Hope rekindles for terracotta art in Bangladesh

Hope rekindles for terracotta art

Faizul Khan Tanim writes about the recent attempts to revive this glorious art form

Terracotta, often mistaken as clay tiles, is actually baked earth (pora maati). There are specific themes and subjects based on which terracotta art is produced. A variety of items is made of terracotta – plaques, wall tiles, lamps, pitchers, flower vase, pottery, coin bank, candle-stands, dolls, and more. The designs of these burnt clay products reflect folk tales, picture of everyday life, artistic symbols denoting peace, love and understanding. In Bangladesh, some of the most contemporary and prominent pieces of terracotta art are dominant on plaques and murals portraying our Liberation War–or rural Bangladesh depicting many birds, fish and animals and agricultural activities.

Members of the potters’ community, known in Bangla as kumars (formally known as kumbhokars) who usually bear the title Pal, are generally found in large settlements in mrit pollis (potters’ villages) across the country.

Terracotta artists say, although this art is one of the oldest in the sub-continent and was spread out across the whole of this country, is practised in only a few prominent localities today – Dhamrai, Shimulia, Kagojipara, Kakran in Savar; Baufol in Barisal; Shariatpur; Mirzapore in Tangail; Rayer Bazar in Dhaka (almost extinct) and a few other remaining places in the country where pottery villages exist.

This art was practised in Bengal from the earliest through early medieval to medieval times and even persisted in Hindu monuments till the mid-nineteenth century. It was found in the earliest civilisations like Harappa and Mohenjodaro. The Vishnupur (17th century) temple of (West Bengal) and Kantaji’s temple (18th century) of Dinajpur are the finest examples of this form in this region. Ancient terracotta murals are found in their finest forms in Paharpur, Mahasthangarh and Maynamati dating back from the 6th century to as far back as 2000 A.D. Some plaques depicting ladies with exotic hairdo found in Mahasthangarh throw enough light on the affluence and elegance of the people inhabiting the region. Most recent specimen of the art can be found in Pabna, Jessore, Faridpur, Rajshahi, Barisal and some other places in Bangladesh.

The clay which is used are derived from Barisal and Savar called Doash and Etel maati referred to as primary and secondary clay, amalgamated in a mixture, often called common clay. These clays can withstand high temperature when inside the furnace and make the best quality of products.
Other potters use clay from different parts of the country. Terracotta artisans say that a type of white clay is collected from Netrokona, reddish clay from Baufol Barisal and pinkish clay which comes from Tangail and these different soils produce different types of products and add their own texture and colour to the items after baking.

The whole process can be explained like this: these different types of clay used for making terracotta items are collected from different regional locations. The assorted materials are mixed proportionately and dried under the hot sun so as to allow any sort of moisture that may be present in it to evaporate. Then, the mixture of this wet clay is filtered through a fine sieve to remove pebbles, dirt or even rice grains.

After the products are given shape with the hands, they are baked in improvised kilns in very high temperature ranging from 850 to 1375 degree Fahrenheit and gradually burnt for almost 24 hours. The products cool down inside the oven when the fire is put off and it is maintained strictly so that no air can enter the furnace. It takes almost 40 to 45 days for a batch of terracotta products to be made properly following the rules starting from clay amalgamation up to the final cooling.
Today, there is a strong terracotta revival movement going on in the country. Md Azharul Islam Sheikh Chanchal, assistant professor of the ceramics department, faculty of fine arts, Dhaka University, said, “ Some organisations have proper production units, design studios and are helping this revival process. Prominent among them are - Vertical, Burn Clay, Harappa, Pora Mon, Clay Image and a few more in the city.”

“There are some celebrated terracotta artists and one of the most renowned is Moron Chad Pal sir, an ex-teacher of our fine arts faculty and a pottery artist by family tradition. He is considered one of the biggest assets of the country who produces tepa putul (clay dolls). Other mentionable pottery artists are Mohammad Ali from Rayer Bazar, Shuhash Pal, Bisheshor Pal from Baufol Barisal, Robi Pal, Ruhi Pal. They are absolutely classic artisans capturing the essence of the heritage efficiently”, Chanchal added.

These organisations are mostly artists’ collective with the objective of reviving people’s interest and also to revitalise the traditional pottery and terracotta industry of Bangladesh.
One such organization is Harappa Ltd and this correspondent spoke to their production director and in-house designer Rudro Naser. He said, “We are now hiring the potters from different locations of the country, bringing them to our organisation in Dhaka and training them not only on making the pottery of their interest but other burnt clay products as well and be creative with whatever they do. These kumars are usually a frustrated lot because their works in their specific areas are not selling any more, for example clay-made household utensils. Our motto is to save the potters by introducing a few modern techniques, mechanical wheels and train them to think of designs out-of-the-box”.

One such frustrated potter is Bishwanath Chandra Pal from Tangail, who is now working in Dhaka. “I came to Dhaka in 2006. Clay pottery was our ancestral business but during the early 2000s, we realised that this trade will not fetch us food any more and so tried to divert to other trades. But when I was offered a spot to come to the capital city and work in the same trade to earn a living, I immediately took the chance.”

“The biggest difference between working at home and here is that, in Tangail, we always stuck to one form of terracotta product, for example coin banks. Year after year, we made the same thing and nothing else. But here, with training of moulding techniques and using a more modern wheel and different types of clay, we make a range of products – wall panels, tiles, tableware, fountains, lamp shades, crockery and other decoration pieces”, Bishwanath added.

‘Shokher Hari’ is one of the oldest traditional clay products in the country. And this is the story of another Sushanta Pal from Rajshahi, who courageously decided to preserve the arts of terracotta in his own way. His grandfather Banyeshwar Pal was a famous exponent of pottery art and received provincial awards during the Pakistan period.
But today, due to deep frustrations over the decline on the use of clay potteries and to run his family, this craftsman transformed this art form from pottery to art paper and canvas, believing to preserve this traditional art and as well earn a living.

Sushanta said: If clay pottery art is dying then indeed it is a grave news for us because this traditional art captures the essence of rural Bengal and sports the images of mainly folk tales, celebrations, the different plants, birds, fishes, other animals and of course, humans at their best.
“Size and names of painted potteries differ based on regions, the style of painting and the design motifs – Mongol Hari, Jagoron Hari, Aiburo Hari, Phul Hari and the extravagant Shokher Hari. And the name Shokher Hari was coined in Rajshahi region which cultivates exceptional value of art and grandeur”, Sushanta added.

And Sushanta Pal craftily used to depict this art on earthen bowls and pots and recently realised that these clay wares started losing its force to non-artsy contemporary bowls. “I started to transform this art on thick art paper primarily and canvas to preserve our roots, our culture and glorious, colourful identity and to earn a living in this world of mechanised civilisation. Yes of course the other material pots has great value of longevity but are they emotional pieces of articles?” asked the frustrated Pal.

The great artisan Moron Chad Pal, thinks terracotta having mother earth as its raw material has a unique power of soothing. These products can be displayed in any surroundings. They signify peace in terms of colour, textures and have the unique ability to control the temperature of the atmosphere. Its cool composition brings a certain tranquillity and organic feel to the person using it.
“The significance of terracotta is therefore not restricted within the walls of temples and mosques or even the clay dolls and potteries but they send this urgent message of going back to our roots”, an emotional Moron Chad added.

Bangladeshi potters have been producing exquisite pottery products for ages. Pottery in this region can be traced back to around 1500 BC. Six types of earthenware of high quality have been found in archaeological sites like Mahasthangarh, Govinda Vita, Vasu Bihara, Wari-Batesh-war, Mainamati and Paharpur.
There were ‘Kumarpara’ or ‘Palpara’ - of potters in almost all the villages of rural Bangladesh since ancient times. An integral part of Bangladesh’s culture for hundreds of years, pottery has now become popular interior decoration materials across the country, specially in the cities.
Once used in day-to-day lives of the people of the country for cooking and storing water or religious purposes, pottery items are now used as show pieces and adorn posh homes.

Though many shops in posh shopping centres of Dhaka sell pottery items, the footpath near the Bangladesh Shishu Academy in the city is the favourite hub of those who wish to buy items for decorating their homes. A good number of nursery plant shops alongside help increase the sale of shops of pottery and terracotta showpieces.

Affluent people of the city, university students and tourists mainly visit the shops and buy terracotta items of their choice. “Pottery items and terracotta showpieces are very popular among the city people. Buyers generally opt for this place as this is the biggest market of pottery and terracotta items,’ said a shopkeeper.

New terracotta showpieces including wall hanger, sculpture, flower vase and ashtray are also available in different shops. Earthen ornament sets, flower vase, wall hangings, earthen ‘banks’ for collecting coins, candle stands, clay mugs and bells, animal figures, replicas of brides and grooms can be found near the Shishu Academy and also in the posh shops.

The price of pottery varies according to their design and size. A small item can fetch at least Tk 150 if it is of good quality.

Lately there has been a trend of producing replicas of famous paintings of Shilpacharya Zainul Abedin and Patua Qamrul Hasan.

Pottery items are already being exported. It is hoped that if it receives the attention of the government and easy loans from the banks, this ancient craft would become popular household decoration in many parts of the world.

Potters in Bangladesh are facing a hard time in Bangladesh these days. The hereditary craftsmen have to deal with multifarious problems: a slump in sale, high price of clay, lack of capital in addition to inadequate patronage from the concerned authorities.

Traders say that earthenware and clay products are rapidly being replaced by aluminium, plastic, steel and other alternative materials. Even toys for children are being made with wood and cloth. Besides, many of the urbanites think it is beneath them to buy earthenware. However, those who know point out those clay utensils are far more hygienic and environment friendly than those made of silver or other metals.

Mintu Paul, a hard-pressed potter, said that after the Liberation War (1971), many artisans left the country. Confronted with dipping sales, many in the potter communities are now considering alternative professions.
Statistics bear out Paul’s contention. Over the last 30 years the number of potter families have decreased alarmingly. Many have migrated to India or taken to alternative professions such as shop-keeping, rickshaw pulling and rowing boats.

Or take the case of Phul Mohammad. Around 15 years ago Phul Mohammad migrated to Dinajpur town from the Khansama village for better prospects. However, his skills as a potter have not been appreciated; today his offsprings are in search of more lucrative professions.
Even as demand for high quality earthenware registers an upswing, former potters such as Bhuttu Paul of Biral upazila, Dinajpur says that his community lacks the know-how to fashion such products and market them to the urban buyers.

Bangladeshi potters have always laid stress on the basic form and texture of his articles. Harmonious color blending, the perfect all-over effect of design with shade and tone, mark his unity of purpose.

As for the types of wares, pottery comprises true distinctive types of wares. The first type, earthenware, has been made following virtually the same techniques since ancient time; only in the modern era has mass production brought changes in materials and methods. Earthenware is basically composed of clay- often blended clays - and baked hard, the degree of hardness depending on the intensity of the heat.

After the inventions of glazing, earthenwares were coated with glaze to render them waterproof; sometimes glaze was applied decoratively. It was found that, when fired at great heat, the clay body became non-porous. This second type of pottery, called stoneware, came to be preferred for domestic use.

Many kumars manufacture bricks and tiles, along with earthenware of all shapes and sizes, and idols and toys. The factories of kumars well repay a visit. Beneath the same thatched roof are the kiln, storehouse and dwelling house, while a free space in front of the door is used as a place to prepare the clay. In the rainy season boats laden with earthenware from these places travel to neighbouring districts through the rivers.

N,B.: The Weekend Independent would like to express its gratitude to Harappa and Vertical for their co-operation regarding the cover story.

*This article was first published in The Independent's Weekend Magazine July 01 2011