The Black Pottery

of NIZAMABAD
Just as the universe is contained in the self,
So is India contained in the villages

-Mahatma Gandhi
For all the Black Potters . . .
Acknowledgment

Any attempt at any level cannot be completed succesfully without the support and guidance of
learned people.

I express my immense gratitude to my mentor, Mr. Shouvik Bose (Associate prof. FC-dept) who
encouraged me to come up with this project and helped me throughout.

I thank Mrs. Sreenanda palit (CC- FC dept.) for inspiring me about the craft.

I am also thankful to Facebooks Nizamabad Black Pottery Team who provided me the contacts of the
potters and the organizations.

Last but not the least, my friend, Kratikesh Mishra, who helped and accompanied me throughout
the field visit.
Contents

1. Indian pottery ....................................................................................................... 1-4

The past ......................................................................................................... 2
Legends .......................................................................................................... 2
The different kinds ................................................................................... 3
Religious importance ................................................................................. 4
2. Introduction .......................................................................................................... 7
3. Nizamabad: Potters village .............................................................................. 8-11
4. Craft Cluster ........................................................................................................ 13
5. General characteristics of the district ............................................................. 15
6. Location and geographical area ........................................................................ 16-19
Forest ............................................................................................................. 19
Topography .................................................................................................. 19
7. Profile of the villagers ........................................................................................ 20-21
8. Geographical area of production ..................................................................... 22-23
9. Geographical Indication .................................................................................... 24-25
10. Historical record of the craft ............................................................................ 26-27
11. Bidriware ............................................................................................................... 28
12. Craft production process ....................................................................... ............ 29-36
Resources .......................................................................................... ............ 31
Tools ............................................................................................................... 31
Understanding clay .................................................................................... 32-34
Steps involved ............................................................................................... 35-36
13. Production process Visuals ............................................................................. 37-67
14. Local terms ............................................................................................................. 69
15. Role play ................................................................................................................. 70-71
16. Markets .................................................................................................................. 72-73
17. Issues in Black pottery value chain ................................................................... 74
18. Challenges and Problems .................................................................................... 75
19. Helping Hands ...................................................................................................... 76
20. Product review ...................................................................................................... 77
21. Major craft events ............................................................................................... 78
22. Award winning potters ...................................................................................... 79
23. Potters interview ................................................................................................. 80
24. Bibliography ......................................................................................................... 83

 Indian Pottery
P
-ottery making in India has been a much sought-
after 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 potters 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 countrys 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 carefully.
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 countrys 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, with 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 hand-
modeled, 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 potters 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.
02
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 potters inherent creativity. Hopefully,
new generations will perceive the worth of
pottery.
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.
water or tea and is sometimes decorated with
The different kinds
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
(metal, stone and terracotta), jewellery, weaving
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 for 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
etc. A lot of material information from excavations
at Harappa, Mohenjo-daro etc. substantiate the
craft tradition of the Indus valley civilization. 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
articular refers to a variety of pottery made from of which continue today.
clay, wood and metal. It also refers to weavers and
weaving.

The period between 1st century B.C. and 1st Religious importance
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.

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 craft traditions many
The Black
Pottery
Despite the paramount role played by domestic
earthenware, it is its religious association that
gives it a far wider dimension. Each region, each
village has a galaxy of 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.

04 05
 INTRODUCTION

Pottery is a basic craft of very ancient origin. It
symbolises mans 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
potters wheel, has remained a symbol of mans
first craftsmanship and the ancient civilisations
are judged by the degree of skill and beauty that is
contained in their pottery.
The potters wheel was the first instrument that
used mans 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, spice
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 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

06 07
 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 potters
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.

08 09
10 11
 Craft Cluster

Hussainabad Mohalla
Nizamabad
Azamgarh District (UP)

12 13
 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 countrys 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.

14 15
 Location and
Geographical Area

16 17
Location and
Geographical Area

Azamgarh is located between 25 38 and 26 27 are located close together. A noteworthy feature Topography Forest
north of latitude and the meridians of 82 40 and of this village is its pathways that are paved with
83 52 east of longitude. It is bounded by Mau on interlocking bricks. Tons River is the main river flowing through the The forests cover an area of about 110 hectares
the east, Gorakhpur on the north, Ghazipur on the district. The river has its origin in the mountains in 2010-11.The main species growing in this
south-east, Jaunpur on the southwest, Sultanpur of Kumaon and Nepal and makes the northern forest is: Mango, Jamun, Neem, Eucalyptus, Teak,
on the west and Ambedkar Nagar on the north- boundary of Azamgarh District and separates it Jackfruit, etc.
west. The district has an area of 4054 Sq. km. from Gorakhpur.

Nizamabad is a small town situated about 100 km District mainly comprises plain lands without
(62 miles) north of Varanasi (Uttar Pradesh). any hills, the only variations in the surface being
It is accessible from Varanasi and Gorakhpur by caused by the dire lands along the streams that
road. The village of Nizamabad is famous for its drain it. Except in the proximity of the Ghaghara
black pottery and practically all the households in River, the region slopes gently towards the
this village earn their living only by making black southeast.
pottery.
This village is densely populated and the houses Topography of Azamgarh District also includes
depressions of varying depth and extent in which
the surface drainage of the interior collects.
Further, there are some high lying plains.

18 19
 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 like 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
Caf,
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.

20 21
 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)

22 23
 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 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.

24 25
 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 private.

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.

26 27
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 exquisite 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. CRAFT
Bidriware is divided into three different forms. PRODUCTION
The distinction is on the basis of the depth of
embedding and the quality of metal. The deeply the designs. So a particular variety of sand is mixed PROCESS
cut work is referred to as Nashan, the raised work with sal ammoniac and applied on the surface. The
is referred to as Zar Nashan and the wire inlay surface then turns black and the silver designs gain
work is better known as Tarkashi. prominency.
An alloy of zinc and copper serves as the main raw
material of Bidriware. This alloy is referred to as A vast array of articles which includes vases,
white alloy because the proportion of copper that ashtrays, candle stands, trays, boxes and buttons
is mixed in the alloy is very little as compared to are the products of Bidriware. One is very
zinc. The reason behind this unequal proportion is impressed to see the various designs ranging
to produce the right base which can be turned to from flowers and leaves to geometrical figures in
deep black in the final oxidization process. beautiful silver set against a very dark backdrop.
Bidriware is a time consuming craft but one which
There are several processes that are involved in impresses everyone.
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

28 29
 Black Pottery-
Production 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

The main tools used for making black pottery are:

Resources
Kumhar ka charkha or chakkapotters wheel
Chakhayatwooden stick to rotate the wheel
Clay/soil: River Tons, Ponds, fields Kamachihollow cylindrical tube
Slip: Bamboo leaves, Mango bark: Locally Available Mariahammer
Levigated Ochre: Fariya Village Seet patiawooden slab on which the clay is beaten
Mercury: Varanasi
Starch/Gum: Locally Available
Mustard oil: Locally Available
Paddy Husk: Locally Available
Dung cakes: Make their own
Coal/ Firewood: Forest
Sand and Ash: Ponds and Fields
Lead, Zinc: Market

30 31
 Understanding Clay
What is clay?
Is it simply dirt? Well, yes and no. Dirt covers
a lot of ground. We can break dirt into several
sections: topsoil, clay, inelastic earth, and rock.
Topsoil contains a lot of organic material, which
makes it good for growing plants. Clays and
inelastic earths are the results of decomposing
rocks, in which the particle size is extremely small.
Rocks include bedrock and boulders all the way
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 clays 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.
32
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 doesnt understand what is going on
throughout the total process, the greatest glaze in
the world will not insure the efforts.
33
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 residual 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.
34
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 seem 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:
1. Soil procurement
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.
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.
2. Clay preparation
The clay has to be first soaked in water and passed
through a sieve to remove tiny stones and coarse
materials.
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.
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.
4. Turning/Shaping
The turning is carried out is next stage when the
clay has set. Using the selection of locally made
metal tools and burnishing the surfaces with an
agate pebble before the potter removes it from the
wheel.
5. Preparing clay slip
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.
6. Slip Application
The slip is applied by dipping and pouring.
The turned and polished products is then dried in
the shade.
7. Polishing
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 designs are etched on the polished pots
freehand using a pointed needle.
Sometimes using traditional geometric designs and
sometimes floral.
9. Smoke Firing
Firing is done in a closed clay kiln by placing
dung-cakes between the wares and covering the
35
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
Whole Process
sparkling silver motifs.
(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 etchings contrasts with the black

background making the piece truly a work of art.

36 37
Whole Process

Bringing to their homes.

Procuring soil.

Beat to make smaller in size and spread it on floor.

Potter digging out soil from the field.

Soaking soil in water so that it becomes soft.

38 39
Mixing soil properly.

Passing water-soil through the cloth to remove the tiny stones.

Sieving removes the unwanted materials making fit for pottery.

40 41
Wet clay mix is dried after sieving.

The potter adds mango barks and dead bamboo leaves 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.

42 43
The potter takes the clay and 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.

44 45
 A typical setup of the black potter

46 47
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.

48 49
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.

50 51
 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 etching.

After drying, mustard oil is applied and the surfaces polished with a soft cloth. The designs are etched on the polished pots freehand.

52 53
 The goyethhas are made by mixing cattle dung and hay. 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 it is used.

For smoke firing, the potters uses goyethha/ kandi. A woman carrying a heap of dung cakes on her head.

54 55
In black pottery, firing is done in a closed clay kiln. Adding mixture of ash, dung and water is meered around the seam to seal it.

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.

56 57
During firing, some dried goat dung is thrown into the kiln to 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.

58 59
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. Converting the mixture into powder.

60 61
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.

62 63
64 65
66 67
 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- potters wheel.
Charkha- potters wheel.
Cholanni- sharp bamboo twig used for etching.
Kabiz- a mixture of piari mitti and sajji mitti.
Kandi- Dung cakes.
Kullhar- cup.
Kumhar- the potter.
Martaban- Jars
Mitti- Soil/clay
Nakkashi- engraving done on the unbaked clay pots with cholanni.
Peerha- wooden slab on which clay is beaten.
Piari-mitti- yellow earth (a form of fullers earth).
Sajji mitti- crude carbonate of soda.
Seet patia- wooden slab on which clay is beaten.
Surahi- long-necked and spouted vessels.

68 69
 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 cleaning 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. Mitti/soil collection
2. Converting mitti into powder
3. Removal of unwanted materials from mitti
4. Clay preparation
5. Wheel work
6. Shaping
7. Firing
8. Nakkashi

Women:

1. Slip making
2. Slip application
3. Polishing
4. Inlay work

70 71
 Markets

Local markets
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.
Exhibitions and fairs
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.

72 73
Issues in Black Pottery Value chain
(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 locally. 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 for drying the terracotta or
sheds to work in.
(c) Economies of Scale
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 liquor. Thus, the
artisans do get large orders, but these are seasonal
during the festival period and weddings.
(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.
Challenges and Problems
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.
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
desired quality.

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
(f) Low Level of Skills 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 very 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.

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
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.

74 75
 Product review

Quality Price

The quality of these products varies from average
Helping hands to good, as they do not get easily chipped off.
Chipping generally happens during transportation
but chances can be reduced by packing well.
The products are much stronger than other clay
potteries. Their finishing is good, which indicates
INTACH (Indian National Trust for Art the characteristics of the skilled artisans.
and Cultural Heritage)
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.

Activities-
Colour and Design Product potential in the markets
a) Directory of Traditional Building Crafts
b) Design and Skill Development Workshop
c) Social Development Initiative The product colour is limited to black and silver In the present state, the black pottery products
d) Exhibitions and Documentary Films only. The product range and designs are very can be appropriate for the international market.
e) Heritage Craft Cell regular and hence there is enough scope for With little improvisation in product and design
f) Heritage Craft Festivals innovation. New designs for new products can enhancements in both quality and skill, the
be tried with better finishing. There are products products can achieve international appeal. For the
also available which are made in parts and can be domestic market, the products are quite good.
assembled. Products need some improvisations in
ITRHD (Indian Trust for Rural Heritage terms of new forms.
and Development)

Activities-

a) Management of day-to-day business and affairs of the Society.

b) Issue appeals and applications for money and funds.
c) Invest and deal with funds and money of the Society.
d) Establish funds for the employees of the Society, including their families.
e) Raise funds and loans for the Society.
f) Receive monies, securities, instruments and/or any other moveable.
g) Prepare and execute plans and programmes for the objectives of the Society.
h) Arrange for the documentation of materials relating to cultural property.

Black Pottery products in an exhibition

76 77
 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 Ramjatan Prajapati (National)

and traditions. Aanand Kumar Prajapati (State)
Sohit Prajapati (State)

78 79
In coversation with the Potters

Kishan Mohan Prajapati:
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 them locally. Sometimes, we get
a chance to participate in exhibitions and we sell our
products there.
Aanand Kumar Prajapati:
women help in cleaning and finishing, the young also
help in preparing the clay and setting up the kiln.
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 sufficient 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 the
finesse if the craft. We ourselves make the pottery and
we ourselves do the finishing and firing.

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 the potters 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,

80 81
 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, [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

82 83
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