Delft Blue Ceramics exhibition: Where cultures come together through clay

If you're someone who occasionally enjoys visiting exhibitions in Dhaka—typically dominated by paintings and the occasional installation—stepping into the 'Delft Blue Ceramics' exhibition at Zainul Gallery might catch you off guard.

For an average art enthusiast, the setup may initially feel underwhelming. Handcrafted ceramics arranged on simple tabletops in a modest gallery space, with no accompanying context about the pieces, and the absence of a catalogue for the first couple of days, can make the experience feel somewhat incomplete. It certainly left me puzzled at first.

But as I leaned into my curiosity and sought to understand the intent behind the exhibition, I found myself developing a deeper appreciation. When you consider the rich history of Delft blue pottery, its Dutch roots, and the painstaking effort that goes into crafting even a single piece, you realise there's more to ceramics than just their decorative appeal. 

The true artistry lies in the craft itself—the skill, time, and dedication poured into creating these intricate works. It's not just about how pretty they'd look on your dining table; it's the tradition and craftsmanship involved that makes them special.
It all began with a week-long workshop in late October, led by instructors from the Department of Ceramics, where students gained hands-on experience in applying Delft blue designs to ceramics. 

The process of crafting and curating the final form took nearly a month, and when you factor in more than 75 individual pieces on display in the exhibition, you have to praise the effort involved.

The exhibition was organised by The Embassy of the Kingdom of the Netherlands in partnership with Dhaka University's Faculty of Fine Arts and Art Bangla Foundation. 'The Delft Blue Ceramics' exhibition involves the works of students and professors from DU's Department of Ceramics. It opened its doors on 7 December and ends tomorrow.

Delft Blue, a hallmark of Dutch ceramic artistry, traces its origins to the 17th-century Dutch Golden Age, inspired by the blue-and-white porcelain of China. In the city of Delft in South Holland, Dutch artisans experimented with clay and glazing techniques to replicate Chinese porcelain while incorporating uniquely Dutch elements. 

This fusion of Eastern influence and local creativity gave rise to Delft Blue pottery, which quickly became a cultural emblem, reflecting both national pride and artistic ingenuity that endures to this day.

In a conversation with Lekhnesa Khushi, one of the participants, she shared insights into the intricate process of crafting the ceramic pieces.

"The first step is obtaining the clay body. While it may look white, most clay in Bangladesh isn't naturally white," she explained.

Once the clay is prepared, it is dried to remove any moisture, ensuring it becomes airtight. The clay is then shaped into the desired form before it goes through 'bisque firing,' where it is heated to 750-800 degrees Celsius.

Following this, the ceramics are painted with glaze colours to create their designs. In the final stage, a layer of transparent glaze is applied and the piece is fired again, this time at approximately 1,200 degrees Celsius to achieve the finished ceramic sculpture. This meticulous process transforms raw clay into intricate works of art.

The exhibition features a diverse array of pieces, from human head sculptures to vases and vessels adorned with intricate designs. What ties them all together is the consistent use of a striking cobalt blue colour.

"The hallmark of Delft ceramics is the cobalt blue patterns on a white clay body," explained Lekhnesa.

One standout piece—a striking human head paired with a brain-like sculpture—immediately captures attention. Intricate leaf patterns wind around their surfaces, evoking the organic interplay of thought and nature, seamlessly fused within the ceramic medium.

Nearby, a collection of vessels, jars, and plates stands with quiet elegance. Each piece features intricate, hand-painted designs, ranging from tranquil windmill landscapes to stylised peacocks. One jug, with its dual-handled design, embodies both functionality and aesthetic appeal, while a rounded pot decorated with floral motifs exudes a timeless charm.

A collection of animal-shaped ceramics adds a playful touch to the exhibition, placed on another tabletop. Their minimalist yet expressive forms seem alive, as though ready to spring into motion. In contrast, an adjacent display of abstract shapes provides a modern twist, showcasing the versatility and creativity of the medium.

In addition to drawing inspiration from Dutch design and tradition, the students were encouraged to incorporate elements unique to Bangladeshi culture.

Lekhnesa shared how some artists crafted tepa putuls and that many of the floral patterns used reflect motifs that are deeply rooted in our local traditions.