Showing posts with label Bhujodi. Show all posts
Showing posts with label Bhujodi. Show all posts

Saturday 28 November 2015

Note on the Pottery of Kutch.

Thalis and pans with intricate designs at Khamir.
After visiting the Dastkari Haat in Pune, where artisans from all over the country come to sell their wares, it occurred to me to put together this short note on the art of Pottery in Kutch. My visit to Khamir, in Kutch, had fortunately coincided with a pottery exhibit of the region. I had never known that vessels made of clay and mud could be used for regular cooking. While I lost quite a lot of photos which I had taken of the exhibit due to some error, I have managed to salvage some and I have tried to compile details from my memory too.
Prof. R.S. Bisht giving a talk on Pottery of the Indus Valley Civilization. 
The art of Pottery pre-dates recorded history, as even before the discovery of metals, it was mud and clay that was easily available and used for fashioning vessels/containers for cooking and storing. During my stay at Khamir, I was also fortunate to attend a talk given by none other than the chief Archeologist, Prof. R.S Bisht, who led the excavation of the ruins of Indus Valley civilization, at Dholavira, in Kutch. 
Pictures of slides of the pottery excavated at Dholavira.


The disc with fish motif inspired me. 
He showed us slides and photographs of remarkably well-preserved pieces of pottery, with exquisite designs and patterns which he had excavated. The most interesting part is that the same motifs and patterns are used even till this date in the pottery of Kutch. One thing that particularly caught my attention was a disc with motifs of fish. And the colour of the design was blue. The Prof said that oxygen supply was cut off to the kiln to lend the items that colour. Later during my stay, when the Director of Khamir, Meera, asked me to do a mural in their campus, I incorporated the same fish motif and other patterns of pottery.
The fish motif I used for my wall art at Khamir
The exhibit had vessels for everything, right from kulads for drinking beverages from, to pots and pans for cooking anything ranging from lentils (daal) to rotis (flatbread) in. Even the skillet for making rotis were made in different sizes, the largest being used by the nomadic tribes to make bigger size rotis as they would have to walk a lot before the next break for food. There were pots stacked one of top of the other in decreasing sizes, starting from bottom, used to store grains, cereals, and grocery. Then there were pots for storing buttermilk, curd and other beverages. There was even a particularly shaped pot which could be used for transporting water and beverages during travel. Sorry I don’t have the picture of that.
Different items for various purposes.



Pottery had an important role to play even during rituals and rites of passage. The pots and clay items presented to the bride during the wedding were shaped differently from the ones used during a funeral. But there was one thing common to all the items made, and that was the intricate patterns on the items.
Items used for auspicious occasions. 
You will also notice that different items are of a different colour. Some are whitish, whereas some others are red, brown, and so forth. That's the colour of clay sourced from different places. The choice or colour of the clay used depends on what the end product would be used for and the availability of the same locally. The clay is then moulded into the desired shaped either on a wheel or by hand and allowed to air dry for a while. The patterns on the items are made using a thin brush and using a watered down clay of a different colour, commonly known as a ‘slip’.  Then the coloured slip is applied of the desired pattern and design. This is then baked in a kiln. The temperature of the kiln is also set depending on what the end product would be used for. You must be aware that some pots are used as musical instruments. For such and other purposes requiring durability and strength, the clay items are baked at a higher temperature and for some others not very high. In earlier days people used wood fired kilns, but now-a-days, electric kilns are used, like the one I saw at Khamir. In the electric ones, the temperature can be set between 400 to 1500 degrees Celsius depending on the type of clay and the product.
The kiln at Khamir- the temperature can be set anywhere between 400 to 1500 degrees Celsius. 
Clay vessels and pots are not only beautiful and as old as civilization itself but it’s also the most eco-friendly. In today’s markets, flooded with cheap plastic goods, the potter community is steadily shrinking and also struggling to keep their art and skill alive, as their children move to the cities in search of well paid jobs. As soon as I returned from Kutch, the first thing I did was go and buy an earthen pot for storing and drinking water from, which I had never done before. That was the least I could have done to support the potters of India.
Contemporary designs- Flasks and water jugs made of clay. 




Wednesday 28 October 2015

Volunteering for Wall-art at Bhujodi, Kutch.

One of the reasons I went to Kutch was with the idea of volunteering for wall-art. I didn't know how and where but just knew I wanted to and that I would! Luckily the Director of Khamir, Meera, put me in touch with one of the more influential people in Bhujodi village, called Chaman Bhai, and I was all set for my wall-art there.

I went around with Chaman Bhai exploring different options of walls which could be painted and also talking to the village people about what they would like to see on the wall. I wanted an expansive canvas for wall-art and finally found one: the facade of the house belonging to Dayabhai Ala, an award winning weaver. The wall was painted with an advertisement of JK Cement which I got white washed. There was also a notice board on the wall and it was the main wall of the village where people would gather for important meetings and to read instructions/notices, etc, on the notice board.

The wall was 22 feet wide and 13 feet height and I completed that in 4 days. At the end of it, each muscle of mine was sore, and I had tanned 5 shades, but every bit was worth it. I stood on a drum to paint the upper parts of the wall, with a constant buzz of inquisitive children, village elders and wandering cows, who tried to chew the cardboard box in which I had kept the paints, twice.

Bhujodi is a village entirely of handloom weavers. And they also follow the legacy of the 15th century saint-poet, Kabir. So some of the motifs they wanted on the wall was Sant Kabir, a loom, a doha of the saint, and the motifs used in weaving which is typically geometric patterns, as you will see in the images. The doha the village people wanted was 'Patta toota daali se, le gayi pawan udaye, abke bichhde kab mile, dur padenge jaaye', which means leaves fall from trees and the wind carries them far away, and that is the way of life too. In the earlier days, the weaver community  had a symbiotic relationship with the nomadic Rabari community of shepherds. The shepherds would provide wool for weaving to the weavers and the weavers would in turn provide temporary shelter to the nomads. So I also incorporated motifs of the nomadic tribes in the wall-art. Let me take you through the images.


The completed wall. 


Vankar Dayabhai Ala, the house owner and award winning artisan/weaver.


Peacock and bird motifs used in embroidery by the nomadic Rabari community.


The Rabari herdsman with a camel and goat. The cactus represents the vegetation of the region. 




The Tree of Life made with weaving motifs. 


Sant Kabir and his tanpura. 


Add caption


The sun and the clouds.


Sant Kabir's doha, Patta toota daali se, le gayi pawan udaye, abke bichhde kab mile, dur padenge jaaye, which means leaves fall from trees and the wind carries them far away, and that is the way of life too. 


The loom. 


That's me beaming that the mural is finally over. 



Wednesday 12 August 2015

Journey of a Handwoven Piece of Fabric- Photo story


In the few days that I spent at Bhujodi, during my Kutch trip, painting a wall outside  the award-winning Master weaver Dayabhai Ala's home, I had the opportunity to observe how the shawls and saris that we adorn ourselves with, evolves from the thread to the beautiful fabrics ready for use. Here's the photo story....

At Bhujodi, in Ashok bhai's house, bundles of thread are bought by the kilo from Ludhiana..This one is merino wool thread..


The strands of thread are separated so that it doesn't get entangled.


                  A closer look..




Water being boiled for the starch..


The starch used is that from wheat..





The separated thread is then dipped into the starch..


The entire length of the thread..

 The drying process starts early in the morning to benefit maximum from the sun..




 The whole family gets busy with the drying process..




The threads are then combed to separate the strands again..


The special comb..:-)


The dried and starched thread is then spun onto a bobbin which is then used on the loom


 The master weaver at work.  The shawls/saris are either dyed after being woven or in some cases the thread is dyed and then woven.




And finally they are ready to fly to new homes and closets..:-)




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