Krishnanagar Clay Lantern in my collection

This is "Krishnanagar Clay Lantern" in my collection. Krishnanagar Clay Work Artisans from West Bengal created this intricate clay lantern.

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Ghurni (Bengali: ঘূর্ণি) is a neighbourhood of Krishnanagar in Nadia district in the Indian state of West Bengal. It is the centre for the production of clay dolls, often referred to as Krishnanagar clay dolls.

History

The old name of Krishnanagar was Rewe. In the early 17th century Bhabananda Majumdar founded the royal family of Nadia. Later, Maharaja Rudra changed the name to Krishnagar. In 1757, Maharaja Krishnachandra (1710–1783) helped the British East India Company against Siraj ud-Daulah in the Battle of Plassey. He was a patron of the arts, including literature and music, and supported the production of clay dolls. In 1728 he brought families of potters from Dhaka and Natore and settled them in Ghurni, then a village.

Clay dolls

In an article, the Bangalore-based newspaper Deccan Herald writes, “We have clay dolls, toys and even clay sculptures in different parts of India. But there has been nothing to match the clay doll artisans of Krishnanagar in the Nadia district of West Bengal. The creations of these artists are displayed in most of the handicraft museums of the world. In India, we have a large display of these dolls in the Shankar’s Doll Museum in New Delhi. One look at the clay dolls and we are amazed at the reality with which the artist has displayed the character of the model. A horse rearing to gallop to a placid dog licking its lips after a hearty feed.”

Krishnanagar clay dolls are unique in their realism and the quality of their finish, ‘...they truly represent a breakaway from the traditional form. Fruits, fish, insects, animals, birds, and of course the entire pantheon of gods and goddesses, and even the ubiquitous Donald Duck and other popular comic strip characters, faithful copies of real-life, down to the minutest detail. Realistic recreations of everyday life, work, mood and character- farmers, weavers, rag pickers, basket makers, umbrella makers - are yet other specialties of Krishnanagar dolls.’

Exhibitions of Krishnagar dolls have been held in London, Paris and Boston. Ghurni clay models have won medals and certificates at international exhibitions.

Changing times

The clay modellers of Ghurni have fallen on bad days. The decline of feudal zemindari culture and loss of their patronage have adversely affected them. They are finding new patrons amongst NRIs, many of whom are acquiring clay models in large numbers.

The number of master craftsmen is decreasing as members of the younger generation are switching over to more lucrative trades or more paying professions. In 2007, the number of master craftsmen staying at Ghurni dwindled to 10, most of them aged.
The above information on Krishnanagar Clay work artisans is taken From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Ghurni

Molela Potters and their Terracotta Plaques

The Maru potters of Molela near Udaipur in Rajasthan, are famous for their terracotta plaques depicting votive images. Produced mainly for their tribal customers, these are given for the shrines of their tribal gods. The Bhil tribals are the main customers of the potters, travelling hundreds of kilometers from the borders of Madhya Pradesh to purchase these plaques.

Simple hand forming techniques are involved in making these plaques. The clay is dug locally. It is mixed with donkey manure, roughly in a one is to four ratio; this is done to give the clay pliability. A slab is made with the distinctive dome-shaped top; the edges are raised to form the rim of the slab. The figures are formed with the fingers and must be hollow, so they do not burst in the kiln. These figures are completed by adding accessories like jewellery on them, made of tiny balls of clay. The plaques are dried for nine days. The firing is done in a temporary kiln.

About fifteen years ago one could still buy the plaques made by these potters in Delhi and some major cities of Rajasthan, Punjab, Uttar Pradesh and Haryana. Here the potters would display their wares on the roadside during a special season and people would buy directly, from the potters. No longer economically viable, these potters do not come to the major cities anymore. 

Today these plaques are sometimes available from the Rajasthan State Emporium in Delhi during the festive months and upto the end of winter. Most of the potters otherwise sell directly to the client or through middlemen.

Recently these potters have also been noticed by architects and decorators and have gained much prominence. Their art and craft is being used to decorate the walls of urban Indian homes, farmhouses and corporate offices. This exposure has also helped them to interact with the Western market and they have demonstrated their production techniques in America, Europe and Japan. The demand has also had an effect on the style of their work. The potters often make larger plaques and instead of the traditional images they often depict local scenes of everyday life

This new social prominence has helped the Molela potters to raise their own living standards. More potters are being attracted to go back to their roots due to improved economic conditions. The Government of India has also recognised their talent and awarded Master Craftsmen status to some of the potters (check national award winners). 

The above text courtesy from the website of potteryindia.com   http://www.potteryindia.com/Terracotta/molela.html

In my collection i have Terracotta Gods  of Molela post card. The Terracotta gods in this post card are prepared by Molela Potters.

Indian Potter in 19th Century vintage post cards

These are 2 different Indian Potter in 19th Century vintage post cards. These are not my own post cards. I use these images from a Ebay seller in United Kingdom with his kind permission. Sir thank you very much for your encouragement to me for allowing your images in my Heritage of India blog.

Please look into these 2 different Potter vintage post cards. We observed several things in these vintage post cards. Now-a-days many of these vintage hand made works are vanished and even in rural areas of India also people normal came out from these traditional works. Hence with the help of these vintage post cards only we learn and explore about our glorious past and heritage in many aspects. With that reason i have special interest and fascination on vintage post cards.

This is "The Potter" vintage post card.

 This is "A Potter in Madras" vintage post card.