefield Commander’ in Sanskrit.• Kumharis: Pottery in which the ceramic material which makes up pottery wares, of which major types include earthenware, stoneware and porcelain.• Kisaan: Person who is engaged in the practice of agriculture• Kalakars: People who are associated with art • Bhatti: An enclosed structure in which material can be heated to very high temperatures, e.g. for smelting metals.• Karthik Poornima: A Hindu, Sikh and Jain holy festival, celebrated on the full moon day or the fifteenth lunar day of Kartik.• Sholapith: It is a dried milky-white spongey plant matter from Aeschynomene sp. It can be pressed and shaped into objects of art.• Dal: It is a term used in the Indian subcontinent for dried, split pulses.