TERACOTTA: MOLDING

SOUL INTO THE CLAY

MFT - I 12/28/19 CRAFT CLUSTURE

INTRODUCTION
Terracotta is the art of moulding the clay/mud into different vessels and designs which may
serve the purpose of daily use or can be showcased as an aesthetic entity. Each terracotta pot
or piece of art is created by a fascinating process with grace and dedication and the time taken
to make such a masterpiece is what makes terracotta so valuable and expensive.
Terracotta means “baked earth” in Italian. Terracotta is the type of clay used to produce
terracotta pottery on a potter’s wheel. The potter at a full tilt rotates the wheel with his hands
and gives the ball of clay a shape. The pot or object, after being left to dry is kept on top of
combustible materials in a pit and fired. Mostly charcoal, wood or coconut shells are used for
firing and the temperatures may range from 600 to 1000OC. The process is complete only
after the pottery has been baked for more than two hours to ensure it is hard, strong and
durable.
Even then, given the nature of the clay, terracotta pottery is porous, and water can seep
through these pots. However, a coat of glaze can fix that, making the pots water tight. Thus,
terracotta is usually of two types, glazed and unglazed. The glazed pots are easy to clean, and
food gets cooked evenly in them. However, numerous benefits are lost, like the maintenance
of the acid-alkaline balance as well as the earthy flavour that unglazed terracotta adds to the
food.
Terracotta is usually reddish or brown in colour and
is considered to be the first ingenious expression of
civilization. From the small earthen pots in which
we store water to the giant-sized cultic equestrian
figures of the rural Tamil deities of the Aiyanar cult,
terracotta art occupies a consequential place in
Indian life and culture. It has broken all the
principles of Shilpasastra or sculpting and gives
itself enormous freedom in terms of imagination
and conception, allowing the potter to translate his
emotions and thoughts into a work of art.
Terracotta is not just a means of livelihood or a skill;
it is an art that has sustained for generations in the
rural areas of the country. Finery, decoration, the
natural saffron colour and experiments with
innovative shapes are some of the features that
make this art turn heads.
The practitioners of terracotta have protected the
art form the onslaught of modernity, erosion of culture and tradition and people’s growing
craze for sophisticated high-tech decorative items. However, the craze for these traditional
items is now increasing not only in urban India but also in many international centres.

LITERATURE RIVIEW:
Terracotta dates to 2600 to 1700 BC, during the time of Indus Valley Civilization.
Archaeological excavation at Mohenjo-Daro, Harappa have been discovered with wide variety
of vessels and other pottery items.
The Villianur Terracotta Works are handicrafts made from fine clay, fine sand and thennal
which are hand made by villagers of Villianur, in the union territory Pondicherry also spelled
Pudhucherry, India. It has a history of more than 20 generations.
This handicraft product has been registered for protection under the Geographical indication
of the Trade Related Intellectual Property Rights (TRIPS) agreement. In 2011, it was listed as
"Villianur Terracotta Works" under the GI Act 1999 of the Government of India with
registration confirmed by the Controller General of Patents Designs and Trademarks under
Class 21 as an earthen ware, vide application number 2011.
The history of making the terracotta works in Pondicherry is not definitely established though
archaeological excavations at Arikamedu (which had ancient maritime links with Rome during
the first century AD) have unearthed fine quality terracotta toys which are considered of finer
quality than the type made by the Satavahanas.
 This art work is particularly traced
to Villianur village and its
neighouring areas, as an ancestral
legacy of over 20 generations of
the community known as
“Kulalar”. During the French rule
of Pondicherry this art form
received a fillip.
Madhya Pradesh is one state
which in addition to its huge forest
reserves is also rich with
grasslands, date palm trees and
earthen clay. Being one of the
largest states in India, it is in the
forefront in producing various
handicrafts that include textile and
carpet weaving, block printing,
bead crafts, glass beads, wood,
shell, white metal jewellery and
containers and toys. However, the terracotta figures are amongst the specialties of the place
and are admired globally.
Terracotta across India:
It is a totally handmade art and is made out of the locally found clay. The shape is given by
the artisans and then the wares are dried under the sun, followed by the engravings and then
it is polished to give the finished lustrous look.
The Jhabua and Bastra tribes of Madhya Pradesh are known for their tradition of making
terracotta pottery. The tribes of Madhya Pradesh create clay temples called dhabhas which
have a small door, wherein the deity is placed along with the fire lamp. Terracotta objects
produced by the Jhabua tribes are believed to possess tantric powers.
Gujarat is known for its spectacular hand-painted clay products, such as beautiful clay animals
and home décor items using the potter’s wheel to perfection, painted with catchy colours and
geometric patterns. Haryana again, is famous for its clay hukkas and pipes. Exquisite wall
hangings, flower vases, cups, water pots, lamps and intriguing animal figures are other
creations from this state.
The villagers in Aiyanar, Tamil Nadu, believe that their gods will ride these vahanas and
protect the villagers as well as passers-by. A wide range of god and goddess idols are sculpted
with a belief that the they are born from ground; the place where humans are made and die
eventually.
A master craftsman of Villianur Terracotta Works is V.K. Munusamy who hails from Villianur
village. He holds practical training classes in this art form which is attended by national and
international students. He has received 68 awards from many countries and is also the
recipient of UNESCO award in 2005 for his terracotta craftsmanship. Civilizations are now
dated and assessed by the degree of skill and beauty displayed by the earthenware found in
excavations. It may be that the potter’s wheel was the first ‘machine’ man invented to use
the power of motion for a productive purpose. Terracotta objects have an association with
everyday life that has given it a deeper significance.
The tradition has continued unbroken whether in the clarity of design or in the characteristic
plastic values of the shapes. The Mother Goddess or the so-called fertility symbols still
produced in Assam, West Bengal, Bihar and Orissa resemble the ones worshipped in
Mohenjo-Daro and Harappa. The children of the pre-historic period were amused with similar
toys which even today fascinate children of rural India. Many rural people still earn their
livelihood from Terracotta craft. India has still managed to preserve its artisans, its art and its
handicrafts.

PROCESS FLOW CHART:

DISSOLVING
RAW MATERIAL MIXING OF RED MUD IN WATER
PROCURMENT AND BLACK MUD
• 1 DAY

STIRRING & SEDIMENTATION DRYING

FILTRATION • MUD AND WATER • 2 TO 3 DAYS

FINAL CLAY
DEGYDRATION OF MIXING AND
FORMATION FOR
CLAY SOFTENING
PRODUCT
The red and black mud sourced from River beds of various regions. The raw material is then
transferred via tractor or any other transport services. Next process consist of mixing of both
red and black mud in appropriate ratio, usually 4:3. The two types of soil are mixed in equal
proportions to form dough for products that are not exposed to fire. If not mixed properly, it
remains powdery. The clay must be tight for bigger products and loose for smaller products.
The products made with black mud look darker and less shiny compared to the products made
with both red and black mud.

The artisan first gets both the red and the black soil from the agent. He mixes them with water
using a steel rod and both clays are mixed in equal proportions. These are mixed in a 20-litre
steel vessel). The barrel is left as it is for next one day.
The next day, it is stirred and Jalledai (filtering mesh) is used to separate the impurities and
the solid materials. Only the water which consist of dissolved mud gets through it and
remaining bigger impurities are extracted out.
The mixture is left to dry for a day and the clay settles down known as sedimentation process.
After a day, the water from the surface is carefully extracted out and the clay is extracted out.
A saree – like cloth is used as layer. The saree is thick enough to let only the water to seep
through it and the clay is left behind. The saree with the clay is left as it is in the open field for
a day.
The sludge bed is left to dry for 2-3 days. The clay obtained from the above process is first
mixed well to clear out the air trapped inside it. It is then cut into smaller parts with a steel
wire and mixed again. This process is done repeatedly. The required amount of clay is weighed
in a weighing machine. The amount of clay varies from product to product.
The cut and spread clay is spread onto a cement wall. The latter absorbs the remaining
water/moisture.
The circular motion of the wheel helps to create a round form at a speed. The most primitive
wheels made of sun-baked clay is used even today. The manual wheel is rotated briskly to
give a circular momentum. A lump of clay is placed on the hub. The artisan creates a form
using both the hands while the wheel is still in motion.

These days motorised wheel are used. These wheels are the technological development over
the sandstone wheel, where a motor is attached to give circular momentum to the wheel.
The mechanized wheel does not require additional man power to rotate the wheel. The craft
person can himself do the rotation part with a leg accelerating and reducing the speed,
according to need, of the plate.

ARTIST’S PEDAL: Controls the speed

The product is shaped with hands with along with some accessories which are used to
maintain diameter of the mouth, height of the product etc.

The product is carefully removed from the wheel using a steel string and left to dry under the
sun. Small products are dried for 2-3 hours and the bigger products take at least 5hrs.The
dried product is then kept on the jock (holder) on the mechanised wheel and a cloth is used
to polish the product as it rotates.
The product is then taken out from the wheel and the handle (for products like jugs) is then
attached and designs are carved out. The designs are made according to the demand in the
market.
All the designs are made by the artisan’s wife. The artisan looks if a particular design sells well
in the market. Without the design, it’s just a product made out of clay. “Designs attract the
customers. Designs that come onto my mind are carved out,” says Mrs. Valli, the artisan’s
wife. The final product is left to dry in the sun for 3 hours. The products are kept ready for the
final process of firing.
Firing is a method of baking clay models to achieve desirable properties. Terracotta models
are fired to give them strength and hardness.
Firing is done in a traditional way by building an enclosed oven called a sulam. The process,
known as the sulai is carried out on the open streets. Bigger products are placed at the bottom
of the kiln and the smaller ones are placed on top. Approximately 60-150 pieces of terracotta
objects are fired for almost 5 hours.
Coconut husk and Sowk, a special type of wood is used for burning. The sowk has the quality
to enhance the colour of the product while baking. Once the kiln is filled with the products,
steel rods are placed on the top and the kiln is covered with roofing tiles made of terracotta.
After the products are baked, they’re left in the kiln as it is to cool down and taken out from
the kiln the next day.
PRODUCT RANGE AND PRICING:
As how people’s vision on technologies increasing now-a-days likewise on other-hand
sustainable products are also an important topic which people admires more. On seeing
terracotta products which is made by Mr. Sadashivam undergoes minimum 500 - 1000 pieces
in each product order from various buyers. Among all the products, jug and chimney order
placement is more.
He has an experience on making ceramic products in a company, using that techniques and
methods he started his own business on terracotta. Which is very cost efficient than ceramics.
His product line mostly lies on kitchen utensils and some decors. Cost of each product starts
from Rs.25 - 300 /piece.

TERRACOTTA LAMP
PRICE- RS. 50
KITCHEN UTENSILS
PRICE RANGE:
TAWA- RS. 250
DINNING SET- RS.350
 JUG AND LID

PRICE: RS. 150

GANESHA IDOLS
PRICE- RS. 200
SALES AND MARKETING:
At present the rural producers/suppliers are struggling to market their products and services
due to various reasons. The performance of the manufacturer and artisans both for financing
and marketing of handicrafts is far from satisfaction. Artisans are depending on the
middlemen for raw materials, finance and market for the finished products because of their
illiteracy, ignorance and poverty. The success of handicrafts depends on how well the artisans
can produce the articles and introduced in the market in keeping with the tastes and
preferences of consumers. Industrialization in any kind of arts and crafts must be recognized
by the market of consumers, through the exchange of commodities in order to make the
artistic and ethnic value with a touch of innovation.

Importance of Handicrafts:
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 jeweler 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.

PROBLEMS OF VILLAGE POTTERY:

The Indian pottery is facing profuse problems. Almost 60% artisans have already left the
traditional business and if proper measures are not taken in due course in the next few years
it may cross even 75%. The problems which the potters are facing can be categorized in to
several phases like availability of raw materials, production system, product diversification,
marketing strategy, etc. Some of the problems are described as follows Problems of
management:
In an overwhelming majority of the units surveyed, the artisan is both an entrepreneur and
labourer. They raise their own finance, purchases the raw materials, attending the production
and organizing the marketing. There margin of profit is rare and somehow, they are managing
a small part of their daily wages. If they happen to be out of station in such a situation the
unit will be totally shutdown and their source of earning become almost zilch. Hence it’s
difficult for them to attend the out station training programmes and workshops regarding
technological up gradation, product diversification, availability of government schemes,
different loan facilities, etc, and due to all these reason they are not able to upgrade their
production unit with time. The long-term field trials and technology demonstration
programmes organized at their own village responded big success after due course of time.

Marketing management:
Marketing Practices in Handicraft:
Marketing touches everyone's life. Marketing involves a large number of activities, including
Marketing research, Product development, Distribution, Pricing, Advertising, and Personal
selling, Sales promotion, Packaging and Branding. Marketing combines several activities
designed to sense, serve and satisfy consumer needs while meeting the goals of the
organization.
Handicraft units, which are mostly run by individuals with sole- proprietary form of
organization can’t afford to have separate and well-organized marketing system.
The artisan-cum-proprietor of the unit looks after all the functions with the help of members
of his family. Most of his time is spent in the production. In case, he has a little time at his
disposal, he uses it for acquiring raw materials. Usually, he has little knowledge and market
information relating to his products. Hopefully, the artisans in handicraft gives little
importance to the vital marketing function.

Organizing marketing network of Handicraft:

Absence of systematic marketing network has been a discouraging factor in this region. The
artisans must be organized by themselves under the co-operative umbrella for marketing
their products by themselves. For this more and more linkages must be developed with
outside parties.

Marketing problem in Handicraft:

Artisans face several problems in marketing. In view of shortage of financial resources and
small scale of operation; advertising publicity cannot be undertaken by artisans. Hence, it is
suggested that the Corporation may increase advertising and publicity for all the crafts. The
Corporation should save the artisans from the exploitative clutches of middlemen by
purchasing handicrafts at remunerative prices from artisans by giving payments promptly.
Suggestions:
To make handicrafts reach the top spot the following suggestions may be implemented.

• Copyright of Handicraft:
Design registration should be done. That means whatever designs any artisan has introduced
on any item should be registered. Then no one can copy it.

• Price Uniformity in Handicraft:

It is often complained that prices of handicraft products are very much erratic and not
uniform. There is significant difference in prices of the same article if purchase from two shops
or from two places. In this situation the customer feels very much exploited and harassed.
This might have very bad repercussion on the demand of the products. Categorization of art
in each craft should be done according to the skill exhibited and quality of raw materials used,
and pricing should be made accordingly by a team of experts. Awareness Creation:
The majority of artisans are not aware about various new schemes like loan at concessional
rates, free tools, dyes and chemical, work shed-cum-housing facilities. It is the duty of the
promotional organizations to make the weavers aware about the various welfare schemes
and to implement the same on a war footing.

• More research and development in Handicraft:

For improving the quality of the products R&D is a must. Many more new items and new
designs can be developed with the help of R and D.

• Foreign Collaboration with designers and artisans:

Foreign master designers may be invited to the design centres to render guidance to the
craftsmen.

• Value addition in Handicraft:

The various specialized organization, like DC (handicrafts), may help the local units to produce
various value-added items with would not only help to penetrate the local market, but also
help in exporting of such items to foreign countries.

• Publicity in Handicraft:
To attract more and more buyers both within and outside the country, promotional and
marketing organizations must give due emphasis on wide publicity of various local products.
For this frequent buyers and sellers meets may be organized by promotional organizations.

• Exports of Handicraft:
If systematic efforts are made, some of the selective products could emerge as a major foreign
exchange earner soon. However, before exporting of such items care should be taken on
product identification, quantum of production, supply arrangements, price, delivery, quality,
payment terms etc.

• Window display of Handicraft products:

In whatever possible manner, all the promotional and marketing organization, must display
the local items in various airports, railway stations, bus stands, commercial centres etc. This
will help the local artisans to get more orders from foreign tourists, traders, marketing
organization etc.
Positioning of handicraft Products:
Handicrafts, which are produced with traditional skill, are gradually facing competition from
machine made products, which give greater uniformity and better finish. For large number of
handicraft items, there have been neither substitutes nor competition from any significant
entrant into the field. Thus, suppliers, new entrants and substitute products do not appear to
be significant factors in the strategic positioning of Handicrafts. By the process of isolation,
we come to the buyers and buyer groups. This also includes the middlemen and distribution
chain.
Handicraft is such a product that when a buyer likes it, he is prepared to pay a price, which
may be far more than 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 based on 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 must become a fountainhead for
both industrial design and communication design, for deriving the differential advantage of
Indian design in the global marketplace.
Ecommerce platforms for selling:
• Flip kart
• Amazon
• Shop clues
• eBay
• Mantra
• Snap deal
• India mart

LAYOUTS AND IMPROVEMENTS:

Based on our design and structure we came up with a new layout which will be more efficient
as shown below:

Layout for the manufacturing unit

the outer room can be used for storage and drying proposes of goods which has being just
made.
We can utilise the space by adding the shelves on the wall, by this we can increase the space
for working and other process in manufacturing unit.
The manufacturing unit will be mainly acquiring the rotations wheel where the terracotta will
be made, secondary propose will be for sludge storage which is ready for mixing and melded
in, the goods which are just made and kept for drying after which are sent for firing and baking
process,
So, if we save this space with shelves so that we can do drying process of goods then then
freed space can be used for the more sludge storage or the we can another throwing wheel
to increase production
Difference between old layout and new layout and what are the advantages of new layout.
The suggested layout is shown as below with shelves and other improvements:

OUR SUGGESTIONS AS FOR PROCESS IMPROVEMENTS:

Normally it takes around a day to soak the clays mixed with water and then it is filtered and
left undisturbed for another day for the mud to sediment and remove the water from it. Then
the bed formation is made from the clay and it is made to dry for 3-4 days during summer, 4-
5 days during winter. Sludge formed after drying is taken and hit against the wall to get the
required moisture content. Finally, a huge round is taken and weighed as per the requirement
and the jug is being made from that and let too dry for one day to make the designs and
handle of the jug. After that fi ally it is being scrubbed with a nylon net to get a shiny effect
and neat finish of the product. At last the finished goods are put in the heating furnace and
taken out from the soolai after heating it with appropriate time and temperature.

The points which can be implemented are written below:

1. Scrubbing of the products can be done in a nylon bristle machines running at a low speed
as it is only for the purpose of scrubbing
2. Heating chambers enabled with temperature control.
3. Detachable motor and cylindrical filter
4. Automatic weighing and cutting machine based on the required quantity.
5. Marketing promotions through online platforms
6. Increase in the design quality through painting with eco-friendly paints in order to enhance
the value of the product and give an aesthetic look.
7. Sedimentation of the mixture with the help of Aluminium sulphate (Alum) inorder to
increase the rate of sedimentation process
8. Filtrating sheet in the form of cylinder within another drum to collect the clay and allow it
to move to form the bed for evaporation of the water and sludge formation.
9. Drying of the bed formed through hot chambers with appropriate temperature to decrease
the time of the sludge formation and at the same time it does not affects the quality of the
clay due to heating.
10. Using of trays to place the products and heat it just by placing the trays into the heat
chambers.