ifjp; introduction

Open Air Exhibition KUMHAR PARA : Pottery Traditions of India

ifjp; dqEgkjh dyk dk vkfo"dkj bfrgkl esa èkjrh ij

ekuo vorj.k ds ckn dh gh Økafr gS bls {ks=h; ,oa lkaL—frd dyk ds lcls ewrZ ,oa vuqlkadsfrd rRoksa esa ls ,d ekuk x;k gSA bl dyk dk tUe lkekU;r% LFkkbZ thou ds vkjEHk ls gh ekuk x;k gSA dqEgkjh ijaijk dks dsoy çkphu laL—fr;ksa dh vofèk tkuus ds fy, gh ugÈ vfirq mudk rknkRe; LFkkfir djus ds mís'; ls Hkh egRoiw.kZ :i esa Lohdkjk x;k gSA vr% ;qxksa ls gh dqEgkjh dyk dk vè;;u çkphu laL—fr;ksa dks igpkuus] mUgsa le>us ,oa mudh fo'ks"krkvksa dks mtkxj djus ds fy, vfr vko';d ekuk x;k gSA Hkkjrh; miegk}hi esa e`nHkkaM fuekZ.k

ds lk{; yxHkx 8000 bZlk iwoZ esgjx<+ ¼uo ik"kk.k ;qxhu½ esa ns[ks x,A c?kkbZ[kksj ¼mÙkj çns'k

ds fetkZiqj ftys½ ,oa ya?kukt ¼xqtjkr ds esgjkuk ftys½ dh lwpuk vuqlkj Çoè;ka {ks= esa eè; ik"k.k

;qxhu fljsfed ds va'k ,oa NksVs VqdM+s ik, x, tks iw.kZr% gLr fuÆer e`n HkkaMks ds lk{; gSaA blds vfrfjä ¼uo

ik"k.k ls eè;dkyhu ;qx rd½ fofHkUu lkaL—frd Lrjksa ij iqjkrkfRod LFkyksa ls [kqnkbZ ds nkSjku Hkh e`n~HkkaM çkIr gq,A

e`n~HkkaM cukus dh ijEijk,a Hkkjr esa vkt Hkh tkjh gSaA fofHkUu {ks=ksa ds dqEgkj muds iwoZtksa }kjk çnku fd;s x, iSr`d dkS'ky

dk ç;ksx bl fn'kk esa dj jgs gSaA fiNys dbZ n'kdksa esa ekuo tkrh; ,oa ekuo iqjkrkfRod vuqlaèkku ns'k ds dbZ fgLlksa esa fd;s x, gSaA bu

vè;;uksa esa 'kksèkdrkZ bfrgkl ls orZeku rd bl rduhd esa vk;s ifjorZuksa dks tkuus dk ç;kl dj jgs gSaA ;g Hkh voyksdu esa ik;k x;k gS fd ijaijkxr

VSDuksyksth tSls feVVh dks gkFk ls vkdkj nsuk] pkd }kjk rS;kj djuk] iqjkus ik= dks uokdj nsuk ,oa gLr çfr:i.k ds dbZ rjhdksa tSls dksbYM eSFkM ¼dq.Mfyuh fofèk½]

LySc iSVuZ ,oa pkd rFkk gkFk dk fefJr :i vkt Hkh Hkkjr ds dbZ LFkkuksa fo'ks"kr% xzkeh.k {ks=ksa esa tgk¡ ekax rqyukRed :i ls igys dh rjg gh gS] mi;ksx esa yk;s tk jgs gSaA ;g eqäkdk'k çn'kZuh iw.kZr% ba-xk¡-jk-ek-la }kjk fiNys nl o"kksZ esa vk;ksftr dqEgkjh ,oa VsjkdksVk dk;Z'kkykvksa dk gh fupksM+ gA Hkkjr ds dbZ LFkkuksa ls dqEgkjksa dks fofHkUu iM+koksa esa vkeaf=r fd;k x;k ftUgksaus vius dqEgkjh dkS'ky ds çn'kZu ds lkFk ikjaifjd e`n~HkkaM ,oa VsjkdksVk vk—fr;k¡ tks vc eqäkdk'k çn'kZuh ÞdqEgkj ikjkÞ esa 'kksHkk ik jgs gSa] dk fuekZ.k Hkh fd;kA çLrqr çn'kZuh Hkkjr ds fofHkUu {ks=ksa fo'ks"kr% vle] xqtjkr] y)k[k]

tEew&d'ehj] ef.kiqj] vksfM'kk] rfeyukMq ,oa if'pe caxky dh dqEgkjh ijEijkvksa dks ekuofoKkuh; :i esa çdkf'kr djus dk ç;kl djrh gSA ;s leqnk;]

dqEgkjh dyk esa yxs yksxksa dh tul¡[;k] muls tqM+s lkekftd & vkÆFkd igyqvksa] ikjaifjd Kku iífr dk gLrkarj.k] ekU;rk,a] vuq"Bku]

mRiknu dh rduhd ,oa ijEijkvksa dh vfojyrk esa buds mi;ksx dks vfHkO;ä djrh gSA

IntroductionThe invention of pottery is the next revolution in history after man’s appearance on earth. It is considered as one of the most tangible and iconic elements of regional and cultural art. The occurrence of pottery is generally attributed to the beginning of settled life. It is considered to be an important index not only to date the ancient cultures but also to identify them. Therefore, the study of pottery through the ages is considered to be an essential requirement to identify, understand and characterise the ancient civilizations. In Indian-Subcontinent, early evidences of pottery making are noticed at Mehrgarh (Neolithic) nearly about 8,000 BCE while culturally, the Vindhyan region has yielded the ceramic remains belonging to Mesolithic period reported from BaghaiKhor (Dt. Mirzapur, U.P) and Langhnaj (Dt. Mahesana, Gujarat) small bits and pieces being found which are evidences of entirely handmade pottery. Besides this, pottery has been excavated from various archaeological sites from different cultural levels (Neolithic to medieval period). The pottery making tradition is still continuing in India. The potters of different areas are practising the inherited skills of their ancestors. In last three decades, ethnographical and ethno-archaeological researches have been conducted in various parts of the country. In these studies, the researchers are trying to identify the changes that occur from the past to present times in the form of technology. It is also noticed that the traditional technology like hand beaten, wheel thrown, moulding over an old pot and many ways of hand modelling like coiled method, slab pattern and a combination of both wheel turned and hand beaten, still survive in some of the parts particularly in rural areas where demand is almost same as compared to the past. This open air exhibition is entirely an outcome of pottery and terracotta workshops organized by IGRMS in the last 10 years. In different phases, potters from different parts of India were invited to IGRMS and asked to present their skill and make traditional pottery and terracotta which are now part of an open-air exhibition “Kumhar Para” (potters village). Data is collected from primary sources through direct interviews of potters and audio-visual documentation of pottery making processes. The present Exhibition endeavours to give a brief ethnographic account of pottery traditions of different parts of India specifically Assam, Gujarat, Ladakh, Jammu & Kashmir, Manipur, Odisha, Tamil Nadu and West Bengal. It explains about the community i.e. population of people involved in pottery; their associated socio-economic facets, transfer of the traditional knowledge system, beliefs, rituals and technique of production and their consumption in terms of continuing tradition.


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{ks=% ÇMMksjh ,oa eaMykjkT;% eè; çns'k

eè; çns'k ds ÇMMksjh ,oa eaMyk ftys ds xksaM dykdjksa }kjk feVVh] ?kkl ,oa ckal ls rS;kj fd;k x;k xksMkjh iBsjk ,d vuwBh lajpuk

gSA cM+h gksf'k;kjh ds lkFk rS;kj dh x;h çn'kZuh dk ços'k }kj vkfnoklh

leqnk; ds okLrqf'kYi] lkSUn;Zijdrk ,oa dykdkjh dk ,d mngkj.k gSA eq[;

lajpuk ,d 'kSMM ços'k }kj ds :i esa rS;kj dh x;h gS ftlds nksuksa vksj Hk.Mkj.k ds cM+s

fMCcs j[kus ds fy, nks NksVs NksVs Hkkx cuk;s x, gSaA

fofHkUu çdkj ds vuktks ds Hk.Mkj.k ds fy, xksMkjh esa dbZ fgLls gksuk bls vnHkqr cukus ds lkFk vU;

ik=ksa ls vyx cukrk gSA vukt ,oa èkku ds vfrfjä pkoy] dksMks] dqVdh] laok bR;kfn ds lkFk vU; dbZ oLrq,a tSls ngh] NkN] gafl;k] dqYgkM+h] c<bZ] jktfxjh ,oa —f"k ds NksVs midj.k xksMkjh ds fofHkUu Hkkx tks mudh ç—fr ,oa vkdkj vuqlkj cuk;s tkrs gSa] esa HkaMkfjr fd;k tkrk gSAtsojkr xksMkjh ds fupys fgLls tcfd ued vUnj dh vksj cus fgLls esa j[kk tkrk gSA iBsjk dk mi;ksx nhi

,oa fpeuh dk mi;ksx dsjksflu nhi ds fy, fd;k tkrk gSA fpeuh vFkok ckrh dks jkrekbZ vFkok

eqYdjh nsoh tks ?kj dks cqjh phtks ls cpkrh gSa] dk çrhd ekuk tkrk gSA xksMkjh iBsjk

dks fMxuk vk—fr;ksa ls ltk;k tkrk gSA

GODARI PATHERACommunity: GondArea: Dindori, MandlaState: Madhya Pradesh

Godari Pathera is a unique structure designed by the Gond clay/mud artists of Dindori and Mandla districts of Madhya Pradesh using clay, bamboo, and grass. Profoundly designed, this entrance of the exhibition is an example of the architectural, aesthetic and artistic sense of the tribals. The main structure has been designed as a shaded gate, having two relatively small sections on both sides with big grain bins inside. Multiple sections for storage of various items is the unique feature of Godari which distinguishes it from other usual grain-bins. Besides grain and cereals, rice, kodo, kutki, sanwa, etc. and many other items like curd, buttermilk sickles, axe, small carpentry tools, masonry and agricultural tools are also kept in a different section of Godari specially designed for them which is suitable to their shape and size. Jewellery and currency are also kept under Godari along with salt. ‘Pathera’ is used for lamps and ‘Chimani’ for kerosene lamps. Chimani or wick of the lamp is considered as Raatmai or Mulkuri Devi, protecting inhabitants of the house from the dark. Godari Pathera is decorated with ‘Dhigna’ motifs.


dqeSbZ 'käd Qwjksu¼mRloh dqaHk LraHk½

leqnk;&eSr;h{ks=&,aMªks xkao]

ftyk iwoÊ baQky]jkT;&ef.kiqj

dqeSbZ 'käd Qqjksu uke dk ;g dqaHk LraHk ¼mRloh dqaHk LraHk½

ef.kiqj ds ,aMªks xkao ds dqEgkjksa }kjk rS;kj fd;k x;k gSA bl xkao esa

e`nHkkaM cukus dk ;g dk;Z dsoy fookfgr efgykvksa }kjk gh fd;k tkrk gSA ;s fofHkUu

lkekftd foÜoklksa ,oa fjfr&fjoktksa dk leFkZu djrh gS ftudk mYya?ku djuk ,d xaHkhj vijkèk

gSA b-xk-jk-ek-la- esa bldh LFkkiuk ,aMªks dqEgkjksa dh ,d vU; ,slh miyfCèk gS tks ,d fo'kky mRlo ds Jhx.ks'k dks çnÆ'kr djrh gSA xkao esa igyh ckj Qwjksu dh ,sfrgkfld LFkkiuk xkao okfl;ksa }kjk

^foÜo i;ZVu fnol 2015^ ds vk;kstu ij dh xbZ FkhA ,aMªksa dqEgkjksa us bl çdkj ds Qwjksu

¼LraHk½ dks mRlo ds çrhd ds :i esa yxkuk 'kq: fd;k FkkA

KUMHEI SHAKTAK PHURON(Festive Tower of Pots)Community: MeiteiArea: Andro VillageDistrict: Imphal EastState: Manipur

The tower of pots, named as the Kumhei Shaktak Phuron (festive tower of pots) comes from the Andro potter's village of Manipur. Pottery craft in this village is practiced only by married women and they endorse discrete social belief and practices, breaching of which is a serious offense. This installation at IGRMS is regarded as the landmark achievement of the Andro potters which marks the beginning of a grand festival. The historic installation of Phuron (tower of pots) for the first time by villagers was held to mark the “World Tourism Day 2015” in the village. Andro potters started raising this kind of Phuron (tower) as a symbol of festivity.


ef.kiqj dk dqEgkjh cktkj ¼pkiw dSFky½

dqEgkjh cktkj leqnk;% eSarbZ

{ks=% uksaxlsdebZ ,oa Fkksaxtkvks

jkT;% ef.kiqj

uwfi dSFky ds uke ls yksdfç; ef.kiqj dk ikjaifjd cktkj dSFky

;gka ds yksxksa dh lkekftd&vkÆFkd ,oa vkè;kfRed thou esa ,d çeq[k

LFkku j[krk gSA ,slk ekuk tkrk gS fd ?kkVh esa fLFkr çR;sd cktkj ij nsoh ykjsach

esgjoku gS ftudh —ik foØsrkvksa ij cuh jgrh gSA ef.kiqj esa ,slk dksbZ cktkj ugÈ tgka

gLrfuÆer ikjaifjd e`nHkkaM u feyrs gksaA jkT; dh jktèkkuh ds chpksachp fLFkr lcls cM+k [okbjacsaM dSFky ¼cktkj½ e`nkHkkaM foØsrkvksa ds fy, ,d fo'ks"k LFkku j[krk gSA ;g cktkj LFkkuh; foÜoklksa ,oa vuq"Bkuksa dks xgurk ls ekuus okys yksxksa dh ?kjsyw mi;ksfxrkvksa lfgr lkekftd&èkkÆed ifjfèk dks lgstdj lkaL—frd egRokdka{kkvksa dh iwÆr dk dsaæ gSA ;gka dh dqEgkfjuksa }kjk fofoèk çdkj ds e`nHkkaMksa dk

fuekZ.k fd;k x;k tks tUe ls ysdj e`R;q rd ds fofoèk vuq"Bkuksa ,oa ikjaifjd mRloksa

esa ç;ksx fd, tkrs FksA

CHAPHU KEITHEL OF MANIPUR(Pottery Market)Community: MeiteiArea: Andro, NongpokSekmai and ThongjaoState: Manipur

The traditional market (Keithel) in Manipur, popularly known as the Nupi Keithel has a prominent place in the socio-economic and religious life of the people. Every market in the valley is believed to have been guarded by the Lairembi (Goddess) whose benign presence showers blessings to all the vendors. The market place is dominated with traditional handmade pottery made by potters around Imphal and neighboring villages. Manipur is known for its Black Earthenware Pottery produced by Tangkhul tribe from Nungbi village among other distinct types of pottery. The largest Khwairamband Keithel (market) in the heart of the state capital reserves a special place for the pottery vendors and is called Chaphu Keithel. It is arguably known to be the largest market operated solely by women. Men are not permitted to sit. It is the segment that fulfills the domestic utilities, socio-religious ambit and cultural aspirations of the people who are strongly bound by local beliefs and practices. The women potters make different types of utensils which are used in many rituals and traditional ceremonies from birth and death.


dPN dh [kkoMk dqEHdkjh{ks=% mÙkjh dPN jkT;% xqtjkr

[kkoM+k dqEHkdkjh mÙkjh dPN] [kkoM+k dh ,d çkphu dqEgkjh dyk gS tks gM+Iik lH;rk ds yksxksa }kjk mi;ksx esa yk;s tkus ds fy, tkuh tkrh gS ,oa lkFk gh tks lfn;ksa ls fojklr

esa pyh vk jgh gS A e`nHkkaM cukus dh çfØ;k ds nkSjku iq#"kksa ,oa efgykvksa

ds chp nkf;Ro lkSai fn, tkrs gSaA iq#"k tgk¡ bl çfØ;k esa {ksi.k dk;Z ns[krs gSa

rks ogh¡ efgyk,a ik=ksa dh lkt& lTtk ,oa fp=dkjh djrh gSaA dqEHkdj ,d fo'ks"k LFkku

¼>hy½ ds ikl ls feVVh çkIr djrs gSa ftls judkfeêh dgk tkrk gSA ;g e`nq e`nk pkd ij ik=

dk :i èkkj.k djrh gS ,oa fQj bls Nk;k esa lq[kkus ds fy, NksM+ fn;k tkrk gSA blds ckn efgyk,a feêh ds

la;ksx ls cus yky] dkyk ,oa lQ+sn jax ls çR;sd ik= dks leqnk; fo'ks"k dh dyk—fr;ksa ls ltkus dk dk;Z djrh gSaA dqN le; ds ckn bUgsa lkQ dj èkwi esa lq[kkus ds i'pkr~ vklkuh ls çkIr gksus okys LFkkuh; lw[kh ydfM+;k¡ ,oa miyksa ds ekè;e ls tykbZ tkus okyh vfXu dh Hkêh esa idk;k tkrk gSA crZuksa ij xs: ¼yky jax½ dh ,d NksVh ijr p<kbZ tkrh gSA [kkoMk ds ik= xs: ls ykfyek çkIr djrs gSa tks ,d çdkj dh feêh ¼mpj@vEcj½ gS blds lkFk dkys ,oa lQ+sn jax dh Çcfn;k¡ ,oa ykbus Hkh çk—frd jaxksa ls cukbZ tkrh gSaA iw.kZ :i ls rS;kj ik=ksa dks vUnj dh vksj ls <ykbZ dj lq[kkus j[k fn;k tkrk gSA [kkoMk ds VsjkdksVk ik= vU;

ls vyx LFkku j[krs gSa D;ksafd budh fp=dkjh ,oa ik=ksa dks rS;kj djus dh çfØ;k ds çR;sd Lrj ij ckj

ckj dh lQkbZ ls çkIr :i vius esa vuwBs gksrs gSaA çk—frd jaxksa ls rS;kj tfVy Qqydkjh ,oa

T;kferh; vk—fr;k¡ dPN dqEHdkjh dks vuks[kk :i çnku djrh

gSa A

KHAVDA POTTERY OF KUTCHArea: North KutchState: Gujarat'Khavda' pottery is an art form of Khavda, North Kutch. Pottery is an ancient art known to be practiced by people of the Harappan Civilisation, and this legacy of pottery has passed down for centuries. Duties are assigned and distributed amongst men and women throughout the process of pottery-making. Men do the throwing in of terracotta and women carry out the task of decoration and painting of the pots. The potter gets mud from a specific (a lake) area near the village. It is called 'Rannkamitti'. This soft clay is shaped into a pot on a potter’s wheel and left to dry in shade, then Kumbhar women use red, black, and white clay-based paints to decorate each piece of pottery with distinct community-specific designs. After a while, it is cleaned and put in the sun to dry and then baked in a furnace, powered by simple and locally available fuels of dry wood and cow dung. The vessels are coated with a thin wash of geru (red color). The pots of Khavda get their red color from Geru, a type of soil (ochre/ umber), and the black and white dots and stripes are also made with natural material. Finished pieces are cast aside, ready for drying. The terracotta pots of Khavda are distinctive from the ones we may see elsewhere, because of their painting and form which is a result of repeated cleaning at every stage of the process of their making. The highlight of Kutch pottery is the intricate floral and geometric designs with natural pigment color combination.


rfeyukMq ds inqdksÙkbZ ftys ds eybZ xk¡o dh

dqEHkdkjh ,oa VsjkdksVk ijaijk{ks=% eybZ xk¡oftyk% inqdksÙkbZ

jkT;% rfeyukMq

VsjkdksVk tks iôh feêh gksrh gS] dyk vfHkO;fä dk lcls

çkphu ,oa ewy :i gSAvYiewY;rk ,oa lqyHkrk ls çkIr

gksus okyk ;g ekè;e çkxSfrgkfld le; ls ekuo dks yqHkk

jgk gSA lkekU; ,oa cqfu;knh :i ls vfèkd jpukRed :iks

esa VsjkdksVk dyk èkhjs&èkhjs fodflr gqbZA rfeyukMq esa ç;ksx dh

tkus okyh VsjkdksVk dyk vius N ehVj yacs ?kksM+ks ds fy, yksdfç; gSA

vk;ukj ds eafnjksa esa bu fo'kkydk; v'oksa dh LFkkiuk eBksa esa vk;ukj

nso ds flikfg;ksa dks okgu miyCèk djkuk gS tks xk¡o rFkk eSnkuksa esa cqjh

vkRekvksa dks [kRe djus ds fy, iwjh jkr dh ;k=k djrs gSA vk;ukj nso dh

iwtk ds fy, LFkkfir eB rfeyukMq esa cgqr çpqjrk esa gSA ijaijkxr :i ls

çR;sd xk¡o dh j{kk ds fy, blds ços'k }kj ij ,d fo'kkydk; vlkèkkj.k v'o tks

cqjh phtksa ls j{kk djus okys xzke nsork vk;ukj dh èkkÆed ewÆr dk okgu gS] igjk nsrk

gSA vk;ukj nso cM+h cM+h ewNs] yEcs nar ds lkFk fo'kky us=] ftuls os yxkrkj fuxjkuh

djrs gS] okys gksrs gSA vius ohjks] flikfg;ksa ,oa v'oksa ds lkFk ;s nso ços'k }kj ij LFkkfir

fd, tkrs gSA blds vfrfjDr xzke ds vU; nsoh nsork Hkh VsjkdksVk ls cus gksrs gSA vU; mrikn

ftuesa ikuh [khpus ,oa j[kus ds fy, dqaHk ¼lkyk½ ,oa jlksbZ?kj esa mi;ksx fd, tkus okys crZu

ftudh çfrfnu vko';rk xzkeh.kksa dks gksrh gS] Hkh cuk;s tkrs gSA iksaxy ds 'k"; mRlo ds nkSjku

jlksbZ?kj ds vukt HkaMkj.k ds iqjkus ik= ,oa rqylh ds iqjkus xeys dks gVkdj uohu LFkkfir

fd, tkrs gSA dqaHk thou dh fujarjrk] l`turk] lagkj ,oa iquZtue ds çrhd gksrs gSA rfeyukMq

ds dqaHkdkj dq;kokj vFkok osykj uke ls iqdkjs tkrs gS ,oa ;s viuh mRRifÙk fo'odekZ tks nso

f'kYidkj gS] ls gqbZ crkrs gSA

lkèkj.krk LFkkuh; :i ls çkIr gksus okyh nks çdkj dh feêh;ksa ls VsjkdksVk ,oa dqaHkdkjh

dh tkrh gSA vU; dyk:iksa dh rjg gh dqaHkdkjh ,oa VsjkdksVk dyk dkQh esgur ,oa vuks[kh

çfd;k okyh gksrh gSA rfeyukMq ds VsjkdksVk ,oa dqaHkdkjh esa fofHkUu çdkj ds ik= ftuesa

vkjklkuh ¼NYys ij vkèkkfjr vaMkdkj NksVs eq[k okyh ftldk bLrseky 'kknh&fookgksa

esa fd;k tkrk gS½] æ"Vh ckse ¼cqjh utj ls j{kk gsrq½] uanh ¼cSy½ ,oa ,sls gh

vU; vk—fr;k¡ 'kkfey gSa] cukbZ tkrh gSa A ;gk¡ dh dqEHdkjh ,oa VsjkdksVk

ijaijk vU; laL—fr ls ijs gSa tks èkjksgj ,oa fojklr ds :i esa ;gk¡

ds LFkkuh; yksxksa ds ikl lajf{kr gSA

POTTERY AND TERRACOTTA TRADITION OF MALAIYUR VILLAGE, PUDDUKOTTAI DISTRICT, TAMIL NADUArea: Malaiyur villageDistrict: PuddukottaiState: Tamil Nadu

Terracotta that is baked clay is one of the most ancient and original forms of art. The easy availability of this medium attracted the man as early as from prehistoric times. Gradually, terracotta art evolved and shifted from banal and basic designs to more creative versions. The terracotta art in reference here is the one practiced in Tamil Nadu, which is famous for its six meter high horses. In the temples of Ayyanar, these life-size terracotta horses were placed at the shrines to provide transportation for Ayyanar's spirit soldiers, enabling them to travel through the villages and fields at night to fight against evil. Shrines paying homage to Ayyanar are very common in Tamil Nadu. Traditionally each village is guarded at its entrance by an enormous terracotta horse, which is the horse of Ayyanar, a religious figure, the Gramdevta of the village and its protector against all evils. Ayyanar has an enormous moustache, big teeth and wide eyes that keep a constant vigil. He stands at the entrance surrounded by his horses and commanders or veerans. Besides these, most of the other village deities are also made of terracotta. Other products crafted include water drawing and storing pots (saala) and cooking vessels that the villagers need for daily use. During the harvest festival of Pongal, old pots in the house are replaced by new cooking pots, vessels for storing grain and a new pot for the auspicious tulasi/holy basil plant. The pots symbolize the continuity of life, creation, destruction and rebirth. In Tamil Nadu, potters are known as kuyavar, kulalaar or velar and they trace their origin to Vishwakarma, the divine craftsman himself. Basically, two types of locally available clay are used for making terracotta and pottery. Like any other art form, pottery and terracotta require an intensive amount of effort and a procedure. Several items of pottery and terracotta made in Tamil Nadu include Aarasani (A terracotta pot having a ring base and elliptical body with a short neck used in marriage), Dristy Bome (image as a protection from evil eyes), Nandi (Bull) and more such objects. Pottery and terracotta objects are an intrinsic form of any culture and showcase the heritage and legacy the people of that culture have to present.


vksfM'kk dh dqEgkjh ,oa VsjkdksVk ijaijk

{ks= % lksuiqj xk¡o jkT;% vksfM'kk

lksuiqj uxj vksfM'kk ds lksuiqj ftys esa egkunh ,ao rsy unh ds laxe ij clk gSA bfrgkldkjksa ds vuqlkj 10&11 lnh ¼lh bZ½ esa lksuiqj dks if'pe yadk ds uke ls tkuk tkrk FkkA bl ckr dk çek.k lksuiqj

ds lkses"ojknsok uked lkseoa"kh jktdqekj }kjk 10oÈ 'krkCnh ¼lh bZ½ ds eè; tkjh dh

xbZ rkezi= ij vafdr ?kks"k.kk gS ftl ij mUgksusa Lo;a dh igpku if'pe yadk ds Lokeh ds :i esa

dh FkhA ;g fp=ksiyk egkunh ds fdukjs ,oa yadk çkar ds

lehi clk FkkA if'pe yadk dh vfèk"Bk=h nsoh yadsÜojh FkÈA bl LFkku dk ,sfrgkfld egRo mu çkphu eafnjksa ls

çekf.kr fd;k tk ldrk gS ftuds fy, dqaHkdkj eafnj vkSj 'kkgh mi;ksx ds fy, cMs ik=ksa lfgr nhidksa ds :i esa viuh lgHkkfxrk

nsus ds fy, ,d yacs vjls rd tqMs+ jgsA jktkvksa ds fnu rks pys x, ijarq vkèkqfud lksuiqj esa feêh ds crZu vkSj VsjkdksVk dyk dh ijaijk vkt Hkh

tkjh gSA {ks=h; yksxksa ds }kjk fofHkUu çdkj ds e`nHkkaMksa ,oa nhiksa dh ekax R;ksgkjksa] nSfud mi;ksx ,oa tUe ls e`R;q rd ds vuq"Bkuksa gsrq dh tkrh gSA nSfud mi;ksx ,oa vuq"Bkfud e`nHkkaMksa ds vfrfjä gkFk ds lkFk&lkFk pkd ls cukbZ xbZ dbZ vk—fr;ka vuq"Bkuksa ,oa foÜoklksa@ekU;rkvksa ls tqM+h gSA VsjkdksVk dh cSy vk—fr;ka iqjksul ;k iqjk cyknk xkSèku dks leÆir vuq"Bku xzkeh.k thou dk ,d vVwV vax gSA bl vuq"Bku dk vk;kstu flracj ekl esa HkæjHkk vekoL;k ij cSy ds çrhdksa dh iwtk dj fd;k tkrk gSA guqeku th dh VsjkdksVk çfr—fr yadkiksnh tk=k ls tqM+h gS] tks jkek;.k ds yadk ngu

dkaM dh Le`fr djkrk gSA ;qok VsjdksVk fuÆer guqeku th dh ewÆr@vk—fr dh iwaN esa rsy ls Hkhxk diM+k yisVdj vkèkh jkr rd vfHku;

dj nkSMrs gSA ckn esa iwaN dks nkSM ds nkSjku tyk;k tkrk gSA Nr dh [kijsyksa dks i'kqvksa dh vk—fr;ksa ls ltk;k tkrk gSA

;s vk—fr;ka cqjh vkRekvksa ls j{kk djrh gS lkFk gh cPpksa ds euksjatu gsrq Hkh ç;ksx dh

tkrh gSA

POTTERY AND TERRACOTTA TRADITION OF ODISHAArea: Sonepur villageState: Odisha

The Sonepur town is situated on the confluence of the river Mahanadi and Tel in Sonepur district of Odisha. According to historians, Sonepur was known as Paschima Lanka (western Lanka) around 10th -11th century CE. The presiding deity of Paschima Lanka was goddesses Lankeswari. The historic importance of this place can be substantiated from ancient temples to which the Kumbhars (potters) were associated since long for giving patronage in the form of utensils like big pots and lamps for the temple and royal use. Gone are the days of kings but the tradition of pottery and terracotta art continues in modern Sonepur. Pots of different varieties and lamps are required by the local people for festival, ceremony, day to day use and ritual (birth and death) purposes. Apart from the utilitarian and ritualistic pottery, many handmade, as well as wheel, made figurines are associated with the rituals and beliefs. Terracotta bull figurines are associated with Puraunas or Pura Balada rituals dedicated to cattle wealth, the integral part of rural life. The ritual is celebrated by worshiping the bull figurines during Bhadraba Amavasyai in the month of September. Terracotta figurine of Hanuman is associated with Lanka Podi Jatra, celebrated to commemorate the Lanka Dahan episode of Ramayana. Young boys play and race till midnight with the terracotta figurine of Hanuman by tying oil dipped cloth around the tail which is lit during the race. The country roof tiles decorated with animal figurines are associated with the protection from evil spirits and used as a means of entertainment for children.


if'pe caxky dh dqEgkjh ,oa

VsjkdksVk ijaijk{ks= % iapeqMk

ftyk % if'pe caxky

cadqjk fc"uqij VsjkdksVk eafnjksa ds fy, ,oa ftyk esa vU; dbZLFkkuksa ds tkuk tkrk gSA bl

{ks= ds dkjhxjksa ds lkFk dqaHkdkj bl dyk dk fodkl lfn;ksa ls djrs

vk, gaSA VsjkdksVk jpuk dh cadqjk 'kSyh esa ^cadqjk vÜo^ lcls T;knk çfl) gSA

;s iapeqM+k xkao ds dqaHkgkj ¼dqEgkj½ gh gS ftUgksaus lcls igys ;s cadqjk vÜo cukuk

çkjaHk fd;k FkkA ;s fMtk;u esa lknk Fks rFkk yksd nsoh&nsorkvksa tSls èkeZ Bkdqj] eulk nsoh ,ao xkao

ds nsorkvksa dks vÆir fd, tkrs FksA ckn esa bUgksaus vfr ltkoVh vÜoksa dk fuekZ.k çkjEHk dj fn;kA ftUgkssus cadqjk dqEgkjksa dks çflf) fnykbZA bl {ks= ds dqaHkdkjksa }kjk vÜoksa ds vfrfjä vU; VsjkdksVk çkn'kZ tSls i'kq vk—fr] mRloh e`nHkkaM] VsjkdksVk [kijsy] nsoh&nsorkvksa dh ewÆr] ?kjsyw mi;ksx dh oLrq,a ,oa iwtk ikB ds

èkkÆed e`nHkkaM tSls nhi] èkwinku bR;kfn ds lkFk liZnsoh eulk th dk >kj vFkkZr fuokl LFky@

eafnj] fofHkUu dykRed vk—fr;ka] cksaxk gVh bR;kfn Hkh cuk, x, gSA

POTTERY AND TERRACOTTA TRADITION OF WEST BENGALArea: PanchmuraDistrict: BankuraState: West Bengal

Bankura is well known for its terracotta temples of Bishnupur and many other places in the district. For centuries together with the artisans especially the kumbhakars of this area have developed this art. The most famous of Bankura style of terracotta creation is the ‘Bankura horse’. It is the Kumbhakar (potter) of Panchmura village, who started to make the famous Bankura horse. Initially, the horses were made for ritual purposes. These were simple in design and made as offerings to the folk deities like Dharma Thakur, Manasa and village deities. Later they started producing highly decorative horses which earned great fame for the Bankura potters. Besides horses, other terracotta objects are also produced by the Kumbhakar of this region such as animal figurines, ceremonial pottery, terracotta tiles, figurines of divinities, objects of household and temple worship like religious earthenware, lamps, incense burners, the shrine of snake goddess Manasa chali or jhar, the abode of Manasa various artistic figures, Bonga Hati etc.


ysg dh dqEgkjh ijaijk{ks=% fyfdjftyk % ysg

jkT;% tEew ,oa d'ehj ysg&Jhuxj gkbZos ij clrk dqEgkjksa dk ;g ikjaifjd

xkao fyfdj tgka yacs ls e`nHkkaMksa dk mRiknu vkt

Hkh tkjh gSA LFkkuh; yksxksa ds vuqlkj jktk MªsXLik

cEMy ¼14oÈ 'krkCnh½ ds 'kkludky esa jktdh;

mi;ksx ds lkFk tulkèkkj.k mís';ksa gsrq xzkeh.kksa

dks e`nHkkaM cukus dk nkf;Ro lkSaik tkrk FkkA bu

fnuksa feêh ds cus crZuksa dk gh ç;ksx nwljh èkkrq ds

fuekZ.k dky rd cM+s iSekus ij fd;k tkrk FkkA vr%

;s iwjk xkao e`nHkkaM cukus esa O;Lr jgrk Fkk vkSj rc

ls gh fyfdj xkao ds yksxksa dk ;g dk;Z thfodksiktZu gsrq

lkèku cu x;kA vc iwjs yík[k esa dsoy fyfdj xkao gh

,slk gSa tgka e`nHkkaM cukus dk ;g dk;Z fd;k tk jgk gSA igys

ds e`nHkkaM vkdkj esa ljy vkSj lknk Fks rFkk cMs+ crZuksa dh ekax

vfèkd gqvk djrh FkhA ltkoVh oLrqvksa dk mRiknu u ds cjkcj gqvk

djrk FkkA bu ltkoVh ,oa cM+s crZuksa dks 'kkgh ç;ksx ds fy, cuk;k

tkrk Fkk ftUgs dsoy laiUu ,oa vfHktkr oxZ ds yksx gh [kjhn ikrs FksA

xjhc oxZ ds yksxksa ds chp NksVs ,oa lknk crZuksa dk çpyu Fkk vkSj ftudh

ekax vfèkd FkhA ysfdu le; ds lkFk&lkFk yksxksa dh ekax Hkh ifjoÆrr gqbZ gSA

vktdy NksVh oLrqvksa dk çpyu vfèkd gS ftUgsa lkt&lTtk ds ç;ksx esa yk;k tk

jgk gSA bu dqEgkjksa }kjk vfèkdka'k e`nHkkaMksa dk fuekZ.k ?kjsyw mi;ksx ds lkFk vuq"Bkfud

mís';ksa gsrq fd;k tkrk gSA

pjpax ¼NksVk nhi½] LiksLpDll ¼èkwinku½] pSaÇcx ¼VksVhnkj ?kM+k½] laXliksj

¼LVSaM lfgr èkwinku½] 'kaxadx ¼laXliksj j[kus ds fy, crZu½] FkDl ¼feêh dk eq[kkSVk½]

uElax ¼vk;krdkj nhi½ vkfn ,slh oLrq,a gS ftudk ç;ksx iwtk&çkFkZuk esa ?kjksa ds lkFk&lkFk

eBks esa fd;k tkrk gSA iksaXik ¼Qwynku½] fVcfjy esLykax ¼vaxhBh ds lkFk VksaVhnkj dsryh½]

tkscdkj ¼NkN eFkus dk ,d cM+k crZu½] fte ¼Nkax cukus ds fy, ik=½] dkdknj ¼Fkqidk

cukus ds fy, ,d cM+ crZu½] vyps ¼ngh tekus ds fy, [kqys eqag dk crZu½] fjDtk ¼Nkax

j[kus ds fy, lqjkgh½] Ldsu ¼Nkax ijkslus ds fy, VksaVhnkj eVdh½] tDVky ¼vkVk xwaFkus

dk crZu½] xXek ¼Fkqidk [kkus ds fy, ,d mFkyk crZu½] Nktyqd ¼ued j[kus ds

fy, crZu½] NqlkDl ¼ikuh Hkjus ds fy, crZu½] dksVsZDl ¼<ôunkj dVksjk LVSaM

lfgr½] vkyps ¼ngh tekus ds fy, <ôunkj cM+k crZu½ vkfn ,sls crZu gS

ftudk ç;ksx nSfud ?kjsyw mi;ksx ds lkFk 'kknh@fookgksa vkSj R;kSgkjksa

esa fd;k tkrk gSA tks ¼NksVs ikyrw i'kqvksa dh vk—fr½] bpq ¼i{kh

vk—fr½ vkfn ,slh oLrq,sa gS ftudk ç;ksx lkt&lTtk

ds vfrjfä cPpksa gsrq f[kykSuksa ds :i esa fd;k

tkrk gSA

POTTERY TRADITION OF LIKIR (LADAKH)Area: LikirDistrict: LehState: Jammu and Kashmir

Likir is a traditional potter’s village situated on Leh-Srinagar highway where pottery is still actively practiced. According to the local people, during the reign of King Dragspa Bumdle (14th century A.D.) the villagers were assigned to make pottery for royal as well as general public purposes. During this time, the earthenwares were used on a large scale since no other materials were introduced. Thus, the entire village was engaged in pottery making. Since then pottery making became an occupation for the livelihood of Likir people. Now Likir is the only village in the entire Ladakh area where pottery manufacturing takes place. In the past, majority of the pottery items were plain and devoid of much decoration since people were poor and couldn’t afford luxurious ones. The exquisite and decorative items of pottery were reserved for the Royals and the Elite. Along the path of time, demands and situations of people have changed. Many things have been redesigned and created according to the need of the people. They are mostly prepared for household use as well as ritual purposes. Churcung (small Lamp), Sposchukches (incense stand), Chambing (spouted pitcher), Sangspor (Bowl on stand for pouring incense), Sangkung (pot for holding Sangspor), Thuks (Terracotta Mask) and Nakscung (rectangular shaped lamp) are the items used for worship in house as well as in monasteries whereas Pomgpa (Flower vase), Tibril Meslang (Spouted Kettle with hearth), Zobkar (big vessel for churning butter milk), Zim (Spouted pitched for preparing Chang), Kakadur (big bowl for preparing Thukpa), Alche (open mouthed bowl for preparing curd), Rikza (Chang container having narrow neck), Scan (Spouted pitcher for serving chang), Jaktal (big bowl for kneading flour), Gagma (a shallow bowl for eating thukpa), Chajlook (a pot for keeping salt), Chusaks (pot for storing water), Kortex (lidded bowl with stand for butter tea) and Alche (big bowl with lid for preparing curd) amongst others are used as household items in day to day use and during marriage ceremonies and festivals. Skin (small wild animal figures), Zo (small domestic animal figures) and Ichu (bird figures) are decorative items also used as toys for children.


ekyu xqtjh ¼dqcsjh iwtk½

{ks=% ekyok] HkksikyjkT;% eè; çns'k

nhikoyh ekyok ,oa Hkksiky esa euk;k

tkus okyk ,d egRoiw.kZ R;kSgkj gS

A;g èkursjl ls 'kq: gksdj HkkbZ nwt

rd euk;k tkrk gSA èkursjl ij

Hkxou èkUoUrjh dh iwtk dh tkrh

gS ,oa bls NksVh nhikoyh Hkh dgk tkrk

gSA bl fnu Hkxoku èkUoUrjh leqæ

eaFku ls ve`r dy'k ds lkFk çdV gq, FksA

pw¡fd ;g dkÆrd ekl dk rsjgok fnu Fkk vr%

bls èkursjl Hkh dgk tkrk gSA ;g R;kSgkj èku

lEink dk çrhd gS vr% bl fnu efgykvksa }kjk

crZu ,oa lksuk [kjhnuk 'kqHk ekuk tkrk gS A

dkÆrd ekl dh vekoL;k dks Hkxou x.ks'k ,oa

nsoh y{ehth ds lkFk vuq"Bkfud rkSj ij nsoh ekyu xqtjh

¼dqcsjh nsoh ½ dh Hkh iwtk dh tkrh gSA dqcsjh nsoh pkj Hkqtkvksa

lfgr lqUnj iks'kkd ¼ygaxk pksyh½ èkkj.k djrh gSaA budh ewrÊ

esa 5& 251 nhi LFkkfir fd;s tkrs gSaA oS';] èkfud] O;kikjh ,oa

lkgwdkj nsoh dh iwtk vius dye] nokr] cgh[kkrk] jax ,oa cz'k

ds lkFk djrs gSaA nhikdkj ds ;s çrhd nsoh dks dhy] crk'kk] ykb

bR;kfn dk Hkksx yxkus ds fy, mi;ksx fd;s tkrs gSa Abl volj

ij ?kjsyw e`n~HkkaM tSls pôh] pqôh] pdyk csyu bR;kfn Hkh nsoh

dks vÆir fd;s tkrs gSa tks ckn esa yM+fd;ksa dks [ksyus ds fy,

migkj Lo:i çnku dj fn, tkrs gSa A;s lHkh VsjkdksVk

ds cus gksrs gSA ,slk ekuk tkrk gS fd ;s çrhd iwjs

o"kZ ?kj dks lq[kh ,oa laiUu j[krs gSaA

MALAN GUJRI (KUBERI PUJA)Area: Malwa, BhopalState: Madhya Pradesh Deepawali puja is an important festival of Malwa and Bhopal. This ritual begins with Dhanteras and ends on Bhai duj. On Dhanteras Lord Dhanwantri is worshipped and is also called ‘Choti Deepawali’. On this day Lord Dhanwantari appeared with a nectar pot from Samudra Manthan. This was the thirteenth day of Kartik month so it is called Dhanteras. This festival is celebrated especially to gain good wealth. On this occasion, women purchase metal vessels and gold jewelry as it is considered auspicious.

On Amavasya of Kartik month, Goddess Malan Gujri (Kuberi Devi) is also worshipped ritually along with God Ganesha and Goddess Laxmi. Goddess Gujri having four arms wears a beautiful Poshak (Lehnga Choli). In her idol, 5 to 251 lamp shaped symbols are installed. The Vaishya, Peerage, merchant and Shroff used to worship her with their pen, inkpot, ledger, colour and brushes. These lamp shaped symbols are used to keep offerings for Devi like keel, batasha and laai etc. Earthen household items like grinder, double pot small vessel with a handle called chukki, rolling board and pin and pan are gifted to girls at a later stage for playing and are also offered to Devi. These household items are made of terracotta. It is believed that these symbols keep the members of house healthy and wealthy throughout the year.


jktLFkku iks[kj.k dh dqEgkjh ijaijk,a

{ks=% iks[kj.k jkT;% jktLFkku

vrhr esa leqæ dk foLrkj vkSj jsfxLrku esa jsr D;ksa gS tSls cgqr ls jgL;ksa ij çdk'k Mkyrs

iks[kj.k ds dqEgkjks dk feFkdksa dk vuwBk lalkj gSA LokÆ.ke jsr

ds Vhyksa dks Hksndj feêh fudkyrs vkSj mlls vkRetk lk çse j[krs

iks[kj.k ds dqEgkjksa dh ckr gh vyx jgh gSA feêh ds ij[k vkSj Hkêh ds vuqHko esa

budk dksbZ lkuh ugÈ gSA budk cuk;k crZu gks ;k ewÆr etky gS fd Hkêh esa tkdj VwVs&QwVs

;k rki dh deh vkSj vfèkdrk ds dkj.k fpUg Hkh vk,aA feêh rS;kj djus ls ysdj jaxkbZ] fp=dkjh] Hkêh

esa crZu idkus rd gj ,d dk;Z fuèkkZfjr gS vkSj gj ,d vius nk;fRo dks fyu yXu vkSj vkReh;rk ls fuHkkrk gS og dyk—fr;ksa ds lkSan;Z esa ns[krs gh curh gSA dyk vkSj f'kYi ds bl vuwBs txr esa dkxt dh

yqxnh ls ysdj iRFkj rd dks vius tknqbZ gkFkksa ls [kwclwjr vkdkjksa esa <kyrs dkjhxjksa esa

feêh dk iRFkj dh rjg etcwr cukus dk vn~Hkqr dkS'ky gSA

POTTERY TRADITIONAL OF POKHRAN (RAJASTHAN)Area: PokhranState: Rajasthan

Potters of Pokhran have a unique world of myths showcasing the mysteries like the expansion of the sea in the past and presence of sand in the desert through their pottery. Having keen affection for clay, these potters possess different value in pottery as they express their art through the medium of clay and mud. Clay is acquired by excavation of glittering sand dunes. These potters acquire excellent knowledge in clay testing and furnace which is indomitable. The utensils or idols made by them are flawless because they do not break in the furnace and don’t require excessive care. Every step of the process is fixed, from preparing clay to colouring, painting, and firing. Diligence and sincerity can be easily seen in the beauty of artefacts made by them. In this unique world of art and craft, these artisans possess the wonderful skill of making clay as strong as stone.


xksyk?kkV dh dqEHdkjh ijaijk{ks=% dqekj xk¡o ftyk%xksyk?kkV

jkT;% vle

bfUnjk xk¡èkh jk"Vªh; ekuo laxzgky; }kjk dqEgkj ikM+k uke ls latksbZ xbZ çn'kZuh esa ,d vU; dqEgkjh ijaijk vle ds xksyk?kkV

ftys ds dqekj xk¡o dh dqEgkjh ijEijk gSA budh dqEHdkjh ds T;knkrj dk;Z lkekftd&

vkÆFkd ,oa ?kjsyw mís';ksa dh iwrÊ djrs gSaA bl volj ij ikjaifjd dykdkj Jh t;ar dfyrk]

Jh fcftr nÙk ,oa Jh bafnjk cksjk us crk;k fd xksyk?kkV dqEHdkjh dqekj dqEHdkjksa }kjk vuq"Bkfud

mís';ksa gsrq muds ?kjks esa dh x;h FkhA dqEHdkjh dh lEiw.kZ çfØ;k çR;sd Lrj ij fofoèk rduhdksa ds mi;ksx

dk lekos'k djrh gSA dqEHdkjh esa okafNr dPph lkexzh esa fpduh feêh ds lkFk ç;ksx esa yk;s tkus okys midj.k vFkok

vkStkj tSls pkd] vFkkyh] gfFk;k] fiVsuh ,oa pkdh 'kkfey gSaA buds }kjk cuk;s x, çkn'kks± esa nhi] <ksy bR;kfn ds vfrfjä [kkuk

idkus ds crZu ¼tSls vf[r;k ,oa [kksyk] nLdfFk;k] pk: ,oa lrj gSa½] ty laxzg ik= ¼dyg ,oa rdsyh½] èkku mckyus ds fy, ik= ¼Fkkyh½] cM+s crZu ¼gjh ,oa tkdk½ Hkh 'kkfey gSaA dqEHdkjh ds iwoZ ;s dqEgkj iku lqikM+h ,oa vxjcÙkh ls dk;Z lQyrk ds fy, Hkwfe iwtu djrs gSaA vuqHkoh dqEHkdj jax ds fy, feêh dk p;u cM+h lw> cw> ds lkFk djrs gSa ,oa fQj bls vk—fr nsuk çkjaHk djrs gSaA bl çfØ;k esa ;s çFker% vPNh xq.koÙkk okyh lQ+sn eghu jsr ds lkFk dqekj ekVh ,oa vFkok ghjk ekVh laxzg djrs gSa rc fQj blds tfj;s feêh rS;kj djuk] feêh ls e`nk vk—fr;k¡ cukuk

,oa vafre :i ds fy, Hkêh esa idkus gsrq Hkêh rS;kj djuk 'kkfey gSaA lkèkkj.kr% ;s çfØ;k 10&12 fnu ds vUrjky ij iw.kZ gksrh gS

rc dgh tkdj ;s ik= cktkj esa fcdus ds fy, rS;kj gksrs gSa ,oa dqekj dqEHdkjksa dks thfodksiktZu ds fy, èku fey

ikrk gSA

POTTERY TRADITION FROM GOLAGHAT Area: Kumar Gaon District: Golaghat State: Assam

Another pottery tradition exhibited by Indira Gandhi Rashtriya Manav Sangrahalaya in the exhibition named ‘Kumhar Para’ is from Kumar Gaon, Golaghat district, Assam. The pots and clay works are mostly related to socio- religious and domestic purposes. On this occasion, traditional artisans Shri Jayanta Kalita, Shri Sushil Dutta, Shri Bijit Dutta and Shri Indra Bora said that Golaghat pottery was made by the kumar potters in their houses for ritual purposes. The whole process of the pottery making consists of application of different techniques at each stage. The raw materials required for the industry are glutinous clay and the tools or implements used are the wheel (chak), mould (athali), the mallet (hatiya piteni) and polisher (chaki).The articles made are cooking pots (such as akathiah and Khola, daskathia, charu and satar), water jars, (kalah and takeli), vessels for boiling paddy (thali), larger vessels (hari and jaka), besides, lamps, pipes and drums. Before making pottery the potters worship the earth with betal-nut and agarbatti for successful completion of earthen work. The experienced potters verify the clay for colour and start to make it into a new shape. The steps of this tradition are as follows: first they collect the fine quality of white sand, Kumarmati or Hiramati or clay, then it is preserved for making, followed by preparation of clay, making of tapal, gol and dan, giving final shape to earthen potteries and preparing the bhati or furnace for burning dry earthen items for the final stages. Generally, the work is done at an interval of 10-12 days. Then these earthen objects are sold in the market and the Kumar potters earn some money for their livelihood.


is?kkyh % e`n HkkaM idkus dk ikjaifjd Hkêk

leqnk; % dqekj ,oa ghjk{ks= % lyeksjk xk¡o

ftyk % ektqyh jkT; % vle

ektqyh ds rhu xk¡o cjcksdk] detu bySaxh vkSj lyeksjk ds fclkeksjk esa eq[;rk ikbZ tkus okyh dqekj ,oa ghjk vle ds ns'kt dqEgkjh leqnk; gSA nksuksa leqnk; dqaHkdkjh ds fy, tkus

tkrs gS ftudh e`nHkkaM cukus dh rduhd çkphu ,oa dbZ ih<h iqjkuh gS ijarq nksuksa gh leqnk;ksa }kjk

e`nHkkaM cukus esa ç;qDr feêh ,oa çfd;k esa dkQh varj ik;k tkrk gSA dqekj Dys ¼dqekj ekVh½ gYdh

dkyh rFkk ç—fr vuqlkj xksan tSlh fpifpih gksrh gS tcdh ghjkvksa ds }kjk bLrseky dh tkus okyh feêh ghjkerh

dgykrh gS ,oa rkykc vFkok —"; Hkwfe ij ikbZ tkrh gSA e`nHkkaM cukus dh çfd;k cgqr xgu gksrh gS ftlesa feVVh

dh dVkbZZ] vkdkj nsus ds i'pkr ;k rks Fkwik ¼fupys vle ç;qä½ ;k fQj is?kkyh ¼mijh vle esa ç;qä½ esa ik= idk;s tkrs gSA okafNr

vk—fr nsus ds fy, dqekj viuh Åaxfy;ksa dk ç;ksx djrs gS ftlesa dkQh dkS'ky dh vko';drk gksrh gSA ghjk cMs ik= gkFkksa ds ç;ksx ls cukrs

gSA lkèkkj.kr% ;s cMsa e`nHkkaM tSls dqaHk] HkaMkj.k ds ik=] Mªe¼uxkM+k½ bR;kfn cukrs gSA ;s feVVh ds lkFk ckyw dk ç;ksx viuh dqaHkdkjh esa djrs gS tcfd

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BaMk gksus ds ckn ik=ksa dks foØ; ds fy, rS;kj le>k tkrk gSA

PEGHALI (Traditional kilns for firing pots)Area: Salmora VillageDistrict: MajulState: AssamKumars and Hiras are indigenous potter communities of Assam, particularly concentrated around three villages in Majuli namely Barboka, Kamjan Elengi and Besamora of Salmora. Both communities are known to make pottery, the techniques of which are ancient and passed on since generations. But there are several differences between the two regarding the soil (clay) they use to make the items, making procedure etc. The Kumar clay (Kumar Mati) is generally light black in colour and glutinous in texture. On the other hand, the clay used by the Hiras is known as Hiramati and is found in the Beel (natural water reservoir) and cultivable land. The process of making pottery is an intensive task involving a procedure which includes cutting of the clay, spreading dust on it followed by shaping up of ‘nimats’ and further steps until the pots are burnt either in thupa (in Lower Assam) or peghali (in Upper Assam). The Kumars work with their fingers to give the desired shape and this requires a lot of skill. The Hiras make large items by hand. Generally, they make large pottery items like pitchers, containers; drum (Nagara), etc. They mix sand with clay to make the items, whereas the Kumars use only clay. Kumars use the Kumar wheel (chak) to make the items, while the Hiras do not. Even usage of these utensils and pots differs between these 2 communities. Pottery items made by Kumars are used for ritualistic and day-to-day purposes whereas Hiras make pottery mostly for utilitarian purposes. The shaped soft earthenware is fired in traditional round kiln called Peghali. Different shelves of a Peghali are known as Uparmota, Talmota, Sekoni, Karhar, Lharok and Mukh Bondha. Soft earthenwares of different sizes and shapes are kept inside the Peghali in layers. As the kiln is round in shape bamboo and wooden pieces are inserted in the Uparmota section. The gaps are plugged with pieces of old broken earthenwares. Then the entire Peghali is covered with thatch and clay. Small holes are bored for firing the kiln. The kiln is heated first for eight hours and then for four hours. After the kiln is cooled, pots are ready for sale.

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