`

REPORT ON
REPORT ON
INTEGRATED DESIGN AND
DESIGN AND TECHNICAL
TECHNOLOGY DEVELOPMENT
DEVELOPMENT WORKSHOP
WORKSHOP
ON
ON
NATURAL FIBER CRAFT
RED CLAY CRAFT
AT
AT
KANYAKUMARI, TAMILNADU
CHUNAR, UTTAR PRADESH
SANCTION ORDER NO: J-12012/146(8)/2014-15/DS/NR, DATED- 10.03.015
VENUE –CONFERENCE HALL, YMCA CAMPUS, KANYAKUMARI, TAMILNADU- 629702
DATED FROM: 04. 10. 2016 TO 04. 12. 2016
VENUE: RATHI BHAWAN, ACHARYA JI ROAD, USMANPUR, CHUNAR, UTTAR PRADESH
SANCTION ORDER NO. J-120/90/2016-17/DS/NR, DATED- 17. 10. 2016
PERIOD OF PROJECT: FROM 20. 02. 2017 TO 19. 07. 2017
Organized
Organized by by
Sponsored
Sponsoredby
by

National Center
National for for
Center Design &&
Design Product
ProductDevelopment (NCDPD)
Development (NCDPD)
Development
DevelopmentCommissioner
Commissioner(Handicrafts)
(Handicrafts) (Set upup
(Set ByByMinistry
Ministryof of
Textiles, Govt.
Textiles, of of
Govt. India)
India)
Ministry Hall No.1,
Hall 3rd3rd
No.1, Floor, Rajiv
Floor, Gandhi
Rajiv GandhiHandicraft
Handicraft Bhawan,
Bhawan,
MinistryofofTextiles,
Textiles,Govt.
Govt.ofofIndia
India Baba Kharak Singh Marg, Connaught Place
West Baba Kharak Singh Marg, Connaught Place
West Block No: VII, R.K. Puram,New
Block No: VII, R.K. Puram, NewDelhi-
Delhi-110066,
110066, New Delhi-110001, India
Tel: New Delhi-110001, India
Tel:+91-11-26106902,
+91-11-26106902,+91-11-26163085
+91-11-26163085Web: Web: Email: ncdpd@ncdpd.in
Email: ncdpd@ncdpd.in phone/Fax:
phone/Fax: +91-11-23341265
+91-11-23341265
www.handicrafts.nic.in, www.craftclusterofindia.in
www.handicrafts.nic.in, www.craftclusterofindia.in Web: www.ncdpd.in, www.handicraftdesignbank.com, www.bcdi.in
Web: www.ncdpd.in, www.handicraftdesignbank.com, www.bcdi.in
INTEGRATED DESIGN AND TECHNICAL DEVELOPMENT WORKSHOP ON RED CLAY CRAFT AT CHUNAR, UTTAR PRADESH

Conducted by: Vikram Rajak (Designer, NCDPD)

 Acknowledgement
Conduction of Integrated Design & Technical Development
Workshop is launching pad to the artisans to set traditional skill on
the right track. We have taken all our effort to finish the project of
Red Clay Pottery Craft; however, it would not have been possible
without the kind Support and help of all craft person and
organizations. We would like to extend my sincere thanks to all of
them. We place ours Special gratitude to guide and mentors
without the support of whom this Workshop would not have been
to take off Mr. B. S. Singh, (Assistant Director O/O DC
(Handicrafts), Varanasi & Mr. Rajan Verma (UDC) O/O DC
(Handicrafts), Varanasi.

We would also like to express my very special thanks to the Artisans

Red Clay Pottery Craft (Chunar, UP), who were very sincere and
hardworking. We are pleased to see their creative hand of working.

NCDPD
New Delhi,
New Delhi
 Preface
It is well said fact that by forgetting the history you can succeed but
cannot let any impression to follow for your coming generation. So, one
should know about their roots. To become successful, distinct and
superior we have to identify our self with our culture. The Government
is making efforts continuously to make it alive by such initiative. Design
& Technical Development Workshop on RED CLAY POTTERY CRAFT
organized by National Center for Design & Product Development, and
sponsored by the O/o the Development Commissioner (Handicrafts),
Ministry of Textiles, Govt. of India is one step in this direction. Detailed
survey of the area established the fact that the artisans made the
prototypes for the use of men/women, and repeating the old designs.
In present arena, everything from the basic needs to want is changing
as per the time passes. No more old traditions were followed or idyllist
by the new generation. As new generation is techno savvy, they don't
want to invest long time to exhibit the act and are running towards the
western culture, they don't have the value or acceptability for their old
tradition because they don't have knowledge about their tradition and
its importance. It needs to update the craft knowledge and continuous
effort to make it opportunity oriented so that younger generation can
pursue the craft as this scheme is one of the courageous efforts of the
government.

NCDPD
New Delhi
Contents
 Acknowledgement
 Preface
 Outline
 About Organization
NCDPD- mission, vision, objectives, services
 Survey
Handicrafts, Uttar Pradesh Crafts, Terracotta Crafts, Terracotta
Aurangabad (Gorakhapur, Chunnar, Mirzapur).
 Design development
, market, consumers, product line,
 Sketches & prototypes details
 Designer’s Resume
 Master Craft Person Bio- data
 Artisans List
 Annexure- A
 Registration form of master craft person
 Artisans Registration form
 Attendance sheet
 Inauguration
 Workshop activity
 Inspection
 Achievement report
 Test Marketing of Prototypes
 NCDPD Services
Outline
 This Integrated Design and Technical Development Workshop deals
with developing new products for the involved groups keeping in
mind their resources, skills and the available material. The groups
have been working on Red Clay Craft Products and they have been
making the products like cups, Deep, Bowls, Decors for all age group
of people.

 A market survey was done in Varanasi, Chunar, Gorkhpur, Mirjapur,

Adalhat and nearby places of the Cluster to identify the available
products and draw a requirement from the market. The survey
pointed out the need for new range of products as per current
market trend. Also the International market indications showed the
need for Décor and Home products.

 A number of sketches were made for concepts along with the same
samples for techniques and some of the concepts were taken a head
for prototyping.

 An understanding of the problems faced during prototyping and

Design Development enabled us to give a few recommendations
which we feel are important for smooth functioning of the craft
groups.
 About
organization
 National Center for Design and Product Development

NCDPD is set up with an objective to fulfill the gap in the hard goods & soft
goods sector in the areas of Design / Product Development on pan India
basis. The NCDPD works in close cooperation with many national &
international organizations, exporters & manufacturer for forward linkage.
International & National designers provide complete array of services for
customized design / product development services. NCDPD was set up in
1999 under society’s Act by Development Commissioner (Handicrafts)
Ministry of Textiles, Govt. of India. The Board of NCDPD is represented by
eminent exporters, policy makers & captains of trade & industry.
Development Commissioner (Handicrafts), Ministry of Textiles, Govt. of India
is Ex-Officio Chairman of NCDPD Board. NCDPD is member based organization
and is self-sustaining.

Vision
 To cater to the needs of changing taste & Design concepts of
international buyers.
 To provide regular design inputs to exporting community about trends
& forecast periodically.
 To create & reinforce the uniqueness of Indian designs.
 To update the sector about the changing global scenario with reference
to technical advancement.
 To support product development and upgrade quality.
Objective

The activity comprised to train the artisans / craftsperson / Entrepreneurs of

New design for the exports and the latest technologies used in the product
development for the exports. The basic objectives of the activity for
implementation of this activity for Design and Technology Development
under the Design and Technology Up-gradation scheme is to provide
integrated Design & Technology development for the product development
for exports. The basic objectives are briefly narrated as follows:

 To launch integrated design & technology up gradation program for

the handicrafts and to provide export opportunities on long term basis
to the potential Craftsperson / Artisans / Entrepreneurs.
 Creation of international network of design and product development
expertise.
 Broadening base of the export baskets of by new design.
 Increasing employment opportunities thereby improving livelihood.
 To Conserve and encourage the use of natural, sustainable material in
creation of arts and crafts.
 To develop capacity of the self-help groups / artisans / Craftsperson /
Entrepreneurs in Design Development, Product Development and
awareness and use of the latest technologies for the product
development for the exports.
 Adoption of new product designs in line with more marketable styles
and colors while drawing on women's existing skills and knowledge of
traditional styles.
 Adoption of new product designs in line with more marketable.
  Styles and colors while drawing on women's existing skills and
knowledge of traditional styles.
 To strengthen national links with nongovernment organizations (NGOs)
and market networks, including market links with Cooperatives as an
alternative sales outlet.
 To identify regional/provincial craft styles for documentation and study
visits.
 A team of designer and technical experts shall visit the cluster of the
train potential workshop participants.
 Artisans will be asked to prepare products for sale and display for
export and, where receptive, to also prepare products in new designs,
shapes, and colors.
 In addition, consulted with designers and fashion experts will impart
knowledge on how to remodel traditional cross-stitch designs and
colors to modern-day market requirement.

Activities

 Market Driven Design Services with the help of International/national

designers.
 Technology support for quality / mass production.
 Pool of Branded National / International Designers.
 Quality control and merchandising services.
 Sustainable Supply Chain Management System.
 Design Training to the Artisans / Manufacturers / Exporters.
 Skill Development Programs.
Services

 Design & Product Development Services.

 Exhibition Design, Showroom/ Store Development & Visual
Merchandising.
 Graphic Design.
 Product & Technology Development / Manufacturing Excellence.
 Design, Market and Technical Trends.
 Design Training, Mentoring, Apprenticeship and Career
Opportunities.
 End to End Design Services to Industrial Groups.
 Package Design.
 Vendor Compliance.
 Image Building and Branding.
 Other Specialized Design services. Setting up of Design Studio's,
SIDCS, Design Promotion, Design Research, Industry Linkage, Tie-
ups Networking, Design Library, Design Workshops and Resource
Centre etc.
SURVEY
About Handicraft
Handicrafts are unique expressions of a particular culture or community
through local craftsmanship and materials. It is no longer possible to
look at traditional artisan communities and their products in isolation
from global market trends and competition. Handicrafts are part of a
much larger home accessory market, which includes handcrafted, semi
handcrafted, and machine-made goods. The home accessory market is
strongly influenced by fashion trends, consumer purchasing patterns,
and economic conditions in end markets. In many cases, artisans are
out of touch with those end markets, which presents a challenge to
those seeking to export their products. The response of consumers to
handicrafts is unpredictable. Handicraft production is a major form of
employment in many developing countries and often a significant part
of the export economy. With increased globalization, however,
products are becoming more and more commoditized, with artisan
producers facing increased competition from producers all over the
world, particularly in China and other Asian countries. The All India
Handicrafts Board assisted the state governments in setting up their
Design and Technical centers in Uttar Pradesh, Bihar, Kashmir,
Rajasthan, Punjab, Andhra Pradesh, Tamil Nadu, Kerala, Himachal
Pradesh, Madhya Pradesh, Gujarat, Orissa, Manipur, Tripura, Haryana,
West Bengal and Goa. In these centers, craftsmen and the artists jointly
work out new designs and items in selected crafts. These artists strive
to combine the traditional with modern. The handicraft items are
carefully made by artesian so that they retain the ethnic value, while
they can be put to modern day use.
The designers have to keep in mind the changing needs of the
consumers, especially the foreign markets.

Handicraft sector occupies a prime position in the Indian economy. It is

the largest employer, next to agriculture. The sector, while providing
livelihood for thousands of artisans, provides avenues for realization of
social and cultural potential of millions of people. The mythological,
religious, social, historical and artistic expressions in crafts symbolize
the strengths of Indian heritage while combining in these crafts both
utility and beauty.

High employment potential, low per capita investment and high value
addition, involvement of women and weaker section, eco friendliness
and the potential to stimulate creative talents make the sector one of
the most preferred sectors in the process of economic development.

India which consists of a variety of ethnic traditions and culture is also a

treasure house of Indian handicrafts. Exquisite handicrafts using diverse
raw materials are produced in different parts of the country. This
include art metal ware, wood ware, hand printed textiles and scarves,
leather crafts, hand knotted carpets and embroidered goods, wood
design, shawls as art ware, stone carvings, imitation jewelry and
miscellaneous other handicrafts.

One of the unique feature of the handicrafts is that more often the
same item of the handicraft, produced in different regions, are different
from each other in terms of the craftsmanship, style, color combination
and finish by artesian creativity. Handicraft is such a product that when
a buyer likes it, he is prepared to pay a price, which may be far in excess
of the standard price of the product.
The prime consideration is his liking of the product. Channel agents, such
as middlemen, retailer or distributor try to capitalize on such possibilities
and earn significant profit almost wholly at the cost of the craftsmen.
Handicraft product may be categorized on the basis of price, export on
domestic market, ease of maintenance, ease of storage, utility value or
decorative value and modernity or traditional orientation. Besides, it is
necessary for likeminded institutions to come together to provide the
strategic direction and action plans to evolve systems. Procedure and
norms related to design, market, technology, innovation and quality of life
so that product designs, technology and marketing become integral part
of the craft up gradation and repositioning process. Craft is the standard
mark of creativity and the essential differentiator for a country in the
sweeping wines of globalization. Most importantly, craft has to become a
fountainhead for both industrial design and communication design, for
deriving the differential advantage of Indian design in the global market
place. Today the rural and urban crafts continue to make a hefty
contribution to the economy of the country as they did in the past. In
many cases this has been in hidden contribution since these did not
necessarily get reflected in the visible part of our economy. For Centuries
the rural Artisans have been fulfilling the needs of local farmers and other
rural inhabitants in the form of locally made products and services. With
the advent of machine produced goods, many of our traditional artisans
have had to face intense competition from growing industrial sector.
However, the inventiveness of the Indian craftsman and the various
efforts for the development that has been invested over the years in
human resource development and in product innovation and promotion
has strengthened their ability to face this completion with a great degree
of success.
UTTAR PRADESH- VARANASI

Varanasi has, since times immemorial, been hailed as a leading center for
some of the finest Indian handicrafts. The most renowned craft of Varanasi
city is silk weaving. 'Banarasi Sarees', produced by local craftsman are
among the most preferred, not only in India but also all over the world.
Besides the famous Benarasi Sari, brassware, copperware, ivory work, glass
bangles, wood, stone and clay toys and exquisite gold jewellery are some of
the other crafts Varanasi city is famous for. Among the other shopping
attractions of Varanasi and surrounding areas are the Bhadohi Carpets and
musical instruments.

Craft Name
Terracotta Crafts
Zari- Zardozi Crafts
Meenakari Crafts
Wood Crafts
Block Prints Crafts
Carpet Crafts
Saari Crafts
Beads Crafts
Soap Stone Crafts
Banarasi Saree
Banarasi Saree is an Indian woman's coveted possession. For a long time
Banarasi Saree has been an important part of the Indian bride wardrobe and
rarely fails to flatter a woman, making her feel delicate and feminine. The
Banarasi sari speaks volumes of the genius of the traditional weaver. The
Banarasi saris became more popular during the Mughal era and the sari weaving
art reached its zenith. It was during this period when Sari weaving saw the
amalgamation of Indian designs and Persian motifs.

The Banarasi sari comes mainly in four different varieties. They are pure silk
(katan); organza (kora) with zari and silk; georgette, and shattir. Sari weaving is
kind of a cottage industry for millions of people around Varanasi. Most of the
silk for the Banarasi saris comes from south India, mainly Bangalore. The Sari
weavers weave the basic texture of the sari on the power loom. In weaving the
warp, the weavers create the base, which runs into 24 to 26 meters. In an ideal
Banarasi Sari there are around 5600 thread wires with 45-inch width.

The weaving of Banarasi sari involves teamwork. Ideally three people are
engaged in making the Sari. One weaves, the other works at the revolving ring to
create bundles. At this point, another important process begins. This is related to
designing the motifs. There are several traditional artists in Varanasi who, create
wonderful designs for Saris. To create design boards, the artist first sketches on
graph paper with color concepts. Selection of the final design follows creation of
punch cards

For one design of Banarasi sari, one requires hundreds of perforated cards to
execute the idea. The prepared perforated cards are knitted with different threads
and colors on the loom and then they are paddled in a systematic manner so that
the main weaving picks up the right colors and pattern. The normal Banarasi Sari
takes around 15 days to one month and sometimes more time to finish. However,
this is not a hard and fast rule as all depends on the complexity of designs and
patterns to be produced on the sari.
Banarasi Carpets
Varanasi and its neighboring areas are well known for carpet making. The
Varanasi-Bhadohi-Mirzapur belt in Uttar Pradesh produces maximum number of
carpets in the country. The carpets produced in Varanasi region are famous for
the excellence in quality and design. Every carpet that is woven here has a
distinctive grace and unmatched style that speak volumes about the carpet
weaving tradition of Varanasi and its surrounding areas. The stylish and quality
of the carpets also proves the genius of the traditional carpet weavers of Varanasi
region.
A majority of carpets exported from India come from Varanasi and its
neighboring areas. This carpet belt specializes in traditional Indian woolen
carpets and Durries. The Bhadohi carpets match the gracefulness of carpet
weaving in any part of the world and are distinguished for their beauty and
elegance and are worth buying. For carpet lovers the Varanasi-Bhadohi-Mirzapur
belt offers great shopping opportunities as the carpets are not only cheaper yet
stylish and fashion oriented. The Varanasi-Bhadohi-Mirzapur belt also produces
hand tufted, Indo-Tibetan and low, medium and high Knotted Carpets.
Chunar, Uttar Pradesh

A cluster is defined as a geographic concentration(a city/town/few adjacent

villages and their adjoining areas)of units producing near similar products and
facing common opportunities and threats.An artisan cluster is defined as
geographically concentrated(mostly in villages/townships)household units
producing handicraft/handloom products.In a typical cluster,such producers often
belong to a traditional community,producing the long-established products for
generations.Indeed,many artisan clusters are centuries old Artisan.
Chunar Cluster falls under Uttar Pradesh State in Mirzapur district. The
Chunar Cluster is able to form above 200 Artisans and 20 SHGs supporting the
strong work force.The mobilisation gains momentum day by day. The terracotta
art with its long and continuous history of the preceding centuries has imbibed
such ideals which are based upon a thorough & xplicit understanding of the
human form. Clay craft is probably the earliest of mans creations and marks his
coming of age. It is as though as man faced nature he was stirred by its
challenge. Moulded out of the earth himself he wanted to extend the boundaries
of his material existence to give expression to his creative spirit. So he took the
earth in his hands and began to fashion a whole new world of infinite shapes of
grace and elegance.India is rich in her terracotta and pottery traditions many of
which have their roots in prehistory. Pottery has a wide universality and its
tradition goes back to span of five millennium.Terracotta pottery has been called
the lyric of handicrafts because of its irresistible appeal.A variety of earthen
objects are created such as lamps, pitchers, flower vases, pots, musical
instruments, candle stands etc.In Chairan, Shangmai and Thongiao villages of
Thoubal district and Andro in Imphal(East), Terracotta articles, including toys
are produced as ritual items for decoration and for utility through out the
state.The other crafts made are incense burners, toys , dolls and figurines etc.
Basic Material : Mitti / clay, mustard oil, potter wheel, gum, starch, wax,Clay,
potter’s wheel, twigs, dry branches, leaves, firewood, rice straw, Red clay, black
clay, pilli mitti, yellow clay,Various types of Mitti (clay/mud), edible gum,
starch, clay, wax. Decorative Material:ash, sand, cow-dung, rice husk, Clay,
sand, phunanphadi(wet cloth), phuzei(wooden beater), kangkhil, sealed vessel
slab, lepshum(cylindrical platform),Plastic clay mitti, mustard oil, potter’s wheel,
edible gum, starch, feldspar, clay, wax. The shapes which are required for a
variety of uses are turned on the wheel.The certain portions such as the spout or
the handle are left out. They are casted separately and then attached to the body.
After it, the decoration is done by incising patterns on the surface for making
geometrical patterns. The clay mixed with ash and sand is kneaded by feet,
collected and cut with lahasur.It is then kneaded with hand, on peeda and a lump
is made. All the solid particles are removed. The ready clay is kept on wheel for
making various forms. A potter’s wheel has short sports, turns on a pivot of hard
wood or metal and is provided with a large hub which acts as a revolving table.
A vertical stick is inserted in the hole in the rim. The potter throws the kneaded
clay into the Centre of the wheel, and spins the wheel around with the stick. Due
to the centrifugal force the lump of clay is pulled outwards and upwards and
shaped into a vessel. This is pulled out with a string, dried and fired in a potters
kiln. Clay article after firing turns to terracotta. The pots are fired in simple open-
pit kilns that are very efficient and inexpensive for firing pots at a temperature of
700 - 800 degree Celsius. The pots are arranged in layers of pots, a layer of
leaves, twigs and cow dung cake is sometimes added. The mound is then covered
with a blanket of rice straw which, in turn is covered with a thin layer of loamy
soil. The firing takes four to five hours. The material is mixed properly and dried
under the hot sun so that any sort of moisture, if present, may evaporate. Then
the mixture of wet clay is filtered through a fine sieve to remove pebble. After
giving shape with hands the items are then baked in the improvised kilns covered
with cow dung cakes, fuel and saw dust etc.
The clay, mixed with ash and sand is kneaded by feet.Then it is kneaded with
hand on peeda & a lump is made.All the solid particles like gravel, small pebbles,
twigs etc. are removed.The ready clay is kept on wheel to make various forms.A
potters wheel has soft spokes, turns on a pivot of hard wood or metal and is
provided with a large hub, which acts as revolving table. A vertical stick is
inserted in the hole in the rim.The potter throws the kneaded clay into the Centre
of the wheel and spins the wheel around with a stick. Due to the centrifugal force
the lump of clay is pulled outwards & upwards and shaped into a vessel.

This is pulled out with a string, dried and fired in a potter’s kiln.Clay article after
firing turns to terracotta. Women potters practice a unique hand modeling
technique, probably dialing back to earlier than Neolithic times before the
invention of the wheel.The products made are surface of plain pots, water filters,
vases, incense burners, lamps and hukkas.

Mirzapur, the district of Uttar Pradesh is well connected by all of the three means
of transportation – air, rail and road.The city is directly linked with New Delhi,
Patna, Kolkata, Mumbai, Varanasi and other major cities by Amausi airport.
Similarly it is also linked to north, east, south and west through rail and road
links. There are frequent bus services from Mirzapur to almost all parts of the
state and also to New Delhi, the national capital.
Red Clay
Red clay is a type of earthenware. It is the normally used for sculpture made in
earthenware, and also for various utilitarian uses including vessels (notably
flower pots), water and waste water pipes, roofing tiles, bricks, and surface
embellishment in building construction.[5] The term is also used to refer to the
natural, brownish orange color, of most terracotta, which varies considerably.

This article covers the senses of terracotta as a medium in sculpture, as in the

Terracotta Army and Greek terracotta figurines, and architectural decoration.
Asian and European sculpture in porcelain is not covered. Glazed architectural
terracotta and its unglazed version as exterior surfaces for buildings were used
in Asia for some centuries before becoming popular in the West in the 19th
century. Architectural terracotta can also refer to decorated ceramic elements
such as antefixes and revetments, which made a large contribution to the
appearance of temples and other buildings in the classical architecture of
Europe, as well as in the Ancient Near East.

In archaeology and art history, "terracotta" is often used to describe objects

such as figurines not made on a potter's wheel. Vessels and other objects that
are or might be made on a wheel from the same material are called
earthenware pottery; the choice of term depends on the type of object rather
than the material or firing technique.[6] Unglazed pieces, and those made for
building construction and industry, are also more likely to be referred to as
terracotta, whereas tableware and other vessels are called earthenware
(though sometimes terracotta if unglazed), or by a more precise term such as
faience.
Clay craft is clay based unglazed ceramic, where the fired body is porous and red
in color. It is a symbol of man’s first attempt at craftsmanship, just like invention
of potter’s wheel to use power of motion for productive purpose. The art of
pottery making dates back to the Indus valley civilization. Evidence of pottery
has been found in early settlements of Mehrgarh. Various terracotta figurines
depicted animals like cows, dogs, bear & monkey have been recovered from the
remains of Indus valley civilization. Terracotta has been used throughout the
history for sculpture, pottery as well as bricks & roof shingles. Along with
phallus-shaped stones terracotta female figurines were uncovered in
excavations of Mohanjodaro (3000-1500 BC), suggesting fertility cult & belief in
mother goddess.

The Burney relief is also an outstanding Terracotta plague from ancient

Mesopotamia of about 1950 BC. The ancient Greeks Tanagra figurines are mass
produced mould-cast & fired Terracotta figurines. Large scale use of Terracotta
was there in Emperor Qin shi Hung’s Terracotta Army of china, built in 210-209
BC. Extensive use of Terracotta was also reported from pre-colonial west Africa,
especially the Nok culture of central & north–central Nigeria. Terracotta & tiles
were used extensively in town buildings of English Victorian Birmingham.

Red Clayhas a simpler process of creating finished work and at a lower cost, as
compared to other works. A refined clay is partially dried & cast, moulded or
hand worked into desired shape. After drying it thoroughly, it is placed in a kiln &
fired. Then the hot ware is covered with sand to cool. Various other Terracotta
works like tableware, sanitary pipings or building decorations in freezing
environments require that material be glazed. The normal Terracotta red color is
obtained by letting out the smoke through the vents of the kiln after firing, and
the black color is obtained by sealing the vents & not letting out the smoke.
Clay Product Gorakhpur
India has a rich heritage of Terracotta
& unique & splendid works can be seen spread over different states and Union
Territories. Thanagarh in Gujarat is famous for Terracotta of Kutch,
Murshidabad, Birbhum, Hooghly & Digha iThe Hukka, Chillums (or the smoking
pipes) craft of Haryana, terracotta products from districts of Ropar, Ludhiana &
Hoshiarpur in Punjab include flower pots, diyas, toys & miniature temple
structure and the votive Terracotta of Molela, Rajasthan are living example of
the magnificent art surviving in India of today.
The state of Uttar Pradesh has its unique and splendid contribution in
Terracotta works. The glazed pottery of khurja in famous for ceramic pottery
done with relief work. The black pottery of Azamgarh with floral & geometric
designs and the glazed pottery of chinhat, where shades of blue & brown are
prominent on white/cream surface, are few other examples of the surviving art.
But the Terracotta work of Gorakhpur is an example of traditional art form
surviving over centuries, where the potters make various animal figures like,
horses, elephants, camel, goat, ox etc with hand-applied ornamentation. Some
of the major product of craftsmanship include Hauda elephants, Mahawatdar
horse, Deer, Camel, Five-faced Ganesha, singled-faced Ganesha, elephant Table,
Musical troupe of humans & Ganesha, camel cart, bullock-cart, horse-cart,
camel-lamp, lantern, chandeliers, Hanging bells etc. The entire work is done
with bare hands and they use natural color, which stays fast for long time.
There are more than 1000 varieties of designs of terracotta works crafted by
the local craftsmen. The craftsmen belong to ‘Prajapati’ caste and are mainly
spread over villages of Aurangabad, Bharwalia, Langadi Gularia, Budhadih,
Amawa, Ekla etc in Bhathat & Padri Bazar, Belwa Raipur, Jungle Ekla No-1,
Jungle Ekla No-2 in Chargawan block of Gorakhpur.There are 04 President
awardees, 05 people have got regional medal for excellence in craftsmanship in
the last three decades for their outstanding & unique contribution in
propagating and taking forward the dying art., construction of drains etc to attract
tourists. It is an idle village tourist destination and one can see people from all parts
of the country, Queuing up to collect orders of these unique, original and rare
terracotta works.
 Design
development
 Design Development

Design Development Workshop

Integrated Design & Technical Development Workshop in Red Clay Craft at Chunar,
Uttar Pradesh, Period of Prototyping Workshop: 24. 03. 2017 to 23. 06. 2017

Concept
To develop a range of New Designs as per the test of tradition for Home Décor
category.
Product Line
Candles, vases, Utensils
Consumer Profile
Elite Group
Age Group
(30- 40) Years

Key
Aggression, Splendor, Orthodox

Mood Color
Target Market

 Mainly in the state of India.

 Some exposure towards the market outside India by experimenting
and creating something different.

Consumer

 Directed towards upper middle class, upper class and craft lovers.

Motifs and Designs

 Abstract shapes used with magic of color.

Product line

 Lighting shade and flower vases

 All products are trendy as per international market and as per
consumers need.
Sketches &
prototypes