The endangered heritage of pottery
How a simple lump of mud transforms into a visually stunning vessel is a marvel to behold. The process involves several key steps:
A wooden wheel spins, and in harmony with that rotation, a lump of clay takes shape under the gentle, affectionate touch of a potter's fingers. In the blink of an eye, a flawless pitcher, pot, or clay platter is created.
Across the courtyard, rows of reddish-brown pots dry under the scorching sun, filling the air with the raw, enchanting aroma of earth. This is not just a scene of daily labour; it is the timeless folklore of 'pottery'-the oldest folk art of Bengal.
As a unique testament to an ancient and pure folk tradition of rural Bengal, pottery has served for centuries as a prime driver of Bengali lifestyle, aesthetics, and identity. Long before modern plastic, melamine, and the artificial glamour of aluminium occupied Bengali kitchens and interiors, this earthen craft brought eco-friendly utensils and the colours of festivities to the heart of eternal Bengal.
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From the Indus Valley Civilisation to the terracotta plaques of Mainamati, Mahasthangarh, and Paharpur, history proves how deeply rooted pottery is in this land. Today, though the aggression of technology has somewhat slowed the rhythm of the familiar wheel in the potters' quarters (Kumarpara), one can still hear the ancient and undying pulse of the nation's roots by listening closely to the dust of country roads and the clay dolls of the Baishakhi fairs.
Nomenclature and the search for roots
The word 'Mrit' means soil or clay, and 'Shilpa' means skilful creation; giving a beautiful shape to clay for human welfare is what defines pottery (Mritshilpa). In the history of Bengal's folk culture, the Kumar or Paul community has kept this art alive from generation to generation. Since prehistoric times, the use of clay vessels began in agrarian Bengal. At one time in rural society, every morning commenced with the spinning of the potter's wheel and the aroma of baked clay, representing a unique aesthetic of collective Bengali living.
How a simple lump of mud transforms into a visually stunning vessel is a marvel to behold. The process involves several key steps:
Soil selection and kneading: Not all soil is suitable for this craft. Etel (clayey) and Doash (loamy) soils are primarily collected, meticulously kneaded, and made soft and smooth.
The potter's wheel: Placing the lump of clay on a spinning wooden or cement wheel, the desired shape is given in an instant through the magical pressure of fingers and palms.
Sun-drying and beating: After being taken off the wheel, the vessels are partially dried. Then, they are beaten with a wooden mallet to make the walls uniform and sturdy.
Baking in the kiln (Pon): The dried vessels are arranged in a specially built large furnace or 'Pon' and baked with fire fueled by straw, wood, and cow dung cakes to give them a durable, reddish look.
A diverse spectrum from daily utensils to fancy decoratives
The demand for clay products during Bengal's year-round festivals and rituals was immense. They can be classified into several categories:
Household utensils: Sanki (clay plates), Hari and Patil (cooking pots), Kolshi (pitchers), Chari-patil, Doi-er Bhar (yogurt pots), and moulds for winter pitha (rice cakes).
Folk fairs and toys: Earthen dolls (Tepa Putul), clay piggy banks, horses, elephants, and various colourful fruit toys remain the main attraction for children at Baishakhi fairs or religious festivals.
Architectural and religious elements: Terracotta plaques adorned on the walls of ancient temples, as well as idols and lamps (pradip) for traditional religious rituals.
Pottery was not just a profession; it was one of the pillars of the rural economy. Earthen vessels are completely eco-friendly and healthy. The taste of cold water from a clay pitcher or Panta Bhat (soaked rice) eaten from a clay plate cannot be replicated by any modern refrigerator or glass dish. It also provided opportunities for rural women to participate economically in cottage industries through doll-making and painting.
Current crisis: the clutch of plastic and the struggle for survival
In this modern era of the 21st century, pottery faces a dark period:
Aggression of cheap alternatives: Earthen utensils are almost cornered in the market by cheap,
lightweight, and durable plastic, melamine, and aluminium products.
Rising cost of raw materials: Profits have dwindled due to the shrinking availability of clay soil, skyrocketing soil prices, and the increasing cost of straw and wood needed for baking.
Career shift: Lacking fair prices, the new generation of traditional Paulparas in Savar's Dhamrai, Comilla's Bijoypur, or Natore is leaving their ancestral profession for other jobs.
However, a glimmer of hope is now emerging for this struggling industry through urban aesthetics.
Modern interior decor: With people's growing interest in eco-friendly lifestyles, the use of clay dinner sets, mugs, ornately designed vases, wall mats, and lampshades as symbols of sophistication is increasing in urban homes and restaurants.
Government initiatives: The Bangladesh Small and Cottage Industries Corporation (BSCIC) and various NGOs are now providing modern technical training and easy-term loans to potters. To keep traditional pottery alive, its commercial modernisation and export arrangements to the global market are essential.
Pottery is an authentic art form arising from the heart of Bengal's soil. While its utilitarian form may have changed amid modernity, the spiritual connection Bengalis share with clay will never fade. Preserving this colourful chapter of national heritage and folk culture is a collective responsibility for us all.
