YUKTI- yogya kalakriti ki takneek DIPLOMA PROJECT
Mentor: Ms. Koumudi Patil Ms. Lakshmi Murthy Mr. Mangesh Afre
Project Duration: 4th January - 7th May 2015
Submitted by Parul Mishra 4 year, Graduation
1 Acknowledgment
I am greatful to my college, IICD, its director, Mr. Satish Bharadwaj, faculties, and friends who helped me and supported me in my diploma project. I would also be thankful to Dr Koumudi Patil (industry mentor at IIT Kanpur), Ms. Lakshmi Murthy ( IICD mentor) and Mr. Mangesh Afre ( IICD mentor) who guided me well throughout my diploma project.
I would like to express my heart felt gratitude to the YUKTI team (T.N. Subramanya subbu sir, Mrs. Jyoti Kuswaha, Mr. Neeraj Sahu, Mr. Hemant Tiwari, Ms. Vaishali Parmar, Mrs. Anamika Rathore, Ms. Pooja Misra, Mrs. Krishna Chaurasiya, Mr. Satish Shukla, Mr. Paritosh Singh, Mr. Dhirendra Kumar, Mr. Naresh ji, Ms. Koel Sinha) at IIT Kanpur.
Last but not the least I would like to thank my family for their never ending love and support.
2 3 Index
About IICD...... 6 YUKTI...... 8 -Frugal inspirations...... 9 -Aims and objectives...... 10 Cluster research...... 11-33 -Local pottery of Kanpur...... 11-16 -Chinhat pottery of Lucknow...... 17-22 -Moonj craft of Allahabad...... 23-33 Skill test of potters...... 34-40 Trend line...... 41-51 -Trendline of Terracotta...... 41-45 -Trendline of Moonj...... 46-51 Trend flow chart for Moonj...... 53 Manufacturing possibility in Moonj and Terracotta...... 54 Tableware industy in India...... 55 Pottery reserach...... 56-68 Finalizing product range...... 69-72 Thermal insulation...... 73-78 Stacking concept...... 79-81 Tiffin box...... 82-88 Final drawing...... 89-91 Mockups and explorations...... 92-93 3d drawing...... 94-96 Making process...... 98-122 -Terracotta...... 98-116 -Moonj...... 117-122 Final product...... 123 References...... 124-125
4 5 About IICD
Indian Institute of Craft and Design (IICD) is a unique institution that is synergizing traditional knowledge and skills with contemporary needs to evolve methodologies that are relevant to modern India. Conceived as a nodal centre for excellence in Craft and Design it has programs in Education, Training & Outreach, Research and Documentation and Advisory & Consultancy services.
The central idea of the Institute is to evolve a sustained programme of growth and development of both crafts sector and craftsmen in an integrated manner, i.e. to generate requisite knowledge, to upgrade relevant skills and to foster right attitudes in order to develop high quality, motivated human resource and change agents, in a vibrant climate of experimentation and innovation.The aim of this is to prepare students as Craft designers to act as a bridge between the artisan and the market, also to work with handicraft industry to add value through Design. The programme was first introduced in 2005. Since then the programme has nurtured three motivated batches of Craft Design professionals, who are currently working as catalysts in the crafts value chain.
The students are trained to be well versed with conceptual understanding of design and are equipped in representing their ideas through various materials and processes. Rigorous market orientation and understanding of the socio- economic context of the craft sector helps them evolve as craft professionals. Emphasis is being given to understand traditional cultural wisdom and re- contextualization of the same in today’s global context.The programme is increasingly finding attention from international students from various countries due to its universal appeal and unique proposition of artisanship that India stands to offer. The Craft design professionals of the programme are able to tackle complex issues related to the sector and are able to participate in the development of the sector holistically.
6 7 YUKTI
The word ‘frugal’ conjures up a plethora of concepts – which seem to be the key to upliftment of low income communities who are busy minimizing impact on the environment and the cost of produce. Such a promising paradigm could go a long way, if properly implemented. Despite the hurdles of low literacy, poor infrastructure, lack of access to mainstream markets and the hegemony of the manufacturing giants, small pockets of designers and innovators have survived at the grassroots level. These pockets are not just a source of livelihood but also a veritable pool of traditional knowledge which has been often neglected by the formal sector. We believe that a context specific combination of traditional skills and modern methods of design and innovation assisted by appropriate technology introduced early in the learning trajectory of a young apprentice can lead to a new generation of informed craftsmen and technicians adapted to the global scenario. This will ensure growth that is not limited to one time external interventions alone, but in the long run trigger a chain reaction of further innovations that may build a self-reliant community similar to all living and evolving practices. Therefore, the Facility is envisaged as a Skill knowledge developer as notice as a Skill knowledge provider of appropriate Design and Technology from the perspective of appropriateness, affordability and sustainability for craft communities as notice as MSMEs in Uttar Pradesh.
The facility will develop community relevant pedagogical methods and use the same for skill development and up-gradation for adoption of appropriate design and technologies for enhancing the prospects of self/waged employed designers at the grassroots. The scope of the Facility is limited to the informal sector that varies in the range of traditional craftsmen to community specific cottage and micro scale industries. Given the significant impact that such a Facility could hold in upgrading the livelihood and dignity of many besides its obvious reflection in the generation of revenue and preservation of living cultural practices in Design & Technology, we believe that an initiative in the same is worthwhile.
8 Frugal Inspirations
Mr. Arvind Gupta Shares Simple Yet Stunning Plans For Turning Upendra Maharathi Shilp Anusandhan Sansthan established in Trash Into Seriously Entertaining, Well-Designed Toys That Kids Can 1956 by the Department of Industries, Government of Bihar. Build Themselves — While Learning Basic Principles Of Science And Upendra Maharathi Shilp Anusandhan Sansthan is aimed to Design. preserve research and promote the various forms of Bihari “All teaching aids we use are handmade. It‘s important for children handicrafts. The institute is continuously working on growth and to see that you don‘t need fancy materials. Science can also help development of crafts sector and craftsmen in an integrated you look critically at materials that are often considered trash, manner by generating requisite knowledge, training program and there is a lot of learning in that itself.” says Mr. Arvind Gupta. workshops for up gradation of relevant skills. The Institute conducts product development, research and training activities and also Mr. Arvind Gupta is an Indian toy inventor and popularizer of attempts to safeguard the languishing crafts of the state. science. His thinking for learning gives an insight into his work and philosophy. This talk was among the 10 best TED talks compiled by The Better India: An Attempt To Bring Out The Happy Stories, Sir Ken Robinson and Sugata Metra’s 5 favorite education talks. The Unsung Heroes (And Heroines!), The Small Good Deeds, And As a student in the 1970s in Indian Institute of Technology, Kanpur, Showcase Them To The World. Mr. Gupta became a socialist in belief but eschewed action-less The Better India was founded on 10th of July 2008, as an outcome discourse; he stated that instead he “placed more faith in small of scarcity of positive & developmental news in conventional positive action than empty rhetoric.” Prof. Gupta began his social sources of media. service by teaching the children of the mess staff who had no The Better India is an attempt to bring out the happy stories, opportunities for formal education. the unsung heroes (and heroines!), the small good deeds, and showcase them to the world. Over here, you will read about the Mr. Arvind has won about 20 awards for his lifelong efforts at incremental progress being made by the people of this country, popularizing science and in designing teaching aids for young the developments happening on the social and economic front. children. These include: We hope that by showcasing these here, we might be able to 1. IBN-Lokmat Prerna Award (2014) inspire at least one amongst you, the readers, to do something 2. The C. N. R. Rao Education Foundation Prize for Outstanding that leaves an impact. Small or big. Science Teachers (2010) 3. The Indira Gandhi Award conferred by INSA(2008) 4. The Distinguished Alumnus Award from IIT Kanpur in 2001 Connect with Mr. Arvind Gupta Toys to dub lesson videos in your language, and help bring fun science to children everywhere. Reach Mr. Gupta at [email protected].
Upendra Maharathi Shilp Anusandhan Sansthan
9 Aims and Objectives
Frugal Innovation in Design & Technology is a research project Pradesh. The facility will develop community relevant pedagogical at IIT Kanpur, funded by the MHRD to thrive the languished craft methods and use the same for skill development and up-gradation communities of U.P. We develop community relevant pedagogical for adoption of appropriate design and technologies for enhancing methods and use the same for skill development and up- the prospects of self/waged employed designers at the grassroots. gradation for adoption of appropriate design and technologies The scope of the Facility is limited to the informal sector that varies in for enhancing the prospects of self/waged employed designers the range of traditional craftsmen to community specific cottage working at the grass-root level. and micro scale industries. With this in view the Facility aims at
We believe that there is a possibility of training and up-gradation - Developing appropriate designs in design communities for of specific skill sets for adapting craftswoman of Allahabad innovation and acceptability to the changing market scenario from the perspective of - Developing appropriate technology that is either embedded in appropriateness, affordability and sustainability of design & skills. the design or helps in producing it Thus we are intently working with the Moonj craft community - Designing pedagogical methods for introducing skills for up- residing in Mahewa. gradation in both design and technology in design communities at the grass-root level. Despite the hurdles of low literacy, poor infrastructure, lack of access - Conceiving short modules for up-gradation of existing skills and to mainstream markets and the hegemony of the manufacturing development of related skills to enhance the level of design and giants, small pockets of designers and innovators have survived technology appropriate to the community. at the grassroots level. These pockets are not just a source of - Forming structures for evaluation that are community specific livelihood but also a veritable pool of traditional knowledge which and geared towards employment rather than concept learning. has been often neglected by the formal sector. We believe that - Documenting knowledge of indigenous technology, design a context specific combination of traditional skills and modern practices and systems of measurement (cues that help in deciding methods of design and innovation assisted by appropriate a furnace temperature without a thermostat or proportions without technology introduced early in the learning trajectory of a young a drawing) and recognition (visual cues that help in deciding the apprentice can lead to a new generation of informed craftsmen age of wood) and technicians adapted to the global scenario. This will ensure growth that is not limited to one time external interventions alone, but in the long run trigger a chain reaction of further innovations that may build a self-reliant community similar to all living and evolving practices.
Therefore, the Facility is envisaged as a Skill knowledge developer as well as a Skill knowledge provider of appropriate Design and Technology from the perspective of appropriateness, affordability and sustainability for craft communities as well as MSMEs in Uttar
10 Questionnaire for local potter
History 1- What do artisans think about history of pottery? Market 2- Actual evaluation of the pottery? 1- Who are the buyers of their pottery? 3- Why was this started? 2- Are there any middlemen dealing with them? 4- who started this pottery? 3- Do any big organization buy their product for selling or give them new designs to make? Background 4- What are the export possibilities? 1-Who was the initial person to start pottery in their house? 5- Do they earn sufficient profit? 2- When was it started? 6- How do they value their products? 3- Where do they learn it from? 7- What is the most selling product? 4-What are their educational background? Government services Process 1- What kind of government help is provided to you? 1- What raw material are used? 2- Have you ever asked for any government help? 2- Where does it come from? 3- What are your expectations from the government? 3- Do they have suppliers or they make their own clay? 4- Is there any non government organization helping them? 4- What manufacturing process is followed by artisans? 5- How many products are manufactured in a day? others 6-What kind of firing technique is used by them? 1- What are the challenges faced? 7- Which type of kiln is used for firing? 2- Do you what to continue this pottery further? 8- What tools are used by them? 3- What is the future of this pottery? 9- how old are these tools? are they ever changed? 4- What are the design interventions you have deal with? 10- How many firing are done in an year? 5- Does climate affect your craft? 6- What are your working seasons? Finishing 7- What is the geographical location? 1-Which kind of finishing technique is used? 2- Why do they do such kind of finishing? 3- What are the tools used for finishing? 4- Do they have changes in finishing styles?
Products 1- What kind of product range is popular in Kanpur? 2- Have they tried any other products in terracotta? 3- Which kind of product is most selling? 4- Who design products for them? 5- Have they ever tried any other material than terracotta?
11 Local pottery of Kanpur
Residing near the Ganga river, Kanpur is one of the largest city. Known for its leather Kanpur also flourish is pottery. Pottery is not a craft but a tradition in Kanpur. Places near IIT Kanpur consists of few potters who works from generations in the field of pottery. Around 200 potters are found in nearby areas who work in terracotta. Every potter works with terracotta clay and make items like matka, hunda and other local items. These potters are also not happy with the current situation of pottery they are dealing with. Many potters have left their profession and many are about to. It is very easy to say that terracotta will one day be deleted from these areas.
12 Process and techniques
Terracotta work done in these areas is very common.
Clay body- earlier these potters use clay from nearby empty plots. Which cost them nothing for clay. The clay was easily available. But now there are all buildings and houses so they have to buy clay from nearby villages which is 3000 rs a truck which lasts for half year. They clay which comes is not ready made so they have to put their efforts to refine it and make it ready for use.
Method- local potters usually work on potters wheel. It is easier to make products and production is also fast. Females of the house does press moulding because according to their myth a women cannot work on wheel until her husband is alive. So they make toys in moulds and later on color it.
Finishing- these potters finish their products while making. They don’t waste their time in later finishing of products. In idols and toys they color it with poster colors to give it a finished look. The products they make even doesn’t require finishing.
Firing- one of the major issue faced by these potters is firing. Located near the residential area they occur problems in firing. People in nearby areas stop them to fire. They make their kiln either in open fields or request then to let them fire. They don’t have a permanent kiln. Every time they make a pit kiln whose size vary according to the stuff that is fired. As a medium of firing they use dried cow dung. Which is also bought from cow owners.
Products- products made by these potters are sold in local areas of Kanpur and also they have fixed supply to the places where marriages happen.
13 Clay digged from pits Clay sieved and left for drying so it can be Wheel used by an old potter for used. making products.
Pit firing done for the products made. Product left for complete drying. Young potter making tea cups.
14 Products
Products of red clay in terracotta are matkas, surahi, small tea containers, coin collection and other terracotta products used in diwali. Potters of Kanpur target local market places so that sale is maximum. It is not possible for them to sell the products in other places so they have customers where terracotta user is lar such as tea stalls, party places, shops etc. These are regular buyer of these products.
15 Reasons which made terracotta to end
Terracotta as a material is found everywhere. This is not just a cheaper material but also have great qualities. Everyone use terracotta in various uses. A lot of cultural, traditional and medicinal properties are combined in this material. Still their are various reasons due to which it is ending in Kanpur:
• Earlier raw material was easily available in the nearby areas. Mostly clay was bought from the beds of Ganga or from naked lands, but as the industrialization flourished in Kanpur and more urbanization started coming the raw material availability decreased. Even today potters have to struggle a lot for raw material. The material come from a distance place and at a time when nobody sees or a fee is charged to them for bringing clay.
• Firing is another issued faced by them. Firing was done earlier in the open fields but today they have to do it in the roadside where they are not allowed to. The space is not proper for them to work. The firing material is also expensive as it is also bought from market.
• From a very long time these potters are busy in making kulhads, diya, matka and all kind of common stuff. Due to which the utility of these products have decreased. No new designs are developed in their pottery from a very long time. They are working with old designs which has less sale. Even when clay ad ful both are bought the rates from a particular terracotta products are cheaper. Because of lack of sale they have to sell their products at cheaper rate.
• Plastic is one of the reasons why they had stopped working. Potters feel that due to the increase of plastic cups, bottle the use of traditional means has lacked. Plastic is very cheap and easy to carry while terracotta is costly and heavy. It require maintenance while plastic is easy to use.
16 Questionnaire for Chinhat Pottery
History 7- How important are these motifs in Chinhat? 1- What do artisans think about history of Chinhat pottery? 8- Will you make other motifs as per customer needs? 2- Actual evaluation of the pottery? 9- Does these motifs have religious value too? 3- How was this started? 4- Who started this pottery? Products 5- Is it originated in Lucknow only? 1- What kind of product range is popular in Chinhat? 2- Have they tried any other products in Chinhat? Background 3- Which kind of product is most selling? 1- Where do they learn it from? 4- Who design products for them? 2- How do you start teaching your children? 3- How many members work in your family? Market 4- Do you work individually or your family members get involved in the 1- Who are the buyers of Chinhat pottery? process? 2- Are there any middlemen dealing with them? 5- What is the educational background of your family? 3- What is the market of their products? 6- How many income earners are there in the family? 4- What are the export possibilities? 7- 5- Do they earn sufficient profit? 6- How do they do costing of their products? Process 1- What is the process of making a product? Government services 2- What raw material are used? 1- What kind of government help is provided to you? 3- Where does it comes from? 2- Have you ever asked for any government help? 4- Do they have suppliers or they make their own clay? 3- What are your expectations from the government? 5- What manufacturing process is followed by artisans? 4- Is there any non government organization helping them? 6- How many products are manufactured in a day? 7-What kind of firing technique is used by them? Others 8- Which type of kiln is used for firing? 1- What are the challenges faced? 9- What tools are used by them? Are these traditional or new? 2- Do you what to continue this pottery further? 10- Have you tried any other tools? 3- What is the future of this pottery? 4- What are the design interventions you have deal with? 5- Does climate affect your craft? Glazing/Finishing 6- What are the working seasons of Chinhat? 1-Which kind of finishing technique is used? 7- What is the geographical location of Chinhat? 2- What is the kind of colors used to make motifs on the products? 3- How much time is used to complete painting on a product? 4- What motifs are used in paintings? 5- What are the changes in motifs seen from the past? 6- Do they design new motifs in pottery? If yes, how? 17 History of Chinhat
A proud place on the pottery map of Uttar Pradesh is Chinhat, small village at Lucknow- Barabanki road at about 14 kilometers from Lucknow. Chinhat commences of one of the fine pottery cluster with the gift of artistic pottery works. Potters at Chinhat has a fine sense of quality and art which is easily seen in their previous works. The known history of Chinhat resides its beauty in golden old days. It Is also foretold that after having so much production the demand of Chinhat rose day by day. Even the route from Delhi to Calcutta was routed from Chinhat which increased sale of Chinhat pottery. How this pottery actually evolved is still unknown. Potters of Chinhat were working in terracotta for a very long time. Their hand skills were sharp and very artistic. They used to make idols, toys and crockery which were very well sold in the market. Use of red clay was very much popular at that time. When did the use of white clay body flourished is still a question.
18 Planning research and action institute project in 1988
Initiative and assistance provided by state government at Chinhat has affected the localization of pottery. A pilot project started by A large number of potters families engaged in the manufacture Planning Research and Action Institute of Uttar Pradesh had put of red clay pottery at Chinhat which was a positive approach their efforts in the development of Chinhat pottery. They started to develop white clay ware in Chinhat. They were trained and to train local youth and acted as a common service centre to the assisted to take up the manufacture of white ware. Chinhat also potters of the village. Proximity to market was another significant got advantage of being well linked by roads and railways. It is consideration for starting pottery industry at Chinhat. Like other situated on the main road which served an ease of transportation leading pottery centers in state, Chinhat too is quite far-off from of raw material from distant places and quick access to market. the sources of raw material. But it was being near to the state capital, Lucknow has a big market for its products. In their case of pottery industry nearness to market is a greater consideration than proximity to raw material. In ceramics transportation of finished product is always considered more important than transportation of raw material.
Chinhat till 1991 was working as a major ceramic industry of India.
Independent units 1 U.P.S.I.C. potteries ltd.
Semi-independent 3 Owned and operated by private owners units Dependent units 7 Formed themselves into co-operative societies which were dependent on U.P.S.I.C.
19 Artisans
Chinhat artisans are well educated and have sense of ceramics. When Chinhat was developing very few potters came to learn the new and developed techniques. They were well educated and have a keen desire to learn ceramics. They even taught their children the ceramics they learnt. Potters like Kamalkant, state awardee in terracotta idol was one of the fine learner. Potters of Chinhat not only take pottery as a profession but their keen interest is visible in their works. Their family background is pottery which has flourished in their veins. Now they are trying to teach other people residing nearby.
Siddiqui, an old artisan of Chinhat who now runs a crockery shop where both current Chinhat products and Khurja products are sold.
Kamalkant, old artisan and state awardee of Chinhat pottery. Now he works with red clay body.
20 Process and techniques Chinhat is said to be as similar as Khurja pottery. But truth is not same. There are similarities in both potteries but a lot different.
Clay body- Earlier chinhat potters used to buy clay from Gujarat, Rajasthan which produce best clay bodies. Than they started buying from Khurja as it was more close to Chinhat. Their clay recipe is also very similar to Khurja’s. It has a shrinkage of 10%. China clay-40% Ball clay-10% Feldspar-25% Quartz-25%
Technique- Chinhat was very well specialized in artistic products. To mass produce the most easier way was casting. Slip casting and press mould were two techniques which they worked with. According to the product the method of casting was decided. They made master model in clay and then take mould of it with plaster of Paris or quartz powder. When the mould is completely dried they pour liquefied clay and take final piece. As the piece gets ready they dry it and glaze it. Once it is glazed it goes for firing.
Glazes- Chinhat pottery is said to be painted pottery. They do paint with under glazes and glazes which they used at that time were metallic glazes which were made with bronze . These glazes used to give beautiful brown and green color. These glazes are toxic in nature as they use lead bi silicate and metal when burn release toxic fumes. These glazes are not human friendly and cannot be used in fooding utensils.
Kilns- at that time ceramics at Chinhat was not so advanced so material used in kiln and firing was old. kilns at Chinhat are handmade with bricks and fired bricks. They used to fire at 1200 degrees which was 20 hours firing. These kilns were updraft kilns with a medium of coal firing. They also had a section which was used for checking the test piece while firing. For stacking products they used cylindrical sagger pots. These pots are made of china clay with a very high firing temperature. Products were fired just once after the complete glaze.
21 Products
Products- Earlier potters at Chinhat made decorative items, tableware products, idols and toys. Their were very few units so they had decided by themselves who will be dealing in which product category. Products which were earlier made at Chinhat. The colors and shine of glazes clearly depict that lead was used at that particular time. Every piece is molded with one piece or two piece of mould. Chinhat products clearly show that they were moving fast towards industrialization .
22 Reasons that ended Chinhat pottery
Chinhat now is just a name left. Pottery which used to happen has came to an end. The beauty of its artistic works is in the verge of end.
Khurja is one the major reason which has brought this beautiful craft to end. Chinhat has always limits itself in the boundaries of chinhat. Khurja flourished all over the India in very less time. This has declined the beauty of Chinhat and also raise on the bad quality finish of Khurja.
Raw material which was used by Chinhat potters was supplied from U.P.S.I.C., a government factory in Chinhat. But as it closed the raw material supply has also stopped. Potters used to buy from Khurja which had increased transportation cost.
The kilns used earlier were coal fired. Which is no longer used as medium of firing. Other mediums are costly and not bearable by potters.
Chinhat potters used to make products, the selling of the products was done by government at their shop in Chinhat. As the factory got shut so the shop. Now it is used to sell Khurja products.
Khurja does more industrialized pottery and Chinhat does more artistic pottery. The time consumed by Chinhat is not valuable to the amount earned by them.
23 Present situation of Chinhat pottery
Today red clay is back in Chinhat. Potters had shifted back to red clay. They feel it is much better option. They does similar work but clay body is not same. They have small pit kiln to fire. Terracotta can easily be press moulded, potters use this method to make products. They use enamel paints to color their products now. Now they make products in bulk and sell in government exhibitions where they earn sufficient amount. At present potters make decorative pieces. According to them red clay is cheaper and easier to make, which are easily sold and they earn sufficient amount.
Independent units 0 Was shut down in 1991 Semi independent units 3 Works in red clay
Dependent units 3 Works in red clay
24 Clay body bought Clay processed for removing impurities. It is Model made with the ready clay. sieved wet and left for drying in these pits.
Final pieces are fired in these pit kilns using Artisans press molding red clay for the final Mould made out with the model. It is kept wood as a medium of firing. piece. in mind that mould should be two pieces. 25 Current products
Chinhat is currently working with red clay. These are decorative products which are painted with enamel paints. So these products have a differ- ent kind of art in them. The products are molded and master model is made by the artist itself.
26 27 Moonj grass
Moonj grass grows wild in wastelands in eastern Uttar Pradesh The grass is harvested by chopping off the stalk at its base, ,Rajasthan and other states in India. Coiling basketry technique is separating into segments and then subsequently washing and used by rural women in Allahabad, Behraich and Gorakhpur districts then sun drying it. This lightens its color from a leafy green to a in Uttar Pradesh to make objects for use in the kitchen from Moonj more bleached yellow. It is then rolled into small bundles that look Grass. The baskets are used in the kitchen for storing flour and food like figures of eight, called ‘Balla’s, hence the alternative name grains. They are so tightly coiled that they are almost waterproof and of Balla for the craft itself. These ballas are packed in gunny sacks long lasting. Food, especially rotis, flat bread, stored in them stays which are covered in tarpaulin sheets. Being a seasonal grass, fresh. The moonj is harvested in winter and the peel of the stalks left most households where it’s a family trade have a storage area out in the dew for about 3 days, for the colour to lighten. Some splits demarcated, to stock the ballas for year-round use. Sometimes are dyed in bright colours to pattern the baskets. The binding of the rot gets to it, sometimes mildew in winter, but for the most part, baskets these days is being done with newer material like colourful it stores well. Before weaving, it is partly softened a second time, plastic strips, tinsel and cloth. boil-dyed in chosen colors, and then braided and rolled into a dense structure that won’t come apart easily. Allahabad whose communities’ existence is in close conjunction with semi forested scrublands. The work itself is meticulous and time consuming. The ballas are softened, segmented, tightly braided and then re-braided, Here most of these women spend their days in the extensive task of and coiled into interwoven spiraling sections. These are then child rearing, and taking care of large families. The younger ones help subsequently stacked in various ways, to give desired structure. their mothers or mothers-in-law around the house. Some are involved A regular 9 inch Puja basket can take upwards of a day’s labor, in small jobs to supplement the family economy by making moonj and the women say the pay is not good enough. This is probably products. a reason why some are cautious about committing to it, and building a substantial client base willing to pay the craft’s worth Moonj (Saccharum spontaneum) is a wild monsoon grass that seems to be a crucial issue. grows profusely in scrublands of Allahabad, mainly in the months of September and October around the time of Navratri. It’s a tall, graceful and wiry grass, that when picked, cleaned, and sun dried to perfection, yields a fibrous coir that’s perfect for weaving baskets, coasters, picnic hampers, and other delightful knick knacks. It also happens to hold color really well, making way for vibrantly hued cheerful utility products, adorned with well-ordered geometric patterns.
28 Plucking moonj grass Moonj (Saccharum bengalense/ Erianthus munja) is a wild monsoon grass that grows profusely in scrublands, mainly in the months of September and October around the time of Navratri.
It’s a tall, graceful and wiry grass, when harvested by chopping off the stalk at its base, separating into segments, subsequently washing and then sun dried to perfection, which lightens its color from a leafy green to a more bleached yellow. It is then rolled into small bundles that look like figures of eight, called ‘Balla’s, hence the alternative name of Balla for the craft itself. These ballas are packed in gunny sacks which are covered in tarpaulin sheets.
This fibrous coir is perfect for weaving baskets, coasters, picnic hampers, and other delightful knick knacks.
Colored Balla: - Ballas are colored for pattern designing.
Wrapping of moonj grass after plucking
29 Kansa grass
Kans grass (Saccharum spontaneum) khagori is a grass native to in Bengali/Bangla. Some of these are given, along with Ayurvedic the Indian Subcontinent. It is a perennial grass, growing up to three medical properties. meters in height, with spreading rhizomatous roots. Hamirpur have some stretches of grasslands, which used as In the Terai-Duar savanna and grasslands, a lowland ecoregion at pastures or grazing land’.Significant area of permanent pastures the base of the Himalaya range in Nepal, India, Bangladesh and is not found anywhere in the districts, except in the southern Bhutan, kans grass quickly colonises exposed silt plains created portion of the district but according to State of Forest Report 2005 each year by the retreating monsoon floods, forming almost pure District have 1.6% Moderately dense forest and 2.6% open forest is stands on the lowest portions of the floodplain. Kans grasslands Considered as grasslands . are an important habitat for the Indian rhinoceros (Rhinoceros unicornis). In Nepal, kans grass is harvested to thatch roofs or fence generally the noncultivated land which produces grasses like doob vegetable gardens. (Cynodon dactylon), and the kans (Saccharum spontaneum) turns to grass land. Elsewhere, its ability to quickly colonize disturbed soil has allowed it to become an invasive species that takes over croplands and pasturelands. Kail and mushial are found in black soil in plain areas.while kans Saccharum spontaneum has a considerable number of regional (kansa), an invasive, perennial grass that grows up to three metres names in the Indian Subcontinent, for instance kash being common in height.does not have any significant area.It is particularly seen after a season of rainfall, and grows rapidly in poorly cultivated soils; it does not generally grow in fields continuously cultivated and carefully prepared for the wheat crop.
Its long and tenacious roots gain a firm hold with the soil and it becomes almost impossible to remove till 12 to 15 years, after which it loses its vitality and the land becomes fit to plough again.No permanent or sure remedy has been found to prevent appearance or growth of kans. The area under permanent pastures has been reducing rapidly, due to high livestock population and pressure to bring more area under cultivation.
30 Patterns in moonj
Coloured moonj strips are weaved in different manners to generate patterns and designs in moonj. From base to top various kind of patterns are made. The name of these patterns are according to the design build in them. Coloured Base can have patterns like Taraiya, Patariya, Paan Bharna, Chitta Bhawri, Baag, Naika, Tikuliya, Jangeera design.
Naika/ Lehariya design Baag design
31 Taraiya design Panauna design
Patariya design Paan design
32 Bhamri design Janjeera design
Chitta bhawri design Tikuliya design
33 Skill test for potters
Any craft and its artisans are blessed with certain skills. Before working further it was necessary to know their skills so that while designing a product it is kept in mind. As for a potter the skills are never limited because clay is an undefined material. But local potters wok only with wheel so it is easyto understand their skills. For knowing the skill of potters I made a chart with few parameters which has 6 levels. Each potter needs to understand and achieve the highest level he could.
The area I am working compiles of around 100 potters but many of them work part time. It was not easy to skill check each potter because it require a lot of time. So I shortlisted 6 potters who amongst everyone said was best working. According to the community these potters were best in works, gets good sale.
After selecting these potters I asked them to make shapes specified in each level and sizes given. This helped me know what kind of communication will help me for final prototyping. Every potter works similarly because they have never made anything apart from regular products. So it was not easy to know their exact skill. So i set 4 parameters on which they were marked. Speed, finishing. Uniformity of walls and level criteria. According to these marking was easy to do.
34 Level 1 Level 2 Level 3 Level 4 Level 5 Level 6
Amount of the clay can be han- 5kg 6kg 7kg 8kg 10kg More than 10kg dled
Height achieved at each level 8cm 9cm 12cm 15cm 20cm More than 20cm
Width achieved at each level 5cm 6cm 8cm 8cm 15cm More than 15
Wall thickness and thinness 2cm 1cm 50mm 30mm 20mm Less than 20mm
Shapes kulhad kulhad 2 kulhad 3 cylinder bottle
Shapes with sizes cylinder size bottle size speci- specified fied
Evaluation criteria
0-3 Speed 4-7 8-10 average time taken 0-3 Finishing 4-7 kulhad 10sec 8-10 kulhad 2 12.2sec kulhad 3 15.6sec 0-3 cylinder 70sec Uniformity of walls 4-7 bottle 2.20sec 8-10
0-3 level criteria 4-7 8-10 35 Ravi prajapati Kulhad Kulhad 2 Kulhad 3 Cylinder Bottle
Height 6cm 8cm 11cm 10cm
Base Width 2cm 2.5cm 4cm 8cm Wall 20mm 30mm 30mm 30mm thickness mouth 5cm 6cm 7cm width time taken 8sec 10sec 15sec 30sec
Speed 9 8 8 9
Finishing 3 4 3 2 Uniformity 4 5 4 3
level criteria 5 3 4 5
total 21 20 19 19
mouth and base of each kulhad is not perfectly made. He cylinder walls work too fast due to which a lot of finishing is noticed in are not the work. straight.
36 Khemchand Kulhad Kulhad 2 Kulhad 3 Cylinder Bottle
Height 7cm 11cm 13cm Base Width 4cm 5cm 9cm Wall 30mm 30mm 50mm thickness mouth 6cm 8cm width time taken 8sec 13sec 30sec
Speed 9 4 9
Finishing 9 7 8 Uniformity 8 8 9 level criteria 6 7 8 total 32 26 34
cylinder has finishing but Kulhad are similar to each other in shape and size. not straight wall.
37 Munna lal Kulhad kulhad 2 kulhad 3 Cylinder Bottle
Height 8cm 12cm 15cm Base Width 4cm 5cm 10cm Wall 40mm 30mm 50mm thickness mouth 6cm 9cm width time taken 8sec 12 sec 1.25sec
Speed 9 5 5 Finishing 5 5 6 Uniformity 5 6 9 level criteria 8 7 4 total 27 23 24
very less base of kulhad are too small to stand still. Mouth of each finishing. cylinder is also not perfectly round. Uneven base.
38 Suraj prajapati Kulhad kulhad 2 kulhad 3 Cylinder Bottle
Height 7cm 9cm 12cm 18cm 20cm
Base Width 3cm 4cm 5.5cm 13cm 10cm Wall 30mm 30mm 40mm 40mm 50mm thickness mouth 5cm 6cm 8cm 3cm width time taken 9sec 10sec 12sec 2min 3min
Speed 8 9 9 5 3 Finishing 9 9 8 9 9 Uniformity 7 8 9 9 9 level 7 8 8 9 8 criteria total 31 34 34 32 29
Tried to make straight very well all kulhad were equal in shape and size.mouth and base cylinder with finished is perfectly made. the help of bottle. scale. A lot of finishing.
39 Naresh prajapati Kulhad kulhad 2 kulhad 3 Cylinder Bottle
Height 6cm 8cm 11cm 13cm 20cm
Base Width 3cm 5cm 4cm 8cm 12cm Wall 30mm 30mm 30mm 30mm 30mm thickness mouth 6cm 7cm 8cm 2cm width time taken 15sec 16sec 20sec 1.25sec 1.40sec
Speed 8 3 3 3 5 Finishing 6 7 7 7 6
Uniformity 8 8 8 9 8 level 6 7 7 6 5 criteria total 23 25 25 27 27
cylinder was mouth of each kulhad were unequal. Base was made flat bottle was too not perfectly and stable. heavy. straight.
40 Trendline for clay
41 Painted Gray Ware, Northern Black Polished Ware
Early Harappan Indo-Scythian King- dom (400-200) Kuninda Kingdom Late Harap- Maha-Megha-Vahana Em- (300-200) pan (Ceme- pire (400-250) Sangam Peri- tery H); Ochre od (300– 300) Kanva em- Coloured Chera Kingdom pire (75–26) Pottery (1102- 300) Nanda Empire Satavahana Em- Chola Kingdom (424–321 ) pire (230– 220) (1279-300) 5500 3300 2600 1900 1300 300 30
Mehrgarh II-VI Mature Harappan Pandya Kingdom (ceramic Neolithic) (Indus Valley Kushan Em- (1345-300) Pallava Kingdom Indo-Greek King- Civilization) pire (375–30) (800-250) dom (180–10) Maurya Em- Sunga Em- pire (321–184) pire (185–73) The Ochre Coloured Pottery Pottery of the culture (OCP) is a 2nd Indus valley people A luxury style of Mehrgarh is early period was millennium BC Bronze Age also had knowledge of burnished pottery used the city, from handmade, not wheel culture of the Indo-Gangetic ceramic pottery which by elites, it is associated where the made, with fairly plain Plain (Ganges-Yamuna is revealed by one of with the emergence of oldest ceram- decorations of leaves, plain). It is a contemporary the broken pieces of South Asia’s first cities ic figurines geometric shapes and of and successor to the pottery found during since the decline of the of South Asia simple animals. Indus Valley Civilization. were found. excavations. Indus Valley Civilization
42 Glazed pottery with white background and blue and green patterns is developed in Delhi, Amritsar, Jaipur, Khurja, Chunar and Rampur in Uttar Pradesh, In Chunar, the raised and Karigari in Tamilnadu. designs in Surahis are Chola dynasty adapted for glazed pottery. A brown slip Khilji dynasty is given finally. Gupta period 1100 1200 1800 Pallavas Start of glazed pottery 10th century india In India, the making of Chola dynasty Glazed pottery came into In Karigari in being with the advent of Tamilnadu, Pandaya dynasty Two phases in Indian history the Arab influence in India. biscuit ware can be truly defined as the is created ‘Golden Age of India’, as there with incised was peace, development patterns and and prosperity in the country given a blue then. The dominant one or green Khurja is one of the oldest Pottery was an era between the 3rd glaze. Centers. It was established in the century and 6th century CE thirteenth century by families of of ancient India during the Afghan Potters, who specialized Gupta Empire and the other in making glazed tiles and some one was the period between amount of utility ware. Today the 10th and 11th century CE Khurja is the largest producer of of medieval India during the medium-range utilitarian glazed Chola Dynasty in South India. pottery for the average Indian 43 home. Golden Bridge Potteries In the early 1800s imports of Indian cotton and was established in silk goods faced duties of 70-80%. British imports Auroville in the early faced duties of 2-4%! seventies, by American ceramic artists Ray As a result, British imports of cotton manufactures Meeker and Deborah into India increased by a factor of 50, and Indian Smith. Nearly thirty years exports dropped to one-fourth! A similar trend since they started it, it is was noted in pottery, glassware also. millions one of the best-loved of ruined artisans and craftsmen potters were In 1913, Dr. D. C. Majumdar utility art potteries in rendered jobless and had to become landless who had his training in Indian homes. agricultural workers.” Japan started porcelin factory in India.
1900
The founder of Banaras 1948 1st bone Hindu University, china company Pandit Madan Mohan (UP Ceramics) Malviyaji instituted a was established. course in Ceramic This took anchor technology as early phase of white as 1924 with the noble ware in India. objective of advancing glass and ceramic technology in India. From 1928-1930 many state government became interested in pottery industry.
Bengal potteries started working in 1925-1926 and During 1938 in world war II when imports became the concern has made a great progression pottery difficult and civil and defence requirements manufacture and at present one of the biggest need to be met from indigenous production. concern in India. 44 Wheel thrown and hand made pottery are more in demand. This gave studio potters an upliftment in Indian market. Leading companies in glazed terracotta tableware. 2014
Bone china has a wide range of products. This material was always in demand and recently the demand has increased. Now bone china covers the largest part in indian ceramics.
Terracotta tableware made in India which is exported to various countries. Termed by many as the capital of ceramic Some of these are glazed and some tableware, Khurja has been able to carve a are unglazed. Recently thedemand of niche for itself in last decade. Supplying mostly terracotta has increased which results to the mid and lower end of the tableware in export of terracotta from India. Market, this small town’s ceramic industry and manufacturing got a much needed boost by the availability of natural gas as the energy source a couple of years ago. 45 Trendline for moonj
46 Mahishyas , the weavers of Mats made with kora Midnapore in the southern / sedge grass are corner of West Bengal extremely delicate are skilled at weaving the and highly valued. most popular mats Madur. Kora grass is found in Weavers weave this on an abundance along the uncomplicated frame loom banks of the rivers and made out of bamboo. in marshy areas in Tamil Warp is of cotton thread Nadu and Kerala. b and the weft is a thin soft Kora Grass Mat Rolls In the shastras it is said that reed known as madur kathi. For Muslim Prayer Hall / Ganesha should be worshiped Masjid Floor Use , Home & Sleeping Use with blades of fresh green grass. Is MATS Ganesha, the elephant-headed Munj matting is said God, vegetarian? The offering to be the proof It is burnt near women of the blade of grass is actually against attack of after delivery and near symbolic, say the faithful. The Manjna- grass was also used ear- white ants. burns and scalds, its blade of grass offered to Ganapati lier to wipe utensils as it can easily smoke is considered denotes that man should be as remove the dirt from utensils. benificial. humble as the blade of grass.
Lets start with the story of a betrayed village. Sukhomajri, a small village in Haryana. A community watershed programme adopted by the villagers covered the bare brown hills with a carpet of lush grass. Bhabbar grass primarily used as fodder opened the gates to prosperity for Sukhomajri as Tribal use grass to make roof saleable bhabbar fetched The most commonly used broom of their houses. this Toda tribe profits to the village. The in India is made from broom grass made their house with dried government also wanted (thymolacna maxima). The grass is palm leaves. Houses of Bengal to be part of the success so cut and dried after which blades and remote villages were made they decided to play: the are tied together to form a boom. It of grass roof. These houses have big bully. is a booming industry in Meghalaya. natural heat insulation. 47 During grinding of grains, raw grains was kept in these daliya as they absorb moisture which keeps the grains fresh.
Daliya was initially made in munj grass Tri wooden stands were used to keep n for various uses. It was used to feed the top. Dahi containers, or food were cattle, in ritualls, for storing dry food. kept which keeps it safe from insects.
For storing grains, grain containers Roofing of kachcha wheel and covering of Daliya was also used to bring grains, food were hung stores of grains. Bottom of the daliya was from place to another as it was light in so that cut to make a funnel which was used to weight. mallets don’t pour grains spoil it. 48 Other than people even weaver bird weave her nest with dried grass. To make the nest strong and protected she uses this technique of weaving for her nest. They depend on wild grasses such as Guinea Grass (Panicum maximum)
Also called ‘chik’ doors. The stronger ones are made of strong parallel sliced bamboo The munj is burnt at one sticks, while the finer ones are made of munj end, then beatted with a stalks (saccharum munja). This variety of Munj ans sikki both are ritually treated. Suhag mallet and finally wisted grass grows upto 15 feet. Its leaves are used pitara is made in both these grass which is given into a rope, these are later for thatching and flower stalk sheaths for in daughters marriage by their parents. These are used in making furniture. string making. The higher part of the flower made colorful. stalk is left for chik-making.
Bhabbar grass and munj grass in Fans- Munj is a very light Uttar Pradesh and material due to which fans Haryana is very were weaved from this. These Pen were popular for rope fans and other items were made of making. It is stringy used in marriages sarkanda and flexible which grass which is makes it ideal for used in filling use in charpais or while making string beds. baskets.
Toys were also made of munj grass. these containers small version of products. The material is flexible and can Sabai grass and date palm leaves easily take any shape. are abundant in Orissa and are used to make rope and plaits which are further converted into 49 baskets or covering furniture. A small number of Sapera have also been involved in the manufacture of a course rope called the munj.
Pooja basket made in munj grass had a handle attached to The little basket with a it. This was used to Pen stand and dustbin made by artisans recent lid is also called punti or hold things needed development in moonj. pautiya generally made in pooja. of munj grass. NON-TRADITIONAL PRODUCTS
Basket weaving was also done Seeni, decorative basket made Fruit basket made of munj grass. with plastic and by artisans. This was used during Since the grass is dry so fruits don’t kansa grass. this wedding. get damaged easily. made the product water proof.
50 Toys made in moonj. These toys are Coasters Lamp and storage basket different and table are also made from moonj. from the mats toys earlier made as they have now included a different material such as cloth and wood.
Utensil covers made of moonj. moonj is a good insulator of Teapot and glass covers made in moonj. These easily heat. These covers help to hold hot utensils from which food is let to hold hot glass. directly served.
51 Rust proof Fragile Textured Circular Flexible Heavy building material Stacking It takes weight inexpensive material Maintains shapes Insulator Insulator Porous Colourful Keeps water cool Less elastic lighter than stone Spiral reasonable Strength MOONJ TERRACOTTA Opaque Organic reddish-brown color Natural Hand weaving Round shape Eco-friendly Natural Traditional Glazed Heat resistant Non-elastic Various shapes possible Textured and smooth Prevent breakage Good for packaging mass production possible Availability in abundance semi-permeable to air and water
52 Trend Flow Chart for Moonj Pooja basket
Seeni Fruit basket Suhag pitara Daliya Chappati box Utensil cover Semi traditional Traditional Jewellery box
MOONJ Lamp (Allahabad) Designer Storage container Non traditional Mix material Dustbin Fabric Bag Shagun jew- elery box Table mats Ceramic Accessory Pen stand Coasters Wood/metal Decor Dining table Kitchen ware top accessory Decor Tableware Furniture Storage box Serving bowl/ Knife holder Napkin holder platter Herb container Napkin ring Teaset Sitting Storage Salt & pepper holder Dinner set Sauce bottle holder Soup set Chair Fruit bowls Table Glass set Stool Fork & spoon holder Stool Sweetdish bowl Swing Racks Centre bowl Drawers 53 Manufacturing techniques
Moonj- As a material is very strong and various kind of manufacturing are possible on it. As a material it is flexible and can take any shape easily. Till now mostly weaving is done on moonj because it is not only easy but most comfortable means of production possibility. But now we can redefine moonj and have various kind of manufacturing possibility . Even various kind of fillers and decoration are also possible in moonj. Various tests done on moonj shows how much flexible is this material.
Weaving- hand weaving Fillers- Decoration possibility - loom weaving all kind of natural material Patterns Knotting Metal Jali work Stitching Wood Extra element with beads, cloth, wool Braiding Elastic Handles of other material Twisting Raxin Pasting Rope Chains Cloth Wire Plastic tube Wool
Terracotta- is a tough material but can take any possible shape. Various techniques are possible in terracotta which are tried and tested by various people. Still various possibilities are left in terracotta and can happen easily. Decoration in terracotta is always said to be limit- ed but ceramic itself is a vast explored field where possibility never ends up so easily. Decoration possibility Throwing Burnishing Pinching Glaze Slab method Slip decoration Coiling Scraffito Slip casting Marbelling Casting with jigger jolly Carving Press moulding Inlay Beating Decoration with tools Raku firing Smoke firing
54 Tableware industry in India is increasing day by day due to following reasons. This also created an impact on Bone china, which is a leading importer and exporter in Indian tableware.
Increasing per capita income
Impact of growth in organized sec- Increasing middle tor class population
Tableware industry
Attraction towards luxury Increasing hotel products and catering industry
Increasing organic market in India
55 Basic utensils used in India made in Terracotta
Chai Daani (Teapot) The tea (Chai) pot (Daani) was introduced during British Raj. The tea was cooked/prepared in Tea kettle or stock pots. The hot tea was poured in the teapot for service. Cotton quilted cap was sewn to cover the teapot to keep tea hot. The teapots were made of copper or brass. The inside of teapot was coated with Tin. The shapes and capacity of teapots varied. Some were made taller. The average capacity of tea pot was about 24 fluid once. Matching sugar-bowl, and creamer were made to complete the set. The conceptual art depicts traditional Brass teapot.
Thali is a round platter with eared rim. Entire meal is served on a Thali. Small bowls called ‘Katori’ are arranged around the periphery. The Katori are filled with Dal, Curries, Raita, sweets, and condiments. The un-populated area is used to pile Rice and Roti. The eared rim prevents the Katori to slide off the platter as well helps to lift the platter off the flat surface. - ‘Khana Thali’ to serve meal is about 13” to 14” in diameter, with rim raised about ¾”. - Larger version Thali is called ‘Thal’. These are 14” to 18” in diameter. They are used to display foods. In the olden days, Thal were used for major announcements. The middle area was engraved with the announcement. The Thal may be loaded with sweets such as Laddu and given out to neighbors, friends and family clan. - Smaller version is called ‘Tashtari’. These are 6” to 8” in diameter and used to serve snacks - ‘Aaarti Thali’ is made of silver and used for Pooja, Diwali, Weddings, and Rakhi etcetera. Aarti Thali is about 10 to 11” in diameter. Traditional Thali to is made of: Clay, Brass, Copper, Kansa, Silver decorated with GOLD for rich people. Nowadays, stainless steel Thali are used.
Surahi is a long neck earthen pitcher to store and serve cool water Traditional materials: Black clay, Red clay. Nowadays plastic and glass pitchers are used to serve cold beverages. The nobles used Surahi made out of Brass, Silver, or copper. In the olden days, master craftsmen would etch and carve the the surface with elaborate designs, complete with inlay work. These items have become collectibles and sold as vase or urns in the market place.
Kulhad A disposable earthen tumbler holds about 7 ounce of fluid. It is used to drink hot beverages suchas Garam Chai (hot tea latte) or cold beverages such as Thandai. Kulhar is not used at home. It is primarily used by street vendors or at social gathering. Kulhar is made of local red clay.
56 History & Evolution of ‘Thali’ in India
The word “Thali” means a plate. Typically a plate during most meals would have a minimum of three or four dishes that are placed in it. A word commonly used in the Indian context for a plated meal, a Thali meal basically consists of dishes native to the region or part of the country that you are in. Earlier on when the concept of Thali meals was introduced in the restaurants, it meant that you could have unlimited food that was restricted to the dishes on offer for that Thali meal, for a fixed price. This concept has remained though now most restaurants also have a Mini Thali meal or a Limited Thali Meal wherein you had to make do with the food that is served only once in the plate. This works pretty well for those who do not have a large appetite or would like to restrict their intake and eat on a budget.
The Thali meal got its name also to denote the dishes characteristic to a particular state or region. For example if you are eating at a restaurant that serves food from Rajasthan, it would be referred to as a Rajasthani Thali, Gujarati Thali, South Indian Thali
In rural part of India or in smaller towns, the plated meal is served in a Thali which has compartments and each compartment is for a particular dish. Nowadays though, the Thali meal has many small bowls that are filled with dishes in a particular order. This again differs from one restaurant to another. Some restaurants plate the entire meal before serving while others fill in the bowls after the plate is placed on the table. The South Indian Thali meal is generally served on a plantain leaf and in this kind too each dish has a particular place where it is to be served. Also in most Thali meals where the food is served one dish after another, the Rotis are served first and then the Rice comes in. Typically, Dals, Vegetables and Curd are served in most kind of Thali meals.
57 Harrapan pottery
Wheel made pottery Ravi Phase Cooking Pot Group of pottery vessels found in a grave at Harappa. The variety Cooking pots during the Ravi Phase were made in large of forms probably indicates a variety of functions such as storing globular shapes that had a low center of gravity to keep them water, milk or crops and serving food. The local Harappan potters from tipping over when filled with food. In order to protect the manufactured a large array of specialized pottery fine clay from cracking due to the heat of the fire, the exterior was covered with a slurry of coarse sandy clay mixed with Pointed Base Goblets calcium carbonate nodules and some pebbles. The pointed base results from rapid manufacture off a fast wheel and makes it easy for stacking in the kiln. The grooves around the body may serve as a simple decoration, but they also allow for a better grip.
Found only in the largest cities and towns, these cups appear to have been used once and then tossed away, as is the case with disposable terra cotta cups in the cities of Pakistan and India today. Some of these disposable drinking cups have a seal impression on the shoulder or base and may have been made for specific owners or for specific rituals. Wheel thrown off the hump and string cut base. 58 Indus valley pottery
Civilization that flourished in the Indus Valley from the 4th millennium brownish red accent. The shape of goats is so highly stylized that B.C. is one of the four oldest great civilizations. Although the the row is close to a band with a geometric pattern. Moreover, civilization producing painted pottery and copper tools originated confident but playful strokes of the show prove high skills ofthe in small settlements along the banks of the Indus River and on the painter. Other animals depicted on the monochromatic pottery hills of Baluchistan province of nowadays Pakistan even earlier, from the Indus Valley are humped bulls, pumas, birds, etc. Bulls sudden growth of population and changes in the organization and pumas symbolized abundance, fecundity and power. It is of the society towards craft production resulted in growth of the significant that the pipal tree had so important significance being cities. Unearthed cities of Mohejo Daro and Harappa are the most depicted on the pottery of the Indus Valley civilization, and 2 famous proofs of a high level urban civilization. The cities with thousand years later the Buddha attained enlightenment under foundations made of baked mud brick have domestic quarters the pipal tree in the same region. with bath and lavatory facilities, granaries, industrial districts and fortifications. In contrary to monochromatic pottery another type of was There are two kinds of painted pottery of the Indus Valley multicolored and extremely thin and light. Vessels were first painted Civilization both shaped on a potter’s wheel and made of clay of with black outlines of design and after firing coloured with yellow, a very fine grain.Vessels of the first type are thick and heavy with white, blue and red pigments. Examples of multicoloured pottery almost monochromatic decoration like this piece of pottery found found in Mehrharh, another ancient site located ca. 100 km North in site called Khuzdar in the Baluchistan region of Pakistan. from Khuzdar, are shown on the right. The pottery is decorated with geometric patterns, fish, birds, cows, antelopes, scorpions, The decorative design consisting of 2 rows of goats and two kinds fantastic beasts, griffins, etc. However, instead of a whole pipal of geometric pattern is almost all painted in black with some tree only as a single leaves are depicted.
Vessel Cup Jar
59 Clay Pot cooking essential
Clay Pot Cooking is a traditional and old way of cooking food in an unglazed clay pot which has been soaked in water to release steam while cooking. Clay pot has a long history, dating back to ancient times and has been used in several cuisines in Europe and most parts of Asia. How does clay pot provides a different taste in cooking? Since clay pot is a porous material, it is usually submerged or saturated with water for approximately 15 to 30 minutes. This is to absorb water before cooking. You may then fill the pot with food and put it into oven.
You may notice that the walls of the pot helps diffuse heat and it releases water as steams. A slow evaporation of steam arises within the clay itself, thus eliminating the food’s moisture. This process creates a flavorful, tender and delicious dish unlike other common metal pots.
The evaporation of water prevents burning so long as the pot is not allowed to heat until its completely dry. During this process, the food forms its own juices which cannot escape till the pot dried out. When it comes to a complete dry, the food is cooked and ready to serve.
There is no oil needed when cooking in a clay pot. The food contains lesser fats and lower in cholesterol, which are basically clay pot will create a dark and mottled appearance on its body, good if you are a health buff individual. Also, essential nutrients are taking out its glassy look. maintained within the food because it doesn’t leaked out through the water unlike boiling in metal pots. So basically, clay pots offers Scrubbing is the best recourse in cleaning a clay pot. Blemishes much more health advantage than today’s cooking tools. and dark stains will be much harder to clean and most probably will become permanent. But over all, clay pots are easy to clean However, clay pots requires longer cooking time but lower oven because foods won’t stick to the surface. Using salt is the best temperature than modern cooking pots, casserole or pans due way to clean clay pots and usual detergents and soaps must be to the lost of heat to the evaporating water. The constant use of avoided because it will be absorbed by the clay.
60 Gujarat traditional tableware made by Kutch potters.These utensils were earlier used in Gujarat.
Maati, with its Tabaak is a ring-shaped broad mouth, terracotta plate used to was used to store chapattis. make buttermilk.
The Jandhar is a Tavdo is a terracotta ves- grinder used to sel used to cook biryani. grind grains. 61 Traditional cookware from south India. Not only baking but serving is also done in these utensils
Clay Curry Pots, or Manchatti, Meenchatti or simply Chatti, are Kalam or the unglazed clay pot as known in Southern India has earthenware pots are very traditional in Kerala and present in long history of cooking that dates back to ancient Rome. This slow almost every household, some handed down from their ancestors. and delicate cooking technique is no oil cooking and the food They are also wildly popular in Malayan cooking. They are used in cooked is lower in fat compared with food prepared by other the making of fish curry and an important element in uplifting the methods like sautéing or frying. flavors of any fish curry. Somehow, fish curry cooked in the earthen pot brings out the taste of fish curry to perfection. Clay being somewhat porous makes it easy for heat and moisture circulate. The juices released don’t escape the pot keeping the These pots are hand crafted by our artisans in Tamil Nadu and flavor intact and the food succulent and juicy, apart from retaining very traditional, although not the prettiest clay pots we carry as the nutrients and vitamins. they are roughly made. But if you want traditional, you can’t get more traditional than this. The pots are unglazed, and coated Clay pots fall into two categories: glazed and unglazed. The with a coat of the natural clay itself, and totally free of any toxic glazed one is easy when it comes to cleaning while the unglazed materials or lead and 100% Eco friendly. pots soak up more liquid and produce more steam. 62 Like Sri Lanka buffet style south Indian people also serve non- vegetarian food in the same manner.
Dum cooking is a slow-cooking method dating back to early Fish curry from Bengal is served in unglazed terracotta pot. sixteenth century. It was introduced to India by Mughals however it was further developed in Awadh (Lucknow). Usually Handi/Deg/Degchi are the cookware used for Dum cooking. Dum Pukht is derived from Persian meaning ‘air- 63 cooked’ or ‘baked’. The food is cooked in clay ovens or tandoor in the traditional style of the Indian North-West Frontier region. The world-renowned Dal Bukhara is cooked overnight in the traditional Bukhara way, simmering on the tandoor an entire night. And served in an ethnic chamber of sorts of clay vessels.
Dahi handi hanged from the ceiling which is still used in many villages around India. These handi is also used in Krishna birthday for “Handi food” festival
Poha passam an Indian dish made and served in clay pot is one of the older dish made in India. It is said to be 500 years old recipe. This is traditionally made in clay pots.
Panta Ilish - a tradtional Bengali platter of stale rice (in soup) with fried Hilsa slice, supplemented with dried fish (Shutki), pickles (Achar), dal, green chillies and onion - is a popular serving for the Pohela Boishakh festival in Bangladesh.
64 The Bengali call them Roshogolla and are sold in clay pots in Calcutta, and highly appreciated in summer where they are served chilled.
Phirni is usually served in clay containers. Wash the containers and soak them in water for a few hours before using. Fill the clay cups with phirni and garnish with saffron (soaked in a tbsp of milk ) and powdered pistachios and cardamom powder.
Kulfi is Indian favorite cold dessert for hot summer afternoons. They are generally served in small clay pots which we call Matka. The ice cream sets well in clay pots.
65 Chai from a clay cup — that raw, astringent taste of earth, mixed with gingery-sweet-milky tea — is the taste of India. In Banaras, clay cups are called puruas; in West Bengal, bhaar; and across much of India they are referred to as kullarhs. At train stations, the cups are jokingly nicknamed pi ke puht, pi ke meaning “to drink” and puht referring to the sound it makes when it hits the tracks — drink and chuck.
The water stored in Mataki not only tastes great, but quenches the thirst more effectively without any side effects.
Lassi, a creamy, frothy yogurt-based drink, blended with water and various fruits or seasonings (such as salt or sugar), that originated in Punjab, India. Traditionally, lassi is served in a handle less clay cup called a kulhar, and extra malai 66 Tandoori cooking is one of the highlights of Indian cuisine. The Indian tandoor is a clay oven that can reach temperatures as high as 5500F. It looks like a rounded bee-hive. Tandoori is a hotter and quicker form of cooking than the western barbecue. It is used to make naan breads, kebabs, tandoori meats and stuffed rotis and paranthas.
Terracotta tawa made in India helps making soft rotis with a sweet smell and taste in rotis. These tawas are still used on gases.
Clay Handi which can now be used on gas for cook- ing biryani.
67 A chillum, or chilam, is a straight conical pipe with end-to-end channel, traditionally made of clay and used since at least the 18th century by wandering Hindu monks, known as sadhus in India. It was invented in India. The culture of owning and smoking in a chillum has spread from India to the world since the mid- 1960s.
Hukka, a tradition bought by mughals in India. They were made of brass and copper for high authorities. And terracotta hukkah were popular for people in low ranks. ww
68 Finalizing product range
Various product ranges are possible with moonj and terracotta as both material posses such material property which are complimentary to each other. To decide final product range a research was held. Firstly, we selected properties of both materials we thought could give interesting product results. Then we elected few areas in which we can use these material property. As soon as the material property and areas were decided products were very easy to find. Selected material property on a specific area gave interesting result.
After getting a wider product range we shortlisted four category of products which have more scope of work and creativity. We decided four major category as insulation products which containers products which needs insulations at various levels. Packaging cum display products which fulfill requirements and decoration both, mostly kitchen products were a part of it. Furniture products which containers all kind of furniture possible in both material. Home decor products, a very wide range of products possible with decoration and garden ware products for specific area where not only decoration but also utility is fulfilled.
As soon as the product range was selected we did a quick survey for the products. We set few parameters due to which we could find the requirement of a particular range from a buyers perspective. We did marking for the same and according to the marking we decided the product range we should start working.
As a result insulation products were marked highest. Moonj and terracotta both material are insulator but not much work is done in this field.
69 Strength & Evaporative Prevents Breakage Insulation Portability Heat Resistant Flexibility Cooling Light Weight Hanging Shade Maintains temp of Carrying Packaging Furniture Mittens room & Utensils Movements & Porous Trivets Swing Outdoor Cool & Hot Motion Décor furnitures Stacking Dahi Handi Roti Case Containers Storing Lunch Box - Milk Kitchen Cooking Tea Set - Sugar Garlic Pots Cooking sets with Egg Case - Milk Powder Knife Stand Microwave Fridge Handles or Trivets Sizzlers - Spice Fruit containers Gloves Water Pots Toys Accessories Toys Kids like Table - Play Toys tops - Drawing Table top Furniture Toys Accessories accessories Products for Birds Outdoor - Bird Feeders furnitures Garden - Water Bowls - Seaters Garden Décor - Bird Houses - Lamps (Diyali) - Bird Toys Sculptures Accessories Dining Utility Trivets Fridge Magnets Store Furniture Hanging Sitting Window Blinds Lights Lamp Range Hanging Home Décor - Hanging Covering - Standing Protection - Study Gift Packs - Soap Set Utility - Crockery Set Gifts Aesthetics - Serving set - Wine Set - Tea Set Bags Jewellery Accessories - Ear Rings - Bangles - Neck Piece 70 Selected range of products Cooking sets with Handles or Trivets Insulator and semi Garlic Pots Fridge conductor products Water Pots Containers cooking set with handles - Milk Window Blinds -Garlic pots - Sugar Dahi Handi Products for Birds Lamp Range -Wine holders - Milk Powder Roti Case - Bird Feeders - Hanging - trivets - Spice container Lunch Box - Water Bowls - Standing -serving sets Gift Packs Tea Set - Bird Houses - Study - Soup Set Egg Case - Bird Toys -Outdoor furniture -Egg case - Crockery Set Sizzlers Sculptures - Seaters -Dahihandi - Serving set - Lamps (Diyali) -Lunch box - Wine Set -Gloves/ mittens - Tea Set -Roticase Knife Stand Fruit containers Fridge Magnets Trivets
71 Parameters Packaging cum display Insulation Garden Furniture Home décor
Past work done on the range of 1 4 4 2.5 1 products
User set (number of user for the 4 3.5 3 3.5 4 products)
Decorative to 3.5 4 3 4 1 Functional
Competitors 2 4 4 2 1
Relevance of the material to 4 4 4 2 1 product
Diversification 4 2 1 3.5 4 possiblilities
Total 18.5 21.5 19 17.5 12
72 Wine coolers- Cooking set with handles- By revisiting the cooling properties of terracotta, method for chilling Clay is a porous material which, when saturated with water and and storing water. The terracotta wine cooler keeps contents cool heated in the oven, provides slow evaporation of steam from the through the slow evaporation of water from the semi-porous, raw pores. This creates a moist enclosed environment that results in clay. Terracotta’s thermal properties will maintain the temperature increased flavor, very tender meats and healthier foods. Clay of pre-chilled wine, and when soaked in cold water prior to use, pots require less fat, use less liquid, require little tending and can the terracotta will slowly release moisture to cool the wine inside. even brown meats. The food cooked in clay pot also help to keep Moonj on the other hand is also an insulating and strong material food hot for a very long time till the meal is served. The insulating which will help maintain temperature of wine. property of terracotta helps to maintain temperature of cooked food. A lot of times moving terracotta hot pot from one place to another is a tiring job. The base may crack as coming in direct Egg container- contact of cool base. So it is kept either on cloth or indi which is an An egg carton (also known as an egg box in British English) is a insulating material and also gives support to the pot. carton designed for carrying and transporting whole eggs. These cartons have a dimpled form in which each dimple accommodates an individual egg and isolates that egg from eggs in adjacent dimples. This structure helps protect eggs against stresses exerted Tiffen box- Food which is carried from one place to another needs to be during transportation and storage by absorbing a lot of shock and fresh and warm until it gets consumed. Food packing is done in limiting the incidents of fracture to the fragile egg shells. Even for the morning and consumed till lunch until then food needs to storing eggs at house few people store it in fridge and few store it be warm and fresh. Tiffins available in market are made either in egg box. To maintain the temperature of the egg the box xhould of plastic or steel. Ceramic tiffins are microwave safe and also be made of material which has insulating property. An egg carton insulator. can be made of various materials, including foamed plastics such as polystyrene foam, clear plastic or may be manufactured from recycled paper and molded pulp by means of a mechanized Trivits- papier-mâché process. A trivet is an object placed between a serving dish or bowl, and a dining table, usually to protect the table from heat or water Lunch box- damage.Trivet also refers to a tripod used to elevate pots from the To take food from one place to another lunch boxes are used. It coals of an open fire (the word trivet itself ultimately comes from has a property of insulation due to which food is fresh and hot till Latin tripes meaning “tripod”). Metal trivets are often tripod-like consumed by the holder. Earlier farmers wifes use to take food in structures with three legs to support the trivet horizontally in order moonj aur sikki basket and water or vegetable in terracotta. Until to hold the dish or pot above the table surface. These are often it reaches to farmer it stays hot and fresh. Later on lighter mate- included with modern non-electric pressure cookers. A trivet may rials like plastic came into being which ended the concept of often contain a receptacle for a candle that can be lit to keep terracotta and moonj and sikki basket. food warm. They are made of insulating material so that heat does not pass through other object. 73 Dahi handi- In earlier times dahi was made in terracotta as it is a porous material and also served in it. Dahi containers were hanged in kitchen so that nobody touches it and it is made correctly. Terra- cotta absorbs all extra water and give a pure form of curd. Terra- cotta also maintain temperature of curd in that state it is properly made.
Garlic pots- The best way to store garlic is in a cool dry place. Sometimes this accomplished by hanging from a ceiling. However, if your kitchen is warm and sunny then this method will not work very well. A garlic keeper is a piece of kitchenware that every garlic lover needs to have because it accomplishes ideal storing conditions with ease. It is generally a small ceramic pot that is designed to stay cool and has holes in it to allow air to circulate. This is a proper way to store your garlic in the kitchen, since it sustains room temperature and has holes through which sufficient air will pass through. The kitchen maybe warm, from cooking so a garlic keeper can help protect your garlic from the heat.
Mittens/gloves- Microwave same products are available but to take these pots out either cloth is used or material like hard goveas are used. It is seen that a lot times the gripping is not strong and damages are happened. To avaid accidents insulating material gloves are made.
74 Thermal insulation
Thermal insulation is the reduction of heat transfer (the transfer of thermal energy between objects of differing temperature) between Walls objects in thermal contact or in range of radiative influence. Thermal Terra-cotta wall panels have the ability to help insulate the interior insulation can be achieved with specially engineered methods or of your home against outdoor noise. The wall panels can also processes, as well as with suitable object shapes and materials. reduce the surface temperature of your home’s structural walls. These insulating terra-cotta wall panels may reduce your energy Heat flow is an inevitable consequence of contact between consumption and costs. Terra-cotta bricks and blocks make ideal, objects of differing temperature. Thermal insulation provides a natural building materials for the exterior of a home. They offer an region of insulation in which thermal conduction is reduced or eco-friendly, healthy living habitat with sound-insulating acoustical thermal radiation is reflected rather than absorbed by the lower- benefits. temperature body.The critical radius depends only on the heat transfer coefficient and the thermal conductivity of the insulation. If the radius of the uninsulated cylinder is larger than the critical radius Chimney Liners for insulation, the addition of any amount of insulation will decrease A chimney’s insulation liner must help maintain a warm temperature the heat transfer. all the way up the chimney. Terra cotta makes an ideal chimney liner to help insulate the chimney and keep it warm, reducing the opportunity for condensation to form. Combustion by-products Dishware from burning wood tend to attach themselves to condensation, Terra cotta is an ideal natural material used in creating assorted creating dangerous creosote, the leading cause of chimney fires. dishware for the kitchen, keeping foods warm and beverages Also, since terra cotta is a slow conductor of heat, it minimizes the cool. The cazuela is a terra-cotta baking dish commonly found in danger of overheating structures surrounding the lining, such as Spanish households. Its tough insulating qualities makes it suitable masonry and wood. for use with heat from the oven, microwave, barbecue grill or gas stovetop. Place a bottle of your favorite beverage inside a chilled terra-cotta cooler to insulate it against the heat, keeping it cool on even the hottest days.
Roofs As a roofing material, thick terra-cotta tiles help to insulate your home’s interior spaces. The clay’s insulating properties can contribute to reduced energy usage and lower utility bills. Terra-cotta roofs can reflect up to 34 percent of the sun’s rays, while common gray shingles reflect a mere 8 percent. A layer of thick terra-cotta roof tiles also provides a protective insulating barrier against frigid winter temperatures.
75 Terracotta as Insulator
Heat Absorption Sound Terra cotta can absorb the heat from the sun and other sources. This As well as being a good weather insulator, terra cotta also serves makes it a good material to use on the exterior of a home. Homes, well as sound insulation, especially when they are made into hollow particularly those in hotter areas of the country, can often be found panels. The thickness of the material and the area between the made from terra cotta bricks or roofed with terra cotta shingles. panels absorbs the noise from either side of the panel. This makes These materials soak up the heat from the son, helping to keep the a quiet environment for home owners. Those who live in noisier home cool inside and reducing the cooling bills for the homeowner. areas, such as near a busy highway, train tracks or airport can appreciate the sound insulation properties of a terra cotta home. Even Temperature Terra cotta is an Italian word meaning “baked earth.” This reddish- In addition to building materials, some kitchen containers are also colored fired clay, glazed or unglazed, is used for a variety of made from terra cotta because of its insulating properties. Canisters purposes. Its weather-resistant and acoustical insulating properties and bread crocks in the kitchen are meant to keep their contents make it especially appealing as a material used for home dry and cool. Warmth and humidity can destroy bread, flour and construction. The clay’s popularity in the kitchen is evidenced by sugar that is often kept in these types of containers. When these the vast quantities of assorted dishware created to insulate foods containers are made from terra cotta, the interior temperature and liquids. stays consistent. Additionally, terra cotta is also somewhat porous, allowing moisture to escape the container.
Conductivity Even in areas where the weather gets cold, terra cotta can help. Because terra cotta is a poor conductor of heat and cold, building a home from terra cotta bricks and using terra cotta roofing tiles help keep the heat inside the home and the cold out during the winter months. While this building material is not as common in the colder areas of the United States, it would still have advantages. Heating bills can sometimes be quite high in the coldest areas of the country. Using terra cotta can reduce those bills.
76 Insulation- As an idea for ideal kitchen. In every era insulation is used as a major property in kitchen. From handles to storing insulation has always played a major role in kitchen. Consisiting insulating material in kitchen are either ruber, plastic, stell or materi- als like that. But a natural material like moonj has never been used as insulator in kitch- en. Both terracotta and moonj are natural and insulating material.
77 78 Stacking
In Indian context, the concept/idea of transporting/storing food dates back to the mythology of Mahabharat.
Lord Krishna used to steal butter from stacked pots hanging from the ceiling. During olden times, long ago when there was no use of metal vessels, mud pots were extensively used to prepare, store as well as transport food. Starting from bigger size, the next smaller sized pots are filled with food and stacked in size order.
For this purpose, coconut fibre is woven into a thick and firm ring of sorts, and a tight rope passes through 3 equidistant points in the ring, to form a cone when lifted. Now the pots, whose rims are covered securely by cloth, are stacked over the ring in size order. This whole thing can now be lifted by the rope over long distances.
Generally Indian women used to conveniently carry the stacked pots on their heads using the ring. In additional to that, storing food in mud pots is desirable due to their properties, especially water and other liquids.
So the whole process of stacking up food in containers is inspired from this. This tells us that the highly useful Tiffin carriers we use everyday have their root connections to a period since myth began.
79 80 81 Tiffin box
Tiffin carriers or dabbas are a kind of lunch box used widely in India A lunch kit comprises the actual “box” and a matching vacuum for tiffin meals. They are also widely used in Indonesia, Malaysia, bottle. However, pop culture has more often embraced the Brazil and Singapore. They are known as rantang in Indonesian singular term lunch box, which is now most commonly used. and mangkut tingkat (leveled bowls) in Malay. And in Turkey and West Asian and Northeast African Arab countries they are In the Indian city of Mumbai, there is a complex and efficient called Safartas. Arabic meaning travel bowls. They are also used delivery system that regularly delivers hot lunches packed in extensively in Hungary, primarily to transport restaurant cheap dabbas to city office workers from their suburban homes or from a workday midday meals for consumption at home. The Hungarian caterer. It uses delivery workers known as dabbawalas. word for a tiffin box is “éthordó” (food carrier). Tiffin carriers are generally made out of steel and sometimes of Normally they come in two or three tiers, although more elaborate aluminium, but enamel and plastic versions have been made by versions can have four. The bottom-most tier, being the largest, is European companies. They can keep food warm for at least two the one usually used for rice. Tiffin carriers are opened by unlocking or three hours. a small catch on either side of the handle. The Hungarian version will typically contain a soup, main course and piece of cake.
The lunch box, also referred to as a lunch pail or lunch kit, is used to store food to be taken anywhere. The concept of a food container has existed for a long time, but it was not until people began using tobacco tins to haul meals in the early 20th century, followed by the use of lithographed images on metal, that the containers became a staple of youth, and a marketable product.
The lunch box has most often been used by schoolchildren to take packed lunches, or a snack, from home to school. The most common modern form is a small case with a clasp and handle, often printed with a colorful image that can either be generic or based on children’s television shows or films. Use of lithographed metal to produce lunch boxes in the 1950s, 1960s, 1970s and 1980s gave way in the 1990s to use of injection-molded plastic.
82 History
With increasing industrialization resulting in Americans working cow. Debuting in time for back-to-school 1950, it would go on to outside the home in factories, it became unfeasible to go home sell 600,000 units in its first year alone, each at a modest $2.39 USD. to lunch every day, thus it was necessary to have something to protect and transport a meal. Since the 19th century, American While television was experiencing amazing growth during the industrial workers have used sturdy containers to hold hardy 1950s, manufacturers saw a potential for sales. Manufacturers lunches, consisting of foods such as hard-boiled eggs, vegetables, grew to include ADCO Liberty, American Thermos (later King meat, coffee, and pie. David Shayt, curator of the Smithsonian Seeley Thermos, or KST), Kruger Manufacturing Company, Landers, National Museum of American History, states that “Some of our Frary and Clark (Universal), Okay Industries, and a number of earliest examples, from the 19th century, were woven baskets with other producers through the 1980s.The first use of plastics was handles. A meal would be wrapped in a handkerchief. Depending the lunch box handle, but later spread to the entire box, with the on your station, a fancy wooden box would be used by the first molded plastic boxes produced during the 1960s. Vinyl lunch wealthy.” Tinplate boxes and recycled biscuit tins commonly were boxes debuted in 1959. used in the early 1800s, and fitted metal pails and boxes began to appear around the 1850s.Patents started to appear for lunchbox During the 1960s, the lunch box had few changes. The vacuum inventions in the 1860s. bottle included in them, however, steadily evolved during the course of the decade and into the 1970s. What was originally a The Thermos, a vacuum flask adapted for lunch box use, was steel vacuum bottle with glass liner, cork or rubber stopper, and introduced in 1904. The Thermos, which enabled hot or cold bakelite cup became an all-plastic bottle, with insulated foam beverages to remain at optimal temperature until lunchtime, rather than vacuum. Aladdin produced glass liners into the 1970s, became a common component of the lunch box. but they were soon replaced with plastic.In some South American countries, a lunch box is called “lonchera”, especially among Lunch boxes have been manufactured using various materials. school children, in clear assimilation of the English word “lunch”. Typically, children’s school lunch boxes are made of plastic or vinyl, while adult workers’ lunch boxes are commonly made of metal, such as tin or aluminium, due to the greater need for durability. The aluminium variant was invented in 1954 by Leo May, a miner in Sudbury, Ontario, after he accidentally crushed his tin lunch box.
In 1935, Geuder, Paeschke and Frey produced the first licensed character lunch box, Mickey Mouse. It was a lithographed oval tin, with a pull-out tray inside. It had no vacuum bottle, but did have a handle.In 1950, Aladdin Industries created the first children’s lunch box based on a television show, Hopalong Cassidy. The Hopalong Cassidy lunch kit, or “Hoppy,” quickly became Aladdin’s cash
83 Commonly used tiffins
84 Natural material tiffins
85 Ceramic tiffins
86 Picnic tiffins
87 Designer tiffins
88 Sketches
89 90 91 Form exploration
Form explored by mirror image. I folded paper in half and cut it in the required form. Due to this various shapes came out and it was easy to distinguish in the required form.
92 Form Exploration
93 3d drawings
94 95 96 Final Mock up
Best way to visualize final prototype is to make it in moonj itself. This mockup also helped in various changes which were not able to visual- ize during sketching and 3d drawing. Prototypng in moonj also helped artisans to relate form in the final protype. They made mistakes at the mockup stage so when they made final prototpe no mistakes were made.
97 Making process
Mixing of Fuller’s earth in available clay. Clay ready for use Cleaning wheel and applying oil at the tip point before throwing
98 Throwing first pot on wheel Making first pot and giving a curve with bamboo tool
Making rim of first pot Taking dimensions of mouth of first pot for lid
99 Filling cracks of leather hard dry pot Making flat base for the division in the pot
Taking dimensions in the flat base Beating flat base in equal level before cutting
100 Making lid for the first pot Giving required height in the lid of first pot
cutting first pot lid beating lid of the first pot
101 placing and joining section in the first pot. Cleaning and smoothing base pot with a shell tool
102 making second pot on wheel Shaping the pot in the required form
Making rim on the pot Pressing the base of the pot to make it thin and flat
103 Cutting the base to make the pot short Beating base from outside of the pot in the required form
Pressing the clay in the inside of pot Using sleek thaapi/ beater to flt base from inside
104 Throwing lid of the second pot Giving height on the second lid
Measuring dimensions of the lid according to jar Beating lid when it is leather hard to fit in the pot
105 Removing the excess base of the lid Checking the lid fitting on th pot
Pressing lid on a flat base to make it flat Beating the base of lid to make it flat
106 Pressing the excess clay in the middle of lid When excess clay comes in the middle of the lid
Equalizing clay in the lid by using thaapi/ beater Removing excess clay from the lid using steel tool
107 Making lid flat by scrapping excess clay from the top Marking made on the lid so pot fits over it
Scrapping clay to get even depth Making coils and joining it on the top of lid
108 Throwing third pot on wheel Giving shape to the pot by bamboo tool
Shape made on wheel Measuring done on the pot
109 Beating base of pot for required height Applying water on the base to make it soft
Pressing clay in the base of pot to make it flat Checking shape of all the three pots
110 Throwing lid of the third pot Giving shape to the lid of third pot
Removing lid of the pot from wheel Beating lid so it fits in the pot
111 Making lid flat from base by pressing it on the flat surface Checking the shape of the lid
Beating lid from the top to make it flat Equal division of clay by thaapi
112 Making of salt/ pepper shaker on wheel Giving shape to the shaker by bamboo tool
Giving a finished surface to the shaker Final for ready on wheel
113 Making holes in the shaker Scrapping excess clay from scrapping tool
Making base on the shakers Removing extra clay by blade
114 Mould through which thali is made Beating flat clay for mould
Pressing clay on he mould to get required shape Putting clay on the mould
115 Filling extra leftover areas on the mould Scrapping extra clay from the mould
Plain round thali came out of mould Final form of thali
116 Mooj process start
After compeletion of terracotta containers moonj process starts so that perfect fit covers are made.
Moonj dipped in water to get soft before work Making of base (ghurdilla)
117 Base ready for making Weaving done on the base
Base ready Making of walls after the base is ready
118 Walls made in the base Wire frame made to get more support
Attaching wire frame to the base Weaving started on wire frame
119 Weaving done on wire frame and joints atatched 2nd wire frame and moonj wrapped around it
Moonj and kansa wrapped aroud the wire frame which is Moonj and kansa wrapped around the pendi wire frame attached at the base of daliya
120 Wrapping moonj and kansa on the 2nd wire frame Attaching wire frame to the daliya
Locks made on moonj Making of locks with moonj
121 Final ready base Making of top cover
Partial made top cover Testing of top cover
122 Final product
123 References http://www.sindhishaan.com/gallery/pottery.html http://www.myyatradiary.com/2010/09/photographs-from-here- https://www.google.co.in/search?q=pottery+in+indus+val- and-there-in.html ley+civilization&rlz=1C1KMZB_enIN519IN520&espv=2&bi- http://ganjagrowmaster.com/clay-chillum/ w=1517&bih=741&tbm=isch&tbo=u&source=univ&sa=X- https://books.google.co.in/books?id=rWABAQAAQ- &ei=tWfoVMXdDsSGuASNzoHICg&sqi=2&ved=0CB- BAJ&pg=PA319&lpg=PA319&dq=what+kind+of+pot- wQsAQ#imgdii=_&imgrc=gMDrFt1epQ4ShM%253A%3BHzy9y- tery+evolve+during+mughal+empire&source=bl&ots=x- DLNoHgxQM%3Bhttp%253A%252F%252Fwww.veniceclayartists. AYM-94JtW&sig=xuKoAKzdB5tcgjC2KOUqLUgOYvU&hl=en&sa=X- com%252Fwp-content%252Fuploads%252F2008%252F08%2 &ei=61D1VMzFMs-1uQSzu4L4DQ&ved=0CDUQ6AEw- 52F3287727291_0b56e24ab9.jpg%3Bhttp%253A%252F%252F- BA#v=onepage&q=what%20kind%20of%20pottery%20evolve%20 www.veniceclayartists.com%252Ftag%252Findian-pot- during%20mughal%20empire&f=false tery%252F%3B500%3B375 http://www.mangalorean.com/printarticle.php?arttype=arti- http://www.historytuition.com/indus_valley_civilization/harap- cle&artid=1129 pan_pottery.html http://www.ucl.ac.uk/southasianarchaeology/Pre-Mughal.pdf http://www.ancientart-taiyo.com/indusen.html http://himalayaforum.org/himalayan-heritage/index.php?r=site/ http://www.gourmetindia.com/topic/1862-chettinad-cui- pottery sine-food-festival/ http://www.indianmirror.com/crafts/cra5.html http://www.nytimes.com/2009/09/09/dining/reviews/09under. http://varanasi.nic.in/tourist/tourist8.html html?pagewanted=all&_r=0 http://www.terracooler.org/ http://luxurylaunches.com/travel/best-luxury-experienc- http://puregheedesigns.blogspot.in/2010/05/working-with-grass. es-in-delhi.php html http://migrationology.com/2013/02/kolk- http://puregheedesigns.blogspot.in/2010/05/working-with-grass. ata-street-food-guide-calcutta/ html http://timesofindia.indiatimes.com/quickstir/lifestyle/ http://www.craftandartisans.com/pattamadai-kora-sedge-grass- Meet-These-10-Awesome-Chaiwallahs-Of-India/quickstir- mats.html show/42696997.cms http://www.gobartimes.org/gt20030630/gt_covfeature4.htm https://shailjatomar.wordpress.com/2014/04/20/mutton-curry- http://en.wikipedia.org/wiki/Mat cooked-in-clay-pot/ http://creative.sulekha.com/the-humble-grass_282362_blog http://www.taooftea.com/detail.php?pid=81&catid=75 https://books.google.co.in/books?id=0idOAgAAQBA- http://flavoursunlimited.blogspot.in/2009/09/matka-pista-kulfi. J&pg=PA2&lpg=PA2&dq=use+of+munj+grass+in+india&- html source=bl&ots=pbDA6kjtod&sig=40EkPyE3utIg973lyZwI0Spbt- http://kaleidoscope-kaleidoscopicjourney.blogspot. V4&hl=en&sa=X&ei=vq8GVZ3FIo6UuASgyYJI&ved=0CDgQ6A- in/2011/04/earthen-pots.html EwBQ#v=onepage&q=use%20of%20munj%20grass%20in%20 http://www.britannica.com/EBchecked/topic/1441191/lassi india&f=false http://www.jcookingodyssey.com/2013/06/rasgulla-roshogol- http://www.new1.dli.ernet.in/data1/upload/insa/IN- la-indian-cottage.html SA_1/20005abf_286.pdf
124 http://www.downtheroad.org/India-Nepal-Subcontinent/Bicy- Potters reference- cle_touring_pictures/4Terai_Nepal/3Tharu_Cultural_Museum_Bar- dia_National_Park_Nepal.htm Khemchand Prajapati...... 8858662242 http://www.livingtraditionsmuseum.org/terai_lowlands.html Mamta Prajapati...... 8687735564 http://www.ehow.com/info_8506550_information-cooking-terra- Ganga prasad Prajapati...... 9696568885 cotta.html Raj kumar Prajapati...... 8423203411 http://homeguides.sfgate.com/insulating-properties-terra-cot- Puttan lal...... 8604717656 ta-29561.html Suraj Prajapati...... 8957722323 http://www.rivistaitalyexport.it/portale/houseware/index. Ramavtar...... 9795142228 php?option=com_content&task=view&id=348&Itemid=5 Naresh Prajapati...... 7388910250 http://garlicshaker.com/blog/garlic-keeper-how-to-store-garlic- Ravi...... 7499680334 properly-to-last-the-long-term/ http://www.garlic-central.com/keeper.html http://projectswamika.blogspot.in/
Books-
Traditional pottery of India- Jane Perryman
Keshav Chandra Gupta. Progress and Prospects of Pottery Indus- try in India: A Case Study of U.P
FORM AND MANY FORMS OF MOTHER CLAY Contemporary Indi- an Pottery and Terracotta by Haku Shah
The potter’s dictionary- Frank and Janet Hamer
The complete book of pottery making- By John B. Kenny
125